London Theater Review: Cate Blanchett in ‘When We Have Sufficiently Tortured Each Other’

Read on: Variety.

“I’m perfectly capable of making a sandwich,” scolds Cate Blanchett as she inches a sizeable strap-on inside her prostrate husband. It is an unexpected sight, but a stark piece of power play in an evening that’s full of them. Director Katie Mitchell se…

Cate Blanchett’s ‘Where’d You Go, Bernadette’ Pushed 5 Months

Read on: TheWrapTheWrap.

Cate Blanchett’s “Where’d You Go, Bernadette” has been pushed five months from March 22 to August 9, an individual with knowledge of the project told TheWrap.

Annapurna spokesperson Ashley Momtaheni told TheWrap that the move can be credited to August being a great month to release female-skewing films, as “Crazy Rich Asians” and “Florence Foster Jenkins” have shown. After a summer full of action films and sequels, opening this film in August will be a refreshing change.

Richard Linklater directs the film about a Seattle woman who has it all, including a loving husband and a brilliant daughter, but when she unexpectedly disappears, her family sets off on an adventure to solve the mystery of where she might have gone.

See Video: Cate Blanchett Does a Disappearing Act in ‘Where’d You Go, Bernadette?’ First Trailer

Linklater wrote the screenplay, his follow-up to “Last Flag Flying,” with Holly Gent and Vince Palmo based on Maria Semple’s “runaway” best-selling novel of the same name, originally released in 2012 and acquired by Annapurna from Color Force in 2013.

Co-starring in the film opposite Blanchett’s title character are Billy Crudup as her husband, Kristen Wiig, Emma Nelson as her daughter, James Urbaniak, Judy Greer, Troian Bellisario, Zoe Chao and Laurence Fishburne.

Currently slated for March 22 are Jordan Peele’s “Us,” Cole Sprouse’s “Five Feet Apart” and Tom Hanks’ “Greyhound.” “Where’d You Go, Bernadette” joins Judi Dench’s “Artemis Fowl” and “Scary Stories to Tell in the Dark.”

Related stories from TheWrap:

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Cate Blanchett Named BAFTA’s Stanley Kubrick Britannia Award Winner for Excellence in Film

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#MeToo Starts 2019 With Milestones, From ‘Surviving R Kelly’ to Kevin Spacey’s Charges

Read on: TheWrapTheWrap.

After suffering a few setbacks in 2018, the #MeToo movement is starting 2019 with a run of milestones, from the new attention paid to R Kelly to the criminal charges against Kevin Spacey.

This year has already seen Kevin Spacey going to court to face a criminal charge; CBS choosing veteran producer Susan Zirinsky to be first the woman to lead the its news division; prosecutors in Chicago and Atlanta investigating accusations raised in Lifetime’s “Surviving R Kelly” documentary, and new sexual harassment protection laws, inspired by #MeToo, taking effect in 11 states.

The victories provide new inspiration to activists who suffered through Brett Kavanaugh’s confirmation to the Supreme Court in the fall, despite accusations of sexual misconduct. (He denied them.) Activists were also disappointed and angry after The New York Times reported that Asia Argento, one of #MeToo’s most prominent voices, paid $380,000 to a young man who accused her of sexually assaulting him when he was 17. (She also denied any wrongdoing.)

Also Read: Alyssa Milano Calls for Accountability, Rehabilitation ‘Protocol’ Amid John Lasseter Backlash

“There have been moments that have not been helpful to the movement, and I have no doubt there will be more,” Alyssa Milano, who helped popularize #MeToo, told TheWrap. “There is not going to be a perfect movement. S— is going to get broke and I think there will some small moments that we see as setback.”

“Surviving R Kelly” detailed accusations of abuse and sexual misconduct against the singer starting in the ’90s. It also looked into the circumstances surrounding his acquittal on 2002 child pornography charges. Kelly’s attorney, Steve Greenberg, did not immediately respond to a request for comment, but denied the accusations in an interview with The Associated Press.

Some radio stations have stopped playing R Kelly’s music, and an Illinois concert was canceled.

“Lifetime took a risk that was brilliant and brave,” said #MeToo founder Tarana Burke, who was featured in the docuseries. “It was exactly what we need to bring this to the attention of the masses.”

The year began with a huge, systemic victory for the #MeToo movement, but also a sign that activists still  have differences to iron out.

Besides the new anti-harassment laws that took effect Jan. 1, California has passed a new law requiring women to be on corporate boards by the end of this year.

“What we’re seeing is a sisterhood forming all around the world,” actress Rosanna Arquette, who was one of the first to accuse Harvey Weinstein of sexual misconduct, told TheWrap. “We have #MeToo in India now.”

But some #MeToo activists were puzzled by a video released by TimesUp on New Year’s Day. Hollywood activists started TimesUp in part to respond to the issues raised by the #MeToo movement, which caught fire in 2017 after numerous women accused Weinstein of offenses ranging from harassment to rape. (He has denied any non-consensual sex.)

The TimesUp video raised eyebrows because it failed to include a single Weinstein accuser. A TimesUp statement said in a statement: “The cultural reckoning we’re experiencing today would not be possible without the brave survivors who came forward and told their stories through the #MeToo movement.”

Also Read: Lady Gaga Apologizes for Past R Kelly Collaboration, Pulls Song From iTunes

Some news has contained positive and negative elements for #MeToo. Last week, former Pixar boss John Lasseter, who was ousted over accusations of inappropriate touching and kissing, scored a high-profile job with Skydance Animation. (Lasseter admitted to “missteps” that made employees feeling “disrespected and uncomfortable”).

TimesUp said in a statement that the hiring “endorses and perpetuates a broken system that allows powerful men to act without consequence.”

Women in Animation president Marge Dean said on the group’s Facebook page: “The single biggest effect of the events last year is that we saw men experiencing consequences for their bad behavior. The Lasseter decision seems to have weakened that giant step forward, and I felt panic that our progress was being undermined.”

But Skydance’s handling of the situation indicated it was at least aware of the problems raised by Lassiter’s hiring. The company held town halls to address it, and Skydance CEO David Ellison released a statement that promised, in part, that Lassiter had “given his assurance that he will comport himself in a wholly professional manner.”

Spacey also attempted something of a comeback near the start of the New Year: On Christmas Eve, on the same day Massachusetts officials announced he would face a felony assault charge — he is accused of groping an 18-year-old’s genitals in a restaurant — Spacey released a video of himself as his “House of Cards” character, Frank Underwood.

He chided viewers not to believe he was guilty of anything, adding: “You want me back.”

But the video was widely condemned, and Spacey’s next public appearance was at a Massachusetts courthouse on Jan. 7. Spacey entered a plea of not guilty.

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Harvey Weinstein Accusers Call Out TimesUp for Excluding Them From Anniversary Video

Read on: TheWrapTheWrap.

When TimesUp released a star-studded sizzle reel commemorating its first year, one of the most striking things about it was who wasn’t included: any of the women who accused Harvey Weinstein of sexual misconduct.

The women who spoke up against Weinstein helped the #MeToo movement catch fire, which led to Hollywood’s creation of the reform-focused TimeUp. The group’s Jan. 1 video featured big names including America Ferrera, Kerry Washington, Oprah Winfrey, Reese Witherspoon, Tracee Ellis Ross, Natalie Portman, Shonda Rhimes, Cate Blanchett and Meryl Streep.

“Wow. @TIMESUPNOW posted a video to celebrate its one year anniversary and none of the Harvey Weinstein survivors (the reason the organization was started) are featured in the video. I’m not surprised but I’m still stunned,” reporter Yashar Ali tweeted. “Where is @MiraSorvino, @RoArquette, @AnnabellSciorra, I can go on and on. Have they just been erased? They put so much on the line to speak out.”

Also Read: #TimesUp, Hollywood! 2 Diversity Studies Show Big Drop for Female Film Directors in 2018

“There has been some concern that @TIMESUPNOW is an elitist org controlled by some of the people who allowed Weinstein to thrive,” Ali went on to write. “This tone-deaf video adds to those concerns. How disappointing and shameful.”

Several Weinstein accusers responded.

“Not that I expected to be included but it’s nice to know some are following the narrative,” tweeted Annabella Sciorra, who told The New Yorker that Weinstein violently raped her in the early 1990s. Caitlin Dulany, who has accused Weinstein of sexual assault, threats, and false imprisonment in 1996, wrote: “It’s very disappointing. Incomprehensible, really.”

In a statement through his publicist, Weinstein has “unequivocally denied” any non-consensual sex.

Also Read: TimesUp Fund Logs 3,000 Complaints Since Launch, Leaders Say at Power Women Breakfast DC (Video)

Rosanna Arquette, who was one of the first to accuse Weinstein of sexual misconduct, said she was so hurt by the TimesUp video’s exclusion of #MeToo activists that she couldn’t watch it.

“A lot of big egos got in the way and shoved us to the side and did not include us in the conversations,” Arquette said. “It’s just like, wow. Really?”

Representatives for TimesUp declined to comment for this story.

While the video does include a quick still shot of Tarana Burke, the founder of the #MeToo movement, no Weinstein accuser is featured in the video.

Katherine Kendall, who accused Weinstein of taking off his clothes and asking for a massage in his apartment in 1993, said she, too, was taken aback by lack of inclusion. Kendall said that, for the most part, her fellow #MeToo activists have been “shut out” of TimesUp.

“There are a lot of celebrities waving the banner of #MeToo but they were not the first to risk speaking out,” she said. “TimesUp has made no effort to have a relationship with us.”

Also Read: Oscars: Faces of #MeToo, #TimesUp Herald a ‘New Path’ of Safety and Inclusion

Other Weinstein accusers said they offered to help TimesUp in any way they could, but their calls were never returned.

“As far as I can tell, their sole purpose is to promote the idea that Hollywood is ‘doing something’ about sexual harassment by wearing pins at awards shows,” said Lauren Sivan, who accused Weinstein of exposing himself and masturbating in front of her a decade ago.

“I hope I am wrong, but time will tell,” she told TheWrap.

TimesUp began as a legal defense fund in January 2018 to assist people who have experienced sexual assault and harassment.

According to its site, more than 3,400 women and men have been connected to legal resources through TimesUp. Two-thirds of those who contacted the fund identified themselves as low-wage workers. The fund has raised more than $23 million.

Also Read: Debra Messing: #TimesUp Everywhere, Not Just in Hollywood (Video)

The friction between #MeToo and TimesUp is not new.

In January, actress Rose McGowan blasted TimesUp for partnering with Creative Artists Agency, calling it a “company of pimps that sent so many into the monster’s lair.”

McGowan’s comments came shortly after The New York Times reported that at least eight CAA agents were aware that Weinstein had sexually harassed female clients, yet the agency continued to send actresses to meet with him. (The agency issued a public apology to anyone “the agency let down” following the report.)

“I think if a company with ties to Weinstein and who was complicit with his behavior is given a seat at the table, then victims of the abuse should be invited too,” Sarah Ann Masse, who accused Weinstein of hugging her in his underwear during a 2008 meeting, told TheWrap.

CAA did not immediately respond to a request for comment Friday

Also Read: Hollywood Women Practice Trauma Training Before #MeToo Anniversary, Kavanaugh Confirmation

Masse said she was “100 percent” behind TimesUp’s efforts, “but unfortunately there has been an exclusion of the Weinstein silence breakers” from the organization.

“I’ve tweeted, I sent replies to some people who work with the organization saying I would like to be involved,” she said. “But I never heard back.”

Louise Godbold, who said Weinstein grabbed her hand and put it on his crotch at his office in the early ’90s, said TimesUp has not called her either.

“I don’t know whether they are deliberately not reaching out to us or if it’s a great oversight on their part,” she said. “But it is upsetting because they are doing important work without referencing the people who actually put something on the line for this to happen.”

Also Read: Miley Cyrus Updates ‘Santa Baby’ for the #MeToo Era (Video)

Godbold, who is a trauma specialist by training, has been working with other non-profits, such as Women in Film, to conduct regular trauma sessions for #MeToo survivors.

“It does feel like an omission and it does make the people who did put something on the line feel invisible,” she added.

Arquette, along with actresses and #MeToo activists Mira Sorvino and Chantal Cousineau, has worked with Equal Rights Advocates, a non-profit women’s rights organization, to push for reforms that protect women in the workplace. She said she sent a letter to TimesUp expressing her disappointment that the organization has not “amplified” these efforts, and that she has a meeting set with TimesUp later this month.

“We deserve to have our voices heard,” she said, “especially since they built this whole thing on the backs of our pain.”

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‘How to Train Your Dragon: The Hidden World’ Film Review: Third Time’s a Fire-Breathing Charm

Read on: TheWrapTheWrap.

As much as we’d like the appearance of a threequel to mean, “Hey, here are all the cool ideas we couldn’t wedge into the first two,” the cold reality always starts with, “We think there’s more money to be made!” But sometimes, there are organically convincing extenders, and in the animation world, those exceptions include “Toy Story 3” — arguably that series’ crowning achievement — and now, “How to Train Your Dragon: The Hidden World,” writer-director Dean DeBlois’ delightful, gorgeous, and touchingly conclusive third adaptation of author Cressida Cowell’s fantastical universe of Vikings and fire-breathers.

That the third one doesn’t disappoint is hardly surprising, since over two movies so far, “Dragon” steward DeBlois’s enriching approach has been to treat the story of scrappy Viking scion Hiccup (voiced by Jay Baruchel) and his trusted dragon partner Toothless as a carefully seeded trilogy with the emotional contours of a coming-of-age epic. (The original “Star Wars” films and the work of Hayao Miyazaki were narrative inspirations.)

The first movie, released in 2010, was a boy-and-animal-friend story built on childhood wonder; the second (from 2014) told an adolescent adventure about maturation and legacy; the third, fusing the cute and the dark that has so far marked this franchise’s growth, makes for a satisfying exploration of the ways adulthood invariably means both new horizons and leaving some things, and some ways of thinking, behind.

Also Read: ‘How to Train Your Dragon 3’ Moved into Very Crowded February 2019

It gives “The Hidden World” the feeling of something in between an installment and a sequel, a kind of heartwarming drop-in on beloved characters and eye-popping creatures — fantastic beasts, indeed — plus a reviving tour of familiar environs, all with the promise that it’s all heading somewhere exciting and meaningful. In this case, it’s a story built around a long-assumed mythological realm at the edge of the world where dragons live in peace.

But for now, there’s plenty of change already on the island village of Berk which, under Hiccup’s young reign as chieftain, has been transformed from a quaint cliffside community into a colorful, if increasingly crowded haven for dragons and Vikings living together. Rescuing the flying, flame-spewing creatures from captivity is still foremost on Hiccup’s mind, thanks to the caring influence of his sanctuary-minded mother Valka (Cate Blanchett) and, of course, the considerable abilities of Toothless. But when it comes to turning his romantic relationship with Astrid (America Ferrara) — in every way an equal partner in ruling Berk — into something permanent, Hiccup’s name still suits him.

Also Read: DreamWorks Nabs Rights to Cressida Cowell’s ‘The Wizards of Once’

Two new figures — one enchanting, one menacing — are the catalysts to the friendship/leadership tests that comprise “The Hidden World.” The dazzling creature addition is something called a Light Fury, an alabaster-colored dragon (physically in the aerodynamic, feline Toothless mold) whose non-domesticated allure (she’s suspicious of humans) turns the normally intrepid Toothless into a hesitant suitor for her affections. It says something about the secret beating heart of these movies that as fun and exciting as the fire-and-flight battles are (like World War I dogfights juiced for the fantasy realm), this movie’s most memorable sequence is a wordless duet on a beach in which Toothless and the Light Fury humorously, and awkwardly, test their courtship as Hiccup observes like a proud, worried pal.

The new villain, meanwhile, is a long-faced, evil trapper named Grimmel the Grisly (a suitably snarly F. Murray Abraham), whose ultimate aim with dragons is either extinction or subjugation. His machinations — the series’ starkest representation yet of its anti-animal cruelty soul — push the characters toward discovering the titular utopia, which doesn’t disappoint as rendered by this movie’s accomplished team of designers and animators.

Also Read: Pixar’s ‘Onward’ To Star Chris Pratt, Tom Holland, Julia Louis-Dreyfus and Octavia Spencer

It’s one of the hallmarks of these movies that photorealistic beauty and otherworldly awe are so well meshed, never more so than in how the dragons are realized, forgoing Disney-fied anthropomorphism for a kind of non-human authenticity in movement and behavior that’s like a feature-length viral nature video, the kind where your default “aren’t they adorable” feelings are quickly dispelled by scary flashes of a creature’s survival instincts.

It means Toothless, his destiny now as essential to the saga’s as Hiccup’s, is as richly conceived a character as any of the humans, which include returning Vikings Eret (Kit Harrington) and Stoick (Gerard Butler) in flashback, and comic-relief figures Gobber (Craig Ferguson), Snotlout (Jonah Hill), Ruffnut (Kristen Wiig), Tuffnut (Justin Rupple replacing T.J. Miller), and Fishlegs (Christopher Mintz-Plasse). Their antics are, as ever, more hit-and-miss than consistently funny, but as humorous stitching between set pieces go, they at least never detract from the general thrust of this movie’s intelligently handled thematic concerns.

In fact, as DeBlois engineers this tale towards an expectedly exciting and poignant conclusion, one realizes how well that cleverly misdirecting title “How to Train Your Dragon” has morphed from literal to figurative, from being about command and obeisance to handling the turmoil within. Slapping a “3” after it wouldn’t have distinguished this soulful trilogy about growing up, and about the gift of empathy, nearly as well as a subtitle like “The Hidden World.”

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‘Where’d You Go, Bernadette’ Trailer: Cate Blanchett Stars In Richard Linklater’s Adaptation Of “Runaway” Bestseller

Read on: Deadline.

The plot summary could be a horror – literally. Seattle woman disappears without a trace, leaving a loving husband and brilliant daughter to set out on a search to solve the mystery.
But the trailer for Richard Linklater’s Where’d You Go, Bernadette, from Annapurna Pictures, makes clear to everyone who hasn’t read Maria Semple’s 2012 breezy, bestselling book that the tale is anything but a horror story.
Clue #1: The trailer tells us that the film is based on the “runaway”…

Cate Blanchett Does a Disappearing Act in ‘Where’d You Go, Bernadette?’ First Trailer (Video)

Read on: TheWrapTheWrap.

Poof! Cate Blanchett vanishes into thin air in the first trailer for “Where’d You Go, Bernadette?” And this family story is so heartwarming, you might just die of cuteness.

“Well, I want to die of cuteness. It’s my favorite thing to die of cuteness,” Blanchett says with a pout in the trailer.

Richard Linklater directs the film about a Seattle woman who has it all, including a loving husband and a brilliant daughter, but when she unexpectedly disappears, her family sets off on an exciting adventure to solve the mystery of where she might have gone.

Also Read: ‘Dazed and Confused’ Stars: Where Are They Now? (Photos)

Linklater wrote the screenplay, his follow-up to “Last Flag Flying,” with Holly Gent and Vince Palmo based on Maria Semple’s “runaway” best-selling novel of the same name, originally released in 2012 and acquired by Annapurna from Color Force in 2013.

Co-starring in the film opposite Blanchett’s title character are Billy Crudup as her husband, Kristen Wiig, Emma Nelson as her daughter, James Urbaniak, Judy Greer, Troian Bellisario, Zoe Chao and Laurence Fishburne.

Annapurna is releasing the film in theaters on March 22, 2019. What else is there to expect from this movie? Well, we’ll let Bernadette put it this way:

“Something unexpected has come up. There’s much more explanation coming, but I have this one shot, and just thinking about it has my heart racing,” Blanchett says.

Watch the trailer above.

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‘Mowgli: Legend of the Jungle’ Film Review: Andy Serkis’ Mo-Cap Mastery Makes a Mixed-Bag ‘Jungle Book’

Read on: TheWrapTheWrap.

Andy Serkis has given life to many unreal and unnatural characters over the course of his career. But the man behind the motion-captured face of Gollum in the “Lord of the Rings” series and Caesar in various “Planet of the Apes” films may have finally met his technical match. In “Mowgli: Legend of the Jungle,” his adaptation of Rudyard Kipling’s beloved story collection “The Jungle Book,” director and co-star Serkis throws in too many new elements and, in the process, derails the plot’s familiarity and some of its charms.

As in many other versions of Kipling’s tale, Mowgli (Rohan Chand, “Bad Words”) is an orphaned boy (or “man-cub,” as the animals call him), adopted and raised by a pack of wolves in an Indian jungle. As he grows up, Mowgli is trained by cockney-accented bear Baloo (voiced by Serkis) and pragmatic panther Bagheera (Christian Bale) to fit in among the wolves and to learn to survive.

Mowgli has the odds stacked against him: He’s incapable of running as fast as the wolves (even on all fours), making him more likely to become a meal for Shere Khan (Benedict Cumberbatch), the fearsome tiger who killed his parents. Through too much exposition, Mowgli is forced to reckon, more than in previous adaptations, with the human village at the edge of the jungle, including a British game hunter named John Lockwood (Matthew Rhys) who’s looking to kill Shere Khan. Python Kaa (a sultry-voiced Cate Blanchett) leads the audience in and out of the story through prophetic declarations about the jungle, balance, and how the man-cub factors into this circle of life.

Watch Video: ‘Mowgli: Legend of the Jungle’: Watch the New Trailer for Andy Serkis’ ‘Jungle Book’ Adaptation

The perception that “Mowgli,” like the other cinematic “Jungle Book” adaptations, will also be family-friendly does not hold out for long. There are blood and violence aplenty in this version, including a hunting scene where Bagheera teaches Mowgli to look his prey in the eye so it will not die alone. That’s heavy stuff for a kid’s movie, and we haven’t even gotten to the club-claw version of Shere Khan, who looks as if he’s dripping in his victims’ blood in almost every scene. It’s perhaps a too on-the-nose cue to the tiger’s insatiable appetite.

This jungle can be a dark and scary place in some moments, isolating Mowgli with its scope and alienating him from others in lonely stand-alone shots. Yet in other scenes, the setting becomes a fantastical playground for the man-cub to play with his wolf siblings. In the film’s attempt to create realistic animals, many of the creatures have scars, bald patches and other imperfections. The overall effect is a cast that looks tougher and more calloused to the jungle’s hard knocks. At one point, even Mowgli sustains a painful gash along his arm that leaves a garish scar. It’s as if this is the darker, grittier versions of some of our beloved “Jungle Book” characters.

Also Read: Netflix Takes Global Rights to Andy Serkis’ ‘Mowgli’ From Warner Bros

Perhaps the weakest link in the film’s food chain is first-timer Callie Kloves’ anemic script, overstuffed by fillers of little substance. The story does not move as swiftly as the wolves do. The script’s solution to standing apart from the classic story is to add new characters and subplots; unfortunately, too much of a good thing can also tire a viewer out or bore them. The shiny new appeal wears off, and the additions become merely another stretch on the runtime. And yet, some elements look too similar to other films, like the new mangy striped hyena that follows Shere Khan, which looks and functions quite a bit like the spotted hyena characters that follow Scar in “The Lion King.” As Mowgli, Chand shoulders the responsibility to move the story forward with a wide-eyed and energetic performance. Unfortunately, even his youthful antics feel slowed by how much story he needs to crawl through.

One of the stranger additions to “Mowgli” is the character of Bhoot (voiced by Serkis’ son, Louis Ashbourne Serkis). Like Mowgli, the albino misfit wolf-cub doesn’t get along with the others in the pack, and his story warps into an anti-bullying PSA. There might be some inexplicably flawed designs that flatten Shere Khan’s nose or make Bagheera look overly muscular, but Bhoot doesn’t even look like it belongs in this movie. It’s more like a cartoon character (with paws that point inward and an unsettling smile) opposite the other grizzled wolves.

Another addition, John Lockwood, is more than just an extra name in the cast list. He is at once both a part of the fight between man and nature and a nod to India’s colonial past. At first, he’s welcomed into the village as a seasoned tiger-killer, but eventually, the locals grow impatient with Shere Khan’s unabated attacks on their herds and ask the white hunter if he could actually catch the tiger. Named after Rudyard Kipling’s father, Lockwood is a slippery character capable of treating Mowgli kindly, in front of the other villagers, while still killing and maiming animals for profit.

Also Read: ‘Mowgli’ Director Andy Serkis Promises a Darker, Bloodier ‘Jungle Book’ Sequel

If this was Serkis or Kloves’ idea to bring up the issue of colonialism, it comes, ironically, at the expense of the other Indian actors in the cast. Lockwood’s presence is much more substantial than any of the other villagers, including the one played by Freida Pinto, who barely has any lines of dialogue.

As an actor, Serkis may be the industry’ mo-cap master, but storytelling through performance is a different skill than writing or directing. The forced additions of characters like Bhoot needlessly bloat the movie’s mismatched visual style and misfit character looks. Since it can take years to put one of these CGI-filled movies together, it was perhaps poor timing that “Mowgli” followed Jon Favreau’s 2016 live-action reimagining of Disney’s 1967 animated movie.

While Serkis and his team tried to separate his retelling from the others, the experiments and extras did not always work out. With any luck, Serkis can go back to the drawing board with a better script and a better sense of the story he wants to tell.

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Andy Serkis’ ‘Mowgli: Legend Of The Jungle’ Gets Theatrical Release Date, New Trailer

Read on: Deadline.

A new trailer for Andy Serkis’ Mowgli: Legend Of The Jungle debuted during Netflix’s slate event in Singapore, along with the release date. The new take on the Rudyard Kipling classic will make its way to theaters in an exclusive limited en…

FX Orders ‘Mrs. America’ Limited Series Starring Cate Blanchett

Read on: TheWrapTheWrap.

Cate Blanchett is headed to FX to star in and executive produce a limited series “Mrs. America,” based on backlash surrounding the Equal Rights Amendment (ERA) in the 1970s.

“Mrs. America” tells the true story of the movement to ratify the Equal Rights Amendment (ERA), and the unexpected backlash led by a conservative woman named Phyllis Schlafly, played by Blanchett. “Mrs. America” marks the Oscar-winning actress’s first-ever TV role in the U.S.

Through the eyes of the women of that era – both Schlafly and second wave feminists Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug and Jill Ruckelshaus – the series explores how one of the toughest battlegrounds in the culture wars of the 70s helped give rise to the Moral Majority and forever shifted our political landscape.

Also Read: Broadcast TV’s LGBTQ Characters of Color Outnumber White Ones for the First Time Ever

Schlafly was a conservative political activist who successfully lobbied a campaign to the defeat the ERA.  She launched “STOP ERA” in 1972, which was an acronym for “Stop Taking Our Privileges.” Schlafly argued the ERA would take away certain privileges from women, including “dependent wife” benefits under Social Security. The ERA was only ratified in 35 states, and Schlafly’s campaign is often cited as a main reason for its eventual defeat. She died in 2016 at the age of 92.

The series was created and written by “Mad Men” alum Dahvi Waller and executive produced by Waller, Blanchett, Stacey Sher and Coco Francini. Production of the nine-episode limited series is scheduled for 2019 and it is produced by FX Productions with Waller serving as showrunner.

“I feel privileged to have this opportunity to collaborate with Dahvi, Stacey and Coco under the robust and fearless FX umbrella,” said Blanchett. “I am extremely excited about delving into the material as there couldn’t be a more appropriate time to peel back the layers of this recent period of history, which couldn’t be more relevant today.”

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