ABC Orders ‘The Baker And The Beauty’ Based On Israeli Format In Second Pilot Pickup For Dean Georgaris This Season

Read on: Deadline.

ABC has picked up to pilot hourlong romantic comedy The Baker and the Beauty, from The Brave creator Dean Georgaris, David Frankel (Manifest), Keshet Studios, Universal TV where the company is under a deal, and ABC Studios.
This is the second time in 3…

David Frankel In Talks To Direct Jess Walter Novel Adaptation ‘Beautiful Ruins’ For Fox 2000

Read on: Deadline.

EXCLUSIVE: The Devil Wears Prada helmer David Frankel is making a deal to direct Fox 2000’s film adaptation of Jess Walter‘s 2012 New York Times Best Seller Beautiful Ruins. Sam Mendes brought it to the studio intending to direct, but he stepped out and will produce through Neal Street with Julia Pastor and Karen Rosenfelt. The author is executive producer alongside Neal Street’s Pippa Harris.
The epic story begins in the spring of 1962 off the Ligurian Sea and centers on…

Michael Keaton to Discover ‘What is Life Worth’

Read on: Variety.

Michael Keaton is in talks to star in biopic “What is Life Worth” for MadRiver Pictures, the company announced Wednesday. IMR will launch sales on the title at the European Film Market in Berlin. Based on the memoir of Kenneth Feinberg, the film would see the Oscar-nominee and Golden Globe winning “Birdman” actor reunite with […]

Michael Keaton In Talks For ‘What Is Life Worth’; David Frankel Helming From Max Borenstein’s Black List Script – Berlin

Read on: Deadline.

EXCLUSIVE: Oscar nominee Michael Keaton is in negotiations to star in real-life inspirational drama, What Is Life Worth. David Frankel is directing from Max Borenstein’s 2008 Black List script that’s based on Kenneth Feinberg’s acclaimed memoir recounting the inside story of the 9/11 Fund and its effort to compensate victims. IMR is launching the project here at the EFM.
Spotlight‘s Michael Sugar will produce alongside MadRiver’s Marc Butan, Sean Sorensen and Borenstein…

David Frankel To Direct NBC’s ‘Manifest’ Pilot From Jeff Rake & Robert Zemeckis

Read on: Deadline.

Two-time Emmy winner David Frankel has been tapped to direct and executive produce Manifest, NBC’s missing plane mystery pilot from The Mysteries of Laura creator Jeff Rake, producer Robert Zemeckis, and Warner Bros. TV.
Written/executive produced by Rake, Manifest explores a hypothetical scenario surrounding the disappearance of Malaysia Airlines Flight 370. What if the plane and its passengers suddenly reappeared? In Manifest, a plane disappears from radar and returns…

‘The Space Between Us’: Rom-Com ‘Fails to Launch’ and 6 Other Abysmal Reviews

Read on: TheWrapTheWrap.

“The Space Between Us” is having a rough launch ahead of its theatrical debut on Friday. The film holds a current score of four percent on Rotten Tomatoes.

“It’s hard not to engage in eye-rolling over what already promises to be one of 2017’s worst movies: ‘The Space Between Us’ spends so much time piling one daffy, laughable plot beat upon another that it never bothers to nail down the characters,” wrote TheWrap’s film critic Alonso Duralde.

More than 20 critics seem to agree with Duralde, describing the film starring Britt Robertson and Asa Butterfield as “unbearably ridiculous” and one that “stumbles, staggers and sputters out of the gate.”

Also Read: ‘The Space Between Us’ Review: Martian Teen Saga Earthbound by Inanity

The rom-com, about a Martian boy who travels to earth to meet his pen pal but discovers his organs can’t survive on earth, was written by Allan Loeb (“Collateral Beauty”) and directed by Peter Chelsom.

See 7 of the worst reviews below.

Christy Lemire, Roger Ebert

“Veterans like Gary Oldman and Carla Gugino bring flashes of dignity and sometimes even emotional truth to this frequently silly enterprise. But–like Will Smith, Kate Winslet, Helen Mirren and Naomie Harris surely found while making ‘Collateral Beauty’–there’s only so much you can do with a soggy Allan Loeb script. The twists are just unbearably ridiculous, which drains all the power out of their supposed catharsis.”

Bill Goodykoontz, USA Today

“Armed with a good cast and an intriguing premise, ‘The Space Between Us’ nevertheless fails to launch. Ooh. Sorry. Space joke, which is fitting, as you’ll see. Peter Chelsom’s film was supposed to open in 2016 but didn’t. Despite the delay, it seems unfinished, choppy, the storytelling almost of the after-school special variety.”

Scott Mendelson, Forbes

“‘The Space Between Us’ never quite finds its center of gravity. The Peter Chelsom-directed film starts on a strong note, but the film spends its entire first act with what feels like pre-credits prologue material. There is a lack of clarity and urgency to the storytelling even as nominally interesting things occur or develop. A game cast does what it can with a movie that moves in fits-and-starts and becomes its own worst enemy.”

Also Read: STX Bumps ‘The Space Between Us’ From 2016 to Avoid ‘Passengers’

Matt Prigge, Metro

“Sweet, earnest and kind of lame, “The Space Between Us’ is a sci-fi/road movie/coming of age saga/love story that’s also sometimes a fish-out-of-water comedy. It tries so hard, melding so many genres, offering a rare (mostly) positive look at the near-future in the age of ‘Black Mirror,’ that you want to hug it and not tell it what you really think. You can say it’s not even the same universe of embarrassment as ‘Collateral Beauty,’ the last film written by its author, Allen Loeb.”

Roger Moore, Movie Nation

“The science is sloppy, the sentimentality is sloppier in ‘The Space Between Us,’ a sci-fi romance pairing up agreeable leads in a cut-and-paste script. Sci-fi buffs — imagine ‘Capricorn One’ without the suspense, ‘Starman’ without the pathos, all shot on sets left over from ‘The Martian.’ It stumbles, staggers and sputters out of the gate, and only comes to life after an hour of blundered, banal back story.”

Kenji Fujishima, Slant Magazine

“Director Peter Chelsom’s ‘The Space Between Us’ may not be as majestically loony as David Frankel’s ‘Collateral Beauty,’ which was also scripted by Allan Loeb, but this young-adult, science-fiction romance becomes so overwhelmingly saccharine as it progresses that one almost wishes for a trace of madness to offset its leaden metaphors, cheesy dialogue, and overbearing soundtrack. Instead, ‘The Space Between Us’ is simply disappointing when it isn’t trying to browbeat its audience into emotional submission.”

Soren Anderson, Seattle Times

“Suddenly, it’s clear this movie is ridiculous… Suddenly, the nonstop silliness of this picture leaves one choking on stifled laughter.”

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‘Collateral Beauty’ Review: Will Smith and All-Star Cast Collide in Sentimental Trainwreck

Read on: TheWrapTheWrap.

An all-star cast submits to flagrant actor abuse in “Collateral Beauty,” which is every bit as lame as its title. To paraphrase Groucho Marx, this is a movie where we watch Will Smith, Edward Norton, Kate Winslet, Helen Mirren, Naomie Harris, Keira Knightley and several other fine players bore holes in themselves so that we can watch the sap run out.

Smith plays Howard, the co-head of a major Manhattan ad agency who is first seen giving an inspirational speech to his besotted staff as he asks the question, “What is your why?” Smith is initially semi-sprightly, but there is already a sad little shine in his eyes that swiftly grows into a puddle of photogenic sorrow after we find out that his young daughter has died.

Two years after the death of his child, Howard is doing almost nothing but setting up domino displays in the office, and so of course his co-owners Whit (Norton), Claire (Winslet), and Simon (Michael Peña) are getting nervous, particularly because they are about to lose an important client and they need to get Howard’s go-ahead for a buy-out.

See Video: ‘Collateral Beauty’ Trailer Shows Will Smith Riding Subway With Death

Whit has just gone through a messy divorce where he was spied on by a detective (Ann Dowd), and so he hires this detective to prove that Howard is out of his head. Poor Norton gets the worst of it in these set-up scenes with painfully blunt expository dialogue that not even the most over-qualified performer could have delivered naturally, and the editing in this section is slovenly, with several shots of Norton in movement that don’t quite match.

It turns out that Howard has been writing letters to … abstract concepts, including Love, Time and Death. Director David Frankel (“The Devil Wears Prada”) puts a few incongruously perky pop songs on the soundtrack for scene transitions, as is his wont, but he soon drops them in order to focus more intently on one painfully corny scene after another.

See Video: Will Smith Teases ‘Bad Boys III’: ‘It Is Very, Very, Very Close’

During an audition at the ad agency, Whit gets a new slogan from the edgy Amy (Knightley) and follows her to a small theater where she is rehearsing a play for the Hegel Theater Company (!) along with Brigitte (Helen Mirren) and Raffi (Jacob Latimore). These hard-up thespians get involved in a harebrained scheme to prove that Howard is unbalanced, wherein they are hired to play Love, Time, and Death by the other heads of the ad agency in exchange for $20,000 a piece to fund whatever it is they are working on for their company. (It’s named, of course, after a philosopher whose main thesis was that things themselves have no intrinsic properties but exist only as they are perceived.)

And wait, there’s more! Howard starts going to a group therapy session led by Madeleine (Harris), a young woman who has also lost her young daughter. Poor Harris has to put over a scene where Madeleine tells Howard about being at the hospital when an older woman turned to her to say that she must appreciate the “collateral beauty” of her situation. Yes, Harris is actually made to say the ultra-lame title of this movie out loud — more than once — and she acts as if it is the most profound statement in the world.

Smith spends almost all of “Collateral Beauty” furrowing his brow and looking like he is about to cry, and Norton and Winslet do their own brow furrowing and pools of tears, too. Norton’s Whit has both an estranged daughter and a mother with dementia to deal with, while Winslet’s Claire mainly stares at computer screens trying to find a sperm donor to stop the ticking of her biological clock. And Peña’s Simon keeps on coughing …

See Video: Helen Mirren Talks ‘Fast 8’ and ‘Double Declutching’

In the midst of all this plot overkill, only Mirren manages to squeeze out a few amusing moments, when her grand actress of a certain age shows some ego and enthusiasm: “That was Grotowski, that was pure Stella Adler!” she cries after an encounter with Howard that she feels went particularly well.

But even Mirren is finally forced to lower her eyes shamelessly in sympathy for the plight of another cast member, and Norton does the exact same eye-lowering shame in a later scene. Mirren, alas, is also called upon to say the title of this movie out loud at a crucial moment in the narrative.

“Collateral Beauty” is certainly a case of outright sentimental damage, not beauty, but of course the word collateral also means money that can be bargained with, and hopefully that’s what the ill-fated cast of this picture received in some abundance.

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‘Collateral Beauty’: Film Review

Read on: Hollywood Reporter - All Reviews.

Will Smith plays a grieving father whose business associates plot to break through his pain in David Frankel’s drama, also starring Edward Norton, Kate Winslet, Helen Mirren and Keira more

‘Collateral Beauty’ Trailer Shows Will Smith Riding Subway With Death (Video)

Read on: TheWrapTheWrap.

Will Smith plays a grieving man who rides the subway with Death personified — in the form of Helen Mirren — in the new trailer for the upcoming fantastical drama “Collateral Beauty.”

The movie follows a successful New York advertising exec (Smith), who experiences a personal tragedy involving his young daughter and retreats from life, only to have his colleagues come up with a plan to bring him back. He meets people representing the three things: time (Jacob Latimore), love (Keira Knightley) and death (Mirren).

“Collateral Beauty” also stars Naomie Harris, Edward Norton, Michael Peña and Kate Winslet. David Frankel (“The Devil Wears Prada”) is directing.

Also Read: Will Smith Meets Time, Love and Death in ‘Collateral Beauty’ First Trailer (Video)

Allan Loen (“21”) wrote the screenplay for the film, and is also a producer with Bard Dorros and Michael Sugar under the Anonymous Content banner. Anthony Bregman is producing for Likely Story and Kevin Frakes is producing for PalmStar Media.

Warner Bros. and Village Roadshow are releasing “Collateral Beauty” in theaters on Dec. 16.

Watch the trailer here.


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