Helen Hunt Signs With UTA

UTA has signed actress, writer, producer and director Helen Hunt. Hunt’s expansive body of work includes projects spanning across film, theater and television. On the film side, Hunt will next star Netflix’s “Candy Jar” opposite Christina Hendricks and Uzo Aduba. Currently, she can be seen in theaters in the drama “The Miracle Season.” Hunt has […]

UTA has signed actress, writer, producer and director Helen Hunt. Hunt’s expansive body of work includes projects spanning across film, theater and television. On the film side, Hunt will next star Netflix’s “Candy Jar” opposite Christina Hendricks and Uzo Aduba. Currently, she can be seen in theaters in the drama “The Miracle Season.” Hunt has […]

Helen Hunt Leaves CAA After Many Years And Signs With UTA

Helen Hunt has left CAA after being repped there for around 25 years and has signed with UTA. The change of representation is a surprise. Hunt has been working both in front of and behind the cameras since winning an Oscar for As Good As It Gets. She writes, produces and directs and works on stage as well as in film and TV.
On the film side, Hunt will next star Netflix’s Candy Jar opposite Christina Hendricks and Uzo Aduba and she currently can be seen in theaters in the…

Helen Hunt has left CAA after being repped there for around 25 years and has signed with UTA. The change of representation is a surprise. Hunt has been working both in front of and behind the cameras since winning an Oscar for As Good As It Gets. She writes, produces and directs and works on stage as well as in film and TV. On the film side, Hunt will next star Netflix's Candy Jar opposite Christina Hendricks and Uzo Aduba and she currently can be seen in theaters in the…

Oscar Winner Helen Hunt Signs With UTA

United Talent Agency has signed actress, writer, producer and director Helen Hunt in all areas, the agency announced Thursday.

The Academy Award winner’s signing follows reports that she is seeking to reboot her star-making sitcom “Mad About You,” which is big business on the heels of Roseanne Barr’s resurrection. Hunt was previously repped by CAA for 25 years.

Hunt delivered an iconic performance in James L Brooks’ “Mad About You” and “As Good As It Gets” opposite Jack Nicholson for which she won an Academy Award, Golden Globe and SAG Awards for her role. Additionally, Hunt’s performance in “The Sessions” was nominated for an Academy Award, Golden Globe, SAG and BAFTA Awards and earned her an Independent Spirit Award for “Best Supporting Female.”

Also Read: Ex-Weinstein Company TV Exec Megan Spanjian Joins UTA

Hunt will next star Netflix’s “Candy Jar” opposite Christina Hendricks and Uzo Aduba. Currently, she can be seen in theaters in the drama “The Miracle Season.”

Additionally, Hunt transitioned behind the camera into directing with the feature “Then She Found Me” which Hunt co-wrote, produced and starred in opposite Colin Firth, Matthew Broderick and Bette Midler. She additionally wrote, directed, produced and starred in the comedy film “Ride.” More recently, Hunt has directed episodes of Ryan Murphy’s “Feud: Bette and Joan,” CBS’s “Life In Pieces,” NBC’s “This Is Us,” Showtime’s “House Of Lies” and “Californication” as well as ABC’s “Revenge,” “Splitting Up Together” and “For the People.”

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United Talent Agency has signed actress, writer, producer and director Helen Hunt in all areas, the agency announced Thursday.

The Academy Award winner’s signing follows reports that she is seeking to reboot her star-making sitcom “Mad About You,” which is big business on the heels of Roseanne Barr’s resurrection. Hunt was previously repped by CAA for 25 years.

Hunt delivered an iconic performance in James L Brooks’ “Mad About You” and “As Good As It Gets” opposite Jack Nicholson for which she won an Academy Award, Golden Globe and SAG Awards for her role. Additionally, Hunt’s performance in “The Sessions” was nominated for an Academy Award, Golden Globe, SAG and BAFTA Awards and earned her an Independent Spirit Award for “Best Supporting Female.”

Hunt will next star Netflix’s “Candy Jar” opposite Christina Hendricks and Uzo Aduba. Currently, she can be seen in theaters in the drama “The Miracle Season.”

Additionally, Hunt transitioned behind the camera into directing with the feature “Then She Found Me” which Hunt co-wrote, produced and starred in opposite Colin Firth, Matthew Broderick and Bette Midler. She additionally wrote, directed, produced and starred in the comedy film “Ride.” More recently, Hunt has directed episodes of Ryan Murphy’s “Feud: Bette and Joan,” CBS’s “Life In Pieces,” NBC’s “This Is Us,” Showtime’s “House Of Lies” and “Californication” as well as ABC’s “Revenge,” “Splitting Up Together” and “For the People.”

Related stories from TheWrap:

Paramount TV Hires UTA's David Flynn to Find and Adapt New International IP

UTA Names Lyndsay Harding as CFO

Blair Kohan Joins UTA Board of Directors

‘The Miracle Season’ Film Review: Volleyball Drama Serves Few Dramatic Spikes

Evidenced by closing-credits photographs and footage of the real athletes and adults involved, “The Miracle Season” could have worked powerfully as a documentary. But as a faith-based re-enactment of Iowa high school students rallying for a second championship volleyball season after suffering an unimaginable personal loss, Sean McNamara’s film barely qualifies as a story at all — except where dramatic license was conspicuously taken to make sure it adhered to almost every cliché in the sports-movie playbook.

Danika Yarosh (“Jack Reacher: Never Go Back”) plays Caroline “Line” Found, an effervescent, beloved, boundlessly energetic senior at Iowa City West High School. As captain of the women’s volleyball team, she led them to victory as a junior, and considers back-to-back championships an inevitable fulfillment of their athletic destiny, especially after dedicating their season to her ailing mother, Ellyn (Jillian Fargey, “Bates Motel”).

But when Line dies in a scooter accident the night after their first game, her best friend, Kelly (Erin Moriarty, “Captain Fantastic”), and the rest of the team are devastated, and not even Kathy “Coach Bres” Bresnahan (Helen Hunt), their stern, no-nonsense coach, can rekindle their love for the game.

Also Read: ‘Mad About You’: Paul Reiser, Helen Hunt in Talks for Revival Limited Series

Coach Bres eventually tasks Kelly with the responsibility of rallying her teammates, despite Kelly’s reservations over whether she can fill Line’s shoes as team captain. But after scoring their first victory, the team decides to dedicate its season to her and to follow through with their tribute by overcoming those early losses to win another state championship on her behalf.

Movies like are typically so saccharine that audiences end up with a cavity by the final scene, but the only way in which “The Miracle Season” distinguishes itself is by being so clean-cut and wholesome that it makes a Noxzema commercial seem gritty by comparison. (It features possibly the only scene in movie history where a group of otherwise unsupervised teenagers are actively disappointed that the only attending parent, who was performing magic, no less, decides to turn in for the night.)

Also Read: Marlee Matlin Accused William Hurt of Rape in 2010 Memoir

McNamara, who directed “Soul Surfer,” exerts a light touch on the spiritual themes — worry not, those of ye who are uncertain whether Line’s father, Ernie, played effortlessly by William Hurt, will reconcile with God after losing his daughter and his wife within two weeks of one another — but in this case, that’s a bad thing: There are no other themes to replace them, leaving only the wheezing machinery of a sports underdog story in which the team is comprised of title-winning athletes.

Portraying a real-life teenager, much less such a revered one as Found, was no doubt a challenge for Yarosh, but I’m not fully sure her “more is more” approach to the role turns the character’s charm offensive into actual charm. Moriarty, on the other hand, wrestles with more emotion than her co-star, but despite the appealing balance of reluctance and determination she brings to Kelly, she occasionally seems adrift in the formulaic adversity thrown into her path to make their journey seem not quite as predestined from the first frame.

Meanwhile, Hunt throws her all into the coach who learns how to feel again by coaching these grieving young women to victory, but Midwest mannerisms (like repeatedly calling Line, and later Kelly, “cap’n”) disrupt what never seems to settle into a consistent take on the character. Does Bres struggle with literally any emotion? Did Line’s death specifically affect her? Or is there an additional or other back story, hinted at in her opening scene, that we don’t know about?

And as Ernie, Hurt supplies unsurprising volumes of gravitas and vulnerability, but the work is all so simple and surface-level for a guy capable of such powerful depths that none of it resonates particularly deeply.

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There’s also a love interest for Kelly, a hunky Anson Elgort type played by Burkely Duffield (“Warcraft”) who, in an almost refreshing reversal, has literally nothing to do except look good and blandly support his lady. But otherwise, the film isn’t interested in challenging conventional expectations, or much of anything else; last year’s nonfiction “Step,” by comparison, chronicled the adversity of a group of reigning champions with much more complexity, and consequently, emotional heft.

Ultimately, “The Miracle Season” mistakes an inspiring true story for one that needs or deserves to be told cinematically; it isn’t awful, but it’s not a film, it’s a tribute, and unfortunately, one to the memory of a young woman who would be better honored by people actually “living like Line” than watching a formulaic, fictionalized retelling of her community learning what that means.



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Evidenced by closing-credits photographs and footage of the real athletes and adults involved, “The Miracle Season” could have worked powerfully as a documentary. But as a faith-based re-enactment of Iowa high school students rallying for a second championship volleyball season after suffering an unimaginable personal loss, Sean McNamara’s film barely qualifies as a story at all — except where dramatic license was conspicuously taken to make sure it adhered to almost every cliché in the sports-movie playbook.

Danika Yarosh (“Jack Reacher: Never Go Back”) plays Caroline “Line” Found, an effervescent, beloved, boundlessly energetic senior at Iowa City West High School. As captain of the women’s volleyball team, she led them to victory as a junior, and considers back-to-back championships an inevitable fulfillment of their athletic destiny, especially after dedicating their season to her ailing mother, Ellyn (Jillian Fargey, “Bates Motel”).

But when Line dies in a scooter accident the night after their first game, her best friend, Kelly (Erin Moriarty, “Captain Fantastic”), and the rest of the team are devastated, and not even Kathy “Coach Bres” Bresnahan (Helen Hunt), their stern, no-nonsense coach, can rekindle their love for the game.

Coach Bres eventually tasks Kelly with the responsibility of rallying her teammates, despite Kelly’s reservations over whether she can fill Line’s shoes as team captain. But after scoring their first victory, the team decides to dedicate its season to her and to follow through with their tribute by overcoming those early losses to win another state championship on her behalf.

Movies like are typically so saccharine that audiences end up with a cavity by the final scene, but the only way in which “The Miracle Season” distinguishes itself is by being so clean-cut and wholesome that it makes a Noxzema commercial seem gritty by comparison. (It features possibly the only scene in movie history where a group of otherwise unsupervised teenagers are actively disappointed that the only attending parent, who was performing magic, no less, decides to turn in for the night.)

McNamara, who directed “Soul Surfer,” exerts a light touch on the spiritual themes — worry not, those of ye who are uncertain whether Line’s father, Ernie, played effortlessly by William Hurt, will reconcile with God after losing his daughter and his wife within two weeks of one another — but in this case, that’s a bad thing: There are no other themes to replace them, leaving only the wheezing machinery of a sports underdog story in which the team is comprised of title-winning athletes.

Portraying a real-life teenager, much less such a revered one as Found, was no doubt a challenge for Yarosh, but I’m not fully sure her “more is more” approach to the role turns the character’s charm offensive into actual charm. Moriarty, on the other hand, wrestles with more emotion than her co-star, but despite the appealing balance of reluctance and determination she brings to Kelly, she occasionally seems adrift in the formulaic adversity thrown into her path to make their journey seem not quite as predestined from the first frame.

Meanwhile, Hunt throws her all into the coach who learns how to feel again by coaching these grieving young women to victory, but Midwest mannerisms (like repeatedly calling Line, and later Kelly, “cap’n”) disrupt what never seems to settle into a consistent take on the character. Does Bres struggle with literally any emotion? Did Line’s death specifically affect her? Or is there an additional or other back story, hinted at in her opening scene, that we don’t know about?

And as Ernie, Hurt supplies unsurprising volumes of gravitas and vulnerability, but the work is all so simple and surface-level for a guy capable of such powerful depths that none of it resonates particularly deeply.

There’s also a love interest for Kelly, a hunky Anson Elgort type played by Burkely Duffield (“Warcraft”) who, in an almost refreshing reversal, has literally nothing to do except look good and blandly support his lady. But otherwise, the film isn’t interested in challenging conventional expectations, or much of anything else; last year’s nonfiction “Step,” by comparison, chronicled the adversity of a group of reigning champions with much more complexity, and consequently, emotional heft.

Ultimately, “The Miracle Season” mistakes an inspiring true story for one that needs or deserves to be told cinematically; it isn’t awful, but it’s not a film, it’s a tribute, and unfortunately, one to the memory of a young woman who would be better honored by people actually “living like Line” than watching a formulaic, fictionalized retelling of her community learning what that means.

Related stories from TheWrap:

Sean Hannity Goes Hollywood, Plugging Faith-Based Kevin Sorbo Movie He Produced (Video)

'I Can Only Imagine' Film Review: Christian Pop Megahit Becomes One-Note Redemption Tale

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The ‘Late Late Show’ host and his team of Helen Hunt, Chris O’Dowd and Ben Schwartz are diving deep into “one of the greatest unsolved mysteries of our time.”

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The ‘Late Late Show’ host and his team of Helen Hunt, Chris O’Dowd and Ben Schwartz are diving deep into “one of the greatest unsolved mysteries of our time."

read more

‘As Good As It Gets’ Turns 20: Helen Hunt, James L. Brooks, Greg Kinnear Share Secrets of an Oscars Winner

Twenty years ago, Jack Nicholson hopped through the streets of downtown Manhattan, trying to avoid the cracks in the sidewalk in “As Good as it Gets.” Playing the obsessive-compulsive novelist Melvin Udall in the James L. Brooks-directed comedy landed Nicholson his third Oscar in 1998. It was a difficult task, channeling a character that falls […]

Twenty years ago, Jack Nicholson hopped through the streets of downtown Manhattan, trying to avoid the cracks in the sidewalk in “As Good as it Gets.” Playing the obsessive-compulsive novelist Melvin Udall in the James L. Brooks-directed comedy landed Nicholson his third Oscar in 1998. It was a difficult task, channeling a character that falls […]