‘Holmes & Watson,’ Melissa McCarthy and Donald Trump Win Razzie Awards for Worst of 2018

Read on: TheWrapTheWrap.

“Holmes & Watson,” the Will Ferrell and John C. Reilly buddy comedy, “won” the Worst Picture award at the 39th Annual Razzie Awards.

The film also picked up the Golden Raspberry, or the “$4.97 Trophy,” in three other categories, including John C. Reilly for Worst Supporting Actor, Etan Cohen for Worst Director and the prize for Worst Remake, Rip-Off or Sequel.

President Donald Trump won a pair of awards from the Razzies for his likeness appearing in two documentaries, Michael Moore’s “Fahrenheit 11/9” and “Death of a Nation” from Dinesh D’Souza, including Worst Actor and Worst Screen Combo, paired with his “self-perpetuating pettiness.” Kellyanne Conway won the prize for Worst Supporting Actress for “Fahrenheit 11/9.”

Also Read: Will Ferrell’s ‘Holmes & Watson’ Whacked by Critics: ‘Witless Sherlock Holmes Spoof’

Melissa McCarthy, who is nominated for an Oscar for “Can You Ever Forgive Me?” won Worst Actress from the Razzies. She won for appearing in both “Life of the Party” and “The Happytime Murders” in 2018, but the group also gave her the Razzie Redeemer Award for her “more complex role” in “Can You Ever Forgive Me?” which is unprecedented for the Razzies.

In past years, the Razzies have held a mini-ceremony for the winners, and Sandra Bullock once accepted her Razzie for “All About Steve” in the same year she won her Oscar for “The Blind Side.”

Finally, “Fifty Shades Freed,” the final film in the trilogy based on E.L. James’s novels, won Worst Screenplay for its writer Niall Leonard.

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“Holmes & Watson” beat out other Worst Picture nominees “Gotti,” “The Happytime Murders,” “Robin Hood” and “Winchester.”

Watch the awards announcement video above.

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‘Stan & Ollie’ Director Jon S. Baird On Joining Martin Scorsese’s Inner Circle, And Doing Justice To Laurel & Hardy

Read on: Deadline.

For a world reeling from divisive politics and barefaced cynicism, Jon S. Baird’s Stan & Ollie, based on Jeff Pope’s screenplay about Laurel & Hardy’s unceremonious tour of Great Britain after the Second World War, when their stars had largely …

How ‘Ralph Breaks the Internet’ Gave the Classic Disney Princesses a Makeover

Read on: TheWrapTheWrap.

A version of this article about “Ralph Breaks the Internet”  first appeared in the TheWrap magazine’s Oscar Nominations Preview issue.

Rich Moore and Phil Johnston took a detour between making the Oscar-nominated “Wreck-It Ralph” in 2012 and its sequel, “Ralph Breaks the Internet,” this year — and that detour, the Oscar-winning 2016 film “Zootopia,” turned out to be instrumental in determining the new adventures of the lunkish, good-hearted Ralph (voiced by John C. Reilly) and his fiery pint-sized sidekick Vanellope von Schweetz (Sarah Silverman).

“Zootopia,” it seems, had brought the team some newfound respect for the way that film’s story of an animal society learning to embrace its differences echoed the currents of intolerance in the real world. And in its aftermath, the new “Ralph,” in which the lead characters venture into the vast landscape of the internet, needed to have something serious to say as well about how the bonds of friendship can be tested by the hostilities that lurk online.

“It’s the balance of a very, very simple story between two friends, a very emotional story in this huge crazy house of a place that is the internet,” said Moore, who directed “Wreck-It Ralph,” co-directed “Zootopia” with Byron Howard and co-directed the new film with Johnston.

Also Read: ‘Zootopia’ Wins Annie Award for Best Animated Feature

“We were very emboldened by our experience on ‘Zootopia,’” he added. “That experience really made us think about how deep we can take this thing emotionally. If the audience was that hungry for deeper themes and deeper subject matter in ‘Zootopia,’ it would be a disservice to them to not plumb as deep in this movie.”

Added Johnston, who co-wrote the first “Ralph” and “Zootopia” before writing and co-directing the new one, “The simple emotional story was the hardest nut to crack, given the circus nature of the internet. It’s hard to create an antagonist based on Ralph’s insecurity, and to capture how the internet can turn friendship toxic.”

But the internet can also house virtually everything, which led to the delirious sequence in which Vanellope discovers her inner Disney princess after encountering all of her predecessors. “The internet can be anything, so therefore you can meet anyone,” Johnston said. “We realized that Vanellope is technically a princess, so she could meet the Disney princesses there — and it became really integral to our story that she did meet them.”

Also Read: ‘Ralph Breaks the Internet’ and ‘Grinch’ Neck-and-Neck on Quiet Box Office Weekend

Of course, the Disney princesses all come from different movies with different styles of animation, which meant that putting them all in the same room was tricky. “When we lined them up all together, we found they had wildly different body scales,” Moore said. “Some were very tall with small heads, some were short. They didn’t really look as though they existed in the same universe.

“So we redesigned them in the ‘Wreck-It Ralph’ style, in the style of the Disney website, so they had a cohesiveness to them. We wanted them to feel exactly like the princesses we  know, but also look as if they can exist in the same room together.”

But not only do they exist together, they all joke about the particular oddities of Disney princess-hood, notably the fact that few of them have mothers. “Once we landed on the idea of all of them poking a little bit of fun at their own tropes, it was easy,” Johnston said. “Every single one of them is a little weird — you can go down the list and say, ‘That’s a little messed up, that’s a little messed up … ‘”

To read more of the Oscars Nomination Preview issue, click here.

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‘Holmes & Watson’ Film Review: Will Ferrell and John C. Reilly Stagger Through Stultifying Sherlockian Spoof

Read on: TheWrapTheWrap.

Coroners of comic failure will find much to uncover in the corpse of “Holmes & Watson,” a thoroughly tedious and never-amusing spoof of Arthur Conan Doyle’s legendary detective.

Does the fault lie in the fact that current iterations of Holmes — the Benedict Cumberbatch BBC series, the Guy Ritchie movies, even CBS’ “Elementary” — aren’t all that faithful to the material, so satirizing it seems irrelevant? Could it be that the script by director Etan Cohen (“Get Hard”) never had a second draft? Or did Cohen not worry that everything on the page was not particularly funny because stars Will Ferrell and John C. Reilly would somehow will this painful material into amusement merely by showing up on set?

The results are singularly awful, but there are three people who can emerge unscathed from this fiasco: Rebecca Hall, who elicits mild chuckles (the closest this film gets to laughter) as an American doctor who thinks 19th century medicine is as modern as science gets; costume designer Beatrix Aruna Pasztor (“The Brothers Bloom”), who brings color and wit to her period creations; and the marketing person at Sony who didn’t pre-screen the film for critics, thus quashing advance word and ensuring it would be seen too late to make the deadline for most Worst of the Year lists.

Also Read: Will Ferrell’s ‘Holmes & Watson’ Whacked by Critics: ‘Witless Sherlock Holmes Spoof’

What plot there is revolves around Sherlock Holmes (Ferrell) and Dr. John Watson (Reilly) trying to stop a nefarious scheme by Professor Moriarity (Ralph Fiennes) to murder Queen Victoria (Pam Ferris, “Call the Midwife”). Watson falls for Dr. Grace Hart (Hall), who pushes him to have Holmes treat him like a co-detective and not merely a sidekick, while Holmes is smitten by Millie (Lauren Lapkus), who has apparently been raised by feral cats. And that’s about it.

Granted, the story should, under better circumstances, exist merely as the hat rack upon which jokes hang, but there’s nary a laugh to be found here. Most of the stabs at humor revolve around anachronism (Watson puts “Unchained Melody” on a Victrola, and he and Hart have “Ghost”-style romantic interplay while conducting an autopsy), physical bits (our heroes knock Victoria about like Frank Drebin tackling Elizabeth II in “The Naked Gun”) or Holmes’ arrogance, and none of them land.

Also Read: Will Ferrell Steps Out Post-Car Wreck to Hype ‘Holmes and Watson’

I found myself watching moments like, say, Holmes and Watson traveling to a rough part of London, where streetwalkers beat and rob their carriage driver as they walk away obliviously, and thinking, “Okay, that’s a funny idea. But I’m not laughing.”

A stellar supporting cast is put to waste here, if not downright desecrated; besides Fiennes, we get appearances from Steve Coogan, Kelly Macdonald, Rob Brydon and Hugh Laurie, all of whom were, one hopes, well compensated for adding this embarrassment to their résumés. (Laurie, it should be noted, plays Mycroft Holmes, a role that previously allowed his onetime comedy partner Stephen Fry to steal “Sherlock Holmes: A Game of Shadows” out from under Robert Downey, Jr. Laurie neither takes nor is given a similar opportunity in this film.)

Also Read: Warner Bros Sets ‘Sherlock Holmes 3’ for Christmas 2020

Ferrell continues to wander further away from his best moments as a screen actor — and it’s his own fault for reteaming with the guy who made “Get Hard” — and Reilly’s overall lack of subtlety is particularly crushing, given that this year has seen him give two of his finest performances, in “The Sisters Brothers” and “Stan and Ollie.”

“Stan and Ollie” is a movie about a comedy duo that has seen better days, while “Holmes & Watson” merely stars one.



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Will Ferrell’s ‘Holmes & Watson’ Whacked by Critics: ‘Witless Sherlock Holmes Spoof’

Read on: TheWrapTheWrap.

Sherlock Holmes might be the greatest detective in history, but he couldn’t find any laughs in the new Will Ferrell and John C. Reilly buddy comedy and Holmes parody “Holmes & Watson.”

Though the film from Columbia Pictures didn’t screen for critics before opening on Christmas Day, a few intrepid reviewers tracked it down, and after careful deduction, their findings were not good.

“If there are any new jokes left to tell about Holmes, they’re nowhere to be found in the abysmal ‘Holmes & Watson,’ which might be the worst feature-length film ever made about the ‘consulting detective’ from Baker Street,” Ignatiy Vishnevetsky writes in The A.V. Club.

Also Read: How John C. Reilly and Steve Coogan Became Brothers Filming ‘Stan & Ollie’

Critics have said that while it had potential, it’s a far cry from the previous Ferrell and Reilly pairings, including “Talladega Nights” and most notably, Adam McKay’s “Step Brothers.” And while Ferrell is playing Holmes as an ego-driven type not far from Ron Burgundy, many critics agreed that Reilly often stands out and even has some charming moments with his love interest played by Rebecca Hall. Several noted a love scene between the two that parodies “Ghost,” in which they each lick frosting off a corpse.

And though the film directed by Etan Cohen is mostly a riff on the Guy Ritchie “Sherlock Holmes” movies, critics have noted that “Holmes & Watson” also has some post-modern gags that generally fall flat, including a scene in which they send a dick-pic via telegram, and another in which Watson tries on a red “Make England Great Again” hat. What’s more, critics have been in agreement that Ralph Fiennes as Holmes’s nemesis Moriarty is vastly underutilized.

See some of the choice reviews for “Holmes & Watson” below:

Also Read: John C. Reilly Rapping Is So Good Now All Other Music Is Ruined (Video)

Ignatiy Vishnavetsky, The A.V. Club

“One might call it a failure on almost every level — that is, if the movie ever gave the impression that it was trying to succeed. Instead, it’s pervaded by an air of extreme laziness. It’s cheap and tacky — a bizarrely dated parody of Ritchie’s Holmes (complete with a soundalike score) poisoned with rib-elbowing topical references and puerile gags. It’s the Sherlock Holmes movie with the red ‘Make England Great Again’ hat and the lactating Watson. It succeeds in only one respect. As a Christmas Day release that wasn’t screened in advance for critics, it managed to avoid our list of the worst films of 2018. It belongs at the top.”

David Ehrlich, Indiewire

“Will Ferrell and John C. Reilly have re-teamed for a comedy that’s somehow even dumber than the one that first galvanized their incredible chemistry. That should have been a good thing. It isn’t. The trouble with ‘Holmes & Watson,’ a witless Sherlock Holmes spoof that supplies fewer laughs in its entirety than ‘Step Brothers’ does in its deleted scenes, is that the movie can never decide how dumb it wants to be. Or, more accurately, what kind of dumb it wants to be.”

Roger Moore, Movie Nation

“It’s an old fashioned broad character comedy of the type Ferrell generally avoids, seeing what the genre did to earlier ‘Saturday Night Live’ comics like Mike Myers. It’s more scripted than riffed, and the script is weak tea indeed.”

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Ben Kenigsberg, The New York Times

“True, the almost Dadaist, apparently improvisational banter they brought to ‘Talladega Nights: The Ballad of Ricky Bobby’ and ‘Step Brothers’ has been tempered this time by familiarity, the constraints of the period setting and the need for the movie to follow of the contours of a lackluster whodunit. But there is still intermittent joy to be found in their autumnal bromance, which reaches apotheosis here in a late-breaking musical duet from the show-tune veterans Alan Menken and Glenn Slater.”

Peter Debruge, Variety

“As far as Ferrell and Reilly are concerned, Sir Arthur Conan Doyle’s unstumpable sleuth and the thankless sidekick who recorded his every exploit are not just a great crime-solving duo but one of the great bromances of English literature — and therefore a natural target for the two actors’ ongoing exploration of dysfunctional friendships. The trouble is, Sherlock Holmes exists so large in audiences’ minds already that the pair’s uninspired take feels neither definitive nor especially fresh — just an off-brand, garden-variety parody.”

Frank Scheck, THR

“A gag involving the eating of raw onions isn’t so much running as limping. And there’s a strange amount of anachronistic Donald Trump-related humor, including bits about fake news and red MAGA hats (here reading “Make England Great Again”) that fall utterly flat in this context. But those are certainly preferable to the laborious scene in which Holmes and Watson desperately try to hide the body of the apparently dead queen, or the Disney-style musical number performed by Ferrell and Reilly that at least sounds authentic thanks to having been composed by Alan Menken and Glenn Slater. A subplot involving the Titanic seems mainly designed to showcase a cameo by one of the stars of James Cameron’s film about the doomed ship, which presumably played funnier in the writers’ room than it does onscreen.”

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All 8 Adam McKay Movies Ranked Worst to Best, From ‘Anchorman’ to ‘Vice’ (Photos)

Read on: TheWrapTheWrap.

Adam McKay’s transition from silly comedies to serious social satire has made him one of the most fascinating directors working today. But if you reexamine his many broadly humorous hits, you’ll find that most of them already contain seriou…

John C Reilly Says Those ‘Step Brothers’ Farts Were Real (Video)

Read on: TheWrapTheWrap.

Uh, did John C. Reilly and Stephen Colbert just become best friends? Well, if the CBS late-night host is as amused by Reilly’s story about the authenticity of his “Step Brothers” farts as we are, then the answer is “YUP!”

Reilly and Colbert met for the first time during Thursday’s “Late Show,” and took the opportunity to trade war stories about their respective tenures doing improv and theater in Chicago in the ’80s. Reilly — who was more a stage thespian at the time — started listing off all the actors he admired from those days, one being John Malkovich.

And, uh, you can thank John for inspiring Reilly to really go big with his bodily functions while shooting the 2008 comedy with Will Ferrell.

Also Read: How John C. Reilly and Steve Coogan Became Brothers Filming ‘Stan & Ollie’

“I actually thought of Malkovich when I was doing ‘Step Brothers,’” Reilly said, to a laughing audience, adding: “I’ll get there, believe me.”

He continued: “So there’s this legend about Malkovich that he was doing ‘Curse of the Starving Class’ in Chicago at Steppenwolf, and his character has to pee on stage every night. And the legend was, ‘Malkovich peed on stage FOR REAL, every night. And all of us were like, ‘No way! No way! I would have such a shy weiner. That’s impossible! That’s like real method acting.’”

“So then I was doing ‘Step Brothers,’ and there were a couple of scenes where I needed to fart — and I farted on command!” Reilly revealed, proudly. “On camera! Actual farts!”

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“And I thought like, ‘I’ve gotten to a Malkovich level now, because, you know, I can control my bodily functions for my acting.’”

Watch the interview above and a clip of one of the infamous fart scenes below.

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Oscars: Europe Loses Ground and 6 Other Lessons We Learned From This Year’s Short Lists

Read on: TheWrapTheWrap.

For first time, the Academy of Motion Picture Arts and Sciences  didn’t dole out its Oscars short lists one category at a time this year. Instead, it released them in one fell swoop on Dec. 17, singling out 101 films that will move to a second round of voting in nine categories.

When the dust had cleared, here’s what we had learned.

1. Europe lost its stranglehold on the foreign-language category. With four films from Asia, three from Europe, one from North America and one from South America, this is the first year since the Oscars foreign short list began in 2006 that a continent other than Europe has placed the most films on the list. (Europe and Asia tied with three films each in 2011; every other year, Europe had the most.)

And after being called out for consistently failing to recognize films from East Asia (including by TheWrap), the Academy put Japan’s “Shoplifters” on the list and, crucially, gave South Korea its first-ever spot on the short list for “Burning.”

(It’s likely that one or even both of those films were placed on the list by the executive committee rather than embraced by the voters at large, but it’s a start.)

Also Read: Do the Oscars Have an Asia Problem in the Foreign Language Film Race?

2. The doc process unerringly goes to commercially and critically successful films. The 15-film short list in the Best Documentary Feature category includes the year’s biggest nonfiction hits (“Free Solo,” “RBG,” “Three Identical Strangers” and “Won’t You Be My Neighbor?”), the biggest winners in other awards shows (“Minding the Gap”) and the films with the biggest buzz (“Hale County This Morning, This Evening,” “Shirkers,” “Of Fathers and Sons” …).

With voting no longer in the hands of small committees that spread out the viewing equally, it’s much harder than it used to be for a more obscure film to be noticed, though the Polish doc “Communion” did it.

3. If the songs are going to be performed on the Oscars show this year, things could get very interesting. At a time when the Academy is determined to bring the show in at three hours, the songs could be expendable — but the artists represented by the shortlisted songs include Lady Gaga (“Shallow” from “A Star Is Born”), Kendrick Lamar (“All the Stars” from “Black Panther”), Dolly Parton (“Girl in the Movies” from “Dumplin’”), Lin-Manuel Miranda (“Trip a Little Light Fantastic” from “Mary Poppins Returns”), Troye Sivan & Jonsi (“Revelation” from “Boy Erased”) Quincy Jones with Mark Ronson and Chaka Khan (“Keep Reachin’” from “Quincy”), Sade (“The Big Unknown” from “Widows”) and even Radiohead’s Thom Yorke (“Suspirium” from “Suspiria”).

Also Read: How Movie Songs By Kendrick Lamar, Kesha and Troye Sivan Hope to Last Beyond Their Films (Video)

4. A movie with lots of songs can still be recognized for score. In the past, the Academy often looked askance at original scores if they were “diluted” by the use of songs. But Ludwig Göransson’s score for “Black Panther” and Marc Shaiman’s for “Mary Poppins Returns” coexist with lots of new songs and Carter Burwell’s score for “The Ballad of Buster Scruggs” frequently references old folk tunes like “The Unfortunate Rake.” They all made the short list and at least two will probably be nominated.

5. Makeup artists love making actors look like famous people. Over the last 12 years, Oscars have gone to makeup artists for “Darkest Hour,” “The Iron Lady” and “La Vie en Rose” — and this year, three of the seven spots on the short list went to artists who made Christian Bale look like Dick Cheney (“Vice”), Rami Malek look like Freddie Mercury (“Bohemian Rhapsody”) and John C. Reilly look like Oliver Hardy (“Stan & Ollie”).

6. Netflix remains a major player in doc shorts. The company, which landed its first Academy Award for the short film “The White Helmets” two years ago, is now represented on the short list by “Zion” and “End Game.” Plus, Netflix’s VP of awards, ace Oscars strategist Lisa Taback, was one of the producers on another shortlisted doc short, “Period. End of Sentence,” with her daughter Claire Sliney.

Also Read: ‘Zion’ Director Praises Netflix for Keeping Short-Form Alive: ‘A Little Film School Dream Come True’

7. This wasn’t a very good year for the Student Academy Awards. Winning a Student Oscar automatically qualifies a film for the big Oscars, and most years see a couple of student winners advancing to the short list and at least one getting nominated. But this year, none of the 15 winning student films made the short lists in the Animated Short, Live Action Short and Documentary Short categories.

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How John C. Reilly and Steve Coogan Became Brothers Filming ‘Stan & Ollie’

Read on: TheWrapTheWrap.

“Stan & Ollie” is about the late period in comedians Laurel and Hardy’s lives when they learned to love each other not just as performers, but as people. While filming the duo’s journey, stars John C. Reilly and Steve Coogan similarly became much closer.

“Off screen, he and I really developed a great friendship. And I’ll love Steve the rest of my life for going through this experience,” Reilly told TheWrap. “Going into the project, we were both very nervous and both felt under the gun. So he was my brother in this endeavor. Any accolades that I personally get I of course, by definition, share with Steve because he was my partner in crime. My partner in clown!”

Reilly was just nominated for a Golden Globe for his work as Oliver Hardy in “Stan & Ollie.” In the film, he and Coogan portray the vaudeville comedians at a late point in their careers when they decided to embark on a stage tour to boost their reputation, despite Hardy’s failing health.

Also Read: John C. Reilly Rapping Is So Good Now All Other Music Is Ruined (Video)

“It’s when they became really close as people as opposed to performers,” Reilly said. “They had been working together their whole lives. But it was those theatrical tours they did when they learned to really love each other as human beings.”

But while Laurel and Hardy had many short and feature films, both talkies and silents, this period of stage performances were not recorded. So Reilly and Coogan developed something of their own stage act based on the reports and documents about what those shows were like.

“It was very intimidating and those were some big shoes to fill, but I was like, this is what Stan and Ollie had to do,” Reilly said. “They didn’t know each other. They were thrown together, they had to create an act and they had to work really hard to make something look easy. So that’s what Steve and I did.”

Also Read: ‘Stan & Ollie’ Film Review: Steve Coogan and John C. Reilly Capture Laurel & Hardy Onstage and Off

While you might know Laurel and Hardy’s black-and-white visage of a skinny guy and fat man standing back to back, Reilly hopes his nomination spurs younger generations to look past the still image and actually rediscover their comedy.

“They deserve a place in the history of film. They have it, but hopefully young people will go back and check it out because it’s still funny.” Reilly said. “Not because I love their work or because I’m nostalgic for the 1930s, but because it’s still funny. It’s still laugh-out-loud funny, their work. They really figured out some secret to comedy, and if you spoke to anyone in the comedy world, they would all give major props to Laurel and Hardy, because they were so special and unique.”

“Stan & Ollie” opens in limited release on Dec. 28.

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“Stan & Ollie” marks the third feature for Jon S. Baird, after the 2008 racial drama “Cass” and the 2013 “Filth,” with James McAvoy as a bipolar junkie cop. There’s nothing in those earlier films similar to “Stan & Ollie,” which opens Dec. 28 i…

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Does ‘Ralph Breaks the Internet’ Have a Post-Credits Scene?

Read on: TheWrapTheWrap.

Disney has dropped its sequel to “Wreck-It Ralph,” “Ralph Breaks the Internet,” over the Thanksgiving holiday week, and hopes to entertain families with its meta humor about movies and the world at large and, of course, the internet.

Given that “Ralph Breaks the Internet” makes this whole “Wreck-It Ralph” thing a franchise now, you might be wondering if it follows in the footsteps of many other big movie series by including some kind of bonus content or teases during and/or after the credits. Or if it does what “Fantastic Beasts: The Crimes of Grindelwald” did and not indulge the post-credits scene craze that was popularized by Marvel.

So, once the credits roll on “Ralph Breaks the Internet,” do you need to stay in your seat for extra #content or is it safe to run to the bathroom as soon at the movie proper ends?

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Well, it turns out that “Ralph Breaks the Internet,” despite not being a Marvel film, does follow in the Marvel Cinematic Universe tradition of putting an extra scene midway through the credits and then another bonus scene at the very end of the credits.

You should know that these bonus scenes are just extra jokes, not teases for a future “Wreck-It Ralph” movie (this isn’t that kind of franchise, obviously).

If you want to know what the extra scenes are, I’ll tell you below. If you want to remain unspoiled, now is the time to stop reading. Though, again, the mid-credits and post-credits scenes are just for fun, so they are not exactly major spoilers.

Still, if you don’t want to know, now would be a good time to close this article.

Also Read: Stan Lee Will Have a Cameo in ‘Ralph Breaks the Internet’

Spoilers for the mid-credits and post-credits scenes from “Ralph Breaks the Internet” are below.

Okay, so the scene that comes during the credits is actually one that was in one of the trailers for the film. But with a meta twist. The scene has a mom and her young daughter in a car, with the mom asking if the girl liked the movie. The girl answers that she did, but was disappointed that a certain scene she liked from the trailer wasn’t in it.

Then the girl pulls out a tablet and plays a game on it, and this is where the trailer scene began, with Ralph (John C Reilly) and Vanellope (Sarah Silverman) taking over her game. You can watch the bulk of the scene here.

The post-credits scene is another meta gag. On screen you see a link that says to click for a teaser for “Frozen 2.” The link gets clicked, and instead of a first look at “Frozen 2” you’re treated to a Ralph-themed Rickroll, with Ralph performing “Never Gonna Give You Up” by Rick Astley.

And that’s it!

John C. Reilly Rapping Is So Good Now All Other Music Is Ruined (Video)

Read on: TheWrapTheWrap.

Add rapping to the list of things you were surprised John C. Reilly could do, then cross it off, because of course the Oscar-nominated actor would be able to do that.

The “Ralph Breaks the Internet” actor appeared on SiriusXM’s “Sway in the Morning” Thursday, where host Sway Calloway put Reilly on the spot to lay down some bars. He did not disappoint.

“Dance young ladies till your knees start to weaken. Cause I got the style, the class to go with it. I’m numero uno – don’t you forget it,” Reilly rapped, putting all other musicians to shame.

Also Read: ‘Stan & Ollie’ Film Review: Steve Coogan and John C. Reilly Capture Laurel & Hardy Onstage and Off

Reilly rapped “Spoonin Rap” from 1979 by R&B artist Spoonie Gee. He mentioned before launching into his performance that he was a big fan of Sugarhill Gang growing up, who once sampled Spoonie Gee. Listen to the original here.

The “Step Brothers” actor also did some non-rapping things on the show, including talking about the sequel to “Wreck-It Ralph,” and you can listen to that here after you’ve watched Reilly’s rap another 10 times. And how dope is Reilly wearing his headphones upside down? Here’s another verse just for fun:

“I can dance all night just to keep in step, and if you watch, you might gain a rep. So do it do it dooo ittt.”

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Pure gold.

SiriusXM’s Sway Calloway hosts Sway in the Morning daily from 8:00 am to 12 p.m. ET on Eminem’s exclusive SiriusXM channel Shade 45. “Ralph Breaks the Internet” opens Nov. 21.

Watch the video above.

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‘Stan & Ollie’ Film Review: Steve Coogan and John C. Reilly Capture Laurel & Hardy Onstage and Off

Read on: TheWrapTheWrap.

In the hilarious movie comedies of the immortal Stan Laurel and Oliver Hardy, many of the laughs come from watching the duo teetering on the brink, unaware that they’re about to crash their car or to have a floor give way under them or to drop a piano down a very tall flight of stairs.

“Stan & Ollie,” which explores the duo’s career in its final stages — as well as their ongoing off-screen relationship — does a lot of teetering on its own, although luckily it never topples. It’s a story about the serious side of comedians that never indulges in sad-clown sentimentality. It calls upon modern actors to recreate iconic film moments without falling prey to the many potential embarrassments of such restagings. And it intelligently explores the limitations of working partnerships, not to mention the elusive line between partnership and friendship, in a way that neither canonizes nor excoriates its famous subjects.

In other words, there are many moments in which “Stan & Ollie” could have, but doesn’t, drop the piano. It’s a testament to the extraordinary performances by Steve Coogan (as Stan Laurel) and John C. Reilly (as Oliver Hardy), as well as the screenplay by Jeff Pope (working from A.J. Marriot’s book “Laurel & Hardy: The British Tours”) and the direction from Jon S. Baird (“Filth”), that this funny, moving film becomes that rare show-biz biopic that doesn’t bury its subject in an attempt to praise it.

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Not that it’s really a biopic: the film does begin at the Hal Roach Studios in 1937, where Laurel and Hardy are the hottest comic duo in Hollywood. Even amidst their success, however, Stan thinks they’re being mistreated by Roach (Danny Huston); he considers playing hardball in their contract renegotiations or maybe even taking the duo to another studio, but the more easy-going Ollie — currently racked with debt after a string of failed marriages — would rather go along and get along.

The story then jumps ahead to the 1950s, where the heyday of Laurel and Hardy is now a fond memory. The two men embark on a tour of the United Kingdom, in the hopes of stoking a British producer’s interest in making a Robin Hood parody that Stan spends all his time rewriting. Oliver’s a lot heavier than he used to be, making the pratfalls and the dancing difficult, and at first, they’re chagrined that their tour manager Bernard Delfont (an amusingly oily Rufus Jones) has booked them in third-rate music halls and even sketchier hotels.

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But as the duo commits to publicity stunts for the newsreel cameras, the audiences show up and the venues and the accommodations improve, and by the time they get to London, they’re playing the Victoria and staying at the Savoy, just in time to greet their wives — Lucille Hardy (Shirley Henderson) and Ida Laurel (Nina Arianda) — who have traveled from the States to meet up with them. A former script girl and retired dancer, respectively, Lucille and Ida have a hilariously prickly chemistry; there could be a whole movie of Henderson and Arianda as a comedy duo of their own, getting on each other’s nerves but ultimately having each other’s backs.

Those British audiences still love Laurel and Hardy, but that affection is very much tinged with nostalgia; every fan they encounter says something along the lines of “I can’t believe you’re still doing these old routines.” And while that producer continues to dodge Stan’s calls, and Oliver’s knee bothers him more and more, things finally come to a head after their London opening night, in which the two old comics have the kind of brutal, cutting confrontation that only people who’ve worked together for decades can have: Stan reveals he still feels betrayed that Oliver didn’t stand by him in the fight with Roach, and Oliver responds that while Stan has always loved “Laurel & Hardy,” he’s never been much of a real friend.

Moments like this land because Coogan and Reilly have managed to make these screen legends into life-size human beings; they recreate the vintage comic bits perfectly, from Hardy’s wails of pain and huffs of exasperation to Laurel’s rubberfaced expressions and wide-eyed silliness, but it’s in the offstage, relatable moments that these characters truly come alive. (Makeup artist Mark Coulier and his team deserve praise for giving Reilly prosthetics that make him look like a much heftier man and not like an actor who is swathed in putty.)

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For film lovers, it’s a particularly excruciating brand of torture to watch inept modern-day mimicry of cherished cinematic moments, so it’s worth spotlighting the grace with which Coogan and Reilly perform, and Baird directs, classic Laurel and Hardy shtick. The film even suggests that Stan and Oliver would reflexively fall into performance mode as part of their daily life without hitting us over the head with it, and the current actors nail the timing and the physicality throughout.

Cinematographer Laurie Rose (“Overlord”) scores an impressive tracking shot early on as Stan and Oliver make their way past showgirls and centurions as they go from their dressing room to the set of “Way Out West,” but the film tends toward TV levels of brightness, even when the characters are in a damp boarding house or crumbling theater. Rolfe Kent’s score segues from silent-movie sprightliness to more somber themes, but like the rest of the film, it never overplays the more dramatic moments.

“Stan & Ollie” sees screen legends being cued to exit whether they want to or not, but it manages to do so without being dreary or lachrymose, like so many other films about fading Hollywood stars. It gives Steve Coogan one of his finest screen roles to date and for Reilly, it’s another triumph right on the heels of “The Sisters Brothers.” Whether you adore Laurel and Hardy or have never seen them in action, this film celebrates both the artist and the tenacity it takes to remain one.

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