Judd Apatow’s Pete Davidson Comedy Set for Summer 2020

Read on: TheWrapTheWrap.

Universal’s untitled comedy directed by Judd Apatow and starring and co-written by “SNL” star Pete Davidson has received a release date of June 19, 2020.

Universal also dated the thriller “The Turning,” based on a Henry James novella, for release on Jan. 24, 2020.

Apatow and Davidson co-wrote the film with Dave Sirus, and the untitled comedy will begin production this summer in New York City.

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This is Apatow’s sixth feature and his first since the 2015 Amy Schumer comedy “Trainwreck.” He’ll also produce for his Apatow Productions alongside Barry Mendel.

“The Turning” is a haunted house thriller from DreamWorks Pictures and is an adaptation of Henry James’ landmark novella. Floria Sigismondi (“The Runaways,” “The Handmaid’s Tale”) stars Mackenzie Davis, Finn Wolfhard and “The Florida Project” breakout Brooklynn Prince and Joely Richardson.

“The Turning” takes audiences to a mysterious estate in the Maine countryside, where newly appointed nanny Kate is charged with the care of two disturbed orphans, Flora and Miles. Quickly though, she discovers that both the children and the house are harboring dark secrets and things may not be as they appear.

Chad and Carey Hayes (“The Conjuring”) and Jade Bartlett wrote the screenplay. “Turning” is produced by Roy Lee and Scott Bernstein. Universal will release the film wide domestically and in select international territories.

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‘Terminator’ Reboot Reveals First Image Of Its Female Stars In Action

Read on: Deadline.

We’re not sure that even a cyborg could stop this trio. Skydance Productions and Paramount Pictures have released the first image of the badass women who will battle the baddies in the untitled Terminator reboot from Deadpool director Tim Miller …

Linda Hamilton Is Back as Sarah Connor in First Look at ‘Terminator’ Sequel (Photo)

Read on: TheWrapTheWrap.

Paramount has released the first official image of the upcoming “Terminator” sequel, in which Linda Hamilton returns as Sarah Connor.

In the image, we also see Mackenzie Davis and Natalia Reyes, who will star as Grace and Dani Ramos, respectively. Hamilton looks like a badass holding a gun and wearing a vest, but her usual long locks are replaced by a shorter haircut this time around.

Last September, it was announced Hamilton would resume her iconic “Terminator” role in Arnold Schwarzenegger and James Cameron’s latest installment of the sci-fi series. The actress first played the role of Sarah Connor in the original 1984 movie and again in the 1991 sequel “Terminator 2: Judgment Day.”

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“Deadpool” director Tim Miller will shoot the film with series creator James Cameron returning to the franchise for the first time since “Terminator 2: Judgment Day” as a producer. Schwarzenegger, Gabriel Luna and Diego Boneta also star.

The “Terminator” reboot is the sixth film in the long-running sci-fi series, with Skydance producing and Paramount distributing. The last film in the franchise, “Genisys,” grossed $89.8 million at the box office. The highest-grossing film in the franchise was “T2,” which earned $204.8 million.

Also Read: James Cameron: New ‘Terminator’ Will Erase Everything After First 2 Movies

The next “Terminator” will be released on Nov. 22, 2019.

See the picture below.

Photo: Kerry Brown for Skydance/Paramount

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‘Izzy Gets the F*ck Across Town’ Film Review: Mackenzie Davis Wanders Listlessly Through L.A., As Does the Film

Read on: TheWrapTheWrap.

There’s a very good probability that the story of how first-time writer-director Christian Papierniak finagled the (rather impressive) cast for his feature debut is vastly more interesting than the (rather unimpressive) film itself. “Izzy Gets the F*ck Across Town” stars the button-eyed, open-hearted Mackenzie Davis as a woman traveling from Los Angeles’ Westside to its… middle, encountering zany strangers and indignant loved ones along the way, played by the likes of Lakeith Stanfield, Carrie Coon, Alia Shawkat, Annie Potts, and Haley Joel Osment.

If the presences of Potts and Osment doesn’t give you a ’90s flashback, the premise of “Izzy” certainly will. The hungover titular character has five or so hours to travel from Venice to Los Feliz, the location of her ex-boyfriend’s (Alex Russell) engagement party. (Whatever authenticity Papierniak might have been reaching for by name-checking so many LA neighborhoods throughout the protagonist’s journey is undone by the overwhelming whiteness of the film.)

Slighter than a blade of grass, “Izzy” presents us with a pseudo-novel conceit through which we learn who the woman we’re accompanying on her haphazard jaunt is, and why she doesn’t just ride the bus or call a Lyft like the rest of us would.

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The self-serious meditations on fate and responsibility — as well as the uneven but ever-charged flare-ups between Izzy and whoever she’s talking to — recall exercises in an acting class. By the end, we understand her motivations and recent biography, but precious little about who she is as a person.

Davis strives mightily to make the material at hand more than intermittently engaging, but she fights a losing battle against an amateurish, underwritten script. Two exceptions do emerge. Izzy wears a soiled caterer’s uniform throughout the day, and her dire financial straits — and the ingenuity they inspire — lead her to the home of a software engineer (Osment) who had once hired her via Task Rabbit to write a letter initiating divorce.

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Pushing her way in, Izzy convinces Walt to give her an odd job then and there — which happens to involve the pink-suited stranger (Shawkat) asleep on a chair in the middle of his living room. The off-book gig is whimsical and romantic, and yet movingly evocative of economic desperation.

Unsurprisingly, Coon deftly pulls off the film’s emotional heavy-lifting as Izzy’s more stable sister Virginia, who left behind their sororal artistic collaboration to forge a new life. Coon arrives like a UFO: eerily calm, intriguingly unknowable yet instantly recognizable, commanding everyone’s attention within a 10-mile radius. As the only person to call Izzy out and actually be heard, Virginia’s scenes herald a climactic emotional reckoning that never actually takes place.

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Potts nearly manages to achieve her own show-stopping moment as the rare kind soul that Izzy stumbles across, but her scenes, as well as Stanfield’s, ultimately just blend into the yammer-a-thon. The visual flourishes aren’t much better: the pink-hued dream sequences involving a mysterious woman (Dolly Wells) and a younger version of Izzy (Ryan Simpkins) should be returned to the first year of film school whence it came.

Sometimes the journey is the destination, and sometimes the journey is the background to wondering for 85 minutes straight why such a talented group of actors are slumming in banality.

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‘Avengers: Infinity War’ Dominates With $15.5 Million Thursday, Passes $900 Million Worldwide

Read on: TheWrapTheWrap.

“Avengers: Infinity War” grossed $15.5 million on Thursday, scoring a total global sum of $905 million.

On Friday, it is expected to become the fastest film ever to gross $1 billion worldwide. After setting the record for the biggest opening weekend of all time, it is looking to also set a new record for the best domestic second weekend in box office history. Three years ago, “Star Wars: The Force Awakens” made an enormous $149 million in its second weekend, down just 40 percent from its then-record $247.9 million opening.

Three months ago, “Black Panther,” which opened to $201 million, had the second-best second weekend of all time with $111.6 million, a 45 percent drop. “Avengers: Infinity War” is expected to beat that amount with a second-weekend total of at least $115 million.

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Eugenio Derbez’s “Overboard” earned $675,000 at the Thursday previews in approximately 1,400 theaters.

The film is looking at a targeted release of approximately 1,600 screens with an opening of $11 million to $13 million against a low-teens production budget. That would be in the same range as lead star Derbez’s last film, “How to Be a Latin Lover,” which opened to $12.2 million. That film grossed $450,000 in previews last year.

Directed by Rob Greenberg, “Overboard” stars Derbez as Leonardo, a spoiled billionaire who mistreats Kate (Anna Faris), the single mother hired to clean his yacht. When Leonardo accidentally falls overboard, he suffers amnesia and is taken in by Kate as part of a scheme to get back at him. Forced into Kate’s working class struggles, Leonardo is miserable at first but eventually develops a sense of work ethic … and much more.

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“Overboard” holds a score of 29 percent on Rotten Tomatoes.

Also coming out on 1,300 screens this weekend is Focus Features’ “Tully,” the latest film from the director-writer team that made “Juno,” Jason Reitman and Diablo Cody. The film reunites Cody and Reitman with Charlize Theron who stars as Marlo, an overworked mother of three who gets an unexpected gift from her brother: a night nanny named Tully (Mackenzie Davis). At first hesitant, Marlo soon develops a deep relationship with Tully that challenges her notions of motherhood. The film has received rave reviews from critics with a 95 percent score on Rotten Tomatoes.

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‘Tully’ Film Review: Charlize Theron Is a Real Mother in Bleakly Hilarious Parenthood Tale

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Good parents do the best they can, and we forgive them when they make mistakes. Similarly, the parenting comedy “Tully” makes a narrative misstep late in the game — and it’s a spoiler, so I’ll talk around it — but the film is otherwise so intelligent, so uncompromising and so bleakly hilarious in a genuine way that it’s easy to overlook the errors and focus on the good times.

For their third collaboration (after “Juno” and “Young Adult”), screenwriter Diablo Cody and director Jason Reitman are determined to strip away the gauzy sentimentality so often used to portray motherhood in the media. And with their “Young Adult” star Charlize Theron, they have a performer who fearlessly conveys the utter physical and spiritual devastation of constantly giving of yourself to others when all you want is a nap.

Theron stars as Marlo, a New Jersey mother of two who is about to give birth to a third child, one that was very much unplanned. Marlo’s already got her hands full: her younger son Jonah (Asher Miles Fallica, “Ozark”) displays behavior that indicates he’s on the autism spectrum, although his school principal will only refer to him as “quirky,” and her husband Drew (Ron Livingston) is always traveling for work. (And when he’s home, he’s more likely to spend his nights curled up with a video game instead of washing a dish.)

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Marlo’s wealthy brother Craig (Mark Duplass) makes the offer of a “night nanny,” who will come in and stay up overnight with the new baby so that all Marlo has to do in the night is breast-feed; otherwise, she can get some much-needed sleep. She balks at first, having seen too many “The Hand That Rocks the Cradle”-inspired Lifetime movies, but ultimately, the grind of diaper-changing and breast-pumping and kid-carpooling leaves Marlo so frazzled that she finally calls up the nanny.

Enter Tully (Mackenzie Davis), seemingly the answer to all of Marlo’s prayers. Not only is she great with the baby, but she cleans the house, bakes, and has real conversations with Marlo, the kind of deep and meaningful chats that take Marlo back to her carefree single days. What could go wrong?

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Where “Tully” goes from here will be a matter of taste, and while I question some of Cody’s third-act ideas, I applaud her and Theron for pulling no punches about the agony of parenting; the act of tending an infant is handled with some of the grimmest humor this side of “Eraserhead.” Whether Marlo is stepping on Legos, dealing with Jonah’s school or trying to muster the energy to put a frozen pizza in the oven, Theron gives us a brutally realistic portrait of a woman on the verge of a nervous breakdown.

The film (and the actress) go places we never see in cinematic portrayals of motherhood, whether it’s a close-up of Marlo’s nipple, distended by all that pumping, or a frazzled Marlo attempting to jog, determined to keep pace with the young college girl who breezes past her. Theron’s performance is as sardonically witty as you might expect from her work in “Young Adult,” but she participates, ego-free, in the least flattering angles that Reitman and cinematographer Eric Steelberg (“Baywatch”) can throw her way.

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The performances are strong across the board — all the scenes between Theron and Davis, in particular, overflow with empathy and understanding — and Cody’s writing has never been better. She’s toning down the pop-culture references (although we do learn that the distance between Marlo’s house and Brooklyn is longer than the entire running time of Cyndi Lauper’s “She’s So Unusual”) and making her characters richer and more believable; significant silences are playing a larger role as well, and what Marlo and Drew don’t say to each other always carries more weight than what they do.

Ultimately, the film champions Marlo as a good mother, but it also honors her weariness and her indefatigability. “Tully” is no box of chocolates, to be sure, but it’s a memorable Mother’s Day gift.

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‘Tully’ Review: Charlize Theron Soars In A Mother Of A Great Role

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Coming from the director Jason Reitman and Diablo Cody, the Oscar-winning Juno writer who also penned Young Adult, we have reason to expect another smart, witty, real and watchable story peering into our everyday lives. With the terrific and unpredicta…

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Mackenzie Davis In Talks to Join ‘Terminator 6’

Read on: TheWrapTheWrap.

Mackenzie Davis is in talks to join the cast of the sixth “Terminator” film, individuals with knowledge of negotiations have told TheWrap.

Series creator James Cameron will produce the film with Skydance’s David Ellison producing. Tim Miller (“Deadpool”) is directing the film, with longtime series stars Arnold Schwarzenegger and Linda Hamilton also starring in the series.

“Captain Phillips” writer Billy Ray has been brought on to polish the script.

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Davis has made a big name for herself in the sci-fi world in recent years, most notably starring alongside Gugu Mbatha-Raw in the Emmy-winning “Black Mirror” episode “San Junipero.” She has also appeared in “Blade Runner 2049” as replicant freedom fighter Mariette and in “The Martian” as NASA engineer Mindy Park.

Paramount will release “Terminator 6” on July 26, 2019. Mackenzie Davis is repped by UTA and Sloane, Offer, Weber & Dern.

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Mackenzie Davis to Star in ‘Terminator’ Reboot (EXCLUSIVE)

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Mackenzie Davis is in negotiations to join the cast of the new “Terminator” movie. Tim Miller is directing, with James Cameron and Skydance’s David Ellison producing. Skydance is also financing the pic. Billy Ray has signed on to polish the script that is based on a story conceived by Cameron, Miller, and Ellison. Linda Hamilton […]

Brooklynn Prince Boards Amblin Haunted House Movie ‘The Turning’

Read on: TheWrapTheWrap.

“The Florida Project” breakout Brooklynn Prince has joined the cast of Amblin Entertainment’s haunted house thriller “The Turning,” an individual with knowledge of the project tells TheWrap.

She joins Mackenzie Davis and Finn Wolfhard in the upcoming movie.

In this adaptation of the Henry James novella “The Turn of the Screw,” a young woman hired as the nanny to two orphans is convinced that the country mansion they live in is haunted.

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Floria Sigismondi is directing the project. Jade Bartlett is writing from an original script by Chad & Carey Hayes.

Prince can currently be seen as Moonee in “The Florida Project,” directed by Sean Baker. Her next film is “The One and Only Ivan” opposite Angelina Jolie. The Disney live action/animated adaptation of the award-winning book penned by Katherine Applegate is directed by Thea Sharrock with a script by Mike White and produced by Brigham Taylor, Allison Shearer and Jolie.

Prince is repped by UTA, Steve Warren and Thor Bradwell from Thirty Three Mgmt.

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