‘Wonder Park’ Film Review: Original Animated Film Thrillingly Celebrates Youthful Imagination

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If there’s one thing kids like, it’s amusement parks. If there’s two things, it’s amusement parks and animated movies. And if there’s three things, it’s amusement parks, animated movies and a surprisingly mature message about not letting debilitating mental health issues get in the way of your creativity. At least, that’s what can be gleaned from “Wonder Park,” a clumsy but amiable kids movie with a streak of sincerity that stretches further than the Wonder Park itself.

“Wonder Park” stars Brianna Denski as June, a young girl who spends her off hours — which seems to be most hours — concocting an elaborate, fictional amusement park with her mom, voiced by Jennifer Garner. (Because, in movies, Jennifer Garner is practically everyone’s mom.) Their creation, Wonder Park, is a gigantic feast for the senses, with amusingly stomach-churning rides that literally toss you across the park, or come to life underneath you and fly around magically.

June and her mother fill the house with clockwork miniatures and complicated blueprints, but then her mom gets deathly ill and has to go away to a special hospital. (Never mind what she’s got, how curable it is, or how far away she’s going.) So June decides to put away all her amusing things and instead devote every waking minute to taking care of her dad (Matthew Broderick), because in her head he’s more accident-prone than Wile E. Coyote.

Watch Video: ‘Wonder Park’: A Magical World Comes Back to Life in First Teaser

Eventually, June is so far down this compulsive rabbit hole that she runs away from her summer camp to head back home and stop dad from (presumably) burning the whole house down, but along the way she wanders into the real-life Wonder Park, populated by all the mascots she invented with her mom, like responsible warthog Greta (Mila Kunis), safety inspector porcupine Steve (John Oliver), technician beavers Gus (Kenan Thompson) and Cooper (Ken Jeong), and sleepy greeter bear Boomer (Ken Hudson Campbell).

That’s a heck of a lot of legwork to get to the film’s core premise — a little girl wandering into her own fantasy land — only to find that it’s been overrun by her adult anxieties run amok. The whole park has been infested with Chimpanzombies who want to destroy every monument to June’s relationship with her mother, just like June wanted to throw Wonder Park away in a fit of maladaptive grief. Now it’s up to June and her animal friends to overcome their fears and to find a way to save the park and, by extension, June’s creative spirit.

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“Wonder Park” is hardly the first movie to explore the unfortunate side-effects that growing up can sometimes have on someone’s psyche, but it’s nowhere near as disturbing as “Return to Oz” nor nearly as trite as “Christopher Robin.” Because the story in “Wonder Park” is original, the filmmakers don’t need to subvert any beloved childhood icons in order to tell it. It takes longer to set up the characters and their world, but once we’re there, we can enjoy them without any cognitive disconnect. This is simply “Wonder Park,” and “Wonder Park” is an enjoyable kids flick with decent intentions and some delightful imagery.

Indeed, the park itself is a genuine treat. The various rides and lands, many of which would be physically impossible to re-create on even the most unlimited budget, are sure to fire up the imagination of young audiences. The filmmakers seem to have a genuine respect for the artists who spend their whole lives developing complex, richly themed attractions that excite the mind, and they certainly had fun coming up with wild new examples to surreptitiously enjoy on-screen.

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The characters are simplistic creations, mostly boiling down to simple character traits, but for the most part they’re all personified individual aspects of June’s own personality, so it’s hard to complain. In particular, Wonder Park’s lead designer Peanut (Norbert Leo Butz) hits close to home for June. He’s spent his whole career assuming that June’s mother’s voice was his voice of inspiration, and without it, he thinks he can never create again. To convince him to start creating again, June will have to convince herself to start creating again.

The world of “Wonder Park” is thrilling, and the message is unusual for a kids movie, but admirable. It’s the clutter that gets in the way of the movie’s excellence. The complicated first act stops more than it starts, and gets tiresome after a while, and the bizarrely complicated rules of Wonder Park itself — which involve a magic pen, magic whispers and a magic delegation of authority — distract from the film’s simple fantasy of visiting the best amusement park ever, and from the simple message about the importance of staying motivated in the wake of tragedy, depression, grief and loneliness.

Instead of an instant classic, we get a noble effort. We need more of those. This is a bright and earnest attempt to craft an on-screen fantasy for modern kids, with a practical moral that anyone could appreciate.



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Jimmy Kimmel and His Celebrity Friends Sing ‘We’re Going to Hell’ to Help End AIDS (Video)

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Jimmy Kimmel dedicated Monday’s show to raising money for AIDS-research charity (RED). That doesn’t mean the ABC late-night show ran a stuffy telethon, however.

The “Jimmy Kimmel Live” writers updated their ditty “We’re Going to Hell” for 2018, and the host called in some A-list favors to fill out his “RED Pack.”

Joining Jimmy this year were Bono, Kristen Bell, Channing Tatum, Mila Kunis, Brad Paisley, Zoe Saldana and Chris Rock. Together, they belted out anti-Trump verses and this catchy chorus: “If we don’t help people with AIDS/we’re going to Hell.”

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Watch the video above.

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The Evolution of Mila Kunis, From ‘That ’70s Show’ to ‘The Spy Who Dumped Me’ (Photos)

Read on: TheWrapTheWrap.

At age 10, Ukraine-born Mila Kunis landed a small role in the 1995 short movie “Make a Wish, Molly” about a Russian Jewish girl newly arrived in the U.S.
Kunis also played small parts in mid-’90s TV shows like “Baywatch.”

Disney’s ‘Christopher Robin’ Serves Up $1.5 Million at Thursday Box Office

Read on: TheWrapTheWrap.

Disney’s “Christopher Robin” grossed $1.5 million in previews on Thursday night, on its way to an estimated $30 million opening weekend.

“Christopher Robin” stars Ewan McGregor as a man whose childhood stuffed Pooh Bear revisits him after he becomes a beleaguered man whose relationship with his wife and daughter has fallen apart thanks to increasing work responsibilities.

The film, directed by Marc Forster (“Finding Neverland”), currently holds a score of 63 percent on Rotten Tomatoes.

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Tom Cruise’s “Mission: Impossible — Fallout” is expected to go head-to-head with “Christopher Robin,” with both films looking at a similar weekend gross after the sixth film in Paramount’s “Mission: Impossible” franchise opened to $61 million last weekend.

Mila Kunis’ and Kate McKinnon’s comedy “The Spy Who Dumped Me” is also opening this weekend after grossing $950,000 in previews. It’s looking at an opening weekend in the low-teens.

Also Read: ‘The Spy Who Dumped Me’ Film Review: Kate McKinnon Shines in Joke-and-Dagger Pairing With Mila Kunis

In the film, Kunis and McKinnon are forced to become spies when one of Kunis’ ex-boyfriends drags them into his mess.  The Lionsgate release holds a score of 38 percent on Rotten Tomatoes.

Finally, there is Fox’s “The Darkest Minds,” which grossed $550,000 from 2,575 locations on Thursday. The film is the live-action directorial debut of “Kung Fu Panda 3” co-director Jennifer Yuh Nelson.

Based on the YA novel by Alexandra Bracken, the film stars Amandla Stenberg as the leader of a group of kids with psychic powers, who are among the two percent of children who survived a pandemic that killed off the rest of the world’s youth population.

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‘The Wife’ Film Review: Glenn Close Steps Out of a Famous Husband’s Shadow

Read on: TheWrapTheWrap.

From its deceptively dismissive title on down, director Bjorn Runge’s “The Wife” is much more than its premise suggests, anchored by not one but two performances that dimensionalize not just a marriage but a professional partnership that, as in real life, only seems comprehensible from the inside. Glenn Close and Jonathan Pryce bring to volatile, vibrant life the accumulated regret and resentments, as well as generosity and love, of a discontented wife and her prize-winning novelist husband whose shared struggle both bonds them and forges a rift that’s unable to be healed.

Close stars as Joan, the ceaselessly patient wife of acclaimed novelist Joe Castleman (Pryce), whose work earns him a Nobel Prize for Literature. For her, a position even on the periphery of his spotlight is too much; she would rather plan Joe’s itinerary and organize his medication in complete anonymity than receive another syrupy compliment insisting that she’s the reason he writes so well.

Their son David (Max Irons), meanwhile, struggles to escape his father’s shadow, developing projects even as Joe treats his work dismissively, if he agrees to discuss it at all. So when the three of them travel to Stockholm for the Nobel ceremony, Joan tries to keep the peace and maintain harmonious outward appearances — including to Nathaniel Bone (Christian Slater), a reporter determined to write Joe’s biography, with or without their help.

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Each new social event leading up to the ceremony seems to send Joan into a tailspin of self-reflection, recalling their younger days not only when they first met, but when her own dreams of being a novelist were met by the disinterest of a male-driven writing community.

Joe, meanwhile, relishes all of the attention he’s receiving, especially from a beautiful young photographer named Linnea (Karin Franz Korlof, “A Serious Game”) assigned by his publisher to document the event. But after Nathaniel Bone reveals that he intends to write Joe’s story, including details about his and Joan’s past — and present — that they might not want revealed, Joan is forced to take a long, hard look at their relationship, both personal and professional, and decide whether honoring her husband’s achievements is enough for her to feel fulfilled.

Close is already attracting awards buzz for her performance as Joan, and it’s well-deserved: in word and action, she actively defies the limitations of playing a “Great Man’s Wife,” while showcasing the skills that would enable such a woman to maintain that perfect, formulaic fiction to the rest of the world.

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Not just refined but wonderfully calculating, Joan avoids the spotlight not only so her husband can enjoy its spoils, but also to keep it from shining too brightly on the absence of her own accomplishments — a self-awareness that she studiously practices so that when the Nathaniel Bones of the world come snooping around Joe’s legacy, she can rebuff their efforts with the silver-tongued grace that her husband lacks.

What she realizes is that she is protecting her own identity, and her own role in Joe’s success, which too much attention would roundly spoil for both of them. That only the Nobel Prize could disturb her resentments shows how deeply and successfully she’s buried them.

But what’s interesting is how a parallel storyline, set in the late 1960s when she was a student and he a teacher, underscores the specificity of their relationship, and how effectively Close and Pryce cultivate that sense of intimacy that only exists after many, many years together. Then, she was a student, astute enough to recognize she was falling in love with her professor, while coming to terms with the fact that the world was not interested in hearing her voice. (Of the movie’s many subtleties, this is probably its least successful; the scene in which a gathering of male editors scoff at prose submitted by a woman, about a woman, feels especially broad.)

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Consequently, the implementation of those first steps together feel at once naïve and pragmatic, almost transactional; she desperately wants them to be together, but the way her encouragement of his writing gives her a voice becomes much-needed nourishment for her own creative instincts.

Together, even when their love is young and in bloom, they both seem pretentious and almost comically self-serious. But what we soon discover is that only she outgrows that impulse, or at least recognizes it between them, while it becomes his outward face as he quietly belittles David when he embarks on his career, or worse, in mixed company suggests that she has none at all.

Close’s Joan has spent a lifetime shining on these small indignities, while Joe feels as if he’s answered for them by making a spectacle of his love for her, except without properly attributing credit where it’s due. Pryce makes that condescension and oblivious truly feel lived in, a part of a relationship where it’s been occasionally rejoined but mostly ignored, allowing the two of them to move forward on paths that slightly diverge but only enough for one or both to notice at big moments — such as when one wins the Nobel Prize.

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Slater is suitably oily in his shamelessness, but in spite of his seeming compassion for Joan, one wishes Nathaniel was given as much nuance as the characters he’s effectively coming between. Irons, similarly, oozes dejectedness but seems to serve a narrative and thematic purpose more than to exist autonomously as a fully-realized person.

But what ultimately works most profoundly for the film is that its intimacy, its specificity, feels less like the culmination of Joan’s life experiences and more like an epiphany, or maybe an origin story, for what’s yet to come from her. As in any other context, “The Wife” is a title less descriptive than an individual deserves, but it serves a vital purpose for both Joan and the film, underscoring the fact that she ultimately learns how to be herself — and her best self — as a direct result of being defined by someone else’s reflection of her.

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‘The Spy Who Dumped Me’ Film Review: Kate McKinnon Shines in Joke-and-Dagger Pairing With Mila Kunis

Read on: TheWrapTheWrap.

Mila Kunis and Kate McKinnon, whether in a bar or a car or lands afar, look like they’re enjoying themselves in the buddy action romp “The Spy Who Dumped Me.”

This kind of co-star coziness, however, can be a 50/50 proposition for an audience. Are the actors flaunting their frolic at the expense of entertainment cohesion? Is it a home movie writ large? Or does the onscreen fun invite along summer moviegoers eager to be whisked away?

The answer with director and co-writer Susanna Fogel’s girls-on-the-run misadventure is a decided… it depends. As in, from scene to scene, “The Spy Who Dumped Me” either lands the appropriately silly tone of freewheeling camaraderie or feels like a lot of money and time haphazardly spent.

Watch Video: Mila Kunis and Kate McKinnon Send Up James Bond in ‘Spy Who Dumped Me’ Trailer

The world as it exists definitely needs more movies with engaging women like Kunis and McKinnon showing the boys a thing or two about pals-in-peril laughs and thrills. The Melissa McCarthy vehicle “Spy” was a masterful example of how brilliantly funny this timeworn genre can get when women are front and center — which unfortunately leaves “Spy Who Dumped Me” in the energetic but spotty B-team camp. (And the less said about “Snatched,” the better.)

The idea isn’t a bad one: Combine the low-key, talky, everyday-problems comic vibe of Fogel’s 2014 indie charmer “Life Partners” — about female besties reaching a saturation point when romantic fulfillment is on the line — with the high-stakes derring-do of an action comedy. And Fogel leans into that dichotomy hard, and right away.

Underachieving smart gal Audrey (Kunis) celebrates a dreary 30th birthday at a Los Angeles bar with her closest chum Morgan (McKinnon), an outgoing kook; meanwhile, Audrey’s boyfriend Drew (Justin Theroux) — who just broke up with her via text — is violently evading pursuers in an open-air market in Vilnius, Lithuania. As cross-cutting energies go (vigorously choreographed, explosive mayhem alongside downbeat, snarky, claustrophobic girltime), it’s an admittedly offbeat tack, and one that takes some getting used to.

Watch Video: ‘SNL’: Kate McKinnon and Mikey Day Are the Creepiest Mother and Son Ever

After an alcohol-fueled night of burning some of Drew’s belongings, Audrey finds him at her doorstep (really, the side window), with killers on his trail and a pair of bickering international intelligence operatives named Sebastian (Sam Heughan, “Outlander”) and Duffer (Hasan Minhaj) desperate to reach him. His cover blown, Drew entrusts Audrey with a “package” to be delivered to a contact in Vienna. The idea of following through on potentially dangerous international intrigue triggers the overthinking Audrey’s self-doubt, which only spurs impulsive, faithful Morgan to convince her that life was made for these you-might-die-but-hey-might-you-live moments.

And it’s in that push-and-pull between Kunis’s neurotic practicality and McKinnon’s devilish confidence where “The Spy Who Dumped Me” is at its most enjoyable, hopping from Vienna to Prague to Paris to Berlin. Especially when the Emmy-winning “Saturday Night Live” goddess has freer reign, whether indulging an I-want-to-spy-too feminist crush — upon discovering a woman (Gillian Anderson in haughty British mode) is in charge of male agents — or recklessly inserting herself into a Cirque du Soleil act.

It’s part of McKinnon’s squirrelly-eyed charm, after all, that as nutty as the words usually are coming out of that vixenish contralto purr, she’s magnetically convincing as the friend with whom you’d gladly run from gunfire, mug Aussie girl-backpackers for their passports, and fend off a compact, icy Eastern European gymnast-assassin (a chilling Ivanna Sakhno) who doesn’t respond to sisterhood empathy. Not every eccentric tweak of hers lands, but it’s a wonderful feeling knowing McKinnon sees potential for humor every time the camera’s on her, even for a reaction shot shoved into an action sequence.

Watch Video: ‘Wonder Park’: A Magical World Comes Back to Life in First Teaser

Kunis, in the straight-woman role, makes do with the less flashy role, and she’s also saddled with resolving the ho-hum relationship storyline, which is complicated by Audrey’s feelings for the sensitive Sebastian, who becomes an ally to the women. (Heughan’s needs are simple: Look capable and pretty.)

The stars are the only twosome that matters, though, and in a refreshing change of pace, there’s no manufactured rift for Audrey and Morgan to overcome. Fogel would rather celebrate the humor in a deep friendship, as in a funny, increasingly embarrassing back-and-forth under captured duress that’s meant to prove who knows the other better.

The fights, chases and explosions are serviceably handled, too, with just enough bone-crunching and bloodletting to make Kunis’s and McKinnon’s transformation from screaming bystanders to save-the-planet badasses feel buddy-movie believable. But nothing comedy-wise beats a hilariously misguided attempt to hijack an aged couple’s fancy car, only to discover a stick shift, which neither character knows how to operate. As the flummoxed pair talk over each other, the car putters to a stop, the owners walking alongside it the whole time.

It’s a bit worthy of Lucy and Ethel. And while, overall, “The Spy Who Dumped Me” is no classic in that sense, one sees appealing glimmers of a larger female-buddy-comedy world ready to be explored.



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‘Wonder Park’: A Magical World Comes Back to Life in First Teaser (Video)

Read on: TheWrapTheWrap.

In the first teaser trailer for Paramount’s “Wonder Park,” a lost theme park springs back to life after being uncovered by a girl.

In the trailer, a young girl (voiced by Brianna Denski) walks into a forest which reveals a magical place beyond the trees. The theme park comes back to life, with all of its inhabitants, including bears, monkeys and pigs, reprising their roles in the park.

“Wonderland is now open!” the monkey says.

Also Read: Jeffrey Tambor Replaced as Voice in Paramount’s Upcoming Animated Movie ‘Wonder Park’

The voice talent also includes Sofia Mali, Jennifer Garner, Kenan Thompson, Mila Kunis, John Oliver, Ken Jeong and Matthew Broderick. Jeffrey Tambor, who in recent months has been accused of harassment, was replaced on the animated offering last month. He was replaced by Ken Hudson Campbell, who voiced Boomer the Bear.

The film was previously titled “Amusement Park.” In January, the film’s director Dylan Brown was fired after receiving claims of “inappropriate and unwanted conduct.” No replacement director was announced.

Also Read: Paramount Fires ‘Amusement Park’ Director, Citing ‘Unwanted Conduct’

“Wonder Park” is scheduled for release on March 15 of next year.

Watch the trailer above.

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Jeffrey Tambor Replaced as Voice in Paramount’s Upcoming Animated Movie ‘Wonder Park’

Read on: TheWrapTheWrap.

Jeffrey Tambor, who in recent months has been accused of harassment, has been replaced as voice talent in Paramount’s upcoming animated offering “Wonder Park,” a Paramount spokesperson told TheWrap on Thursday.

Tambor has been replaced in the film, which had previously been titled “Adventure Park,” by Ken Hudson Campbell, whose credits include “Armageddon,” “Groundhog Day” and “Home Alone.”

“Jeffrey Tambor is not part of the final voice cast for ‘Wonder Park.’ During production, we came to the decision that it was in the best interests of the film to go in a different direction,” the Paramount spokesperson told TheWrap. “The character of Boomer the Bear is now voiced by the very talented Ken Hudson Campbell.”

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“Wonder Park” is scheduled for release on March 15 of next year.

The film will be released on March 15th of next year. The voice talent also includes Sofia Mali, Jennifer Garner, Kenan Thompson, Mila Kunis, John Oliver, Ken Jeong and Matthew Broderick, according to the film’s IMDb page.

The IMDb listing for the film describes it as a ” story of a girl, some animals, and a magic amusement park.”

Also Read: ‘Arrested Development’ Men Accused of Gaslighting Jessica Walter to Defend Jeffrey Tambor

In November, Tambor was accused of misconduct by three women — his ex-assistant and transgender actress Van Barnes, “Transparent” actress Trace Lysette, and makeup artist Tamara Delbridge. Tambor denied the allegations, but in February it was announced that Tambor would not be returning for the fifth season of Amazon Prime’s “Transparent,” following an investigation into the matter. Tambor called the investigation “deeply flawed and biased,” saying, “I am profoundly disappointed in Amazon’s handling of these false accusations against me” in a statement.

Tambor returned to his role as dysfunctional family patriarch George Bluth Sr. in the fifth season of “Arrested Development” on Netflix, which premiered in May. However, the return became mired in controversy, when his “Arrested Development” costar Jessica Walter told the told the New York Times that Tambor had verbally harassed her on set. The interview also created fallout for a number of Tambor’s male “Arrested Development” costars, who were criticized for appearing to gaslight Walter while defending Tambor.

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Summer’s 5 Biggest Box Office Showdowns, Including ‘Deadpool 2’ vs. ‘Solo’ (Photos)

Read on: TheWrapTheWrap.

This summer, there are very few “direct” box office showdowns. Most weekends will be defined by a single, highly-anticipated film entering theaters. But those films will be competition for other big blockbusters coming out the week before a…

Mila Kunis and Kate McKinnon Send Up James Bond in ‘Spy Who Dumped Me’ Trailer (Video)

Read on: TheWrapTheWrap.

The first trailer for Lionsgate’s “The Spy Who Dumped Me” teases a sendup of the classic tropes of the James Bond films, as Mila Kunis and Kate McKinnon get caught up in the dangerous world of international espionage.

In the upcoming action comedy, Kunis plays Audrey, a woman whose life gets upended after a visit from her ex-boyfriend (Justin Theroux), whom she discovers is a CIA field agent. Together with her best friend, Morgan (McKinnon), Audrey soon finds herself on the run as a team of deadly assassins start chasing the pair. Unfortunately, neither of them can drive stick.

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Sam Heughan, Gillian Anderson, Hasan Minhaj and Ivanna Sakhno co-star in the film from director Susanna Fogel, who shares writing credit with David Iserson.

“The Spy Who Dumped Me” hits theaters Aug. 3.

Watch the trailer in the clip above.

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Mila Kunis, Kate McKinnon Are Forced Into Espionage in ‘The Spy Who Dumped Me’ Trailer

Read on: Variety.

Mila Kunis and Kate McKinnon are forced to join the spy game in the first trailer for the Lionsgate comedy “The Spy Who Dumped Me.” The trailer, released Wednesday, intros the duo as masters of spycraft with the proclamation “In 2018, women are killing it,” followed by a James Bond-style montage with Michael Buble singing […]

‘The Spy Who Dumped Me’ Teaser Trailer: Mila Kunis & Kate McKinnon Vs. The Bad Guys

Read on: Deadline.

OK, Mila Kunis — do you want the bad news or the worse news first? Well then, your ex-boyfriend’s at the door, and he’s really a spy. And there’s a trail of deadly assassins on his trail. Have a nice day!
Here is the first teaser trailer for The Spy Who Dumped Me, in which Audrey (Kunis) and her best bud Morgan (Kate McKinnon) dive headlong into international intrigue. Rather than, say, slamming the apartment door on said ex (Justin Theroux) — who says, “Some bad people…

Paul Rudd Named Harvard’s Hasty Pudding Man of the Year

Read on: TheWrapTheWrap.

Paul Rudd has been named the Hasty Pudding Man of the Year, Harvard University’s Hasty Pudding Theatricals announced on Thursday.

The “I Love You, Man,” actor will be honored in a ceremony on Feb. 2 where he will get his pudding pot during a roast at Harvard.

“We are incredibly excited to be honoring Mr. Rudd as our Man of the Year,” Pudding president Amira Weeks said in a statement, according to the Boston Globe. “The entire company is in awe of his many accomplishments in film and television. Specifically, in his ability to have not aged since 1995. We cannot wait for him to reveal the fountain of youth to us. Oh, and we hear he’s a pretty funny guy, too.

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“He has starred in indies, mainstream films, acclaimed and often heartfelt comedies, and now he currently plays one of Marvel’s biggest (and smallest) superheroes,” the statement added, referring to Rudd’s role in “Ant-Man.”

Earlier this week, Mila Kunis was named Woman of the Year by Harvard University.

Also Read: ‘Ant-Man and The Wasp’ Kicks Off Production With Teaser (Video)

Past Man of the Year winners include Robert Downey Jr., Tom Hanks, Chris Pratt, Robert De Niro, Harrison Ford, Justin Timberlake and Ryan Reynolds.

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Lionsgate Moves ‘The Spy Who Dumped Me’ to August, ‘Madea Family Funeral’ to Fall 2018

Read on: TheWrapTheWrap.

Lionsgate has moved it’s Mila Kunis and Kate McKinnon team-up “The Spy Who Dumped Me” to August 3, 2018. It was previously set for July 6, 2018. The studio has also moved ‘Madea Family Funeral’ deom August 3, 2018 to TBD Fall 2018.

“The Spy Who Dumped Me” will now compete against Sony’s “The Equalizer 2,” 20th Century Fox’s “The Predator,” Disney’s “Untitled Christopher Robin” film.

“The Spy Who Dumped Me” follows two best friends who end up in an international conspiracy after one’s ex turned out to be a spy. Susanna Fogel directed the film from a script she wrote with David Iserson. Brian Grazer and Imagine Entertainment produced.

Also Read: Kate McKinnon Nails Her Gal Gadot Impression (Video)

McKinnon, probably best known for her Emmy-winning “SNL” portrayals including Hillary Clinton and Kellyanne Conway, was most recently on the big screen in Sony’s “Rough Night” along with Scarlett Johansson. McKinnon is also attached to DreamWorks’ “The Lunch Witch” and Fox’s “Women in Business.”

Kunis last appeared in STX’s “A Bad Moms Christmas,” a sequel to surprise summer hit “Bad Moms.” She will lend her voice to Paramount’s Nickelodeon-partnered animated film “Amusement Park” along with Matthew Broderick, Jennifer Garner and Jeffrey Tambor, which is slated for a July 13, 2018 release.

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‘The Spy Who Dumped Me’ Heads To August, ‘Madea Family Funeral’ To Be Held In Fall

Read on: Deadline.

After a phenomenal test screening, Lionsgate’s adult comedy The Spy Who Dumped Me starring Mila Kunis and Saturday Night Live‘s Kate McKinnon is moving from July 6 next summer to Aug. 3.
That late period of the summer has been a prime area for such R-rated comedy fare as Bad Moms, Girls Trip, Trainwreck, Sausage Party and We’re the Millers, not to mention there’s breathing room away from the big tentpoles of the summer Jurassic World, Deadpool 2, and The Ant-Man and the Wa…