Molly Ringwald, Brian d’Arcy James Drama ‘All These Small Moments’ Acquired by Orion Classics

Read on: TheWrapTheWrap.

Orion Classics has acquired the North American and Latin American rights to Melissa Miller Costanzo’s drama “All These Small Moments,” the distributor announced Thursday.

The drama stars Molly Ringwald, Brian d’Arcy James, Brendan Meyer, Sam McCarthy, Harley Quinn Smith and Jemima Kirke. “All These Small Moments” is Miller Costanzo’s directorial debut, and she also wrote the screenplay for the film, which premiered at this year’s Tribeca Film Festival.

Orion Classics will release “All These Small Moments” on January 17 and on VOD and Digital HD on January 18.

Also Read: Molly Ringwald Describes Childhood Terror of ‘The Golden State Killer in My Backyard’

In the film, a teenage boy’s infatuation with a woman he sees on the bus further complicates his teenage years.

“As a stalwart supporter of some of the most memorable films in our collective lexicon, and a champion for thought provoking, character driven films, I am so thrilled to have found a partner in Orion Classics for the next chapter of this film’s journey,” said Miller Costanzo.

Also Read: Molly Ringwald Is Troubled by ‘Breakfast Club’ Crotch Scene in #MeToo Era

Jemstone Productions’ (formerly Moving Pictures Artists) Lauren Avinoam, Jed Mellick and Vineyard Point Productions’ Katie Leary produced, while executive producers include Vineyard Point Productions Bob Leary & Biz Stone.

Orion Classics recently announced the acquisition of “Clara’s Ghost” starring Abby Elliott and Haley Joel Osment, as well as Nijla Mu’min’s award-winning drama “JINN” and Suzi Yoonessi’s “Unlovable.”

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Cannes Report, Day 4: Sales Market Heats Up, ‘355’ Sparks Bidding War, Jean-Luc Godard Is Back

Read on: TheWrapTheWrap.

Most thought this would be a slow Cannes Film Festival, but we’re already on day four and movies have been bought, there’s a bidding war going on, and well, Jean-Luc Godard is back to mess with our heads.

Saban Films picked up the rights to two movies in the last two days, while Bleecker Street and Netflix (the latter of which backed out of submitting any films for the competition) have also emerged as players in the market.

Jessica Chastain’s female spy thriller “355” sparked a heated bidding war, with Universal emerging as the victor in an eight-figure deal.

Also Read: Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet

Meanwhile, everyone else is still trying to get that one selfie on the red carpet despite a no-selfie policy — or get another glimpse at jury president Cate Blanchett.

See what everyone talked about during the fourth day at Cannes:

Acquisitions, Acquisitions

May 11 saw the acquisitions of quite a heap of films. Neon acquired the troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, while Bleecker Street picked up the rights to Mads Mikkelsen’s survival drama “Arctic.” The film premiered at the Cannes Film Festival on Thursday night.

Saban Films bought the rights to Keanu Reeves’ “Siberia,” a thriller by director Matthew Ross in the market that also stars Ana Ularu and Molly Ringwald.

Also Read: Netflix Buys Animated Film ‘Next Gen’ for $30 Million

In what might be the biggest deal so far at Cannes, Netflix picked up the worldwide rights, excluding China, to the animated film “Next Gen” for $30 million.

Netflix pulled out of submitting films to this year’s festival after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition — but passed.

Speaking of Saban Films…

Saban Films sure is spending money this year. At the Sundance Film Festival earlier this year, Saban bought the North American rights to Craig William Macneill’s “Lizzie,” in partnership with Roadside Attractions.

The distributor has been busy at Cannes as well, having bought Gerard Butler’s “Keepers” on Thursday and Reeves’ “Siberia” on Friday. Saban came to conquer Cannes, that’s for sure.

Jessica Chastain’s ‘355’ Bidding War

Everyone wanted a piece of “355,” Jessica Chastain’s female all-star spy thriller that will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

Early Saturday, Universal announced it had acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war — believed to be worth eight figures.

Also Read: Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory

Jean-Luc Godard’s ‘The Image Book’ Debuts

Jean-Luc Godard’s newest film “The Image Book” debuted on Friday at Cannes, and early reviews are as jumbled and convoluted as the film itself seems to be.

“THE IMAGE BOOK: who f—in’ knows,” wrote one critic, while another said, “What do you want me to say?”

TheWrap’s Steve Pond wrote in his review: “‘The Image Book’ requires stamina, or more accurately surrender. (A section of the Grand Theatre Lumiere balcony devoted to press had at least a dozen walkouts during the film.)”

See some tweets about the film below.

THE IMAGE BOOK: who fuckin knows. But here are some nonverbal reviews from those seated near me!

– girl next to me covered ears for long stretches
-man two over checked phone 50, 60, and 65 minutes in
-guy in front of me buzzsaw snored for full minute before someone woke him up

— Charles Bramesco (@intothecrevasse) May 11, 2018

THE IMAGE BOOK: Jean-Luc Godard’s collection of images about trains, war, Arab nations & more – from movies & real footage – w/ narration from Godard, sudden bursts of music & long silences. Some will love, some not, I feel like it will work best as the museum exhibit #Cannes2018

— Alicia Malone (@aliciamalone) May 11, 2018

THE IMAGE BOOK: Godard lays out all possibilities of cinema on display in 90 minutes. Now please start making your movie ffs. #cannes2018

— Ken Adams (@TaybackX) May 11, 2018

Just saw THE IMAGE BOOK by JLG. More bellowing at crappy resolution footage from 1950s films and of various imperialist atrocities. What do you want me to say? #cannes2018

— ????Donald Clarke???? (@DonaldClarke63) May 11, 2018

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Keanu Reeves Thriller ‘Siberia’ Picked Up by Saban Films

Read on: TheWrapTheWrap.

Saban Films has acquired the North American rights to the thriller “Siberia,” which stars Keanu Reeves, Ana Ularu and Molly Ringwald, the distributor announced Friday.

Matthew Ross directed the romantic crime-thriller that was written by Scott B. Smith from a story by Stephen Hamel and Smith. Hamel and Reeves produced alongside Gabriela Bacher of Summerstorm Entertainment/Film House Germany, Dave Hansen and Braden Aftergood.

“Siberia” follows Lucas Hill (Reeves), an American diamond trader who sells blue diamonds to buyers in Russia. He soon begins an obsessive relationship with a Russian cafe owner while dealing with the dangerous world of diamond trade.

Also Read: Keanu Reeves, Alex Winter to Reprise Roles in Third ‘Bill & Ted’ Film

“‘Siberia’ is a fresh departure from your average love story, balancing the high-wire act of being a thriller with pacing that keeps you on your toes till the last frame,” said Saban Films’ Bill Bromiley in a statement.  “Everyone will love this.”

Ross’ first feature, “Frank & Lola,” premiered at the 2016 Sundance Film Festival. It was later acquired and released by Universal Studios.

Cassian Elwes helped to arrange financing and is executive producing with Marc Hansell, Devan Towers, and Jere R. Hausfater; Wayne Marc Godfrey and Robert Jones of The Fyzz; Christian Angermayer and Klemens Hallmann of Film House; Chris Lemole and Tim Zajaros of Armory Films; and Phyllis Laing and Jeff Beesley of Buffalo Gals.

Also Read: Keanu Reeves Sci-Fi Thriller ‘Replicas’ Sells to Entertainment Studios

Bromiley and Jonathan Saba negotiated the deal for Saban Films, with Endeavor Content on behalf of the filmmakers.

Saban Films already acquired Gerard Butler’s “Keepers” at this year’s festival. Earlier this year, the company bought the rights to “Lizzie,” starring Chloe Sevigny and Kristen Stewart, at Sundance.

Related stories from TheWrap:

Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet

Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’

Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory

Bill Maher Has Had It With Critics Of Old Un-Woke Hollywood Fare

Read on: Deadline.

UPDATE with video Bill Maher had something he wanted to say on Real Time to those who have blasted old TV shows and movies for their “un-woke” standards.  Shove a sock in it.
Enough with revisiting things,” Maher demanded, as his final New Rules entry on HBO’s Real Time with Bill Maher.
“Stop being surprised every time you watch an old movie or TV show and find some of the ideas in it are – old,” the late-night host demanded.
He cited a recent article by Molly Ringwald

Molly Ringwald Reflects On Her John Hughes Movies In #MeToo Moment: ‘Racist, Misogynistic…Homophobic’

Read on: Deadline.

The Harvey Weinstein scandal and the advent of the #MeToo and #TimesUp movements has forever changed Hollywood going forward. Should older films be reevaluated under the new rules, and is there a place for subversive comedy anymore? Molly Ringwald, teen star of John Hughes‘ classic ’80s coming of age trilogy Sixteen Candles, Pretty In Pink and The Breakfast Club, has written an article in the upcoming The New Yorker in which she re-watched her beloved films and was pretty…

Molly Ringwald Is Troubled by ‘Breakfast Club’ Crotch Scene in #MeToo Era

Read on: TheWrapTheWrap.

Thirty-six years after appearing as Claire in the “Breakfast Club,” actress Molly Ringwald revisited the cult-classic film with her 10-year-old daughter and was troubled by the crotch scene in the wake of the #MeToo era.

In a new essay for The New Yorker,  Ringwald wrote, “It’s hard for me to understand how [director] John Hughes was able to write with so much sensitivity, and also have such a glaring blind spot.”

“I thought about it again this past fall, after a number of women came forward with sexual-assault accusations against the producer Harvey Weinstein, and the #MeToo movement gathered steam,” she continued. “If attitudes toward female subjugation are systemic, and I believe that they are, it stands to reason that the art we consume and sanction plays some part in reinforcing those same attitudes.”

Also Read: Jeffrey Katzenberg ‘Deeply, Deeply Sorry’ for Crude Molly Ringwald Diss He Denies Ever Saying

The scene in question involved Judd Nelson’s Bender who hides under Claire’s desk while the high schoolers are in detention. “While there, he takes the opportunity to peek under Claire’s skirt and, though the audience doesn’t see, it is implied that he touches her inappropriately,” Ringwald said. “I was quick to point out to my daughter that the person in the underwear wasn’t really me, though that clarification seemed inconsequential.”

The scene ended up being shot by an older actress because Ringwald (at 16) was still a minor. Even Ringwald’s mother protested the scene. “My mom also spoke up during the filming of that scene in ‘The Breakfast Club,’ when they hired an adult woman for the shot of Claire’s underwear,” the actress wrote. “They couldn’t even ask me to do it — I don’t think it was permitted by law to ask a minor — but even having another person pretend to be me was embarrassing to me and upsetting to my mother, and she said so. That scene stayed, though.”

Ringwald did commend Hughes — who died at age 58 in 2009 — for giving a voice to outsiders and the positive impact the filmmaker’s movies had on adolescent audiences.

Also Read: Molly Ringwald Says Me Too: ‘Director Stuck His Tongue in My Mouth’ at 14

“John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say,” she said. “Even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical.”

“If I sound overly critical, it’s only with hindsight. Back then, I was only vaguely aware of how inappropriate much of John’s writing was, given my limited experience and what was considered normal at the time,” she added.

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Deleted Scene From ‘The Breakfast Club’ Released Featuring Molly Ringwald and Ally Sheedy

Read on: Variety.

John Hughes’ second film “The Breakfast Club” has become classic among high school films, not to mention helping introduce several of the actors known as the Brat Pack. More than 30 years after its release, the Criterion Collection’s recent restored Blu-ray edition includes 50 minutes of previously never-before-seen material including a deleted scene between Molly […]

Charlyne Yi Boards ‘Second Act’; Molly Ringwald Cast In YA Film ‘Kingfish’; Robert Scott Wilson Joins ‘Relic’

Read on: Deadline.

Actress and comedian Charlyne Yi will co-star opposite Jennifer Lopez in STXfilms’ romantic comedy Second Act, directed by Peter Segal. It’s based on an idea by Elaine Goldsmith-Thomas and Justin Zackham, both of whom penned the screenplay. The story follows a big box store employee (Lopez) who reinvents her life and her lifestyle. When she gets the chance to prove to Madison Avenue that street smarts are as valuable as a college degree, she realizes it is never too late…

Jeffrey Katzenberg ‘Deeply, Deeply Sorry’ for Crude Molly Ringwald Diss He Denies Ever Saying

Read on: TheWrapTheWrap.

Former Disney and DreamWorks Animation head Jeffrey Katzenberg has denied a crude statement about Molly Ringwald attributed to him in a 1995 MovieLine article that resurfaced this week – but nonetheless says he’s “deeply, deeply sorry.”

“That Molly Ringwald had to read those words attributed to me and believe I said them is horrifying, mortifying and embarrassing to me,” Katzenberg said in a statement to TheWrap. “Anyone who knows me now or back then knows I do not use language like that as a matter of course, or tolerate it. Ms. Ringwald, 22 years too late, I am deeply, deeply sorry.”

On Tuesday, the actress penned a column for The New Yorker titled “All The Other Harveys,” in which she joined the growing chorus of women in Hollywood speaking out against sexual harassment in the industry in light of sexual harassment allegations against Harvey Weinstein.

Also Read: Molly Ringwald Says Me Too: ‘Director Stuck His Tongue in My Mouth’ at 14

The “Sixteen Candles” star’s biggest call-out was perhaps aimed at Katzenberg for a crude comment attributed to him in a 1995 profile for MovieLine.

Without mentioning him by name, Ringwald noted a MovieLine profile in which Katzenberg was quoted as dismissing the actress’ career after several years on hiatus: “I wouldn’t know [Molly Ringwald] if she sat on my face.”

“Maybe he was misquoted,” she wrote. “If he ever sent a note of apology, it must have gotten lost in the mail.”

Also Read: ‘Riverdale’ Casts Molly Ringwald to Play Archie’s Mom

The actress, who currently stars on CW’s “Riverdale,” added, “I could go on about other instances in which I have felt demeaned or exploited, but I fear it would get repetitive. Then again, that’s part of the point.”

A representative for Ringwald has not yet responded to TheWrap’s request for comment.

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Molly Ringwald Describes Sexual Assault Experiences: ‘A Married Film Director Stuck His Tongue in My Mouth’

Read on: Variety.

Molly Ringwald has opened up about her experiences with sexual harassment and assault in a New Yorker column titled “All the Other Harveys.” In the column, Ringwald describes her interaction as a 20-year-old with Harvey Weinstein. While the producer did not harass Ringwald, the “Riverdale” actress goes on to describe instances of sexual harassment that […]

Molly Ringwald Talks About The “Harvey Weinsteins” Of Her Career

Read on: Deadline.

Actress Molly Ringwald starred in numerous John Hughes films such as The Breakfast Club and Sixteen Candles and quickly became the poster child of teen-driven coming-of-age movies of the ’80s that still resonate today. After starring in definitive movies from the Reagan era of side ponytails and Anthony Michael Hall, Ringwald wasn’t anywhere to be seen. I remember seeing her in Betsy’s Wedding in 1990 and then it seems like she disappeared. I remember randomly hearing…

Molly Ringwald Says Me Too: ‘Director Stuck His Tongue in My Mouth’ at 14

Read on: TheWrapTheWrap.

Molly Ringwald has joined the growing chorus of women in Hollywood speaking out against an industry-wide culture of sexism and harassment, speaking about her own encounter with disgraced producer Harvey Weinstein in a column for The New Yorker.

In the column, titled “All The Other Harveys,” Ringwald noted that while she wasn’t sexually harassed by Weinstein, she was warned about working with him when she starred in one of the first films he produced in 1988. After witnessing some uncomfortable encounters between Weinstein and the crew, she came to see him as “volatile.” She also criticized him for taking over the film and putting out a poster in which she was drawn in a 1950s pinup dress without her knowledge or consent.

Also Read: Legal Startup Offers $100,000 ‘Bounty’ to Fund Harvey Weinstein Lawsuits

“Thankfully, I wasn’t cajoled into a taxi, nor did I have to turn down giving or getting a massage,” Ringwald wrote. “I was lucky. Or perhaps it was because, at that moment in time, I was the one with more power.”

Instead, Ringwald’s encounters with sexual harassment have come from others. “When I was fourteen, a married film director stuck his tongue in my mouth on set,” she wrote. Later, just prior to her move from Hollywood to Paris, Ringwald was forced by a director to allow a lead actor to put a dog collar around her neck during an audition. When she tearfully told her agent about the incident, he responded with a flippant joke.

“When I was thirteen, a fifty-year-old crew member told me that he would teach me to dance, and then proceeded to push against me with an erection,” added Ringwald.

The “Sixteen Candles” star’s biggest call-out was perhaps aimed at DreamWorks co-founder Jeffrey Katzenberg, for a crude comment he made about her in a 2005 article for MovieLine. Without mentioning him by name, Ringwald noted how she was asked to appear on the cover of MovieLine following her return from Hollywood, and in the cover story, Katzenberg was quoted as saying that he “wouldn’t know [Molly Ringwald] if she sat on my face.”

Also Read: Weinstein Scandal: Spike Investigating ‘Mist’ Showrunner’s Harassment Claim Against Brother Bob Weinstein

“Maybe he was misquoted,” she wrote. “If he ever sent a note of apology, it must have gotten lost in the mail.”

Ringwald concluded by noting that for many women, such instances of harassment are very common, and that Hollywood needs to stop accepting such behavior as part of doing business.

“I hope that young women will one day no longer feel that they have to work twice as hard for less money and recognition, backward and in heels. It’s time. Women have resounded their cri de coeur. Listen.”

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15 Times ‘Spider-Man: Homecoming’ Mimicked John Hughes Movies (Photos)

Read on: TheWrapTheWrap.

It’s no secret that “Spider-Man: Homecoming” intentionally harkens back to John Hughes’ iconic teen movies of the 1980s, including “The Breakfast Club” and “Sixteen Candles.” The comic book movie, in theaters now, even directly references the writer-director’s famed ditch-day comedy “Ferris Bueller’s Day Off” in one sequence. What’s more, Spidey director Jon Watts instructed his cast of young actors, including star Tom Holland, to watch the aforementioned Hughes films, with the addition of “Pretty in Pink.” Click through for 15 moments in “Spider-Man: Homecoming” that reminded us of Hughes’ indelible ’80s movies. Warning: Spoilers ensue!


Zendaya is Allie Sheedy circa 1985’s “The Breakfast Club.” Both actresses play cheerless students who go to detention simply because they want to (not because they were punished).


Remember that desperate race home by Ferris Bueller (Matthew Broderick) that involved backyard fences and momentary home invasions? Well it gets a modern update in “Homecoming,” as Spidey traverses a quiet neighborhood during a hunt for baddies.


As in 1986’s “Pretty in Pink,” starring Molly Ringwald, Andrew McCarthy and James Spader, there’s a rich kid bully who the lead has to contend with at a house party…


Yes, that would be Peter Parker’s trash-talking classmate, played by Tony Revolori (“Grand Budapest Hotel”).


Played by Oscar winner Marisa Tomei, Aunt Mae is pretty cool in this Spidey movie. She’s so cool, in fact, she reminds us of another non-parent parental figure who appeared in “Pretty in Pink”: The punker-turned-yacht rocker Iona, played by Annie Potts. Both mother figures use a hip approach to help guide Spidey and Andie (Molly Ringwald), respectively, in the right direction.