Steven Spielberg’s ‘West Side Story’ Remake Finds Its Officer Krupke

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Corey Stoll and Brian d’Arcy James have joined the cast of Steven Spielberg’s remake of the musical “West Side Story,” with d’Arcy James playing Sgt. Krupke, aka Officer Krupke, Fox announced on Tuesday

Stoll will play Lt. Schrank.

Stoll and d’Arcy James join cast members Rita Moreno (Valentina), Ansel Elgort (Tony), Rachel Zegler (Maria), Ariana DeBose (Anita), David Alvarez (Bernardo) and Josh Andrés Rivera (Chino).

Also Read: Steven Spielberg’s ‘West Side Story’ Remake Adds Fresh-Faced Cast to Play Maria and the Sharks

In “West Side Story,” Stoll plays the New York City detective charged with quelling civic unrest in his racially-torn precinct, and dʼArcy James is the veteran cop whose beat includes the territories of the two warring street gangs, the Sharks and the Jets.

Stoll played Buzz Aldrin in “First Man,” and he recently had lead roles in “Othello” and “Julius Caesar” on stage.

DʼArcy James starred as King George in the original run of “Hamilton” at The Public Theater, and his film credits include “Spotlight” and the upcoming “X-Men: Dark Phoenix” and “The Kitchen.”

Also Read: Watch New ‘West Side Story’ Star Rachel Zegler Belt Out ‘Shallow’ From ‘A Star Is Born’ (Video)

“West Side Story” will be produced and directed by Spielberg from a script by Tony Kushner. The film will be adapted for the screen from the original 1957 Broadway musical, which was written by Arthur Laurents with music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.

Also producing are Kevin McCollum and Kristie Macosko Krieger. Rita Moreno is executive producing.

“West Side Story” will be released by Twentieth Century Fox. Filming is slated to start in the summer of 2019. Additional casting announcements will be made in the coming weeks.

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Corey Stoll & Brian d’Arcy James Join Steven Spielberg’s ‘West Side Story’

Read on: Deadline.

On the eve of the Disney-Fox merger, Fox’s Steven Spielberg West Side Story has tapped Corey Stoll to play Lieutenant Schrank, the New York City detective charged with quelling civic unrest in his racially-torn precinct, and Brian dʼArcy James to…

‘The Sopranos’ Prequel Movie: Everything We Know So Far About ‘Newark’

Read on: TheWrapTheWrap.

The planned prequel film to “The Sopranos” might not be “Star Wars: Episode IX,” but many of the details for this highly-anticipated film have been almost as secretive.

At the very least though, it has a potential working title: “Newark.” This is a project that boasts “The Sopranos” creator David Chase and an already impressive cast.

Originally titled “The Many Saints of Newark,” New Line Cinema is planning to release the film on Sept. 25, 2020. Here’s what else we know:

Also Read: ‘Sopranos’ Prequel Gets Fall 2020 Release and Working Title ‘Newark’

Firstly, Chase wrote the film with Lawrence Konner, a staff writer on “The Sopranos” who received the sole writing credit on three individual episodes. They are also producing the film.

Alan Taylor is directing “Newark.” He won an Emmy in 2007 for directing the Season 6 episode “Kennedy and Heidi.” More recently, Taylor has been behind some of the stand-out episodes of “Game of Thrones,” including “Beyond the Wall,” which was nominated for an Emmy in the show’s the seventh season.

As for the cast, Alessandro Nivola is starring alongside Vera Farmiga, Jon Bernthal, Corey Stoll, Ray Liotta, John Magaro, Billy Magnussen and Michael Gandolfini, the son of the late James Gandolfini, who is portraying a young Tony Soprano.

Nivola, known for films such as “American Hustle,” “A Most Violent Year” and “Selma,” will play Richard “Dickie” Moltisanti. If that name sounds familiar, it is because Moltisanti loomed heavily over the arc of “The Sopranos,” but in name only.

Also Read: ‘Sopranos’ Creator David Chase Finally Reveals Shot-by-Shot Breakdown of Series’ End Scene

Dickie was Carmela Soprano’s cousin, a Vietnam veteran and a foot soldier in the Soprano crew. He was killed when Christopher was very young, and we know of his past because Tony would frequently show his protective, paternal instincts for Christopher and shared anecdotes with him about Christopher’s late father.

He was always a “stand up guy,” Tony would say. And the show even devoted an entire episode arc in which Tony helps Chrissy avenge his father’s death. As a way of slowly nudging Chrissy up the family hierarchy, Tony tells Chrissy his father’s killer was a recently retired detective, and he then delivers the presumed killer for Chrissy to interrogate him.

The initial title, “The Many Saints of Newark,” was also fitting as “Moltisanti” literally means “many saints” in Italian.

Also Read: Ray Liotta in Talks to Join ‘Sopranos’ Prequel Film ‘The Many Saints of Newark’

The film is set in Newark in the 1960s when around the time of the Newark riots. Dubbed “The Long Hot Summer of 1967,” the Newark riots were one of 159 race riots that swept the country that year. These riots ignited when Newark Police officers arrested and beat an African American taxi driver. It sparked four days of looting, violence and property destruction in which 26 people died and hundreds more were injured.

“The Sopranos” show flashed back to this time the “Down Neck” episode when Tony reflected on a point in his youth when Johnny Boy Soprano and a young Uncle Junior still ran the streets.

Oddly in this flashback, Tony is only a kid, whereas Michael Gandolfini (who plays Christopher Multisanti) is a young adult, so there’s the possibility that the film ends up jumping beyond the 1960s, possibly to when Dickie is killed.

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“The Sopranos” was a groundbreaking show for the ways in which it touched on themes of addiction, depression and race. Many of the mobsters on “The Sopranos” showed their racist sides and spoke fondly of the days prior to the Civil Rights era. Exploring their origins in this period will show how their personalities and prejudices became what they were in the HBO series.

As with any David Chase property, whether it’s “The Sopranos” or his ’60s rock film “Not Fade Away” (which also starred John Magaro), you can bet that “Newark” will be far more than just your average period piece.

The working title “Sopranos” prequel “Newark” opens Sept. 25, 2020.

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‘Sopranos’ Prequel Movie Adds Corey Stoll and Billy Magnussen

Read on: TheWrapTheWrap.

Corey Stoll is in final negotiations and Billy Magnussen has signed on to join the cast of “The Many Saints of Newark,” the highly anticipated “Sopranos” prequel film, according to an individual with knowledge of the project.

The duo joins Jon Bernthal and Vera Farmiga who were reported on Monday to be joining the cast, though, their character details are being kept under wraps, as well as Alessandro Nivola, who is playing Dickie Moltisanti in the feature film.

It’s unclear what roles Stoll and Magnussen will play in the film. Details for the project are being tightly held, but fans of the series can expect some of the beloved characters to appear in the film.

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“The Many Saints of Newark” is set during the Newark riots in the 1960s, when the African-Americans and the Italians of Newark were at each other’s throats. At the time it was, particularly among the gangsters of each group, especially lethal.

“The Sopranos” series creator David Chase co-wrote the script with Lawrence Konner. Alan Taylor (“Thor: The Dark World,” “Game of Thrones”) is directing the film. Chase and Konner will also produce. Nicole Lambert, on behalf of Chase Films, and Marcus Viscidi are executive producing.

Stoll most recently appeared on the big screen as legendary astronaut Buzz Aldrin in Damien Chazelle’s “First Man.” He also starred in an episode of “The Romanoff’s” for Amazon. Stoll, who is repped by UTA, Suskin Management and attorney James S. Adams, will next appear in Ryan Murphy’s Netflix series “Ratched.”

Also Read: ‘Sopranos’ Prequel Film From David Chase Picked Up by New Line

Magnussen was last seen in the 2018 comedies “Game Night” and “The Oath.” He will appear next in Netflix’s Sundance flick “Velvet Buzzsaw,” starring Jake Gyllenhaal. The film follows a series of paintings by an unknown artist and the supernatural force behind them that enacts revenge on those who have allowed their greed to get in the way of art. Magnussen will also appear in Disney’s live-action Aladdin remake. He is repped by WME, BRS/Gage, Anonymous Content, and Sloane, Offer, Weber & Dern.

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‘The Sopranos’ Prequel Adds Corey Stoll & Billy Magnussen

Read on: Deadline.

Count Corey Stoll and Billy Magnussen in for New Line’s Sopranos prequel The Many Saints of Newark. They join Alessandro Nivola, Jon Bernthal and Vera Farmiga.
Except for Nivola playing Dickie Montisanti, most of these roles are being kept secret…

‘First Man’ Gets Bigger and Bolder in Toronto IMAX Premiere

Read on: TheWrapTheWrap.

Damien Chazelle’s “First Man” has already won over critics and crowds in Venice and Telluride, but the Neil Armstrong story found a little something extra for its Toronto International Film Festival debut on Sunday: A really, really big screen.

The film screened on Sunday afternoon in the Ontario Place Cinesphere, the world’s first dedicated IMAX theater, which is located in a geodesic dome in Lake Ontario.

The official TIFF premiere takes place on Monday in Roy Thomson Hall, but the IMAX screening was a bonus, and the world premiere of the format in which part of the movie was shot.

Also Read: ‘First Man’ Film Review: Ryan Gosling and Damien Chazelle Slip the Surly Bonds of Earth

The full IMAX experience only kicks in once Armstrong (Ryan Gosling) and Buzz Aldrin (Corey Stoll) land on the moon near the end of the film, and those few minutes are undeniably spectacular.

It also helps that those scenes are for the most part made up of magnificent lunar vistas in all their widescreen splendor, or of those vistas reflected brilliantly in the visor on the front of Armstrong’s space helmet.

For the rest of the film, the partial-IMAX format paid off at times and was problematic at others. With much of the earthbound action consisting of dialogue scenes shot with hand-held, shaky cameras, IMAX sometimes makes the action too big; the framing already puts us in the thick of the action, and we don’t need those shaky close-ups blown up enormously.

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If you’ve already seen “First Man,” the IMAX experience is one to savor. But if you haven’t, it’s not essential.

The movie itself, though, feels as essential in Toronto as it was in Telluride and Venice. The triumph of the space program has never seemed so hard fought or the dangers so visceral, and the shades of Gosling’s performance as a man who won’t show emotion even to his family are more impressive with each viewing.

This isn’t a pure crowd-pleaser like “A Star Is Born,” but it’s a richly satisfying experience. Chazelle has now made a splash at three successive festivals, and the Toronto bow of “First Man” suggests that he’ll be sticking around this awards season.

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‘First Man’ Film Review: Ryan Gosling and Damien Chazelle Slip the Surly Bonds of Earth

‘First Man’ Film Review: Ryan Gosling and Damien Chazelle Slip the Surly Bonds of Earth

Read on: TheWrapTheWrap.

Those of us born in the late 1960s and beyond have always taken the Moon landing as a great accomplishment, yes, but also as something of a fait accompli. In his dynamic follow-up to “La La Land,” director Damien Chazelle reminds us that space exploration has always been risky and terrifying, with men closing themselves inside tiny metal machines that were created by other men, held together by rivets, and prone to a million mishaps.

From the heart-in-your-throat cold open, in which pilot Neil Armstrong (Ryan Gosling) takes a craft above the atmosphere but then struggles to bring it back down to Earth, to Armstrong’s eventual “giant leap for mankind,” “First Man” depicts the great accomplishments of NASA as huge gambles; like the best historical dramas, “First Man” creates suspense over events whose outcome we already know. The U.S. government might have been driven by its desire not to let the Soviets win the space race, but the astronauts and the engineers who made these missions happen were far more interested in scientific progress and in their own survival.

Both screenwriter Josh Singer (“Spotlight”), adapting the book by James R. Hansen, and cinematographer Linus Sandgren (“Battle of the Sexes”) know when to tell this story in close-up, and when to pull out for a wider look. For much of the film, it’s an intimate portrait of Armstrong, a civilian engineer and pilot driven to join the Gemini space program even as he’s haunted by the death of his young daughter Karen from cancer. (After Mercury took us into space and before Apollo got us to the moon, Gemini helped perfect maneuvers that made Apollo possible.)

Watch Video: Ryan Gosling Blasts Off as Neil Armstrong in ‘First Man’ Trailer

Getting inside the reticent Armstrong is certainly a challenge — per the film, he never talked about Karen, not even to wife Jan (Claire Foy) — but Gosling gives us glimpses into what drove this pioneer, whether it’s in his love of the math required to figure out thrust in space or in his relaxed moments around Jan and their sons. (It’s Jan who forces him to talk to the boys before he takes off on his moon mission; when they ask him questions, he answers them with the same reluctance he shows in press conferences.)

But “First Man” also acknowledges that the space program unfolded in a larger context: We see Vietnam on the news, talk-show footage of Kurt Vonnegut wondering if NASA’s budget might have been better spent on “a habitable New York,” and a montage set to Gil Scott-Heron’s epic track “Whitey’s on the Moon” (which wasn’t written until after the moon landing, granted, but it still works here).

The notion of how frightening it must have been inside those space capsules has been explored before, most notably in “The Right Stuff,” but Chazelle takes us further; when Armstrong climbs into Gemini 8 and it blasts off into the heavens, we’ve never felt this claustrophobia or listened to the creaking of the metal or felt the thrust of the rockets quite this way before in a movie. And no sooner do Armstrong and co-pilot Dave Scott (Christopher Abbott) feel the satisfaction of finding and docking with the Agena target vehicle than the two of them go hurtling through space, out of control, with Armstrong only just managing to stabilize the capsule before blacking out.

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Gosling is fine here, although Armstrong’s emotional armor mostly leaves the actor playing a variation on his character in “Drive,” and except for one moment in which her British accent comes peeking out, Foy brings emotional power to a woman who has been mostly sidelined by history, keeping a brave face at home for her children while constantly worrying that her husband, like so many of his peers, just won’t come home one day.

(Foy’s Oscar-clip moment is admittedly delectable; she dresses down Kyle Chandler as Deke Slayton, who cuts off Jan’s access to the Gemini 8 radio feed when it looks like they won’t make it back. She tells him that, for all of NASA’s procedures and protocols, they are ultimately just boys making models out of balsa wood.)

“First Man” gives a bevy of talented character actors (including Ciarán Hinds, Pablo Schreiber, Ethan Embry, Jason Clarke, Shea Whigham, Cory Michael Smith and Patrick Fugit) the opportunity to step into the buzz cuts and boxy suits of the era; Corey Stoll’s cynical, mouthy Buzz Aldrin makes for an interesting foil to the hero. (“I’m just saying what you’re thinking,” says Aldrin, to which Armstrong tersely replies, “Maybe you shouldn’t.”) Lukas Haas as Mike Collins, the third astronaut on the Apollo 11 mission, doesn’t get a lot of dialogue, but the actor is enough of an old pro to communicate volumes with just his face.

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Overall, it’s an impressively mounted film, from the seamless visual effects to the score by Justin Hurwitz, which is flexible enough to accentuate both the film’s tension and its earthbound humanity, to the always exquisite editing by Tom Cross (“Whiplash”), which plays a key role in establishing the characters, the stakes and even the passage of time.

Space nerds will swoon for the vintage tech, and for the re-creation of historic moments both large and small. And in the grander sense, “First Man” reminds us — in an era of “truth isn’t truth,” “alternative facts,” and established science being treated like an opinion — that there was a time not all that long ago in which we (the taxpaying public, not just some bored billionaire) were capable of sending people into space and to the moon and back again. And we did it, to quote JFK, “not because it was easy, but because it was hard.” In an era of widespread hopelessness, it’s a lesson worth remembering.

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‘Othello’ Theater Review: Corey Stoll Makes Iago a Mesmerizing Villain

Read on: TheWrapTheWrap.

You almost have to feel sorry for Chukwudi Iwuji, the talented British actor who plays the title role in “Othello” in the Public Theater’s Shakespeare in the Park production that opened Monday.

He delivers a confident performance in an exquisite revival of the Bard’s classic tragedy, infusing the tragic Moor with both the cockiness of a war hero and the lustiness of a man who has wooed a woman seemingly above his station but whose ardor is very much at the forefront of his thoughts.

Like so many Othellos before him, though, Iwuji is ultimately upstaged by a truly brilliant performance by Corey Stoll as the duplicitous Iago. Stealing a page from his former “House of Cards” co-star Kevin Spacey, Stoll delivers a portrait of evil at its most charming and, dare I say, appealing.

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Stoll also brings an admirable plain-spokenness to his lines, which are delivered with a conversational brio that makes the audience even more complicit in his murderous schemes.

But Stoll is not the only standout on stage. As Desdemona, Othello’s hard-won wife whose devotion to her husband is undermined by Iago’s plotting, Heather Lind (“Boardwalk Empire”) proves to be a surprisingly spunky heroine fit for the #MeToo era.

She is no shrinking violet, and responds with a kind of righteous anger at being falsely accused of infidelity — and even shows a spark of defiance when struck in the face. Lind also displays a real chemistry with Iwuji, which brings added poignancy to her plaintive “Willow, Willow” song late in the show as she anticipates her possible fate.

Alison Wright (“The Americans”) flashes a similar feistiness as Emilia, Desdemona’s maid and Iago’s wife, who unwittingly sets up her husband’s coup de grace. At one point, she even bites his lip to cut short an ill-timed attempt at seduction.

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And Babak Tafti makes a strong impression as Michael Cassio, the young soldier who is wrongly implicated as Desdemona’s secret lover. He even manages a tricky drunk scene with loose-limbed aplomb — though some key business with rival Roderigo (Motell Foster) is staged so far upstage I feared that some audience members at the Delacorte Theater may just miss it.

Director Ruben Santiago-Hudson’s production is a revelation, galloping through three hours of drama without ever getting bogged down in exposition or stuffiness. And he’s aided by a design team — including Toni-Leslie James’ period costumes and Rachel Hauck’s simple set — that takes a similarly low-key and straight-forward approach to the material.

This is a classic tale, well told.



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‘The Seagull’ Film Review: All-Star Cast Flourishes in Chekhov Adaptation

Read on: TheWrapTheWrap.

Every part in a Chekhov play, no matter how small, is a great part and filled with potential, and Elisabeth Moss proves that in this new screen version of “The Seagull,” which has been adapted by the playwright Stephen Karam.

Moss plays Masha, which is a small role in relation to the lead roles of the famous actress Arkadina and the ambitious ingénue Nina. At the start of “The Seagull,” Masha famously says, “I’m in mourning for my life,” but Karam cleverly begins his screenplay with the set-up of the last scene in the play and then flashes back to the beginning, when there still seems to be some hope for everyone.

Moss reads that well-known line about being in mourning for her life in a way that exactly catches the tone of Chekhov: deeply anguished yet also somehow comic. Chekhov considered “The Seagull” a comedy and called it that in his text, even though it is filled to the brim with the sadness of what can happen between people who love unrequitedly and compete with each other.

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There have been other films of “The Seagull,” and many different contemporary stage productions. Sidney Lumet directed a movie adaptation with Vanessa Redgrave as Nina in 1968, and the 1975 Williamstown production was filmed for PBS with Blythe Danner as a very spontaneous, in-the-moment, and heartbreaking Nina. And anyone who saw Meryl Streep play Arkadina in “The Seagull” in Central Park in 2001 will remember her in it, especially the way she did an expert cartwheel on stage.

Arkadina is played by Annette Bening here, and her celebrated literary lover Trigorin is played by Corey Stoll. In the first scenes, which are presented as a flashback, Arkadina’s son Konstantin (Billy Howle, “On Chesil Beach”) has prepared an avant-garde play starring his girlfriend Nina (Saoirse Ronan), and Arkadina keeps interrupting the performance with rude remarks. Bening plays Arkadina in a much crueler way than she is usually portrayed in this scene; she is very cutting, and yet Bening is believable later when Arkadina wonders, “Why did I hurt him?”

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As played by Bening, Arkadina is a vain woman and a ruthless winner who is disgusted by her son’s weakness and pretentiousness and jealousy. In the big scene where Arkadina dresses Konstantin’s head wound after he has attempted suicide, Bening smiles at Howle more like a girlfriend than a mother. Bening’s Arkadina is a woman without a shred of maternal feeling, and this makes her very different from Streep’s Arkadina, who was angry with her son but still tied to him.

Stoll is an extremely sexy Trigorin, especially when he looks at Ronan’s Nina with bedroom eyes as he takes her on a boat ride and rows her along, but the tone of his voice sounds jaded and cruel, and this matches what we have seen and heard of Arkadina. (Never has Bening’s throaty voice sounded more deadly and more heartless than it does here.)

When Bening plays her second big scene, in which Arkadina has to do anything she can think of to hold on to Trigorin, director Michael Mayer keeps the camera steadily on her face as she flatters Trigorin out of his urge to leave her for the younger Nina. After Arkadina has won, Stoll’s Trigorin sits back and says, “I am weak and spineless…is that what women want?” This is a very funny line as delivered here, and it hits just the right tragic-comic note.

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“The Seagull” has been “opened up” so that some scenes play outdoors, and that works well because these characters are supposed to be amidst nature on a country estate. This mobility helps keep the material fluid, as does the very hard-working score by Nico Muhly and Anton Sanko, which becomes particularly ominous before Konstantin’s attempted suicide (what sounds like a mixed male and female chorus starts to shriek on the soundtrack). But the most impressive thing about this film of “The Seagull” is that every role has been ideally cast.

Moss somehow manages to dominate the whole film and stay most in the memory in spite of limited footage, but Bening plays her last moment here extraordinarily well, and this closing scene with Arkadina generally gives actresses trouble. (Streep didn’t seem to know how to play it, as if it were a puzzle that she couldn’t figure out.)

Bening is physically fluttery throughout most of the film, which expresses Arkadina’s desperate need to never face the facts. But in our last view of this woman, Bening decides to keep very still, her eyes glassy and fixed on some distant point, and the effect is like a surprisingly bold move in an otherwise circumspect poker game. The PBS version of “The Seagull” with Blythe Danner is still the best film adaptation of this play, but this movie has much to recommend it.

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Saoirse Ronan, Annette Bening Row Into This Year’s Oscar Race in ‘The Seagull’ Trailer (Video)

Read on: TheWrapTheWrap.

Saoirse Ronan and Annette Bening could be angling for a return to the Oscar race based on the classy new trailer for director Michael Mayer’s “The Seagull.”

Corey Stoll, Elisabeth Moss, Mare Winningham, Jon Tenney, Michael Zegan, Glenn Fleshler, with Billy Howle and Brian Dennehy also star in the film, which Sony Pictures Classics plans to release on May 11.

The new adaptation of Anton Chekhov’s classic play, with a script by Tony winner Stephen Karam, follows a family and their hangers-on and lovers at a lakeside Russian estate during one summer weekend.

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While everyone is caught up in passionately loving someone who loves somebody else, a rich story unfolds about art, fame, parents and children, and human folly.

The film is produced by Jay Franke, David Herro, Robert Salerno, Tom Hulce and Leslie Urdang.

Watch the trailer above.

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Matthew Weiner’s The Romanoffs adds Paul Reiser, Corey Stoll, and Salem’s Janet Montgomery

Read on: The A.V. Club.

Matthew Weiner’s new Amazon anthology The Romanoffs continues to pile in talent to fill out its world of eccentric characters, linked only by the fact that they all think they’re descended from the deposed Russian royal family. Today, the show reported that GirlsAndrew Rannells, Mike Doyle, JJ Felid, Salem’s Janet…

Read more…

33 Major ‘House of Cards’ Characters, Ranked From Worst to Best (Photos)

Read on: TheWrapTheWrap.

“House of Cards” is full of bad people, from the corrupt and power-hungry Underwoods, to their many lackeys and opponents. With so many shades of gray, we’ve waded into through the series to rank every single character mired in the show’s Washington D.C. swamp.

Yusuf Al Ahmadi (Farshad Farahat)
The terrorist leader of “House of Cards” ISIS analogue ICO doesn’t get much in the way of screen time. His big moment is refusing to play the Underwoods’ game, which results in the beheading of an innocent man — all in all, a pretty terrible dude.

Nathan Green (Jeremy Holm)
FBI Agent Nathan Green is Doug Stamper’s Doug Stamper, but with less of the interesting and horrific baggage and terrible relationships.

Elizabeth Hale (Ellen Burstyn)
Claire and her mother Elizabeth have a pretty terrible relationship. She’s pretty terrible to Claire pretty much all the time, until she dies of cancer. Then again, maybe she was right, since Claire uses her mom’s death for political gain.

Janine Skorsky (Constance Zimmer)
Skorsky is a rough reporter just like Barnes, admitting to using sex to get a story as often as dogged reporting. She comes off like a journalist for whom getting to the truth is everything, but when Zoe Barnes is killed, she cuts and runs. In fact, Skorsky winds up selling out Lucas Goodwin to save herself because she’s so scared of Frank Underwood and his goons. It’s hard to blame her for not wanting to get murdered, but she also bears a lot of responsibility for not stopping Underwood several seasons ago.

Edward Meechum (Nathan Darrow)
The Underwoods have a tendency to inspire intense loyalty in their underlings, and Meechum was one of the most loyal. The Secret Service agent might have even fallen in love with the Underwoods. Like a lot of people in “House of Cards,” though, Meechum was ultimately a bit more of a tool than a person.

Hannah Conway (Dominique McElligott)
Will Conway’s wife wants to be the First Lady, but like Conway, starts to bend under the pressure of all the political garbage. Like a lot of people in “House of Cards,” she’s just not equipped to go up against the Underwoods, but she’s at least a pretty good wife.

Donald Blythe (Reed Birney)
Frank has no respect for his eventual vice president, and despite trying to be a good person and a good politician, Blythe winds up as an Underwood collaborator. He’s spends a lot of the series pretty checked out, except for when he proves what a terrible president he’d be.

Gavin Orsay (Jimmi Simpson)
The shifty computer hacker enlisted by Lucas Goodwin did a pretty good job of extorting everyone for a while there. But he was mostly a tool of Doug Stamper and Frank Underwood, and got himself beat up for trying to game the bad guys.

Kate Baldwin (Kim Dickens)
A journalistic thorn in the administration’s side for a bit, Kate Baldwin never quite amounted to a serious check on the Underwoods. Despite her best efforts, though, she can’t stop Frank and Claire with the mere deployment of the truth.

General Brockhart (Colm Feore)
The Republican vice presidential candidate is actually a pretty good guy. He joins the ticket with the intent to do good in the Middle East and protect soldiers, but of course, the politicking ruins his plans. Unfortunately he’s pretty ineffectual against the Underwoods, on account of not being nearly evil enough.

Garrett Walker (Michel Gill)
Other than Peter Russo, nobody got gamed so completely as former President Walker. After slighting Frank and starting him on his ambitious path, he managed to not realize Frank was manipulating everyone everywhere to take over his presidency. He’s the ultimate example of playing checkers while his opponent was playing 4D chess.

Seth Grayson (Derek Cecil)
For a while, it seemed like Seth might be enough of a shark to handle being the Underwood administration’s press secretary. The longer time goes on, though, the more he’s looking like he’s in over his head and unsure how to get out. It seems lucky Seth hasn’t already gotten crushed under the boot heel of Doug Stamper.

Adam Galloway (Ben Daniels)
Claire managed to turn Galloway’s love for her into hatred when Remy and Raymond Tusk threatened to expose her affair with him. After some maneuvering, the Underwoods managed to shut him up, but for a bit Galloway was the good dude Claire could have been with.

LeAnn Harvey (Neve Campbell)
Like everyone in the Underwoods’ circle, LeAnn’s willing to be ruthless and break the law. If she’s ever feeling any remorse about rampantly breaking the law and probably ruining America, she doesn’t show it.

Christina Gallagher (Kristen Connolly)
Peter Russo’s assistant and girlfriend found him self-destructing under Frank’s influence. As one of the rare seemingly actually good people on “House of Cards,” she fights valiantly for Russo for as long as she can manage, but ultimately can’t help him get himself together.

Linda Vasquez (Sakina Jaffrey)
Garrett Walker’s chief of staff talked a big game for a while, but she ultimately had no idea what Frank was doing the entire time he was doing it. Frank at least has a lot of respect for Vasquez, even if he does completely defeat.

Cathy Durant (Jayne Atkinson)
Cathy helped Underwood at plenty of key moments in his bid to oust and replace Walker. It earned her the job of Secretary of State, making her a pretty intense collaborator. She occasionally has misgivings about the awful things the Underwoods are willing to do, but she mostly chooses to look the other way and pretend it’s not happening.

Viktor Petrov (Lars Mikkelsen)
The “House of Cards” version of Russian president Vladimir Putin is a lot like Frank Underwood, but more hilariously rude. The only thing better than being a hyper-intelligent Machiavellian mastermind is being an insulting one.

Will Conway (Joel Kinnaman)
The Republican presidential candidate in the 2016 election isn’t quite as slimy as Frank Underwood, but he’s no saint. Conway would steal an election if he could — and he tried, a bit — and Kinnaman plays him with a simmering rage that makes him seem like he could start beating his wife at any moment.

Rachel Posner (Rachel Brosnahan)
After getting stuck in the weird prisoner-slash-ward relationship with Doug Stamper, Rachel fought pretty hard to escape his grasp. She almost managed it, too, and her cracking of Doug’s skull was pretty powerful moment. But loose ends don’t escape the Underwoods, unfortunately.

Lucas Goodwin (Sebastian Arcelus)
Good guy Lucas is like a knight trying to slay a dragon. He’s way out of his depth as he tries to go after Frank Underwood for Zoe Barnes’ death, and gets immediately squashed because of it. He gets closer than anyone to taking down Frank, but only with a suicidal assassination attempt.

Tom Hammerschmidt (Boris McGiver)
The journalist who grabbed up the mantle after Lucas Goodwin and Zoe Barnes were both killed took an awful long time to come around on believing in the corruption of the Underwoods, but he’s become the most dogged truth-seeker still operating in “House of Cards.” Hammerschmidt’s has to figure he’s in the crosshairs by now, but his unwillingness to give up on exposing the Underwoods’ actions to the light of day is making him the best hero the show has.

Zoe Barnes (Kata Mara)
Zoe is one of those TV journalists who’s got no ethics and does anything for a story — which makes for good TV but not actually for good journalism. Better journalistic ethics might have saved her from getting tossed in front of a train by Frank Underwood.

Peter Russo (Corey Stoll)
Nobody’s sadder in the world of “House of Cards” than Peter Russo. A politician who came to Washington to try to do some good, he can’t stop self-destructing — with Frank Underwood‘s assistance, of course. It’s a bummer what a schlub he was, considering how much he wants to be a good guy.

Heather Dunbar (Elizabeth Marvel)
For a bit, Heather Dunbar seemed like an actual good guy in the world of “House of Cards,” when she served as special prosecutor on the Walker case, and later as the Democratic candidate against Frank. But politics got the best of her, and when she turned away Lucas Goodwin when he begged her for help taking Frank because it didn’t look great politically, it wound up costing her campaign.

Freddy (Reg E. Cathey)
If Frank ever actually had a real friend, it might have been Freddy. Except Freddy didn’t think so, because as he made clear, Frank only knows how to use people. Though Frank’s battles with Remy wrecked Freddy’s chance at franchising his rib restaurant, he at least got to call the president a motherf—er.

Raymond Tusk (Gerald McRaney)
Billionaire Tusk was a formidable opponent for Underwood, at least for a while. His “general on the battlefield” air and easygoing nature makes him a fun bad guy to watch while he used his money and power to ruin people close to Frank.

Remy Danton (Mahershala Ali)
Remy’s always known what the deal is with Frank, and for a while there, he seemed like he could keep up. But between his affair with Jackie Sharp and his throwing in with Raymond Tusk, Remy eventually couldn’t keep up with the King of Corruption.

Frank Underwood (Kevin Spacey)
There’s a reason there are five seasons of “House of Cards.” For some reason, it’s a lot of fun to watch a shockingly evil guy shock us with his evil over and over. He’s pretty much a cartoon supervillain. What’s strange about Frank is that he wants the presidency really badly, but doesn’t really seem to want to do anything with it. He’s always politicking, but never actually accomplishing anything. You’d think endless ambition would get boring. It doesn’t, though.

Tom Yates (Paul Sparks)
Flawed, weird and fascinating, writer Tom Yates gets close to the Underwoods and then can’t seem to pull away from them. His disaffected air of willingness to see how spooky the Underwoods can be, and write about it, matches well with his attachment to Claire, making him one of the most complex non-Underwood characters on the show.

Doug Stamper (Michael Kelly)
Frank’s personal Darth Vader is unfailingly, ridiculously loyal. He’s also an awful intense creeper of a guy who keeps wrecking people with his personal relationships. Stamper is incredibly screwed up, which makes him a compelling, but cringe-worthy watch.

Jackie Sharp (Molly Parker)
Jackie’s struggle with the mess Frank continually pulled her into was one of the key engines that ran the early seasons of “House of Cards.” Her internal battle between ambition and corruption, and not being a completely terrible person, was an interesting counter to the Underwood machinations. Her eventual attempt to strike back at Underwood ultimately failed, but at least she got to give it a shot.

Claire Underwood (Robin Wright)
The only person proven to be Frank’s equal in cunning, ruthlessness and ambition is Claire. She beats him out in guile, though, because where Frank can’t help but gloat, Claire’s more stealthy in her means of destroying people and consolidating power. Probably before the end, she’s going to take down everyone in her way, including her husband.

‘House of Cards’: All the Characters You Need To Remember Before Season 5 (Photos)

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Sure, you remember Frank and Claire Underwood, and their trusted advisor Doug Stamper — and probably Will Conway, their Republican challenger in the presidential election. But there are a whole lot of other “House of Cards” characters who are easy to forget in a show with this many moving pieces.

Peter Russo (Corey Stoll)

Frank Underwood’s first major victim is Peter Russo, a Pennsylvania congressman who Underwood covers for, gaining leverage over him. Then when Underwood needed Russo to cave, he orchestrated a situation to cause him to slip back into alcoholism. Frank finished his total destruction of Russo by murdering him and making it look like a suicide.

President Garrett Walker (Michael Gill)

The former Democratic president, Walker made the major error of not giving Frank the Secretary of State position he’d been promised. So Frank made it his mission to get revenge, destroy Walker and steal his presidency. It took a long time and tons of political moves, but Frank eventually managed to get Walker to make him Vice President, then got Walker impeached.

Remy Danton (Mahershala Ali)

A former employee of Frank Underwood’s from way back, Remy became a lobbyist, and then worked for Raymond Tusk. For a while, Remy was Frank’s chief of staff, but eventually Remy flips on Frank, confirming details to journalist Tom Hammerschmidt about Frank’s involvement in impeaching former President Garrett Walker before making his exit from the political stage.

Jackie Sharp (Molly Parker)

A former ally of Frank’s, Jackie was manipulated so much into betraying people for his benefit, she started to see his true colors. She briefly ran for president against Heather Dunbar, but Frank backstabbed her and she dropped out and endorsed Dunbar against Frank instead. She also corroborated her role in helping Frank against Walker in Hammerschmidt’s story.

Tom Yates (Paul Sparks)

Frank originally commissioned Tom to write about his pet legislation, “America Works,” which morphed into a book about Underwood himself. But Frank fired Tom when he didn’t like the candid portrait of the Underwoods the author was writing. But he helped convince Claire to leave Frank in Season 3, then came on as Claire’s speechwriter when she became Frank’s running mate. Oh, and Tom and Claire are having an affair.

Leann Harvey (Neve Campbell)

The Underwoods’ campaign manager is as ruthless as they are. One of her biggest contributions was helping connect Frank with Aiden McCallen, the data scientist who discovered Republican presidential nominee Will Conway was manipulating search engine traffic to get a leg-up in the election.

Aidan MacAllan (Damian Young)
A data scientist for the NSA, Aidan has been the Underwoods’ ace in the hole for the entire 2016 election. He’s using domestic surveillance to aid their campaign in a completely illegal manner, but he’s unsure and twitchy about the whole idea.

Secretary of State Catherine Durant (Jayne Atkinson)

Former Democratic Senator Cathy Durant has been a key ally of Frank’s all through his machinations to become president. She helped him way back in Season 1, and got the Secretary of State nomination for her trouble. She’s been having second thoughts about the way Frank runs the country for a while though.

Zoe Barnes (Kate Mara)

Zoe started as a journalist with questionable ethics who had an affair with Frank as a mutually beneficial relationship. He’d provide her with leaks, she’d write the stories he wanted. But she started to uncover more and more about Frank, including his murder of Peter Russo. Before she could do much with the information, Frank threw her in front of a train.

Lucas Goodwin (Sebastian Arcelus)

Zoe’s former editor took up the case after her death, enlisting hacker Gavin Orsay to help him break into AT&T to discover if Frank and Zoe really were having an affair. It was actually an FBI sting orchestrated by Doug Stamper, though, and Gavin was run up on cyberterrorism charges. Knowing that Frank had killed Zoe and Russo but unable to prove it, Gavin shot the president, and was killed during the assassination attempt.

Tom Hammerschmidt (Boris McGiver)

The latest journalist to try to take down Frank Underwood. Hammerschmidt started looking into what Lucas found out about Zoe and started trying to track it down. As editor-in-chief of the Washington Herald, he’s had some success, and he’s slowly tracking down more and more about the Underwoods. He hasn’t quite convinced anyone they’re actually supervillains yet, though.

Nathan Green (Jeremy Holm)

FBI guy Nathan Green is a friend of Doug Stamper’s, and when Lucas Goodwin put out a post on the Deep Web looking for someone to help him get information by hacking AT&T, Green spotted it. That allowed Stamper to frame Goodwin for cyberterrorism, with the help of hacker Gavin Orsay, who Green worked with. Green’s been elevated in the FBI for helping cover Frank’s back.

Rachel Posner (Rachel Brosnahan)

Rachel was a prostitute that got mixed up with Russo in 2013. Stamper paid her to keep quiet about being with the politician, and then he started paying her to sleep with him as well. Eventually, Stamper used Rachel to help get Russo drinking again, crushing his governor aspirations as part of Frank’s master plan. But Stamper got way too clingy with Rachel and she tries to escape his grasp, making her a potentially damaging loose end. With Orsay’s help, he eventually tracks her down and kills her. That leaves only Lisa Williams, Rachel’s girlfriend, actively looking for her.

Tim Corbet (David Andrews)

Tim is Frank’s good friend from college, but in fact their relationship was actually romantic. Frank feels very strongly for Tim, even though the two have moved on with their separate lives.

Vice President Donald Blythe (Reed Birney)

Frank basically hates Donald Blythe. He’s been using him since Season 1, carefully manipulating the congressman to get bills passed, ingratiate himself with other people, and execute his master plans. Frank made Blythe his vice president because he was an easy nomination and it was more politically useful to get Blythe out of Congress. Now Blythe is a vice president who doesn’t do a whole lot, and when he was left to take over the presidency when Frank was in a coma after being shot, pretty much found he wasn’t interested in the job.

Viktor Petrov (Lars Mikkelsen)

The Russian president, pretty obviously based on real-life leader Vladimir Putin, might be the smuggest person on “House of Cards,” and that’s definitely saying something. Petrov is as shrewd and ruthless as the Underwoods, but he’s a lot less polite about it most of the time. He’s continually locked horns with Frank and messed up his plans as president.

Augustus Underwood (Malcolm Madera)

Though his real name is Eric, the Civil War reenactor who portrayed Frank’s ancestor, Confederate soldier Augustus Underwood, endeared himself to the then-vice president during his visit to his home state. Eric told Frank a great deal about his great-great-great grandfather, including the details of his death during the Battle of Spotsylvania.

Gavin Orsay (Jimmi Simpson)

A hacker bagged by the FBI, Doug Stamper used Orsay to set up Lucas Goodwin as he was trying to find evidence about Zoe Barnes’ death. Instead, Orsay and the FBI got Goodwin arrested. Later Stamper sued Orsay to find the missing Rachel Posner, and Orsay tried to use the information to extort Stamper and get a pardon. Stamper, in turn, beat the hell out of him.

‘Gold’ Marks Matthew McConaughey’s Worst Wide Release Opening

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The Weinstein Company’s “Gold” earned $3.4 million its opening weekend, marking Matthew McConaughey’s worst wide release opening of his career.

That doesn’t include “My Boyfriend’s Back,” in which McConaughey had a minor supporting role.

Heading into the weekend, the studio had anticipated an opening in the $3 million to $4 million range although an opening in the $8 million to $10 million range would’ve been better news for the film costarring Edgar Ramirez, Bryce Dallas Howard and Corey Stoll.

Also Read: ‘Gold’ Review: Matthew McConaughey Digs Up the Unexpected

The movie, which fueled higher expectations with McConaughey top-lined, had a disappointing debut due to several factors, one being the crowded market place. This weekend marked the openings of “A Dog’s Purpose” and “Resident Evil: The Final Chapter,” and also saw a strong hold from James McAvoy’s “Split,” which opened last weekend to $40 million.

Moreover, many Oscar-nominated films were rereleased in theaters or expanded wide. For example, “La La Land” expanded to its widest point this weekend and crossed the $100 million threshold. TWC’s “Lion” didn’t expand this weekend but still saw a 35 percent bump in box office revenue from last weekend — although it is only playing in 575 theaters.

“The biggest issue is the incredibly crowded marketplace and all eyes shifting to the Oscar nominees and most of them getting the post-nomination bounce,” senior analyst at comScore Paul Dergarabedian told TheWrap. “‘La La Land, ‘Manchester by the Sea’ and ‘Moonlight’ are all capitalizing on that. It’s very difficult right now for any new, non-2016 Oscar contender to get attention. The audience is so fragmented — people have Oscars movies on their radar.”

“Gold” didn’t receive any Oscars recognition, although it was nominated for a Golden Globe in the category of Best Original Song.

Also Read: Why Matthew McConaughey Chose ‘The Dark Tower’ Over ‘Guardians of the Galaxy Vol 2’

Moreover, reviews for the film haven’t been very favorable. On Rotten Tomatoes, the film holds a score of 38 percent, with critics calling the film “a mess” — one that even McConaughey can’t fix.

Its CinemaScore is a B-.

“Reviews for these movies matter more than they do for blockbusters that seem to be impervious to bad reviews,” added Dergarabedian. “There’s a big box office pie and it’s being split into an incredible amount of pieces.”

On a positive note, The Weinstein Company will see a boost for “Lion” next weekend when the studio will expand the film starring Dev Patel and Nicole Kidman to 1,800 theaters. It has earned $19.8 million to date.

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‘Split’ Blows Past Newcomers ‘A Dog’s Purpose,’ ‘Resident Evil’ at Friday Box Office

Read on: TheWrapTheWrap.

“Split” is still going strong in its second weekend at the box office: The James McAvoy film earned $7.9 million on Friday night and is expected to take $25.7 million over the three days.

The M. Night Shyamalan film blew past newcomers “A Dog’s Purpose” and “Resident Evil: The Final Chapter.” The former made $5.3 million for a weekend estimate of $18.7 million, while the Screen Gems video-game film earned an estimated $5 million for a weekend estimate of $12 million.

Tracking for “A Dog’s Purpose” had been all over the map going into the weekend, with analysts putting the film in an opening range of $13 million to $21 million, with the studio looking at a gross in the high-teens to $20 million.

Also Read: ‘A Dog’s Purpose’: Inside ‘Hollywood’s Dirty Little Secret’ About Animals on Set

Last week, TMZ leaked a video from the set of “A Dog’s Purpose,” in which it looks like a German Shepherd was being forced into a pool of rough water. A later section of the video shows the dog going under for about four seconds. The video sparked outrage all over the nation, with many, including PETA, calling for the boycott of the film.

Universal canceled the premiere and the film’s press junket, and the studio, production company Amblin Entertainment and the film’s producers have refuted claims that the dog was abused or injured during the making of the film.

The film was produced for an amount in the low-$20 million range and stars Britt Robertson, KJ Apa, John Ortiz, Juliet Rylance, Pooch Hall, Dennis Quaid and Josh Gad. It was directed by Lasse Hallstrom and produced by Gavin Polone, who also said that the video did not accurately portray what happened on the set. The film’s Rotten Tomatoes score is 33 percent, while it has a CinemaScore of A.

Also Read: Will ‘A Dog’s Purpose’ Boycott Take Bite Out of Box Office Debut?

“Resident Evil: The Final Chapter” also hit theaters this weekend. The studio is anticipating $70 million internationally by Monday. The film’s budget was an estimated $40 million and the studio expects a gross in the low-teens for the weekend domestically. Trackers were seeing a range from $13.5 million to $18 million.

Paul W.S. Anderson wrote, directed and produced the latest film in the franchise, picking up immediately where “Retribution” left off. Milla Jovovich’s Alice is the only survivor in humanity’s fight against the dead. The film also stars Ali Larter, Shawn Roberts, Iain Glen, Ruby Rose, Eoin Macken and Fraser James. On Rotten Tomatoes, the movie holds a score of 39 percent. Its CinemaScore is B.

The Weinstein Company’s “Gold,” starring Matthew McConaughey, earned $1.15 million from 2,166 screens on Friday night. Heading into the weekend, the film was looking at an opening between $2 million and $5 million, although the studio anticipates an opening in the $4 million to $5 million range.

Inspired by a true story, McConaughey stars as Kenny Wells, a modern day prospector desperate for a lucky break, who teams up with a similarly eager geologist (Edgar Ramírez) and sets off into the Indonesian jungle looking to make it rich. They quickly learn, however, that finding gold is much easier than keeping it.

The film also stars Bryce Dallas Howard, Toby Kebbell, Corey Stoll, Stacy Keach, and Bruce Greenwood. Oscar winner Stephen Gaghan is directing, marking the first time he has helmed a major theater release since 2005’s “Syriana.” Patrick Massett and John Zinman wrote the screenplay. Its Rotten Tomatoes score is 37 percent while its CinemaScore is B-.

Fox and Chernin Entertainment’s “Hidden Figures” is expected to take third place this weekend after an already stellar run at the box office. The film is looking to make another $13 million this weekend, bringing its total past the $100 million milestone.

Also Read: Which Oscar Best Picture Nominees Will Get Biggest Box Office Bump?

After Tuesday’s Oscar nominations, many films are being rereleased in theaters and are expected to get a box office bump. TheWrap previously reported that Lionsgate’s “La La Land” and The Weinstein Company’s “Lion” are expected to gain the most at the box office. “La La Land” is expected to cross the $100 million benchmark this weekend.

“Fences,” “Arrival” and “Moonlight” are expected to get moderate boosts from their Oscar nominations after their respective studios expanded the theater counts on Friday. “Manchester by the Sea” also expanded.


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Will ‘A Dog’s Purpose’ Boycott Take Bite Out of Box Office Debut?

Read on: TheWrapTheWrap.

How Universal’s “A Dog’s Purpose” will do at the box office this weekend is something of a mystery as trackers are unsure how a recent leaked video will impact the movie’s opening weekend.

Analysts are putting the film in an opening range of $13 million to $21 million, with the studio looking at a gross in the high-teens to $20 million. A gross around $18 million seems likely, according to Jeff Bock, senior analyst at Exhibitor Relations.

Last week, TMZ leaked a video from the set of “A Dog’s Purpose,” in which it looks like a German Shepherd was being forced into a pool of rough water. A later section of the video shows the dog going under for about four seconds. The video sparked outrage all over the nation, with many, including PETA, calling for the boycott of the film.

Also Read: ‘A Dog’s Purpose’ Star Dennis Quaid Calls BS on Abuse Claims

Universal canceled the premiere and the film’s press junket, and the studio, production company Amblin Entertainment and the film’s producers have refuted claims that the dog was abused or injured during the making of the film.

The film was produced for an amount in the low-$20 million range and stars Britt Robertson, KJ Apa, John Ortiz, Juliet Rylance, Pooch Hall, Dennis Quaid and Josh Gad. It was directed by Lasse Hallstrom and produced by Gavin Polone, who also said that the video did not accurately portray what happened on the set.

“A Dog’s Purpose” is based on W. Bruce Cameron’s 2010 novel about a dog that learns his purpose as he is reincarnated into various dogs over the course of several lifetimes.

Although trackers are not sure about the exact earning potential for the film its opening weekend, a battle is brewing for No. 1 between the dog-themed film, James McAvoy’s “Split” and Screen Gems’ “Resident Evil: “The Final Chapter.”

Also Read: ‘A Dog’s Purpose’ Review: Canine Tear-Jerker Fails the Sniff Test

Last weekend, “Split” exceeded all expectations and opened to $40 million although tracking initially had it at $20 million. The film is expected to have a strong hold, and even if it experiences a 50 percent drop-off, it will compete against “A Dog’s Purpose” and “Resident Evil.” If the controversy puts a big dent in “A Dog’s Purpose”‘s performance, “Split” will take first place with $20 million to $25 million.

“Resident Evil” is opening in 3,100 locations on Friday and has already grossed $35 million in Japan — the studio is anticipating $70 million internationally by Monday. The film’s budget was an estimated $40 million and the studio expects a gross in the low-teens for the weekend domestically. Trackers are seeing a range from $13.5 million to $18 million.

Paul W.S. Anderson wrote, directed and produced the latest film in the franchise, picking up immediately where “Retribution” left off. Milla Jovovich’s Alice is the only survivor in humanity’s fight against the dead. The film also stars Ali Larter, Shawn Roberts, Iain Glen, Ruby Rose, Eoin Macken and Fraser James.

The franchise, which is one of the most popular and successful video game-based movie series ever, is approaching $1 billion at the worldwide box office — 80 percent of the movie grosses are from international territories.

The Weinstein Company’s “Gold,” starring Matthew McConaughey is looking at an opening between $2 million and $5 million, although the studio anticipates an opening in the $4 million to $5 million range.

Inspired by a true story, McConaughey stars as Kenny Wells, a modern day prospector desperate for a lucky break, who teams up with a similarly eager geologist (Edgar Ramírez) and sets off into the Indonesian jungle looking to make it rich. They quickly learn, however, that finding gold is much easier than keeping it.

The film also stars Bryce Dallas Howard, Toby Kebbell, Corey Stoll, Stacy Keach, and Bruce Greenwood. Oscar winner Stephen Gaghan is directing, marking the first time he has helmed a major theater release since 2005’s “Syriana.” Patrick Massett and John Zinman wrote the screenplay.

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‘Gold’: Film Review

Read on: Hollywood Reporter - All Reviews.

In ‘Gold,’ an adventure drama inspired by true events, Matthew McConaughey and Edgar Ramirez star as business partners whose underdog mining enterprise puts them on the high-finance more

‘Plenty’ Theater Review: Rachel Weisz Chooses Between Anger and Madness

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David Hare’s “Plenty” returned Sunday to the Public Theater, the scene of its American debut in 1982. Back then, both the play and its leading actress, Kate Nelligan, took on the instant status of greatness, an impression reinforced the following year when the staging, directed by David Hare, transferred to Broadway.

There was something revolutionary about the play and its character, Susan Traherne. Hare played with time like few writers before him, the scenes not performed in chronological order. Equally challenging, theatergoers who’d been mesmerized by plays about women named Martha and Hedda were more than shocked by Susan’s disintegration into bottomless disappointment and anger, her expectations of plenty shattered as the United Kingdom lost its empire in the wake of World War II.

Nelligan’s performance was without apologies. When halfway through act one she entered shooting a gun, she appeared nothing more than extremely pissed off. Her cynical digs at men’s looks and ineptitude were so off-hand that audiences either missed them or laughed several beats after the barbs slipped from her mouth.

Also Read: Rachel Weisz to Star in NYC Revival of ‘Plenty’ This Fall

In the movie version, Meryl Streep played Susan as a weepy victim, and sunk the enterprise.

Rachel Weisz in the Public revival, directed by David Leveaux, takes an entirely different approach from either Streep or Nelligan. She’s definitely no victim, but where Nelligan was irate, first and foremost, and descended into a kind of nihilistic bitterness, Weisz is just plain crazy.

Susan single-handedly ruins the diplomatic career of her husband (the overly sympathetic Corey Stoll). Whereas Nelligan conveyed the impression that Susan was railing against an entire economic and political system, the recent Suez Canal fiasco being a particular irritant, Weisz’s take makes it more personal. Watching her, you simply regret that the 1950s weren’t more advanced when it came to meds.

Also Read: ‘Love, Love, Love’ Theater Review: Richard Armitage, Amy Ryan Bond With the Beatles

Has time inflated Nelligan’s performance? Possibly. Certainly, Hare’s drama doesn’t play as well as memory serves. At least in this revival. Susan remains a complex portrait, as does her doomed marriage, but beyond that small orbit of two people, the other characters often register as mere devices. Her roommate Alice (Emily Bergl doing Eve Arden British-style) is a sounding board and not much more.

And there are bigger disappointments for aficionados of “Plenty.” Minor characters are often ridiculed for no good purpose other than to induce easy laughs. A young woman (Dani de Waal) wanting an abortion is talked down to for, well, being young. More painfully executed (in more ways than one) is the character of Mme. Aung (Ann Sanders), a diplomat’s wife, who makes the mistake of identifying Ingmar Bergman as Norwegian. The scene ends with this dignified Asian woman being mocked for speaking in a language about a culture that is not her own.

If Brexit didn’t already make it clear, Britain’s superiority complex and xenophobia survived the Suez Canal crisis very much intact.

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Off Broadway Review: ‘Plenty’ With Rachel Weisz

Read on: Variety.

The death of idealism usually signals the end of an era, a brutal message lyrically delivered by David Hare in his 1982 drama, “Plenty,” now in a rare revival at the Public Theater. Rachel Weisz is by turns steely and fragile as the brave Resistance heroine who survives the dangers and deprivations of World War… Read more »