TheWrapMovies – TheWrap https://www.thewrap.com Covering Hollywood Fri, 24 Nov 2017 05:04:06 +0000 en-US hourly 1 https://wordpress.org/?v=4.8.3 Chewbacca Abuses a Porg in New ‘Star Wars: The Last Jedi’ Teaser (Video) https://www.thewrap.com/star-wars-last-jedi-chewbacca-porg-wookiee/ https://www.thewrap.com/star-wars-last-jedi-chewbacca-porg-wookiee/#respond Fri, 24 Nov 2017 04:01:01 +0000 Thom Geier https://www.thewrap.com/?p=1745052

Somebody might want to call the ASPCA: The new teaser for next month’s “Star Wars: The Last Jedi” reveals some definite Wookiee-on-porg violence.

Porgs are wide-eyed seabirds from Ahch-To, the planet where Luke Skywalker has been living in exile.

And one of them is swatted down by Chewbacca while freaking out aboard the Millennium Falcon in the new teaser, which also shows Luke himself (Mark Hamill) returning to the jalopy of a spaceship.

“So good to have you back,” a female voice intones.

The clip also shows glimpses of younger franchise stars Daisy Ridley, Adam Driver and John Boyega.

Director Rian Johnson’s new installment in George Lucas’ space epic opens December 15.

Watch the clip above.

Related stories from TheWrap:

'Star Wars: The Last Jedi' on Track for Cosmic $200 Million-Plus Opening Weekend

'Star Wars: The Last Jedi': Finn Finally Awakes in New Spot (Video)

'The Last Jedi' Will Be Longest 'Star Wars' Movie Ever, Says Director Rian Johnson

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‘Aladdin’ 25th Anniversary: 15 Facts You Probably Didn’t Know (Photos) https://www.thewrap.com/aladdin-25th-anniversary-facts-robin-williams-disney-photos/ https://www.thewrap.com/aladdin-25th-anniversary-facts-robin-williams-disney-photos/#respond Fri, 24 Nov 2017 03:25:25 +0000 Matt Hejl https://www.thewrap.com/?p=1744175 Twenty-five years after its release, “Aladdin” still looms large as one of the defining animated films in cinema history.  The Wrap takes a look back at the classic as it approaches the quarter-century mark.

Related stories from TheWrap:

Robin Williams Mooned 'Hook' Cast to Prank Spielberg, Actor Says

Watch Carrie Fisher's Secret Cameo in 'Hook' (Video)

Disney Slammed for Adding White Character to 'Aladdin'

Will Smith Poses With 'Aladdin' Castmates for First Set Photo From Disney Remake

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https://www.thewrap.com/aladdin-25th-anniversary-facts-robin-williams-disney-photos/feed/ 0 Disney's "Aladdin" first flew into theaters on Nov. 25, 1992. Now, 25 years later, it still looms large as a defining animated film. TheWrap takes a look back at the classic as it celebrates the quarter-century mark.

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Disney's "Aladdin" first flew into theaters on Nov. 25, 1992. Now, 25 years later, it still looms large as a defining animated film. TheWrap takes a look back at the classic as it celebrates the quarter-century mark.

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Though based on the same-titled tale from "One Thousand and One Nights," "Aladdin" borrowed a number of elements from the 1940 fantasy adventure "The Thief of Baghdad." Examples include a princess on the run, a flying carpet, and an evil vizier named Jaffar.

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Though based on the same-titled tale from "One Thousand and One Nights," "Aladdin" borrowed a number of elements from the 1940 fantasy adventure "The Thief of Baghdad." Examples include a princess on the run, a flying carpet, and an evil vizier named Jaffar.

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Directors John Musker and Ron Clements were set on Robin Williams playing the Genie from the start, but Disney chairman Jeffrey Katzenberg wasn't sure.  Forced to come up with alternatives, the directors reluctantly suggested Steve Martin, Eddie Murphy, John Candy, Martin Short, Albert Brooks and John Goodman as potential replacements.

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Directors John Musker and Ron Clements were set on Robin Williams playing the Genie from the start, but Disney chairman Jeffrey Katzenberg wasn't sure.  Forced to come up with alternatives, the directors reluctantly suggested Steve Martin, Eddie Murphy, John Candy, Martin Short, Albert Brooks and John Goodman as potential replacements.

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According to several accounts given by filmmakers over the years, animators took audio of a Williams routine and paired it with early sketches of the Genie in order to convince exec Jeffrey Katzenberg and actor Robin Williams of the casting choice. Both men loved the result, and Williams promptly signed on for the role.

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According to several accounts given by filmmakers over the years, animators took audio of a Williams routine and paired it with early sketches of the Genie in order to convince exec Jeffrey Katzenberg and actor Robin Williams of the casting choice. Both men loved the result, and Williams promptly signed on for the role.

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Robin Williams pulled double duty as both the Genie and the merchant from the opening scene.  This was not meant to be a coincidence, as the merchant was meant to reveal himself as the Genie in disguise at the end. However, an ever-increasing movie length and a hard release date forced the directors to cut the scene.

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Robin Williams pulled double duty as both the Genie and the merchant from the opening scene.  This was not meant to be a coincidence, as the merchant was meant to reveal himself as the Genie in disguise at the end. However, an ever-increasing movie length and a hard release date forced the directors to cut the scene.

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Original sketches made Aladdin look boyish. Some filmmakers noted he even resembled Michael J. Fox in "Back to the Future."  Katzenberg, worried about how to sell Aladdin's masculinity, asked the animators to watch Tom Cruise movies as a reference point and redesign the character.

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Original sketches made Aladdin look boyish. Some filmmakers noted he even resembled Michael J. Fox in "Back to the Future."  Katzenberg, worried about how to sell Aladdin's masculinity, asked the animators to watch Tom Cruise movies as a reference point and redesign the character.

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Jasmine's appearance was based on actress Jennifer Connelly as well as the sister of one of the animators.

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Jasmine's appearance was based on actress Jennifer Connelly as well as the sister of one of the animators.

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Jafar was originally envisioned as a much more psychotic, dangerous character, while Iago was planned to be a British-voiced, calming influence. Once the directors decided to hire Gilbert Gottfried, however, the personalities were switched.

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Jafar was originally envisioned as a much more psychotic, dangerous character, while Iago was planned to be a British-voiced, calming influence. Once the directors decided to hire Gilbert Gottfried, however, the personalities were switched.

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Jonathan Freeman must love playing Jafar: He has voiced the character for "Return of Jafar," "Hercules," "House of Mouse" and the "Kingdom Hearts" series.  He also originated the part on Broadway in 2011.

 

[contextual-link post_id="1744146" title="Also Read" link_title="‘Planes, Trains and Automobiles’ 30th: ‘Those Aren’t Pillows’ and 7 More Hysterical Zingers (Photos)" target=""]

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Jonathan Freeman must love playing Jafar: He has voiced the character for "Return of Jafar," "Hercules," "House of Mouse" and the "Kingdom Hearts" series.  He also originated the part on Broadway in 2011.

 

[contextual-link post_id="1744146" title="Also Read" link_title="‘Planes, Trains and Automobiles’ 30th: ‘Those Aren’t Pillows’ and 7 More Hysterical Zingers (Photos)" target=""]

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Known for his improvisational skills, Robin Williams ad-libbed much of his performance. Even much of the opening merchant scene is improv: Jeffrey Katzenberg put a table full of props in the recording room and asked Williams to try and sell him the items.

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Known for his improvisational skills, Robin Williams ad-libbed much of his performance. Even much of the opening merchant scene is improv: Jeffrey Katzenberg put a table full of props in the recording room and asked Williams to try and sell him the items.

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While working on "Aladdin," Williams kept in touch with his "Hook" director Steven Spielberg, who was then filming "Schindler's List." On days when Spielberg was particularly depressed from the shoot, Williams would tell him jokes over the phone to cheer him up.

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While working on "Aladdin," Williams kept in touch with his "Hook" director Steven Spielberg, who was then filming "Schindler's List." On days when Spielberg was particularly depressed from the shoot, Williams would tell him jokes over the phone to cheer him up.

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Here's one you may not have picked up on yet: Every time Aladdin lies as Prince Abooboo ("Ababwa"), his prominent purple turban feather falls forward.

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Here's one you may not have picked up on yet: Every time Aladdin lies as Prince Abooboo ("Ababwa"), his prominent purple turban feather falls forward.

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Not shy about self-promotion, Disney animators managed to sneak in cameos of Beast, Sebastian and Pinocchio throughout the film.

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Not shy about self-promotion, Disney animators managed to sneak in cameos of Beast, Sebastian and Pinocchio throughout the film.

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Speaking of cameos, directors Musker and Clements were snuck into the film as the two men discussing "another suitor for the princess" while Aladdin watches.

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Speaking of cameos, directors Musker and Clements were snuck into the film as the two men discussing "another suitor for the princess" while Aladdin watches.

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In exchange for working for union scale, Robin Williams asked the studio to not use his image (nor the Genie's), his name nor his voice to sell the movie or merchandise so that the publicity wouldn't overshadow his pet project, "Toys." Disney reneged on the deal, and Williams refused to return for the direct-to-video sequel, "Return of Jafar."

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In exchange for working for union scale, Robin Williams asked the studio to not use his image (nor the Genie's), his name nor his voice to sell the movie or merchandise so that the publicity wouldn't overshadow his pet project, "Toys." Disney reneged on the deal, and Williams refused to return for the direct-to-video sequel, "Return of Jafar."

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When Joe Roth took over Walt Disney Studios for Jeffrey Katzenberg in 1994, he issued a public apology to Williams on behalf of the studio. Williams returned to Disney and voiced the Genie once again for "Aladdin and the King of Thieves."

 

[contextual-link post_id="1383409" title="Also Read" link_title="The Boy Who Inspired ‘Hook’ and 19 Other Little-Known Facts as Film Turns 25 (Photos)" target=""]

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When Joe Roth took over Walt Disney Studios for Jeffrey Katzenberg in 1994, he issued a public apology to Williams on behalf of the studio. Williams returned to Disney and voiced the Genie once again for "Aladdin and the King of Thieves."

 

[contextual-link post_id="1383409" title="Also Read" link_title="The Boy Who Inspired ‘Hook’ and 19 Other Little-Known Facts as Film Turns 25 (Photos)" target=""]

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‘Planes, Trains and Automobiles’ Turns 30: ‘Those Aren’t Pillows’ and 7 More Zingers (Photos) https://www.thewrap.com/planes-trains-and-automobiles-30th-anniversary-quotes-steve-martin-john-candy/ https://www.thewrap.com/planes-trains-and-automobiles-30th-anniversary-quotes-steve-martin-john-candy/#respond Fri, 24 Nov 2017 02:30:52 +0000 Brian Welk https://www.thewrap.com/?p=1744146 Steve Martin’s Neal Page begins “Planes, Trains and Automobiles” an already perpetually irritated curmudgeon. And then he meets Del Griffith. As John Hughes’s movie turns 25 this year, we look back on what makes Del one of the most annoying characters in movie history.

“Del Griffith. American Light and Fixture, shower curtain ring division.”

As played by John Candy, a Canadian who had a gift for portraying wholesome and friendly Midwesterners with a surprising dark side, Del Griffith is the peak of frustratingly amicable movie figures. He’s friendly, inviting and somehow gets by easy, despite having a job you thought could never exist. But “PT&A” is a film about how even the nicest of folks can test your patience.

“About a million bucks shy of being a millionaire!”

Del is so annoying because he has an arsenal of inane, folksy axioms like being “a twig on the shoulders of a mighty stream” or a hypothetical about wolverines as good house pets. It culminates in Neal tearing into him for his anecdotes that go nowhere. “They’re not even amusing ACCIDENTALLY!”

“Want to take a shower?”

The problem with nice people who lend a hand is that when they use up all the clean towels, leave their underwear around and explode beer all over a vibrating bed, you can’t criticize them for being a slob or you’ll look like the asshole.

“Those aren’t pillows!”

Steve Martin is at his best when he’s not taking himself too seriously, and it’s actually the opposite of the tight wad cynic he has to play. But he gets his best laughs when he relaxes, whether its throwing back shots with Del or in the hilarious moment when they cuddle up together after an awkward night of Del clearing out his sinuses.

“I really don’t care for the way you’re speaking to me.”

The film’s famous scene with the bubbly car rental agent isn’t funny because Steve Martin says the f-word a dozen times. It’s because this as-of-yet PG movie suddenly unloads all its frustration in the most profane fashion. But it’s also because while these travel misfortunes affect both Neal and Del, Del manages to do everything with ease and even proves he’s a savvy salesman capable of pawning off shower curtain hooks as vintage European earrings.

“Oh, he’s drunk. How would he know where we’re going?”

Not all the frustrations of travel as depicted in “Planes, Trains and Automobiles” have held up 25 years later, but a bad carpool buddy is timeless. Del fiddles constantly with the reclining seat, he veers across the road while performing a priceless air piano solo listening to “Mess Around,” and he insists on trying to get his jacket off despite how it puts their lives in danger.

“That’s how Houdini died you know?”

Neal is forced to deal with plenty of assholes and idiots on his journey home, but Del is the most annoying because he’s always trying to do the right thing, and Neal ends up feeling like the jerk for calling him out. Only Del could find a justification for incinerating their rental car and Neal’s wallet in the process.

“Cause I’m the real article. What you see is what you get.”

Few modern movie characters have the unwavering optimism and pluck that Del does. Even in the worst of situations, he has the charm, spirit and humanity that often gets overlooked in the flyover states. As Neal calls him, he’s a unique individual. “Unique…what’s that, Latin for asshole?”

Related stories from TheWrap:

Remembering John Candy 20 Years Later: 5 of the Actor's Funniest Clips (Video)

The Indelible Legacy of John Hughes and the Brat Pack

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

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https://www.thewrap.com/planes-trains-and-automobiles-30th-anniversary-quotes-steve-martin-john-candy/feed/ 0 Steve Martin’s Neal Page begins “Planes, Trains and Automobiles” an already perpetually irritated curmudgeon. And then he meets Del Griffith, played by John Candy. As the John Hughes-written-and-directed holiday comedy classic turns 30, let's look back on what makes Del one of the most annoying characters in movie history.

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Steve Martin’s Neal Page begins “Planes, Trains and Automobiles” an already perpetually irritated curmudgeon. And then he meets Del Griffith, played by John Candy. As the John Hughes-written-and-directed holiday comedy classic turns 30, let's look back on what makes Del one of the most annoying characters in movie history.

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“Del Griffith. American Light and Fixture, shower curtain ring division.” --Del Griffith

As played by the late John Candy, a Canadian in real life who had a gift for portraying wholesome and friendly Midwesterners with a surprising dark side, Del Griffith is the peak of frustratingly amiable movie figures. He’s inviting and somehow gets by easy, despite having a job you thought could never exist (see above quote). But “PT&A” is a film about how even the nicest of folks can test your patience.

]]>
“Del Griffith. American Light and Fixture, shower curtain ring division.” --Del Griffith

As played by the late John Candy, a Canadian in real life who had a gift for portraying wholesome and friendly Midwesterners with a surprising dark side, Del Griffith is the peak of frustratingly amiable movie figures. He’s inviting and somehow gets by easy, despite having a job you thought could never exist (see above quote). But “PT&A” is a film about how even the nicest of folks can test your patience.

]]>
“About a million bucks shy of being a millionaire!” --Del Griffith

Del has an arsenal of inane, folksy axioms like being "a twig on the shoulders of a mighty stream," or a hypothetical about wolverines as good house pets. It culminates in Neal tearing into him for his anecdotes that go nowhere. "They're not even amusing ACCIDENTALLY!"

]]>
“About a million bucks shy of being a millionaire!” --Del Griffith

Del has an arsenal of inane, folksy axioms like being "a twig on the shoulders of a mighty stream," or a hypothetical about wolverines as good house pets. It culminates in Neal tearing into him for his anecdotes that go nowhere. "They're not even amusing ACCIDENTALLY!"

]]>
“Want to take a shower?” --Del Griffith

The problem with nice people who lend a hand is that when they use up all the clean towels, leave their underwear around the bathroom and explode beer all over a vibrating bed, you can’t criticize them for being a slob or you’ll look like a meanie.

]]>
“Want to take a shower?” --Del Griffith

The problem with nice people who lend a hand is that when they use up all the clean towels, leave their underwear around the bathroom and explode beer all over a vibrating bed, you can’t criticize them for being a slob or you’ll look like a meanie.

]]>
“Those aren’t pillows!” --Neal Page

Steve Martin brilliantly plays a tight wad cynic. He relaxes a bit when he throws back shots with Del, but clinches back up in the side-splitting moment when they cuddle up together after an awkward night of Del clearing out his sinuses.

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“Those aren’t pillows!” --Neal Page

Steve Martin brilliantly plays a tight wad cynic. He relaxes a bit when he throws back shots with Del, but clinches back up in the side-splitting moment when they cuddle up together after an awkward night of Del clearing out his sinuses.

]]>
“I really don’t care for the way you're speaking to me.” --Rental Car Agent

One of the most famous scenes in "Planes, Trains and Automobiles" is funny because the Steve Martin's Neal Page suddenly unloads all his frustration in the most profane fashion. While travel misfortunes affect both Neal and Del, Del manages to do everything with ease and proves he’s a savvy salesman capable of pawning off shower curtain hooks as vintage European earrings. 

]]>
“I really don’t care for the way you're speaking to me.” --Rental Car Agent

One of the most famous scenes in "Planes, Trains and Automobiles" is funny because the Steve Martin's Neal Page suddenly unloads all his frustration in the most profane fashion. While travel misfortunes affect both Neal and Del, Del manages to do everything with ease and proves he’s a savvy salesman capable of pawning off shower curtain hooks as vintage European earrings. 

]]>
“Oh, he’s drunk. How would he know where we’re going?” --Del Griffith (referencing a disgruntled driver)

Not all the frustrations of travel as depicted in “Planes, Trains and Automobiles” have held up 30 years later, but a bad carpool buddy is timeless. Del fiddles constantly with the reclining seat, he veers across the road while performing a priceless air piano solo listening to “Mess Around,” and he insists on trying to get his jacket off despite how it puts their lives in danger. 

]]>
“Oh, he’s drunk. How would he know where we’re going?” --Del Griffith (referencing a disgruntled driver)

Not all the frustrations of travel as depicted in “Planes, Trains and Automobiles” have held up 30 years later, but a bad carpool buddy is timeless. Del fiddles constantly with the reclining seat, he veers across the road while performing a priceless air piano solo listening to “Mess Around,” and he insists on trying to get his jacket off despite how it puts their lives in danger. 

]]>
“That’s how Houdini died you know?” --Del Griffith

Neal is forced to deal with plenty of idiots on his journey home, but Del is the most annoying because he’s always trying to do the right thing, and Neal ends up feeling like the jerk for calling him out. That's because only Del could find a justification for incinerating their rental car and Neal’s wallet in the process.

]]>
“That’s how Houdini died you know?” --Del Griffith

Neal is forced to deal with plenty of idiots on his journey home, but Del is the most annoying because he’s always trying to do the right thing, and Neal ends up feeling like the jerk for calling him out. That's because only Del could find a justification for incinerating their rental car and Neal’s wallet in the process.

]]>
“Cause I’m the real article. What you see is what you get.” --Del Griffith

Few modern movie characters have the unwavering optimism and pluck of Del. Even in the worst of situations, he has the charm, spirit and humanity that often gets overlooked in the flyover states. As Neal calls him, he’s a unique individual. “Unique… what’s that, Latin for a--hole?” Del asks. 

]]>
“Cause I’m the real article. What you see is what you get.” --Del Griffith

Few modern movie characters have the unwavering optimism and pluck of Del. Even in the worst of situations, he has the charm, spirit and humanity that often gets overlooked in the flyover states. As Neal calls him, he’s a unique individual. “Unique… what’s that, Latin for a--hole?” Del asks. 

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If you liked this gallery, check out "15 Times 'Spider-Man: Homecoming' Mimicked John Hughes Movies"

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If you liked this gallery, check out "15 Times 'Spider-Man: Homecoming' Mimicked John Hughes Movies"

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‘Justice League’ Do-Over? Petition for a Zack Snyder Cut Hits 100,000 Signatures https://www.thewrap.com/petition-for-zack-snyders-cut-of-justice-league-hits-100000-signatures/ https://www.thewrap.com/petition-for-zack-snyders-cut-of-justice-league-hits-100000-signatures/#respond Thu, 23 Nov 2017 20:55:29 +0000 Ashley Boucher https://www.thewrap.com/?p=1745028 Fans of “Justice League” are wishing they had a version of the film based on credited director Zack Snyder’s vision, and a Change.org petition looking to fund such a cut of the film has now garnered 105,000 signatures.

The petition is the work of a fan who was unhappy with Warner Bros.’ theatrical release of the DC Films sequel, for which Joss Whedon oversaw reshoots and postproduction after Snyder stepped out last spring following the death of his daughter.

“To the dismay of many, the film released by WB was NOT the one fans were expecting,” the petition says, adding that the released version was met with “the alienation of its original fan base.”

The petition requests “that Warner Bros. restores the removed scenes and original vision that Zack had for the film before his departure. Much like Richard Donner’s ‘Superman II’ and Zack Snyder ‘Batman v Superman,’ it is the responsibility of WB to right their wrongs and release the uncompromised vision of their filmmakers. We feel this is a simple matter of integrity.”

Fans were disappointed that the film’s running time clocked in under two hours, cutting plotlines they had been expecting (some of which were previewed in early trailers).

The petition also cited the score by Danny Elfman, who took over from composer Junkie XL and incorporated classic Batman and Superman themes into the “Justice League” score instead of Hans Zimmer themes used in “Man of Steel” and “Batman v Superman.”

The film wasn’t well-received by critics, either.

To be clear, there isn’t currently an alternate version of the film sitting in some Warner Bros. room waiting to be released; Snyder would have to oversee any needed reshoots and re-score the movie for fans to get what they want. Hence, the petition.

While we don’t know what Snyder’s vision was exactly, we have some ideas. Head over here to see if you agree.

Related stories from TheWrap:

Let's Try to Piece Together What Zack Snyder's Version of 'Justice League' Was Like

'Aquaman:' Director James Wan Says His Film Won't Copy the 'Justice League' Take on Atlantis

'Justice League' Star Jason Momoa 'Bummed' by Movie's Weak Reception

3 Reasons 'Justice League' Found Kryptonite at the Box Office

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All 19 Pixar Movies Ranked, Worst to Best (Photos) https://www.thewrap.com/all-19-pixar-movies-ranked-worst-best-finding-dory-toy-story/ https://www.thewrap.com/all-19-pixar-movies-ranked-worst-best-finding-dory-toy-story/#respond Thu, 23 Nov 2017 14:05:35 +0000 Alonso Duralde https://www.thewrap.com/?p=1076442 TheWrap’s film critic Alonso Duralde rates all the Pixar animation studio’s features:

19. Cars 2 (2011) “They should let people see the movie for free,” one pundit opined, “since Disney will make all their money back on the bedsheets.” Some of Pixar’s best movies are sequels, but this follow-up to an already inferior studio entry seemed like nothing but a craven bid for more merchandising money. The results were good for shareholders but middling for moviegoers.

18. Cars (2006) Never underestimate little boys and their love for automobiles. This brightly colored but dramatically flat tale is most enjoyed by a) male moviegoers who b) saw it before they turned 10 and c) have no idea that it tells virtually the same story as the Michael J. Fox comedy “Doc Hollywood.”

17. Cars 3 (2017) It’s a movie about middle age and the fear of obsolescence — you know, for kids! While Lightning (Owen Wilson) tries to soup himself up to take on young, faster rival Jackson Storm (Armie Hammer), the veteran racer finds himself mentoring Cruz (Cristela Alonzo), a trainer who gave up her racing dreams. It’s visually sumptuous and has a few good ideas, but the “Cars” series remains Pixar’s blandest.

16. A Bug’s Life (1998) Back in 1998, the second Pixar feature was racing to the big screen against the thematically similar “Antz.” Neither has achieved iconic status, notwithstanding the “Bug’s”-themed kiddie area of Disneyland. The film does provide memorable voice roles for “The Ref” co-stars Denis Leary (as a manly-man ladybug) and Kevin Spacey (scaring the little ones as an ant-exploiting grasshopper).

15. Monsters, Inc. (2001) The things that go bump in the night are just doing their jobs, collecting the screams of boys and girls to power their monstrous alternate dimension. Leave it to Pixar to turn childhood terror into something fuzzy and huggable while also sneaking in a metaphor about over-reliance on fossil fuels.

14. Monsters University (2013) This colorful prequel, featuring Mike (voiced by Billy Crystal) and Sully (John Goodman) as college freshmen, plays like a G-rated “Revenge of the Nerds,” and that’s mostly a good thing. Is this the first kids’ movie to suggest that higher education isn’t necessarily for everyone?

13. Up (2009) Like “WALL-E,” this movie opens with a chunk of filmmaking perfection as we get to know the life, and losses, of our elderly hero. But while there’s nowhere for his balloon-festooned house to go but up, there’s nowhere for the movie to go but down after such an auspicious beginning.

12. Ratatouille (2007) Follow your bliss, says this entry, even if you’re a sewer rat who wants to be a gourmet chef. It’s lovely, and its ending will be forever cited by critics of every medium, but some screenwriting contrivances make it good-but-not-great Pixar.

11. The Good Dinosaur (2015) Frightened, awkward dino Arlo (Raymond Ochoa) travels home through a savage landscape with the helpful accompaniment of a feral boy named Spot (Jack Bright), who generally behaves like a dog, in a movie where the stakes are slighter but the character bonds are nonetheless rich.

10. WALL-E (2008) The first half or so of this ecological fable – a silent comedy about the titular robot tidying up an abandoned earth and longing for love – is Pixar’s greatest achievement. Unfortunately, it gets dragged down by a lot of loud chasing in the second half.

9. Brave (2012) Despite a rough production, this saga offers us Merida, one of U.S. animation’s most self-assured characters, who refuses to be married off by her father as though she were your run-of-the-mill princess. Merida’s skill with a bow and arrow made archery look even more appealing than Jennifer Lawrence does in the “Hunger Games” movies.

8. Finding Dory (2016) What this follow-up lacks in The Feels, it more than makes up for with The Laughs and The Thrills. Ellen DeGeneres returns as the famously forgetful fish who sets off to find the family she forgot she had. Witty, bright, and exciting, even if that tissue in your pocket winds up going unused.

7. Inside Out (2015) An 11-year-old girl’s brain becomes the backdrop for another hair-raising adventure, as her emotions fight to find balance during a rough patch in her life. No shortage of jokes and excitement, and early screenings have seen crusty film critics openly weeping in their seats.

6. Coco (2017) The Mexican Day of the Dead celebration brings a young boy face-to-face with his ancestors, teaching him the importance of family and allowing him to settle a generations-old misunderstanding. Colorful, poignant, and loaded with great songs and cultural specificity.

5. Toy Story (1995) The one that started it all and kick-started a whole new way of making cartoons. Its characters became instant icons while its gleaming surfaces changed animation more than any other single movie since “Snow White and the Seven Dwarfs.”

4. Finding Nemo (2003) Albert Brooks and Ellen DeGeneres have the precision timing of a vaudeville comedy duo as two tiny fish who brave the big, wide ocean to rescue a missing youngster. This parable about the push and pull of parent-child dependency offers some of Pixar’s finest blending of adventure and comedy.

3. Toy Story 2 (1999) Wherein we learn that toys need to be taken out of their mint packaging and loved if they’re to be truly happy. And that a Sarah McLachlan song about a doll who misses being cared for by her owner can reduce grown men to sobbing.

2. The Incredibles (2004) Probably the greatest superhero movie ever made that’s not based on pre-existing characters from another medium, and better than almost every other superhero movie, period. Brad Bird‘s attention to character detail and freedom with gravity would serve him well later as the director of the live-action film “Mission: Impossible – Ghost Protocol.”

1. Toy Story 3 (2010) Andy goes off to college and must leave childhood, and its playthings, behind. An exciting and funny meditation on death and growing up and I’m going to need a handkerchief now. pixar pixar pixar

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https://www.thewrap.com/all-19-pixar-movies-ranked-worst-best-finding-dory-toy-story/feed/ 0 TheWrap’s film critic Alonso Duralde rates all of Pixar's features, placing "Finding Dory" in the top half

[contextual-link post_id="1075994" title="Also Read" link_title="Top 40 Pixar Characters, From ‘Toy Story’ to ‘Finding Dory’" target=""]

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TheWrap’s film critic Alonso Duralde rates all of Pixar's features, placing "Finding Dory" in the top half

[contextual-link post_id="1075994" title="Also Read" link_title="Top 40 Pixar Characters, From ‘Toy Story’ to ‘Finding Dory’" target=""]

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19. Cars 2 (2011)

"They should let people see the movie for free," one pundit opined, "since Disney will make all their money back on the bedsheets." Some of Pixar's best movies are sequels, but this follow-up to an already inferior studio entry seemed like nothing but a craven bid for more merchandising money. The results were good for shareholders but middling for moviegoers.

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19. Cars 2 (2011)

"They should let people see the movie for free," one pundit opined, "since Disney will make all their money back on the bedsheets." Some of Pixar's best movies are sequels, but this follow-up to an already inferior studio entry seemed like nothing but a craven bid for more merchandising money. The results were good for shareholders but middling for moviegoers.

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18. Cars (2006)

Never underestimate little boys and their love for automobiles. This brightly colored but dramatically flat tale is most enjoyed by a) male moviegoers who b) saw it before they turned 10 and c) have no idea that it tells virtually the same story as the Michael J. Fox comedy "Doc Hollywood."

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18. Cars (2006)

Never underestimate little boys and their love for automobiles. This brightly colored but dramatically flat tale is most enjoyed by a) male moviegoers who b) saw it before they turned 10 and c) have no idea that it tells virtually the same story as the Michael J. Fox comedy "Doc Hollywood."

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17. "Cars 3" (2017) 

It's a movie about middle age and the fear of obsolescence -- you know, for kids! While Lightning (Owen Wilson) tries to soup himself up to take on young, faster rival Jackson Storm (Armie Hammer), the veteran racer mentors Cruz (Cristela Alonzo), a trainer who gave up her racing dreams. It's visually sumptuous and has a few good ideas, but the "Cars" series remains Pixar's blandest.

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17. "Cars 3" (2017) 

It's a movie about middle age and the fear of obsolescence -- you know, for kids! While Lightning (Owen Wilson) tries to soup himself up to take on young, faster rival Jackson Storm (Armie Hammer), the veteran racer mentors Cruz (Cristela Alonzo), a trainer who gave up her racing dreams. It's visually sumptuous and has a few good ideas, but the "Cars" series remains Pixar's blandest.

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16. A Bug's Life (1998)

Back in 1998, the second Pixar feature was racing to the big screen against the thematically similar "Antz." Neither has achieved iconic status, notwithstanding the "Bug's"-themed kiddie area of Disneyland. The film does provide memorable voice roles for "The Ref" co-stars Denis Leary (as a manly-man ladybug) and Kevin Spacey (scaring the little ones as an ant-exploiting grasshopper).

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16. A Bug's Life (1998)

Back in 1998, the second Pixar feature was racing to the big screen against the thematically similar "Antz." Neither has achieved iconic status, notwithstanding the "Bug's"-themed kiddie area of Disneyland. The film does provide memorable voice roles for "The Ref" co-stars Denis Leary (as a manly-man ladybug) and Kevin Spacey (scaring the little ones as an ant-exploiting grasshopper).

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15. Monsters, Inc. (2001)

The things that go bump in the night are just doing their jobs, collecting the screams of boys and girls to power their monstrous alternate dimension. Leave it to Pixar to turn childhood terror into something fuzzy and huggable while also sneaking in a metaphor about over-reliance on fossil fuels.

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15. Monsters, Inc. (2001)

The things that go bump in the night are just doing their jobs, collecting the screams of boys and girls to power their monstrous alternate dimension. Leave it to Pixar to turn childhood terror into something fuzzy and huggable while also sneaking in a metaphor about over-reliance on fossil fuels.

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14. Monsters University (2013)

This colorful prequel, featuring Mike (voiced by Billy Crystal) and Sully (John Goodman) as college freshmen, plays like a G-rated "Revenge of the Nerds," and that's mostly a good thing. Is this the first kids' movie to suggest that higher education isn't necessarily for everyone?

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14. Monsters University (2013)

This colorful prequel, featuring Mike (voiced by Billy Crystal) and Sully (John Goodman) as college freshmen, plays like a G-rated "Revenge of the Nerds," and that's mostly a good thing. Is this the first kids' movie to suggest that higher education isn't necessarily for everyone?

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13. Up (2009)

Like "WALL-E," this movie opens with a chunk of filmmaking perfection as we get to know the life, and losses, of our elderly hero. But while there's nowhere for his balloon-festooned house to go but up, there's nowhere for the movie to go but down after such an auspicious beginning.

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13. Up (2009)

Like "WALL-E," this movie opens with a chunk of filmmaking perfection as we get to know the life, and losses, of our elderly hero. But while there's nowhere for his balloon-festooned house to go but up, there's nowhere for the movie to go but down after such an auspicious beginning.

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12. Ratatouille (2007)

Follow your bliss, says this entry, even if you're a sewer rat who wants to be a gourmet chef. It's lovely, and its ending will be forever cited by critics of every medium, but some screenwriting contrivances make it good-but-not-great Pixar.

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12. Ratatouille (2007)

Follow your bliss, says this entry, even if you're a sewer rat who wants to be a gourmet chef. It's lovely, and its ending will be forever cited by critics of every medium, but some screenwriting contrivances make it good-but-not-great Pixar.

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11. The Good Dinosaur (2015) 

Frightened, awkward dino Arlo (Raymond Ochoa) travels home through a savage landscape with the helpful accompaniment of a feral boy named Spot (Jack Bright), who generally behaves like a dog, in a movie where the stakes are slighter but the character bonds are nonetheless rich.

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11. The Good Dinosaur (2015) 

Frightened, awkward dino Arlo (Raymond Ochoa) travels home through a savage landscape with the helpful accompaniment of a feral boy named Spot (Jack Bright), who generally behaves like a dog, in a movie where the stakes are slighter but the character bonds are nonetheless rich.

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10. WALL-E (2008)

The first half or so of this ecological fable -- a silent comedy about the titular robot tidying up an abandoned earth and longing for love -- is Pixar's greatest achievement. Unfortunately, it gets dragged down by a lot of loud chasing in the second half.

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10. WALL-E (2008)

The first half or so of this ecological fable -- a silent comedy about the titular robot tidying up an abandoned earth and longing for love -- is Pixar's greatest achievement. Unfortunately, it gets dragged down by a lot of loud chasing in the second half.

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9. Brave (2012)

Despite a rough production, this saga offers us Merida, one of U.S. animation's most self-assured characters, who refuses to be married off by her father as though she were your run-of-the-mill princess. Merida's skill with a bow and arrow made archery look even more appealing than Jennifer Lawrence does in the "Hunger Games" movies.

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9. Brave (2012)

Despite a rough production, this saga offers us Merida, one of U.S. animation's most self-assured characters, who refuses to be married off by her father as though she were your run-of-the-mill princess. Merida's skill with a bow and arrow made archery look even more appealing than Jennifer Lawrence does in the "Hunger Games" movies.

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8. "Finding Dory" (2016)

What this follow-up lacks in The Feels, it more than makes up for with The Laughs and The Thrills. Ellen DeGeneres returns as the famously forgetful fish who sets off to find the family she forgot she had. Witty, bright, and exciting, even if that tissue in your pocket winds up going unused.

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8. "Finding Dory" (2016)

What this follow-up lacks in The Feels, it more than makes up for with The Laughs and The Thrills. Ellen DeGeneres returns as the famously forgetful fish who sets off to find the family she forgot she had. Witty, bright, and exciting, even if that tissue in your pocket winds up going unused.

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7. Inside Out (2015)

An 11-year-old girl's brain becomes the backdrop for another hair-raising adventure, as her emotions fight to find balance during a rough patch in her life. No shortage of jokes and excitement, and early screenings have seen crusty film critics openly weeping in their seats.

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7. Inside Out (2015)

An 11-year-old girl's brain becomes the backdrop for another hair-raising adventure, as her emotions fight to find balance during a rough patch in her life. No shortage of jokes and excitement, and early screenings have seen crusty film critics openly weeping in their seats.

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6. Coco (2017)

The Mexican Day of the Dead celebration brings a young boy face-to-face with his ancestors, teaching him the importance of family and allowing him to settle a generations-old misunderstanding. Colorful, poignant, and loaded with great songs and cultural specificity.

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6. Coco (2017)

The Mexican Day of the Dead celebration brings a young boy face-to-face with his ancestors, teaching him the importance of family and allowing him to settle a generations-old misunderstanding. Colorful, poignant, and loaded with great songs and cultural specificity.

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5. Toy Story (1995)

The one that started it all and kick-started a whole new way of making cartoons. Its characters became instant icons while its gleaming surfaces changed animation more than any other single movie since "Snow White and the Seven Dwarfs."

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5. Toy Story (1995)

The one that started it all and kick-started a whole new way of making cartoons. Its characters became instant icons while its gleaming surfaces changed animation more than any other single movie since "Snow White and the Seven Dwarfs."

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4. Finding Nemo (2003)

Albert Brooks and Ellen DeGeneres have the precision timing of a vaudeville comedy duo as two tiny fish who brave the big, wide ocean to rescue a missing youngster. This parable about the push and pull of parent-child dependency offers some of Pixar's finest blending of adventure and comedy.

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4. Finding Nemo (2003)

Albert Brooks and Ellen DeGeneres have the precision timing of a vaudeville comedy duo as two tiny fish who brave the big, wide ocean to rescue a missing youngster. This parable about the push and pull of parent-child dependency offers some of Pixar's finest blending of adventure and comedy.

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3. Toy Story 2 (1999)

Wherein we learn that toys need to be taken out of their mint packaging and loved if they're to be truly happy. And that a Sarah McLachlan song about a doll who misses being cared for by her owner can reduce grown men to sobbing.

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3. Toy Story 2 (1999)

Wherein we learn that toys need to be taken out of their mint packaging and loved if they're to be truly happy. And that a Sarah McLachlan song about a doll who misses being cared for by her owner can reduce grown men to sobbing.

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2. The Incredibles (2004)

Probably the greatest superhero movie ever made that's not based on pre-existing characters from another medium, and better than almost every other superhero movie, period. Brad Bird's attention to character detail and freedom with gravity would serve him well later as the director of the live-action film "Mission: Impossible - Ghost Protocol."

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2. The Incredibles (2004)

Probably the greatest superhero movie ever made that's not based on pre-existing characters from another medium, and better than almost every other superhero movie, period. Brad Bird's attention to character detail and freedom with gravity would serve him well later as the director of the live-action film "Mission: Impossible - Ghost Protocol."

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1. Toy Story 3 (2010)

Andy goes off to college and must leave childhood, and its playthings, behind. An exciting and funny meditation on death and growing up and I'm going to need a handkerchief now.

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1. Toy Story 3 (2010)

Andy goes off to college and must leave childhood, and its playthings, behind. An exciting and funny meditation on death and growing up and I'm going to need a handkerchief now.

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Armando Iannucci’s ‘The Death of Stalin’ Wins 3 British Independent Film Awards https://www.thewrap.com/armando-iannuccis-death-stalin-wins-3-british-independent-film-awards/ https://www.thewrap.com/armando-iannuccis-death-stalin-wins-3-british-independent-film-awards/#respond Thu, 23 Nov 2017 13:34:56 +0000 Thom Geier https://www.thewrap.com/?p=1745006 “The Death of Stalin,” the satirical feature by “Veep” creator Armando Iannucci, picked up three British Independent Film Awards on Thursday.

The film earned prizes for casting, production design and makeup and hair design.

William Oldroyd’s “Lady Macbeth” and Irish director Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri” collected two prizes each.

The 20-year-old organization introduced the craft categories just this year and will hold its ceremony for the main categories on December 10.

Vanessa Redgrave will receive this year’s Richard Harris Award for Outstanding Contribution by an Actor to British Film and Gary Oldman will receive the Variety Award.

The complete list of early winners follows.

Best Casting

Sarah Crowe, “The Death of Stalin”

Best Cinematography

Ari Wegner for “Lady Macbeth”

Best Costume Design

Holly Waddington for “Lady Macbeth”

Best Editing

Jon Gregory for “Three Billboards Outside Ebbing, Missouri”

Best Effects

Nick Allder and Ben White for “The Ritual”

Best Make Up & Hair Design

Nicole Stafford for “The Death of Stalin”

Best Music

Carter Burwell for “Three Billboards Outside Ebbing, Missouri”

Best Production Design

Cristina Casali for “The Death of Stalin”

Best Sound

Anna Bertmark for “God’s Own Country”

 

Related stories from TheWrap:

Netflix Won't Partner With The Weinstein Company on Upcoming Awards Parties

'Get Out,' 'Call Me by Your Name,' 'Good Time' Top Indie Spirit Awards Nominations

Kenneth Branagh, Anna Friel Take Home International Emmy Awards

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19 of the Most Loved or Hated Movies: Films That Got A+ or F CinemaScores (Photos) https://www.thewrap.com/cinemascore-best-worst-movies-loved-hated-a-or-f/ https://www.thewrap.com/cinemascore-best-worst-movies-loved-hated-a-or-f/#respond Thu, 23 Nov 2017 02:15:00 +0000 Todd Cunningham and Kathy Zerbib https://www.thewrap.com/movies-you-loved-or-hated-films-got-or-f-cinemascores-photos-90331/ Here are some of the movies that earned the highest possible CinemaScore — or the lowest

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https://www.thewrap.com/cinemascore-best-worst-movies-loved-hated-a-or-f/feed/ 0 Nominated for Best Picture and Best Actor at the 87th Academy Awards, "American Sniper" snagged an A+ rating in January 2015.

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Nominated for Best Picture and Best Actor at the 87th Academy Awards, "American Sniper" snagged an A+ rating in January 2015.

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"42" tells the inspiring tale of Jackie Robinson breaking down baseball's race barriers, a well-deserved A+ recipient in April 2013.

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"42" tells the inspiring tale of Jackie Robinson breaking down baseball's race barriers, a well-deserved A+ recipient in April 2013.

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The presence of Brad Pitt and James Gandolfini didn't keep audiences from giving crime drama "Killing The Softly" an F in November 2012.

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The presence of Brad Pitt and James Gandolfini didn't keep audiences from giving crime drama "Killing The Softly" an F in November 2012.

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A star-studded cast and plenty of action elevated blockbuster "Marvel's The Avengers" to an A+ rating in May 2012.

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A star-studded cast and plenty of action elevated blockbuster "Marvel's The Avengers" to an A+ rating in May 2012.

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Ben Affleck's "Argo" received an A+ in October 2012 from opening night audiences and months later it won the Best Picture Oscar.

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Ben Affleck's "Argo" received an A+ in October 2012 from opening night audiences and months later it won the Best Picture Oscar.

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"The Help," told through the point of view of maids who worked for white families, obtained an A+ in August 2011.

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"The Help," told through the point of view of maids who worked for white families, obtained an A+ in August 2011.

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Audiences loved the animated movie "Tangled," earning it an A+ in November 2010.

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Audiences loved the animated movie "Tangled," earning it an A+ in November 2010.

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"The King's Speech" was another Best Picture Oscar winner that audiences knew was a winner, giving it an A+ in September 2010.

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"The King's Speech" was another Best Picture Oscar winner that audiences knew was a winner, giving it an A+ in September 2010.

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"The Blind Side," featuring Sandra Bullock, touched audiences everywhere in November 2009. The semi-biographical sports drama snagged an A+ rating.

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"The Blind Side," featuring Sandra Bullock, touched audiences everywhere in November 2009. The semi-biographical sports drama snagged an A+ rating.

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James Marsden and Cameron Diaz found a bizarre package in November 2009's "The Box." Audiences found it bizarre enough to give it an F.

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James Marsden and Cameron Diaz found a bizarre package in November 2009's "The Box." Audiences found it bizarre enough to give it an F.

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"I Know Who Killed Me" starring Lindsay Lohan was not as adored as her movie "The Help." The psychological thriller gave it an F in July 2007.

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"I Know Who Killed Me" starring Lindsay Lohan was not as adored as her movie "The Help." The psychological thriller gave it an F in July 2007.

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"Bug" is among several horror movies that drew an F grade in May 2007 from first-night attendees, despite Ashley Judd and Michael Shannon in the cast.

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"Bug" is among several horror movies that drew an F grade in May 2007 from first-night attendees, despite Ashley Judd and Michael Shannon in the cast.

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Aussie backpackers fell prey to murderous bushman in December 2005's "Wolf Creek." Audiences went after it like a dingo, and gave it an F.

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Aussie backpackers fell prey to murderous bushman in December 2005's "Wolf Creek." Audiences went after it like a dingo, and gave it an F.

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"The Lord of the Rings: The Return of the King" was a hit with fans, boasting an A+ rating since December 2003.

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"The Lord of the Rings: The Return of the King" was a hit with fans, boasting an A+ rating since December 2003.

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Audiences spaced out on Steven Soderbergh's November 2002 flick "Solaris," and gave the George Clooney sci-fi film an F.

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Audiences spaced out on Steven Soderbergh's November 2002 flick "Solaris," and gave the George Clooney sci-fi film an F.

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Richard Gere, Helen Hunt and Farrah Fawcett couldn't save "Dr. T and the Women" from a F rating in October 2000.

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Richard Gere, Helen Hunt and Farrah Fawcett couldn't save "Dr. T and the Women" from a F rating in October 2000.

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Denzel Washington and an inspiring tale of race relations added up to an A+ for "Remember the Titans" in September 2000.

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Denzel Washington and an inspiring tale of race relations added up to an A+ for "Remember the Titans" in September 2000.

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"Driving Miss Daisy," with Jessica Tandy and Morgan Freeman in the December 1989 flick, was another A+ movie that went on to win the Best Picture Oscar.

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"Driving Miss Daisy," with Jessica Tandy and Morgan Freeman in the December 1989 flick, was another A+ movie that went on to win the Best Picture Oscar.

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Darren Aronofsky's "Mother" starring then-girlfriend Jennifer Lawrence confounded audiences -- and many critics -- and earned an F CinemaScore in September 2017.

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Darren Aronofsky's "Mother" starring then-girlfriend Jennifer Lawrence confounded audiences -- and many critics -- and earned an F CinemaScore in September 2017.

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If you're curious, click on to see all the movies that have flunked in the CinemaScore survey.

[contextual-link post_id="1709340" title="Also Read" link_title="All 19 Movies That Flunked CinemaScore With F Grade, From ‘Solaris’ to ‘mother!’ (Photos)" target=""]

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If you're curious, click on to see all the movies that have flunked in the CinemaScore survey.

[contextual-link post_id="1709340" title="Also Read" link_title="All 19 Movies That Flunked CinemaScore With F Grade, From ‘Solaris’ to ‘mother!’ (Photos)" target=""]

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17 of the Most Dramatic Sports Movie Moments: From ‘Rocky’ to ‘Remember the Titans’ (Photos) https://www.thewrap.com/gallery12-most-dramatic-championship-moments-sport-movies/ https://www.thewrap.com/gallery12-most-dramatic-championship-moments-sport-movies/#respond Thu, 23 Nov 2017 01:30:00 +0000 Michael Balderston and Debbie Emery Whether it’s the thrill of victory or the agony of defeat, TheWrap recaps the biggest moments in these sports classics.

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https://www.thewrap.com/gallery12-most-dramatic-championship-moments-sport-movies/feed/ 0 “Rocky” (1976)
In the ultimate underdog story, newcomer Rocky Balboa (Sylvester Stallone) gets a shot at the world heavyweight title against champ Apollo Creed. Rocky proves he has the goods, going the entire 15 rounds against Creed, but loses in a split decision. Rocky would get a rematch though and win the title in “Rocky II”.

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“Rocky” (1976)
In the ultimate underdog story, newcomer Rocky Balboa (Sylvester Stallone) gets a shot at the world heavyweight title against champ Apollo Creed. Rocky proves he has the goods, going the entire 15 rounds against Creed, but loses in a split decision. Rocky would get a rematch though and win the title in “Rocky II”.

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“Chariots of Fire” (1981)
Two Englishmen push each other to be the best sprinter at the 1924 Olympics. While they won gold on the big screen’s racetrack, “Chariots of Fire” would go on to win Oscar gold for best picture.

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“Chariots of Fire” (1981)
Two Englishmen push each other to be the best sprinter at the 1924 Olympics. While they won gold on the big screen’s racetrack, “Chariots of Fire” would go on to win Oscar gold for best picture.

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“The Natural” (1984)
Robert Redford plays middle-age rookie Roy Hobbs in “The Natural.” Hobbs leads his team to a championship on his final at-bat when he launches the most famous home run in movie history. Thus proving the unspoken rule in baseball: if you break the lights you win the game.

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“The Natural” (1984)
Robert Redford plays middle-age rookie Roy Hobbs in “The Natural.” Hobbs leads his team to a championship on his final at-bat when he launches the most famous home run in movie history. Thus proving the unspoken rule in baseball: if you break the lights you win the game.

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“Hoosiers” (1986)
In what is widely considered one of the greatest sports movies of all time, “Hoosiers” follows a small town high school basketball team as they make it all the way to the state finals. They play a bigger and more athletic team in the finals, but with a last second shot pull off the surprise victory.

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“Hoosiers” (1986)
In what is widely considered one of the greatest sports movies of all time, “Hoosiers” follows a small town high school basketball team as they make it all the way to the state finals. They play a bigger and more athletic team in the finals, but with a last second shot pull off the surprise victory.

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“Major League” (1989)
Charlie Sheen and Tom Berenger lead an outfit of misfit Cleveland Indians from last place to a shot at the league pennant against the powerhouse Yankees. Even though the film is a comedy, the final game plays out in dramatic fashion.

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“Major League” (1989)
Charlie Sheen and Tom Berenger lead an outfit of misfit Cleveland Indians from last place to a shot at the league pennant against the powerhouse Yankees. Even though the film is a comedy, the final game plays out in dramatic fashion.

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"Field of Dreams" (1989)
Kevin Costner was at his finest as an Iowa farmer in the fantasy drama that sparked the iconic line, "If you build it, they will come." When deceased baseball players including Shoeless Joe Jackson come to life, sports fans of all ages get goosebumps.

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"Field of Dreams" (1989)
Kevin Costner was at his finest as an Iowa farmer in the fantasy drama that sparked the iconic line, "If you build it, they will come." When deceased baseball players including Shoeless Joe Jackson come to life, sports fans of all ages get goosebumps.

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“A League of Their Own” (1992)
“A League of Their Own” proved that girls can play baseball, and ends in a play at the plate that determines the championship. Geena Davis’ Rockford Peaches may lose that final game, but as Tom Hanks taught us, “there is no crying in baseball!”

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“A League of Their Own” (1992)
“A League of Their Own” proved that girls can play baseball, and ends in a play at the plate that determines the championship. Geena Davis’ Rockford Peaches may lose that final game, but as Tom Hanks taught us, “there is no crying in baseball!”

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“Hoop Dreams” (1994)
Steve James’ revolutionary documentary follows inner-city Chicago kids William Gates and Arthur Agee throughout their high-school basketball careers. The film culminates in both striving to reach the finals of their city wide championship tournament.

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“Hoop Dreams” (1994)
Steve James’ revolutionary documentary follows inner-city Chicago kids William Gates and Arthur Agee throughout their high-school basketball careers. The film culminates in both striving to reach the finals of their city wide championship tournament.

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“Remember the Titans” (2001)
Based on the true story of Virginia’s first integrated high school football team (led by coach Denzel Washington), the Titans not only change the views of an entire town, but they go undefeated on their way to a thrilling state championship against an all-white team.

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“Remember the Titans” (2001)
Based on the true story of Virginia’s first integrated high school football team (led by coach Denzel Washington), the Titans not only change the views of an entire town, but they go undefeated on their way to a thrilling state championship against an all-white team.

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“Friday Night Lights” (2004)
The film that spawned the critically acclaimed TV series (which in turn may spawn a film of its own) is memorable in that its featured team doesn’t win the championship. The Permian Panthers mount a great comeback, but come up one yard short of the state title.

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“Friday Night Lights” (2004)
The film that spawned the critically acclaimed TV series (which in turn may spawn a film of its own) is memorable in that its featured team doesn’t win the championship. The Permian Panthers mount a great comeback, but come up one yard short of the state title.

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“Miracle” (2004)
In perhaps one of the greatest upsets in sports history, a team of U.S. college hockey players defeated the Soviet Union, the three-time defending gold medal winner and best team in the world, during the Cold War.

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“Miracle” (2004)
In perhaps one of the greatest upsets in sports history, a team of U.S. college hockey players defeated the Soviet Union, the three-time defending gold medal winner and best team in the world, during the Cold War.

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“The Fighter” (2010)
David O. Russell‘s Oscar-winning picture depicted boxer Mickey Ward’s (Mark Wahlberg) climb up the ranks from middling contender to a shot at the title. The final fight shows the grit and heart that it took for Ward to win the belt.

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“The Fighter” (2010)
David O. Russell‘s Oscar-winning picture depicted boxer Mickey Ward’s (Mark Wahlberg) climb up the ranks from middling contender to a shot at the title. The final fight shows the grit and heart that it took for Ward to win the belt.

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“Moneyball” (2011)
Baseball statistics and analytics might not be the sexiest of topics, but it all heats up when you have Brad Pitt playing Oakland Athletics general manager Billy Beane, who hires an Ivy League grad (Jonah Hill) to revive his failing team on a tight budget. Their number crunching and unique scouting style come to fruition during a nail-biting game against the Kansas City Royals in September 2002.

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“Moneyball” (2011)
Baseball statistics and analytics might not be the sexiest of topics, but it all heats up when you have Brad Pitt playing Oakland Athletics general manager Billy Beane, who hires an Ivy League grad (Jonah Hill) to revive his failing team on a tight budget. Their number crunching and unique scouting style come to fruition during a nail-biting game against the Kansas City Royals in September 2002.

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“Million Dollar Arm” (2014)
Based on a true story, this underdog tale follows Jon Hamm as J.B. Bernstein, a down-on-his-luck sports agent, who goes to India to find the next big thing in baseball among its millions of aspiring cricketers. While the two hopefuls he brings back to the U.S., Dinesh and Rinku, face their fair share of foul balls along the way, they are eventually offered contracts by the Pittsburgh Pirates.

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“Million Dollar Arm” (2014)
Based on a true story, this underdog tale follows Jon Hamm as J.B. Bernstein, a down-on-his-luck sports agent, who goes to India to find the next big thing in baseball among its millions of aspiring cricketers. While the two hopefuls he brings back to the U.S., Dinesh and Rinku, face their fair share of foul balls along the way, they are eventually offered contracts by the Pittsburgh Pirates.

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“Warrior” (2011)
Mixed martial arts continues to rise in popularity and offered the perfect backdrop for two estranged brothers (Tom Hardy and Joel Edgerton) to hammer out their differences in the most cathartic way possible in Gavin O’Connor’s “Warrior.” They meet in the final match of a winner-take-all tournament.

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“Warrior” (2011)
Mixed martial arts continues to rise in popularity and offered the perfect backdrop for two estranged brothers (Tom Hardy and Joel Edgerton) to hammer out their differences in the most cathartic way possible in Gavin O’Connor’s “Warrior.” They meet in the final match of a winner-take-all tournament.

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"Draft Day" (2014)
Kevin Costner brings the stress of the NFL Draft to life as General Manager of the Cleveland Browns Sonny Weaver. As the clock ticks down, the future of his team relies on him making the right decision about a seemingly perfect star quarterback. 

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"Draft Day" (2014)
Kevin Costner brings the stress of the NFL Draft to life as General Manager of the Cleveland Browns Sonny Weaver. As the clock ticks down, the future of his team relies on him making the right decision about a seemingly perfect star quarterback. 

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“McFarland, USA” (2015)
Kevin Costner follows up a string of beloved sports films, including “Field of Dreams” and “Bull Durham,” with a drama about a cross-country team at a predominantly Latino high school. The film, directed by Niki Caro and produced by Gordon Gray and Mark Ciardi, has real legs as coach Jim White leads the Central Valley runners to the state championships.

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“McFarland, USA” (2015)
Kevin Costner follows up a string of beloved sports films, including “Field of Dreams” and “Bull Durham,” with a drama about a cross-country team at a predominantly Latino high school. The film, directed by Niki Caro and produced by Gordon Gray and Mark Ciardi, has real legs as coach Jim White leads the Central Valley runners to the state championships.

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‘Friday the 13th’ Series Director Once Pitched ‘Cheech and Chong Meets Jason’ https://www.thewrap.com/friday-the-13th-cheech-chong-meets-jason-voorhees/ https://www.thewrap.com/friday-the-13th-cheech-chong-meets-jason-voorhees/#respond Thu, 23 Nov 2017 01:04:07 +0000 Thom Geier https://www.thewrap.com/?p=1744950 Stoner comedians Cheech Marin and Tommy Chong are classic cut-ups — but imagine if they got cut up by that ultimate slasher villain Jason Voorhees.

Tom McLoughlin, the writer-director of 1986’s “Jason Lives: Friday the 13th VI,” said he once pitched the idea of a mashup of the two big-screen franchises to “Friday the 13th” series producer Frank Mancuso Jr.

“What if we do ‘Cheech and Chong Meets Jason?'” McLoughlin recalled telling Mancuso on Wednesday’s edition of horror filmmaker Mick Garris’ Post Mortem podcast. “They’re like camp counselors or something. It’s like, ‘Hey, man, I saw Jason out there.’ ‘No, man, that’s a myth.'”

Mancuso shot down the idea — even though Paramount then owned the rights to both franchises.

But the exec did let on that another pitch of McLoughlin’s — pitting Jason against Freddy Kreuger of “Nightmare on Elm Street” — wasn’t so far-fetched despite the latter being a property of New Line Cinema.

McLoughlin said that Mancuso told him, “Well, we’re going to try and see if we can work something out.”

As fans know, the two villains did go head to hockey mask in 2003’s “Freddy vs. Jason.”

And as Entertainment Weekly‘s Clark Collis noted, 1982’s “Friday the 13th Part 3” also included a couple of dopeheads named Chuck and Chili.

Related stories from TheWrap:

Cheech Marin Joins Robert De Niro in 'War With Grandpa' (Exclusive)

Cheech Marin Challenges Anderson Cooper to a 'Jeopardy' Rematch: 'I Owned His A–' (Exclusive Video)

24 Scary Movies That Terrify Jason Voorhees Actor Kane Hodder, Other Horror Stars

How Freddy Krueger, Jason Voorhees and Michael Myers' Niece Teamed on One Epic Horror Project

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Jeffrey Tambor Accused of Sexual Harassment by Third Woman https://www.thewrap.com/jeffrey-tambor-accused-of-sexual-harassment-by-third-woman/ https://www.thewrap.com/jeffrey-tambor-accused-of-sexual-harassment-by-third-woman/#respond Wed, 22 Nov 2017 23:49:20 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1744916 A third woman has come forward to accuse Jeffrey Tambor of sexual harassment.

Tamara Delbridge, a celebrity makeup artist with no connection to his show, “Transparent,” told Refinery29 that Tambor forcibly kissed her on the set of the 2001 film “Never Again.”

“It was really weird because I did not interact with him at all during filming,” Delbridge said. “It wasn’t like he and I had bantered back and forth or flirted. I’m very professional on set and [‘Never Again’] was a really big deal for me. It was the first time that I’d worked with actors at that level.”

According to Delbridge, the incident occurred on the last day of shooting.

“I said [to Tambor], ‘It was very nice to work with you’ and he grabbed me out of nowhere and kissed me on the lips,” she said. “And I was just shocked. I didn’t even know how to react, because how do you react when you’re not expecting anything like that? So I didn’t know if I was embarrassed or shocked or mortified or stunned. It was a whole bunch of emotions.”

She also said that actor Bill Duke witnessed the incident and told her she did absolutely nothing wrong after thinking that she’d maybe, accidentally, come off as flirtatious.

In a statement, Tambor told TheWrap, “I have absolutely no recollection of anything like this incident ever happening. If it did, it wasn’t meant as anything more than an enthusiastic farewell and gratitude for a job well done at the end of a shoot. However, I am deeply sorry for any discomfort or offense I may have inadvertently caused her.”

Delbridge said she wanted to speak out after she saw Tambor’s response to Van Barnes, a trans actress and Tambor’s former assistant, who also accused him of harassment in a private Facebook post.

“His response made me really angry. I was like ‘it’s not baseless,'” Delbridge said. “This isn’t a man-bashing thing. It’s about a person who did something inappropriate and he’s not acknowledging that he did it. And the word ‘baseless’ is really like him just flipping it off and saying that’s nothing. And it’s not nothing, because this is a pattern.”

Tambor was also accused of sexual harassment by transgender co-star Trace Lysette, with the alleged incident occurring during filming of the show’s second season.

“I know I haven’t always been the easiest person to work with,” responded Tambor in a statement sent to TheWrap. “I can be volatile and ill-tempered, and too often I express my opinions harshly and without tact. But I have never been a predator — ever.”

He released a statement on Sunday saying he doesn’t think he will be coming back for the show’s fifth season after the accusations.

Related stories from TheWrap:

Amazon Launches Jeffrey Tambor Investigation Amid Sexual Harassment Accusations

Emmy Winner Jeffrey Tambor Calls on Hollywood to 'Give Transgender Talent a Chance'

Jeffrey Tambor Dedicates Emmy to Transgender Community (Video)

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The Evolution of Matt Damon From ‘Mystic Pizza’ to ‘Downsizing’ (Photos) https://www.thewrap.com/the-evolution-of-matt-damon-from-mystic-pizza-to-jason-bourne-photos/ https://www.thewrap.com/the-evolution-of-matt-damon-from-mystic-pizza-to-jason-bourne-photos/#respond Wed, 22 Nov 2017 22:40:21 +0000 Thom Geier https://www.thewrap.com/?p=1107195 Matt Damon was just 18 when he made his movie debut with a small role in 1988’s “Mystic Pizza,” which was also the second feature of Julia Roberts.

In 1992’s “School Ties,” Damon played a prep school bully who antagonized a Jewish student played by Brendan Fraser.

Damon grew a peculiar, Ethan Hawke-like goatee for his role as Lt. Britton Davis in 1993’s “Geronimo: An American Legend.”

 

Damon famously dropped 40 pounds off his already thin frame to play a drug-addled Gulf War veteran opposite Meg Ryan in 1996’s “Courage Under Fire.”

 

For the role, he famously dropped 40 pounds off his already thin frame — and without a doctor’s supervision.

Damon was back in fitter, hotter form in the 1997 John Grisham adaptation “The Rainmaker.”

Matt Damon and his childhood buddy Ben Affleck co-wrote the script for 1997’s “Good Will Hunting,” and the two starred opposite Robin Williams.

Affleck and Damon won the Academy Award for Best Screen play for “Good Will Hunting,” delivering a memorably enthusiastic speech at the podium.

Damon played the title character in Steven Spielberg‘s 1998 WWII epic “Saving Private Ryan.”

In 1998’s “Rounders,” he had an unfortunate bottle-blond dye job to play a law student struggling with a poker addiction opposite Edward Norton.

In 1999’s “The Talented Mr. Ripley,” Damon was a creepily seductive sociopath who pined for Jude Law‘s trust fund lifestyle (and his body). His wasn’t so shabby either.

Matt Damon teamed with George Clooney and Brad Pitt for the first time in the star-studded 2000 caper “Ocean’s Eleven.”

In 2001, Damon reteamed with Ben Affleck to executive produce “Project Greenlight,” a reality series that aired on HBO and chronicled the making of an indie film.

In 2002, Damon showed surprisingly action-hero moves as a trained government agent with amnesia in 2002’s “The Bourne Identity.”

Damon has an uncharacteristic punkish look (including a bald head) in a cameo in 2004’s “EuroTrip,” playing the lead singer of a band whose main song, “Scotty Doesn’t Know” reveals that Damon’s been banging the longtime girlfriend of the movie’s high school grad lead.

On December 9, 2005, Damon married Luciana Barroso, an Argentine-born woman he met while she was bartending in a Miami nightclub. (Two days later, they were together at the New York City premiere of “The Good Shepherd.”)

In Martin Scorsese‘s 2006 thriller “The Departed,” he goes mano a mano with Leonardo DiCaprio.

He was back in fighting form in 2007’s “The Bourne Ultimatum” — which looked like it might be the final installment in the franchise.

In 2007, People Magazine named the self-described “aging suburban dad” the Sexiest Man Alive.

Matt Damon has long been the affectionate target of ABC late-night host Jimmy Kimmel, who ended his show with apologies for running out of time for the actor. But Damon turned the tables in 2008 when Kimmel’s then-girlfriend Sarah Silverman introduced a videotaped song declaring, “I’m F—ing Matt Damon.”

Damon packed on 20 to 30 extra pounds to plays a schlubby corporate whistleblower in Steven Soderbergh‘s 2009 comedy “The Informant!”

Damon earned an Oscar nomination as Best Supporting Actor as the captain of South Africa’s championship 1995 rugby team in 2009’s “Invictus.”

Starting in 2010, Damon had a recurring role on “30 Rock” as an airline pilot named Carol who tried to woo Tina Fey‘s TV exec Liz Lemon.

Damon got buff (and tatted) to play a paroled car thief fighting to survive in a dystopian future in Neill Blomkamp‘s 2013 sci-fi movie “Elysium.”

 

MATT Damon earned an Emmy nomination for the 2013 HBO movie “Behind the Candelabra,” camping it up as the much-younger boyfriend of the flamboyant pianist Liberace (Michael Douglas).

Damon earned his third acting Oscar nomination for Ridley Scott‘s 2015 space drama “The Martian” — playing solo for much of the film as a stranded astronaut.

After nine years, Damon returned as “Jason Bourne” in his fourth installment in the action franchise.

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https://www.thewrap.com/the-evolution-of-matt-damon-from-mystic-pizza-to-jason-bourne-photos/feed/ 0 Matt Damon was just 18 when he made his movie debut with a small role in 1988's "Mystic Pizza," which was also the second feature of Julia Roberts.

 

]]>
Matt Damon was just 18 when he made his movie debut with a small role in 1988's "Mystic Pizza," which was also the second feature of Julia Roberts.

 

]]>
In 1992's "School Ties," Damon played a prep school bully who antagonized a Jewish student played by Brendan Fraser in a naked shower room fight.

 

]]>
In 1992's "School Ties," Damon played a prep school bully who antagonized a Jewish student played by Brendan Fraser in a naked shower room fight.

 

]]>
Damon grew a peculiar, Ethan Hawke-like goatee for his role as Lt. Britton Davis in 1993's "Geronimo: An American Legend."

 

]]>
Damon grew a peculiar, Ethan Hawke-like goatee for his role as Lt. Britton Davis in 1993's "Geronimo: An American Legend."

 

]]>
Damon played a drug-addled Gulf War veteran opposite Meg Ryan in 1996's "Courage Under Fire."

]]>
Damon played a drug-addled Gulf War veteran opposite Meg Ryan in 1996's "Courage Under Fire."

]]>
For the "Courage Under Fire" role, Damon famously dropped 40 pounds off his already thin frame -- without a doctor's supervision.

]]>
For the "Courage Under Fire" role, Damon famously dropped 40 pounds off his already thin frame -- without a doctor's supervision.

]]>
Damon was back in fitter, hotter form in the 1997 John Grisham adaptation of "The Rainmaker."

 

]]>
Damon was back in fitter, hotter form in the 1997 John Grisham adaptation of "The Rainmaker."

 

]]>
Damon and his childhood buddy Ben Affleck co-wrote the script for 1997's "Good Will Hunting," and the two starred opposite Robin Williams.

 

]]>
Damon and his childhood buddy Ben Affleck co-wrote the script for 1997's "Good Will Hunting," and the two starred opposite Robin Williams.

 

]]>
Affleck and Damon won the Academy Award for Best Original Screenplay for "Good Will Hunting," delivering a memorably enthusiastic speech at the podium. (He was also nominated for Best Actor.)

 

]]>
Affleck and Damon won the Academy Award for Best Original Screenplay for "Good Will Hunting," delivering a memorably enthusiastic speech at the podium. (He was also nominated for Best Actor.)

 

]]>
In 1998's "Rounders," Damon had an unfortunate blond dye job to play a law student struggling with a poker addiction opposite Edward Norton.

]]>
In 1998's "Rounders," Damon had an unfortunate blond dye job to play a law student struggling with a poker addiction opposite Edward Norton.

]]>
Damon played the title character in Steven Spielberg's 1998 WWII epic "Saving Private Ryan."

]]>
Damon played the title character in Steven Spielberg's 1998 WWII epic "Saving Private Ryan."

]]>
In 1999's "The Talented Mr. Ripley," Damon was a creepily seductive sociopath who pined for Jude Law's trust fund lifestyle (and his body). Damon's wasn't so shabby either, despite the bright yellow bathing suit.

]]>
In 1999's "The Talented Mr. Ripley," Damon was a creepily seductive sociopath who pined for Jude Law's trust fund lifestyle (and his body). Damon's wasn't so shabby either, despite the bright yellow bathing suit.

]]>
Damon teamed with George Clooney and Brad Pitt for the first time in the star-studded 2000 caper "Ocean's Eleven," which spawned two sequels.

]]>
Damon teamed with George Clooney and Brad Pitt for the first time in the star-studded 2000 caper "Ocean's Eleven," which spawned two sequels.

]]>
In 2001, Damon reteamed with Ben Affleck to executive produce "Project Greenlight," a reality series that aired on HBO and chronicled the making of an indie film.

]]>
In 2001, Damon reteamed with Ben Affleck to executive produce "Project Greenlight," a reality series that aired on HBO and chronicled the making of an indie film.

]]>
In 2002, Damon showed surprising action-hero moves as a trained government agent with amnesia in 2002's "The Bourne Identity."

]]>
In 2002, Damon showed surprising action-hero moves as a trained government agent with amnesia in 2002's "The Bourne Identity."

]]>
Damon had an uncharacteristic punkish look (including a shaved head) in a cameo in 2004's "EuroTrip." He played the lead singer of a band whose main song, "Scotty Doesn't Know," reveals that Damon's been banging the longtime girlfriend of the movie's high school grad lead. Foreshadowing of his later Jimmy Kimmel stunt?

]]>
Damon had an uncharacteristic punkish look (including a shaved head) in a cameo in 2004's "EuroTrip." He played the lead singer of a band whose main song, "Scotty Doesn't Know," reveals that Damon's been banging the longtime girlfriend of the movie's high school grad lead. Foreshadowing of his later Jimmy Kimmel stunt?

]]>
On December 9, 2005, Damon married Luciana Barroso, an Argentine-born woman he met while she was bartending in a Miami nightclub. (Two days later, they were together at the New York City premiere of "The Good Shepherd.")

]]>
On December 9, 2005, Damon married Luciana Barroso, an Argentine-born woman he met while she was bartending in a Miami nightclub. (Two days later, they were together at the New York City premiere of "The Good Shepherd.")

]]>
In Martin Scorsese's 2006 thriller "The Departed," he goes mano a mano with Leonardo DiCaprio.

 

]]>
In Martin Scorsese's 2006 thriller "The Departed," he goes mano a mano with Leonardo DiCaprio.

 

]]>
He was back in fighting form in 2007's "The Bourne Ultimatum" -- which looked like it might be the final installment in the franchise.

]]>
He was back in fighting form in 2007's "The Bourne Ultimatum" -- which looked like it might be the final installment in the franchise.

]]>
In 2007, People Magazine named the self-described "aging suburban dad" the Sexiest Man Alive.

]]>
In 2007, People Magazine named the self-described "aging suburban dad" the Sexiest Man Alive.

]]>
Damon has long been the affectionate target of ABC late-night host Jimmy Kimmel, who ended his show with apologies for running out of time for the actor. But Damon turned the tables in 2008 when Kimmel's then-girlfriend Sarah Silverman introduced a videotaped song declaring, "I'm F---ing Matt Damon."

]]>
Damon has long been the affectionate target of ABC late-night host Jimmy Kimmel, who ended his show with apologies for running out of time for the actor. But Damon turned the tables in 2008 when Kimmel's then-girlfriend Sarah Silverman introduced a videotaped song declaring, "I'm F---ing Matt Damon."

]]>
Damon packed on 20 to 30 extra pounds to play a schlubby corporate whistleblower in Steven Soderbergh's 2009 comedy "The Informant!"

]]>
Damon packed on 20 to 30 extra pounds to play a schlubby corporate whistleblower in Steven Soderbergh's 2009 comedy "The Informant!"

]]>
Damon earned an Oscar nomination as Best Supporting Actor portraying the captain of South Africa's championship 1995 rugby team in 2009's "Invictus."

]]>
Damon earned an Oscar nomination as Best Supporting Actor portraying the captain of South Africa's championship 1995 rugby team in 2009's "Invictus."

]]>
Starting in 2010, Damon had a recurring role on "30 Rock" as an airline pilot named Carol who tried to woo Tina Fey's TV exec Liz Lemon.

]]>
Starting in 2010, Damon had a recurring role on "30 Rock" as an airline pilot named Carol who tried to woo Tina Fey's TV exec Liz Lemon.

]]>
Damon got buff (and tatted) to play a paroled car thief fighting to survive in a dystopian future in Neill Blomkamp's 2013 sci-fi movie "Elysium."

]]>
Damon got buff (and tatted) to play a paroled car thief fighting to survive in a dystopian future in Neill Blomkamp's 2013 sci-fi movie "Elysium."

]]>
Damon earned an Emmy nomination for the 2013 HBO movie "Behind the Candelabra," camping it up as the much-younger boyfriend of the flamboyant pianist Liberace (Michael Douglas).

]]>
Damon earned an Emmy nomination for the 2013 HBO movie "Behind the Candelabra," camping it up as the much-younger boyfriend of the flamboyant pianist Liberace (Michael Douglas).

]]>
Damon earned his third acting Oscar nomination for Ridley Scott's 2015 space drama "The Martian" -- playing solo for much of the film as an astronaut stranded on the red planet.

]]>
Damon earned his third acting Oscar nomination for Ridley Scott's 2015 space drama "The Martian" -- playing solo for much of the film as an astronaut stranded on the red planet.

]]>
After nine years, Damon returned as "Jason Bourne" in his fourth installment in the action franchise.

]]>
After nine years, Damon returned as "Jason Bourne" in his fourth installment in the action franchise.

]]>
Damon stumbled with a big-budget dud -- and a freaky ponytail -- in Zhang Yimou's 2017 fantasy epic "The Great Wall."

]]>
Damon stumbled with a big-budget dud -- and a freaky ponytail -- in Zhang Yimou's 2017 fantasy epic "The Great Wall."

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Damon reteamed with director George Clooney for the 2017 period drama set in an all-white suburb in 1959.

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Damon reteamed with director George Clooney for the 2017 period drama set in an all-white suburb in 1959.

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In Alexander Payne's high-concept movie "Downsizing," Matt Damon and Kristen Wiig play a couple who decide to shrink themselves -- literally -- to live in a more affordable micro-world.

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In Alexander Payne's high-concept movie "Downsizing," Matt Damon and Kristen Wiig play a couple who decide to shrink themselves -- literally -- to live in a more affordable micro-world.

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Jude Law Scores ‘Captain Marvel’ Male Lead Role https://www.thewrap.com/jude-law-captain-marvel-male-lead-role/ https://www.thewrap.com/jude-law-captain-marvel-male-lead-role/#respond Wed, 22 Nov 2017 19:52:01 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1744797 Jude Law is in negotiations to star as the male lead in “Captain Marvel” opposite Brie Larson, an individual with knowledge of the project told TheWrap.

Anna Boden and Ryan Fleck are directing, while Kevin Feige is producing. Geneva Robertson-Dworet wrote the most recent draft of the script, with Meg LeFauve (“Inside Out”) having written previous drafts with Nicole Perlman (“Guardians of the Galaxy”). Victoria Alonso, Louis D’Esposito and Stan Lee are executive producers.

Concrete details of Law’s role are unknown, although he will serve as a mentor to Carol Danvers (Larson).

“Captain Marvel” starring Larson is the studio’s first female superhero to get her own standalone movie and will be a prequel set before “Iron Man.” Samuel L. Jackson will also return as Nick Fury for the film — this time without the eyepatch because the film will be set in the 1990s (presumably before he lost use of his left eye). Ben Mendelsohn will play the villain in the film.

In April, Law was cast as Young Dumbledore in “Fantastic Beasts: The Crimes of Grindelwald.” He was also recently cast in “The Rhythm Section,” Blake Lively’s female spy thriller. Other upcoming projects include “A Rainy Day in New York” and “Vox Lux.” His most recent credits include “King Arthur: Legend of the Sword” and “Spy.”

He is represented by WME, 42West and Premier PR.

“Captain Marvel” is set for release on March 8, 2019.

Variety first reported the news.

Related stories from TheWrap:

Who or What Are the Skrulls, the Villains in 'Captain Marvel'?

'Captain Marvel' Gets Slice of $68 Million California Tax Break

'Captain Marvel' Will Be a Prequel to 'Iron Man' and Feature the Skrulls

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Inside ‘The Florida Project’ and Its 7-Year-Old Secret Weapon in the Oscar Race (Exclusive Video) https://www.thewrap.com/brooklynn-prince-florida-project-oscar-race/ https://www.thewrap.com/brooklynn-prince-florida-project-oscar-race/#respond Wed, 22 Nov 2017 19:30:26 +0000 Matt Donnelly https://www.thewrap.com/?p=1740946

This story about Brooklynn Prince and “The Florida Project” first appeared in the Race Begins issue of TheWrap’s Oscar magazine.

Given that the simplest is usually the best, 7-year-old actress Brooklynn Prince has the perfect synopsis for her movie “The Florida Project” and the character she plays. “Moonee is a girl who lives in a motel,” she said. “She is struggling with her mom and getting into all kinds of trouble, but has lots of adventures.”

Her assessment checks out and then some in Sean Baker’s profound and bittersweet drama. Like the mischievous children who inhabit its world, the film has been jumping and twirling toward the Best Picture race since it premiered in the Director’s Fortnight program at Cannes in May.

Distributor A24 also returns to awards season after a triumphant Best Picture win for “Moonlight” last year, with this naturalistic look at the hidden homeless epidemic.

In “The Florida Project,” hundreds of families get by week to week huddled in dingy pastel structures nestled in the shadow of the Walt Disney World Resort in Orlando, Florida.

Theme parks made Disney a reported $4.38 billion last year, but the residents of these fringe communities sell perfume on the street, work double shifts at diners and do more debasing things to make ends meet — all while their pack of children look for cheap amusement, almost always unattended.

Photographed by Elisabeth Caren for TheWrap

When Moonee can be found at her lavender-colored motel, the Magic Castle, Prince’s young imp answers to her mother, Halley (Bria Vinaite). Halley is an outspoken young woman who shifts instantly between rough-edged charm and acidic vulgarity.

Keeping watch over them and the other residents is Bobby (Willem Dafoe), a weary hotel manager who keeps the trains running as best he can for tenants living in the margins of life.

“When we got there to Florida, I set out for some kind of model, so I did fairly traditional research,” Dafoe recalled of the two weeks he had for prep before shooting began in 2016. “I met with people who had his kind of job and found one in particular who gave me certain hints about what kind of person has this job and where they may have come from. These guys have a terrific amount of pride in what they do, and there’s a root there for compassion.”

The trick, he found, was trying to strike a balance. “They have to press people for rent, keep things going, keep things in order. At the same time, they accept these people as members of a community.”

Indeed, Dafoe’s Bobby is always toiling. The vending machines are broken, the paint is chipping, only one of the three washing machines works, anther circuit breaker has blown …

These are the chores he navigates while pleasing an impatient owner, demanding rent payments and herding the unattended children out of his path. “He’s basically a paycheck away from being in their position,” Dafoe said. “It reminded me of the relationship between the people behind bars and the guards in a prison. The line is very thin, and they start to develop very interesting relationships. It’s a codependency that his happiness depends on their happiness.”

The Magic Castle can be an unmagical place: drug deals, prostitution, vice and domestic disputes run rampant in the halls. It’s not unfamiliar territory for Baker, who made waves with “Tangerine,” his award-winning 2015 drama about a night in the lives of transgender sex workers in Hollywood that was partially shot on iPhone.

Baker, a 46-year-old white male who grew up in suburban New Jersey, has a clear talent for relaying essential truths about underrepresented people. But in recent years, Hollywood has become increasingly sensitive to the importance of achieving diversity both in front of and behind the camera.

“This has become a major issue of late, especially in the age of think pieces,” said Baker. “Ownership over certain subjects, people who maybe come from places of more privilege than others and whether they should be allowed to tell [these] stories. This is something that, obviously, I struggle with all the time.

“The only thing we can do is take the most ethical approach possible,” he continued. “I’m not trying to be the voice in any shape or form. I’m simply trying to amplify the voice. We have to do it in a very responsible and respectful way.

“We have to consult with the communities we’re focusing on, we have to get approval over everything. Having them sign off on things like the script is extremely important.”

The director, in stark contrast to his disarming boyish quality, got fiery at the notion he would use communities like the one he depicts at Magic Castle for personal gain. “This isn’t a way of cashing in on a subject that can be exploited,” he said. “These [movies] aren’t calling cards to Hollywood.

“I’m not trying to get the next Marvel film by doing this. I’ve reached the age where I’ve realized I’m lucky enough to have this platform, and I want to use it for the right purposes.”

Dafoe praised his director as unsanctimonious, saying he was “very good at mixing the real elements with invented elements. It shows you the way. It’s not like you’re wagging your finger and telling people how things are. You’re letting them happen organically.”

For her research, first-time actress Vinaite spoke to real women living in the rundown motels for a deeper understanding of their lives and circumstances. “As much as they were struggling, they were really kind of happy,” she said. “It put things into perspective for me. It made me realize that the things I stress out about are not terrible …. It opened my eyes and made me really understand [my character] as a person.”

Baker was anxious to avoid the overly earnest formula often used by movies on similar subjects. “One of the traps of a lot of these types of movies is they go down the road of everything being incredibly melodramatic,” he said. “There’s not one ounce of humor, everybody is sanctified and you get to a place where they’re not based in truth. You need to show how people get by — that some joy exists.”

A great deal of that joy is represented in Prince’s young character, whose backyard is a bustling series of motels and novelty gift shops. A spitting contest on the windshield of a car offers little kids the chance to have bragging rights throughout the halls.

The ornate, daily fireworks display over nearby Disney World looks no less majestic from the adjacent golf course her family breaks into to watch for a special occasion.

“If people could walk away and be less judgmental of others in situations they don’t necessarily understand, it would be amazing,” Vinaite said of the Halleys and Moonees of the world.

“We all judge people … It was eye-opening to be nicer and care more about people you might not normally pay attention to.”

One detail Baker was insistent on was zero exposure for his child actors to the very adult problems depicted in the film. Moonee encounters an older male predator, commits a pretty serious crime with her cohorts Scooty (Christopher Rivera) and a new neighbor named Jancy (Valeria Cotto) and lives in uncomfortable proximity to prostitution. 

“Brooklynn knew it was adult content, but we kept her in the dark about that stuff,” Baker said.

Another hurdle for the stars and families: “Profanity,” Baker said. “Early on, we said, ‘We love your children. We’d be honored to have them in our film, but please understand not only will they hear profanity, they will be uttering profanity.'”

The film is no less impactful in its sadness because the kids aren’t in on the heavy stuff. A final sequence that sees a visit from the police and child service officers effectively breaks the illusion that life in the motel is sustainable for an unsupervised child (or her struggling mother, for that matter).

But the biggest problem Prince and her director faced was a conflict over something very close to the pint-sized actor’s heart: ice cream. There are numerous sequences where Moonee and her pals hustle change from tourists so they can share big, dripping ice cream cones on the hot sidewalk or, to Bobby’s chagrin, on the pleather couches of the Magic Castle lobby.

Photographed by Elisabeth Caren for TheWrap

“We were using regular ice cream and, about a week in, we realized not only were they crashing, they were gaining weight,” said Baker. “By the end of the 35 days they were not going to fit in their costumes.”

“They switched to sugar-free ice cream,” said Prince, who was not happy about the change. She immediately went to her director, demanding, “Sean! How dare you! I need my daily calcium!”

Related stories from TheWrap:

'The Florida Project' Is Big Indie Box Office Success

Cannes, Day 6: Punk Rock Aliens Party at Grand Palais; Sean Baker's 'Florida Project' Shines

Oscars' Governors Awards Party in the Shadow of Hollywood's Dark Times

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Netflix Won’t Partner With The Weinstein Company on Upcoming Awards Parties https://www.thewrap.com/netflix-wont-host-golden-globes-party-weinstein-company/ https://www.thewrap.com/netflix-wont-host-golden-globes-party-weinstein-company/#respond Wed, 22 Nov 2017 19:17:57 +0000 Jennifer Maas https://www.thewrap.com/?p=1744758 In case you were wondering, Netflix won’t be partying with The Weinstein Company at the Golden Globes next year — or any upcoming awards gatherings.

The streaming service, which has co-hosted a bash for the Hollywood Foreign Press Association’s big night with TWC for the last three years, said Wednesday that it will be going solo on all future celebratory occasions.

“We have no plans to partner with other studios for upcoming events,” a Netflix spokesperson told TheWrap on Wednesday.

The Golden Globes party has emerged as the most public partnership between the two companies.

Netflix’s decision follows the revelations about TWC co-founder Harvey Weinstein, who was fired last month after multiple women accused him of sexual harassment and assault — charges that he has publicly denied.

TheWrap reached out to TWC for comment on Netflix’s statement, but the company did not respond by time of publication.

The indie distributor, now run by co-founder Bob Weinstein, has pulled all the releases from the rest of its 2017 slate, including awards-bait projects like the historical drama “The Current War” and also returned Taylor Sheridan’s acclaimed summer release “Wind River” to its producers.

When asked last month if Netflix would be interested in buying TWC, CEO Reed Hastings said, “It would be extremely unlikely for us to be a bidder for the firm.”

The news was first reported by Variety.

Related stories from TheWrap:

Netflix in December: What's Coming and What to Watch Before It's Gone (Photos)

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Top 25 Best Netflix Original Series, Ranked From Great to Phenomenal (Photos)

Rev Run Family Comedy Series Ordered by Netflix

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‘Call Me by Your Name’ Film Review: Senses Working Overtime in Lush Summer Romance https://www.thewrap.com/call-me-by-your-name-film-review-timothee-chalamet-armie-hammer/ https://www.thewrap.com/call-me-by-your-name-film-review-timothee-chalamet-armie-hammer/#respond Wed, 22 Nov 2017 19:15:46 +0000 Alonso Duralde https://www.thewrap.com/?p=1744751 Director Luca Guadagnino makes sensual epics in every definition of the adjective. In his previous films “I Am Love” and “A Bigger Splash,” he makes movies that audiences don’t merely see and hear; these are experiences to be touched, felt, even smelled. His characters exist in a specific natural context, and he conveys their reactions to their surroundings.

His latest feature, the masterful “Call Me by Your Name,” ups the ante on Guadagnino’s sensuality. We can feel the grass under bare feet, smell lake water and perspiration on exposed skin, and taste the fresh apricots. (And yes, the peaches — there’s a scene involving the fuzzy fruit that takes the eroticization of the grapefruit in “Girls Trip” to a whole new level.)

As always with the director’s work, the tactile and olfactory elements of the film never overpower the story, but instead support the characterizations; he makes us privy to awakenings of mind, body and spirit and to the dizzying rush of new love and sexual discovery.

Experiencing all those feelings is 17-year-old Elio (Timothée Chalamet, “Miss Stevens,” “Lady Bird”), a musical prodigy spending the summer in northern Italy with his father, Professor Perlman (Michael Stuhlbarg), and mother Annella (Amira Casar, “Versailles”), a translator. Every summer, a grad-student intern comes to live with them and to work with the professor, and this year it’s 24-year-old Oliver (Armie Hammer).

Elio is both drawn to and taken aback by this newcomer: he’s tall and handsome (and somewhat awkward in his movements — this film has already inspired the “Armie Hammer Dancing” gif meme), he’s a blond preppy (but like the Perlmans, he’s Jewish, sporting a Star of David pendant), and his seeming insouciance (he ends every encounter with a breezy “Later”) might well be a constructed façade. The teenager is fascinated, annoyed, obsessed.

Guadagnino and legendary screenwriter James Ivory (adapting the novel by André Aciman, who turns in a cameo here) are in no hurry to bring these guys together. The director’s go-to editor, Walter Fasano, lets scenes play out in long, uninterrupted takes, capturing the feeling of those glorious summer days that seem to stretch out into eternity. That summer feeling emerges from scene to scene as well, as the days occasionally blur together, leaving us to look at Elio’s T-shirts for an indication of whether or not the film has moved forward in time.

Cinematographer Sayombhu Mukdeeprom (“Uncle Boonmee Who Can Recall His Past Lives”) gives us all the sunlight-rippling-off-rivers we could ever want for a film set during an Italian summer, but he also throws in some experimental flashes of light and shadow and polarization to portray the shifting sense of memory; this is the kind of love story that inspires reminiscence and nostalgia even as it’s still unfolding.

A romance does, of course, travel on the weight of the lovers, and Chalamet and Hammer both give extraordinary, intricate performances as two people unsure about themselves and each other who eventually discover their truest selves in each other’s presence. When Oliver suggests the exchange that gives the film its title, it illustrates that deep passion by which two lovers can be together and lose track of where one begins and one ends.

As we enter into award season, there are many performances that will stand out because of their bombast or because of the actor’s physical transformation, but the extended take on Chalamet’s face under the closing credits of “Call Me By Your Name” offers some of the most delicate yet heart-achingly moving work anyone has ever done on screen. (It immediately enters the Close-Up Hall of Fame.) Hammer, meanwhile, has never been this open or empathetic on-screen, and Stuhlbarg and Casar both register understated moments in which these worldly and wise parents acknowledge what’s happening in their son’s life.

First love is as much about hesitancy as it is about exuberance – maybe even more so – and Ivory and Guadagnino perfectly capture that sweet turmoil, aided by a gifted ensemble. This isn’t just an instant LGBT classic; this is one of the great movie love stories, for audiences of all stripes.

Related stories from TheWrap:

Does 'Call Me By Your Name' Have a Post-Credits Scene?

Armie Hammer Joins Ruth Bader Ginsburg Biopic 'On the Basis of Sex'

Armie Hammer Joins Alicia Vikander in Ben Wheatley's 'Freakshift'

Jordan Peele's 'Get Out' Leads Gotham Awards Nominations

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Let’s Try to Piece Together What Zack Snyder’s Version of ‘Justice League’ Was Like https://www.thewrap.com/lets-try-to-piece-together-what-zack-snyders-version-of-justice-league-was-like/ https://www.thewrap.com/lets-try-to-piece-together-what-zack-snyders-version-of-justice-league-was-like/#respond Wed, 22 Nov 2017 17:51:00 +0000 Phil Owen and Phil Hornshaw https://www.thewrap.com/?p=1742985 (Major spoilers ahead for the actual version of “Justice League,” even as we make some educated guesses about what the movie might have been.)

It’s no secret that “Justice League” is a movie that underwent a lot of changes during its production — credited director Zack Snyder exited the movie early this year and Joss Whedon oversaw reshoots that went on for so long that Henry Cavill had to shoot a bunch of scenes as Superman with a mustache that he grew for another movie. And the changes were so obviously massive that some fans, after seeing it, are demanding that Warner Bros release Snyder’s cut for comparison.

Watching “Justice League” with the idea in mind that Whedon probably rejiggered the plot significantly is illuminating, if you know what to look for. There are definitely remnants of Zack Snyder’s vision all over the thing, some of which come into even clearer view after revisiting “Batman v Superman,” which I did this week after seeing “Justice League,” and also taking a look at the scenes from the trailers that didn’t make it into the movie.

So I think at this point, we’re more than able to look at all these pieces and figure out what Snyder was going for before Whedon took the reins.

Let’s start by taking a look at several items that I believe are key Snyder leftovers.

-The opening credits montage, in which the world is in moral disarray because Superman died. The rest of the movie does not play on that theme at all, and there’s no complementary montage of people being good again now that Superman has been resurrected. That tells me that such a montage was never put together, which is important.

-Similarly, an early action sequence in which Wonder Woman foils a plot by reactionary white suicide bomber terrorists to blow up a large chunk of London in hopes of triggering a new Dark Age. Their ideology seems very important, given that the movie actually takes the time to have them explain it, but whatever was going on there is never followed up.

-Pretty much everything with Steppenwolf. At one point he screams “For Darkseid!” Another time he mentions that he’s trying to take the Earth in order to “end my exile,” indicating he is not simply operating on his own. But when the story of Steppenwolf is presented in a lengthy flashback sequence, the narration presents Steppenwolf as acting purely out of greed — he just goes around to various planets and uses the Mother Boxes to turn them into visions of his crappy homeworld, just because he likes doing it. Likewise, Steppenwolf regularly teleports to various places on Earth using some kind of energy tube that seemingly leads to space — but the movie gives no indication of where those tubes lead, and none of the characters even bother to wonder about it. And in the comics, the flying parademons who show up all over “Justice League” work for Darkseid, not Steppenwolf.

-When the League resurrects Superman. This whole thing probably went very differently originally. None of them consider the possibility that using the Mother Box would draw Steppenwolf to them, even though it’s extremely obvious to the audience that it would do just that because that’s a storytelling cliche — and when he does come for the box, it’s so slight a moment that it had to have been a recontextualization of the entire resurrection sequence. There’s a bit from one of the trailers that didn’t make the final cut in which Cyborg, near the alien ship in Metropolis in which they bring Superman back, protects a police officer from an exploding tank that’s flying toward him. The whole Superman resurrection, in which he briefly acts aggressively toward the League before being calmed by Lois, appears to have gone very differently in Snyder’s version.

-Relatedly, the March trailer shows one of the Mother Boxes as just sitting in the corner of Cyborg’s apartment that he shares with his dad. The trailer presents a shot of the box waking up during the scene in the movie where a parademon kidnaps Cyborg’s dad. That of course could have been a deceptive cut (trailers for movies of all types regularly feature unrelated scenes cut together), but even so, the finished movie never shows that the Mother Box is just in their apartment. To the contrary, Cyborg acts like it’s safely hidden away in some other secret location. That could explain why when the box is used in the finished film to resurrect Superman, Cyborg shows up with no explanation for where it was — given the patchwork weirdness around Superman’s resurrection and the seemingly related deleted scene I discussed in my previous point, this is compelling evidence that the Mother Box was not used in Superman’s resurrection. Given that the parademon actually does break into Cyborg’s apartment and kidnap his dad in search of the box, I’m inclined to believe that scene originally went how the trailer presents it.

-It’s also important to note that the scenes in which Superman’s mouth has that CGI weirdness going on are not scenes that Snyder filmed, because he did not participate in the reshoots. The key scene, story-wise, is the part in which he and Lois are hanging out in the field near the Kent farmhouse immediately after his resurrection. That bit being something they filmed in reshoots is further evidence that Superman’s resurrection was supposed to go very differently.

-Lastly, there are items in “Batman v Superman” clearly intended to set up a very specific plot thread that never came to be — and those items are not referenced in “Justice League” at all. I’m talking about Bruce Wayne’s nightmare of an apocalyptic future in which Superman is evil, and the subsequent visit from what seems to be a time-traveling Flash warning Bruce about what Superman will become should Lois Lane be killed.

Bruce’s nightmare, or Knightmare, shows a ravaged landscape covered in parademons, those winged baddies who are the main foes for the Justice League in “Justice League.” There’s also another type of foe shown, however: what appear to be human soldiers fighting alongside the parademons whose armor is adorned with Superman’s logo.  There’s a shot in one of the “Justice League” trailers which didn’t make the final cut, in which the Flash fights what looks like one of those human soldiers — but in the finished version of “Justice League” there are no human enemies, just Steppenwolf and the winged parademons.

What those items add up to, in my mind, is a plot that is far less straightforward than the one in the finished film, which focuses far more on Superman.

Here’s what I’m thinking: In the early going of “Justice League,” Steppenwolf was not yet a factor, and instead the main plot thrust revolved around a quest to bring Superman back. Batman and friends do know some kind of cosmic horror is on the way — that’s pretty firmly established at the end of “Batman v Superman.” But instead of the movie starting with said horror already on Earth, Batman and Wonder Woman are simply trying to prepare for it.

So they set out to assemble a team — another thing set up in “Batman v Superman — and at least some of that order of events is the same as in the finished movie as it was in Snyder’s version, considering that we saw some of those same recruitment scenes way back in the 2016 Comic-Con trailer. Bruce demonstrates a weird lack of urgency when he meets with Aquaman and the Flash in the movie, even though the final version of the story features a very compressed timeline. They literally have just a couple days to deal with Steppenwolf before he brings the apocalypse, but you certainly would never guess, given how casual Bruce’s pitch was to them.

So they at some point assemble the team and resurrect Superman inside the Kryptonian scout ship in Metropolis by some means –the Mother Box may not have been necessary given that the Kryptonians used that pool of amniotic fluid to make babies. After they bring Superman back, he goes crazy in the same way he does in the finished film, but his fight against the Justice League goes on much longer and doesn’t end with him reverting to normal. The government even gets involved, bringing tanks into the fight that Superman of course easily handles. However it ends, Superman does not go visit Kansas with Lois afterward, because that scene in the movie was a reshoot addition.

It’s possible that Lois shows up to try to calm him down and she is killed in the chaos (or something happens that somehow makes him think she’s killed), and it’s likely that Superman continues to be not quite right the rest of the movie and becomes the threat that Batman feared and which the Flash warned him about in “Batman v Superman.”

It would be a very Snyder-esque payoff to the the themes set up in the early goings — the idea that Superman was a beacon who gave the people of Earth a moral center, and whose death threw everyone into disarray. They bring him back but he no longer functions as that beacon of goodness, which in turn makes the moral situation on Earth that much murkier. It would make sense, too, that even an angry Superman would amass followers willing to fight, for him as we saw in Batman’s nightmare.

The timing of Steppenwolf’s move to the forefront of the plot is uncertain as I see it. If the League had to use Cyborg’s Mother Box to bring back Superman, then Steppenwolf would have probably made his big arrival afterward, possibly at the conclusion of the fight against Superman in Metropolis. If the Mother Box wasn’t  used in the resurrection, then figuring out Steppenwolf’s timing is tough.

But the start of Steppenwolf’s contribution to the plot of “Justice League” isn’t as important as what he’s doing and what happens to him — and the deal with Steppenwolf was pretty common knowledge before Whedon reworked the plot. First and foremost there: Steppenwolf is not working for his own gain, but is instead operating on the behalf of Darkseid, one of DC Comics’ biggest baddies. Darkseid himself wouldn’t have shown up in this movie, or if he did it would have been a quick appearance right at the end.

You’ll recall that the plan was for “Justice League” to be two movies, with the one we just watched being Part 1. Darkseid would have been the villain in Part 2. The finished movie, though, is not setting up Darkseid’s arrival in Part 2 because Part 2 is no longer on the schedule — and the current plan for the next hypothetical “Justice League” movie is for the League to battle a coalition of Earth-based supervillains. The lone surviving mention of Darkseid is pretty curious, then, because it doesn’t make any sense in the context of the movie as it exists now. It’s either an oversight, or just left in because Darkseid definitely will show up in the DCEU at some point, so long as they keep it going.

Either way, knowing that Steppenwolf was just supposed to function as setup for Darkseid’s arrival in “Justice League Part 2” is important to figuring out the rest of what was changed in the finished movie. Specifically, how the final battle is different. There’s a couple parts to this so let’s get going.

-Here’s the same shot from two different trailers. The first is from this year’s Comic-Con trailer, and the second is from the “Heroes” trailer released in October.

This one is from the trailer released in March of this year:

And here’s the reworked version of the shot from the more recent trailer that ended up being how it looked in the movie.

At first I assumed that Warner Bros and Whedon had simply changed up the color palette of the final battle — there are several other shots that are in both of those trailers with the same palette swap, and of course in the finished movie they stuck with the red hue.  But then I noticed that the trailer that was released for this year’s Comic-Con contains shots from the final battle that are inconsistent — a couple have the old, black palette, and some have the new red palette. And even that very recent Heroes trailer has at least one final battle shot with the old palette.

That March trailer and this year’s Comic-Con trailer features shots of an entire key location that didn’t make the cut — a place that looks like it could be a spaceship. We see Wonder Woman, Cyborg and Aquaman pop up in that space with the below hero shot that is also conspicuously absent.

That shot I believe is set in the same location as this other unused shot from the Comic-Con 2017 trailer. See here:

This is obviously some kind of bad guy lair, given that it’s full of parademons. In the center there you can see Steppenwolf and a glowing object that I’d bet was the combined Mother Boxes. Though the environment is very different from Steppenwolf’s reactor base, the layout, with that X-shaped platform, is very similar to the room in which Steppenwolf sets up the Mother Boxes in the finished movie. It would make sense for this to be the place from which Steppenwolf keeps flying down to Earth through those transport tubes.

All of which leads me to believe the location of the climactic throwdown was changed — given that Steppenwolf is from space it would make sense for the climax to happen on a spaceship — with the location of the climax moved from space to the surface of the Earth via the magic of CGI and color correction. The League being on a spaceship at the end of the movie would make it easy for them to learn about Darkseid.

It’s also possible that the battle in the Russian city in the finished movie was a separate fight from the final battle, though it’s not even remotely clear what other context that battle could have taken place in.

Despite this article being way too long, there are still lots of holes to fill in — the big one being that I have no idea what Superman’s role was supposed to be after his resurrection, and whether he would stay weird through the end of Part 1 or if that whole thing would have been resolved before the credits rolled. Given that a rogue Superman would have all sorts of ramifications for the other DCEU movie planned for the time between Parts 1 and 2, I’d think if he hadn’t been fixed by the end of this movie that he would have been out of the picture somehow during that intervening period. Unless, of course, all those other movies were going to take place before this one. That would be a weird choice, but this movieverse has been so haphazardly constructed that it seems entirely possible that was the plan.

Either way, I hope this helped you out if you were as confused with what the hell was going on in “Justice League” as I initially was. Though it’s almost certain the version of the movie that Zack Snyder was making will never see the light of day, it’s still fun to dive deep into what could have been.

Related stories from TheWrap:

The Worst Parts of 'Justice League,' From Superman's CGI Mouth to That Underwater Battle

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'Justice League': What The Hell Is the Deal With Steppenwolf's Mother Boxes?

Every DC Comics Movie Ranked From Worst to Best, Including 'Justice League'

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‘Marjorie Prime’ Star Lois Smith on Becoming an Oscar Contender at 87 https://www.thewrap.com/lois-smith-oscar-contender-marjorie-prime-87/ https://www.thewrap.com/lois-smith-oscar-contender-marjorie-prime-87/#respond Wed, 22 Nov 2017 17:17:13 +0000 Matt Donnelly https://www.thewrap.com/?p=1741159 This story about Lois Smith first appeared in the Race Begins issue of TheWrap’s Oscar magazine.

This fall, Hollywood’s Egyptian Theater played a double feature that represented bookends in the film career of underrated acting treasure Lois Smith. The first film was her feature debut, “East of Eden,” the James Dean classic directed by Elia Kazan. The second was one of her latest, “Marjorie Prime,” an intriguing and chilly sci-fi drama from Michael Almereyda.

Marjorie is a role Smith can’t seem to get rid of — she workshopped the Jordan Harrison play before it premiered Off Broadway and became a Pulitzer Prize finalist in 2015. In the film adaptation, Smith stars as the fading matriarch Marjorie, whose daughter (Geena Davis) and son-in-law (Tim Robbins) reluctantly supply her with an artificial intelligence that looks like a young incarnation of her late husband (played by Jon Hamm).

Photographed by Monika Sed for TheWrap

The AI, or “prime,” feeds on Marjorie’s memories, becoming a stronger proxy for her dead beloved the more time they spend together — much unlike dotty Marjorie, who is succumbing to dementia.

“She’s losing her memory and she’s got this new companion,” Smith said. “She knows what it is, and she enjoys it. It’s not as if she hasn’t got any marbles. She knows who she’s dealing with, and she enjoys the back and forth and the flirtation.”

Of the years she spent with the work as it moved from stage to screen, Smith said, “My character is less changed than the other characters. There was never a wholly new interpretation, but the writing is so good and so strong, you’re halfway home before you ever start.”

And during all the work’s iterations, she added, she kept one thread: “I always thought she was a person who really loved life.”

Smith, 87, recently landed a Film Independent Spirit Award nomination for her performance — and should she go the distance this Oscar season, she would tie “Titanic” actress Gloria Stuart as the oldest-ever Academy Award nominee. (Unless you’re counting days, in which case she’d trail Stuart by about three months.)

No reason not to love life off-screen either, then.

Related stories from TheWrap:

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‘Coco’ Soars to $2.3 Million at Tuesday Box Office https://www.thewrap.com/coco-soars-2-3-million-tuesday-box-office-thanksgiving/ https://www.thewrap.com/coco-soars-2-3-million-tuesday-box-office-thanksgiving/#respond Wed, 22 Nov 2017 16:28:54 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1744593 Disney Pixar’s “Coco” earned $2.3 million at the Tuesday box office.

The preview numbers for “Coco” compare well to those for “Moana” ($2.6 million), “The Good Dinosaur” ($1.3 million) and “Frozen” ($1.2 million).

Coco,” which has already become Mexico’s highest grossing film of all time with more than $43 million grossed since its release at the end of October, is projected to have a five-day opening of $55-60 million. By comparison, Pixar’s last Thanksgiving release, “The Good Dinosaur,” had a five-day start of $55.4 million in 2015 and a $123 million run, while Disney’s “Moana” had a five-day opening of $82 million last year en route to a $248.7 million domestic cume.

Audience hype around “Coco” hasn’t been very big, but critics have been raving about the film’s emotional depth and commitment to its faithful depiction of Mexican culture, giving it a 95 percent “fresh” score on Rotten Tomatoes.

“Coco” follows a 12-year-old boy named Miguel, whose yearning to escape his family’s ban on playing music leads him on a voyage to the Land of the Dead. The film stars Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Renee Victor and Alanna Ubach. Adrian Molina directed the film with Lee Unkrich (“Toy Story 3”) and co-wrote the script with Matthew Aldrich.

Also opening this holiday weekend are “Darkest Hour,” “The Man Who Invented Christmas,” “Roman J. Israel, Esq.” and “Call Me by Your Name.”

“Justice League,” which was released last week, will enter Thanksgiving weekend trying to avoid the heavy second weekend drop-off suffered by “Batman v Superman.” That film had an opening of $166 million, the second highest of 2016 behind only “Captain America: Civil War” ($179.1 million). But after poor word of mouth spread from early audiences, second weekend totals dropped 69 percent to $51 million.

While “Justice League” holds a score of 41 percent on Rotten Tomatoes from critics, 84 percent of the audience liked it, according to the site, which might decrease its second week drop-off percentage.

Related stories from TheWrap:

Pixar's 'Coco' Becomes Mexico's Highest Grossing Film Ever

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Pixar Dazzles With First Trailer for 'Coco,' Next Original Movie (Video)

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‘Star Wars: The Last Jedi’ on Track for Cosmic $200 Million-Plus Opening Weekend https://www.thewrap.com/star-wars-last-jedi-track-cosmic-200-million-plus-opening-weekend/ https://www.thewrap.com/star-wars-last-jedi-track-cosmic-200-million-plus-opening-weekend/#respond Wed, 22 Nov 2017 15:54:44 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1744597 “Star Wars: The Last Jedi” is on track for a cosmic $200 million-plus opening weekend when it hits theaters on Dec. 15, according to first estimates released by tracking services on Wednesday morning.

“Star Wars: The Force Awakens,” the first new film released in the sci-fi franchise after Disney acquired Lucasfilm, earned a record opening of $248 million in December 2015. Last year’s prequel “Rogue One: A Star Wars Story” opened to $155.1 million.

“The Last Jedi” is likely to score the biggest opening box office weekend of the year, a spot currently held by another Disney release, “Beauty and the Beast,” which debuted to $174.8 million in March.

Only two other films have crossed the $200 million mark on their opening weekends: “Jurassic World” ($226 million) and “The Avengers” ($228 million).

Written and directed by Rian Johnson, “Star Wars: The Last Jedi” stars John Boyega, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, Oscar Isaac, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern and Benicio del Toro.

The new trilogy will be separate from the main Skywalker saga and, according to a Disney press release, the film will “introduce new characters from a corner of the galaxy that Star Wars lore has never before explored.”

“Star Wars: The Last Jedi” arrives in U.S. theaters on Dec. 15, 2017.

Related stories from TheWrap:

Small Town Iowa Theater Refuses to Screen 'Star Wars: The Last Jedi'

'Star Wars: The Last Jedi' Gets New TV Spot During World Series (Video)

Director Rian Johnson Gets Wistful in New 'Star Wars: The Last Jedi' Featurette (Video)

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Kevin Spacey Faces Second Criminal Investigation in London https://www.thewrap.com/kevin-spacey-faces-second-criminal-investigation-london/ https://www.thewrap.com/kevin-spacey-faces-second-criminal-investigation-london/#respond Wed, 22 Nov 2017 14:28:53 +0000 Thom Geier https://www.thewrap.com/?p=1744574 Kevin Spacey faces a second criminal investigation by London police for sexual assault, this time an allegation dating from 2005 in the Lambeth section of South London.

According to British media reports, New Scotland Yard had launched a previous investigation on November 1 of allegations that the Oscar winner had sexually assaulted a man in 2008.

The second investigation, first reported by Variety on Wednesday, stems from a new allegation made last Friday by a second man.

“Officers from the Child Abuse and Sexual Offenses Command are investigating,” London police said in a statement released Wednesday.

According to custom, the authorities did not identify Spacey by name. But the British tabloid The Sun has reported that a man accused Spacey of a sexual assault in 2008 in Lambeth. The unidentified man said he smoked marijuana with Spacey, passed out and woke to find the actor performing oral sex on him.

The complainant said he had asked the veteran actor to help his own career and that Spacey warned him after the encounter, “Don’t tell anyone about this.” He said he then fled the residence.

At the time, Spacey served as the artistic director of London’s Old Vic Theatre.

A rep for Spacey could not be reached for comment.

Spacey’s professional life has unraveled quickly since “Star Trek: Discovery” star Anthony Rapp accused him of making sexual advances when the latter was 14 years old. More than a dozen men subsequently came forward with allegations of sexual misconduct by the Oscar winner.

Spacey’s agency CAA and publicist Staci Wolfe both fired the actor. Netflix cut ties with the star of its hit drama “House of Cards,” and Ridley Scott elected to reshoot the already wrapped “All the Money in the World” with Christopher Plummer taking Spacey’s role.

A former rep for Spacey told TheWrap earlier this month the actor was seeking treatment and evaluation.

Related stories from TheWrap:

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'House of Cards' Writers Rushing to Rewrite Season 6 After Kevin Spacey's Exit (Report)

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Brett Ratner’s Hilhaven Lodge Whiskey Discontinued by Liquor Giant Diageo https://www.thewrap.com/brett-ratners-hilhaven-lodge-whiskey-discontinued-by-spirits-maker-diageo/ https://www.thewrap.com/brett-ratners-hilhaven-lodge-whiskey-discontinued-by-spirits-maker-diageo/#respond Wed, 22 Nov 2017 05:48:14 +0000 Debbie Emery https://www.thewrap.com/?p=1744544 Brett Ratner’s Hilhaven Lodge whiskey has been discontinued by spirits maker Diageo after the sexual misconduct  accusations against him.

Multiple women, including actresses Olivia Munn and Natasha Henstridge, have accused Ratner of harassment or assault in recent weeks.

“Due to the nature of these allegations, The Hilhaven Lodge Whiskey has been discontinued,” a Diageo spokesperson told the Los Angeles Times on Tuesday.

Diageo did not immediately respond to TheWrap’s request for comment.

TheWrap previously reported that the liquor giant was reviewing its relationship with Ratner.

“A couple of years ago, Diageo entered into licensing and marketing services agreements with Brett Ratner to develop and produce an American Whiskey blend for The Hilhaven Lodge trademark which Mr. Ratner owns,” the company said in a statement on Nov. 7.

“Diageo takes matters such as these very seriously and, given the nature of these allegations, we are reviewing this relationship.”

Diageo was the world’s largest producer of spirits until China’s Kweichow Moutai took over the top spot earlier this year.

The company’s brands include Smirnoff, Johnnie Walker, Baileys and Guinness. It also owns 34 percent of Moet Hennessy, which includes brands like Veuve Clicquot and Hennessy.

Hilhaven Lodge Whiskey is named after the famous Beverly Hills estate where Ratner currently resides. It was previously home to Hollywood stars including “Casablanca” star Ingrid Bergman, “Vertigo” actress Kim Novak and “Grease” producer Allan Carr.

Related stories from TheWrap:

Ellen Page Calls Out 'Blatantly Homophobic' Brett Ratner, Woody Allen, Other Hollywood 'Abusers'

Brett Ratner Sues Woman for Libel Over Rape Accusation Made on Facebook

Brett Ratner to 'Step Away' From Warner Bros. Projects Amid Sexual Misconduct Allegations

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Rashida Jones Says John Lasseter Wasn’t Why She Exited ‘Toy Story 4’ https://www.thewrap.com/rashida-jones-says-john-lasseter-wasnt-the-reason-why-she-exited-toy-story-4/ https://www.thewrap.com/rashida-jones-says-john-lasseter-wasnt-the-reason-why-she-exited-toy-story-4/#respond Wed, 22 Nov 2017 03:48:22 +0000 Debbie Emery https://www.thewrap.com/?p=1744501 Rashida Jones has denied a report that she dropped out of “Toy Story 4” as a writer due to “unwanted advances” from Pixar and Disney animation chief John Lasseter.

“We did not leave Pixar because of unwanted advances. That is untrue. We parted ways because of creative and, more importantly, philosophical differences,” Jones said Tuesday in a joint statement with her writing partner, Will McCormack, to TheWrap.

“There is so much talent at Pixar, and we remain enormous fans of their films,” they continued in a statement first reported in the New York Times. “However, it is also a culture where women and people of color do not have an equal creative voice.”

The statement came in response to a Hollywood Reporter article suggesting that Jones and McCormack left the upcoming animated sequel after Lasseter made “an unwanted advance.”

Earlier on Tuesday, Lasseter announced that he would take a six-month sabbatical from Disney and the Pixar studio he has led for decades following multiple reports of sexual misconduct.

The Oscar-winning animator also apologized for what he called “missteps” in his interactions with staffers that he said made some “feel disrespected or uncomfortable.”

“Parks and Recreation” actress Jones and McCormack also went on to say: “We encourage Pixar to be leaders in bolstering, hiring and promoting more diverse and female storytellers and leaders. We hope we can encourage all those who have felt like their voices could not be heard in the past to feel empowered.”

Previously in their statement, the pair also criticized some members of the media for their handing of the ongoing sexual harassment scandal in Hollywood. “The breakneck speed at which journalists have been naming the next perpetrator renders some reporting irresponsible,” they said.

Lasseter is best known as one of the founders of Pixar and directed films such as “Toy Story,” “A Bug’s Life,” “Toy Story 2,” “Cars” and “Cars 2.” After Disney purchased Pixar in 2006, Lasseter was named the chief creative officer of both Pixar and Walt Disney Animation Studios, where he oversees all the media giant’s animated films and projects as executive producer.

He has won two Academy Awards — one for Best Animated Short Film (“Tin Toy”) and one Special Achievement Award for “Toy Story.” Pixar itself has won eight Academy Awards and the films have grossed over $6 billion at the box office, domestically.

Pixar will next release “Coco” on Thanksgiving Day, and is working on the sequel to “The Incredibles.”

See Jones and McCormack’s statement in full below.

We feel like we have been put in a position where we need to speak for ourselves. The break neck speed at which journalists have been naming the next perpetrator renders some reporting irresponsible and, in fact, counterproductive for the people who do want to tell their stories. In this instance, The Hollywood Reporter does not speak for us. We did not leave Pixar because of unwanted advances. That is untrue. That said, we are happy to see people speaking out about behavior that made them uncomfortable. As for us, we parted ways because of creative and, more importantly, philosophical differences.  
There is so much talent at Pixar and we remain enormous fans of their films.  But it is also a culture where women and people of color do not have an equal creative voice, as is demonstrated by their director demograpics: out of the 20 films in the company’s history,  only one was co-directed by a woman and only one was directed by a person of color. We encourage Pixar to be leaders in bolstering, hiring, and promoting more diverse and female storytellers and leaders. We hope we can encourage all those who have felt like their voices could not be heard in the past to feel empowered. 
Related stories from TheWrap:

Thanksgiving Box Office Preview: Will 'Coco' Be Hurt by John Lasseter Accusations?

Pixar Head John Lasseter Takes 'Six-Month Sabbatical,' Apologizes for 'Missteps'

Johnny Depp's 'Fantastic Beasts' Sequel Return Sparks Angry Twitter Response: 'Depp's an Abuser'

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‘Aquaman:’ Director James Wan Says His Film Won’t Copy the ‘Justice League’ Take on Atlantis https://www.thewrap.com/aquaman-james-wan-dc-fans-justice-league/ https://www.thewrap.com/aquaman-james-wan-dc-fans-justice-league/#respond Wed, 22 Nov 2017 02:17:03 +0000 Umberto Gonzalez https://www.thewrap.com/?p=1744444 “Aquaman” director James Wan assured DC fans that his film won’t use the “Justice League” trick where Atlanteans communicated underwater using air bubbles.

“Fret not, no “air bubbles for dialogue” in my underwater world,” tweeted Wan.

“Justice League” featured a dialogue sequence set in Atlantis between Aquaman (Jason Momoa) and Mera (Amber Heard). For the dialogue scene, the two created an air bubble around themselves to speak with each other. The Hollywood Reporter detailed the challenges Wan is presented with after “Justice League” underperformed at the box office this past weekend, it noted that the air bubble solution for dialogue would not be something sustainable for an entire film.

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See James Wan's latest POWER MOVE.

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16

This lead to a response from Wan on Twitter in which the director confirmed the standalone “Aquaman” film would feature dialogue exchanges in a much different way than “Justice League.”

“I try to stay the f– away from what people say,” the actor behind Aquaman told EW. “Some of my friends said, ‘”Justice League” isn’t doing well’ and it kind of bummed me out. But I didn’t want to look it up. I don’t want to look up the bad and the negativity. I don’t think that’s useful; it doesn’t help.”

Momoa, who has seen the movie twice, praised director Zack Snyder’s “bada–” vision for Aquaman — but acknowledged that much of it had to wait for “Aquaman.”

Related stories from TheWrap:

'Justice League' Star Jason Momoa 'Bummed' by Movie's Weak Reception

3 Reasons 'Justice League' Found Kryptonite at the Box Office

The Worst Parts of 'Justice League,' From Superman's CGI Mouth to That Underwater Battle

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‘Tyler’s Office Was Like Neverland Ranch': Did Hollywood Agency Miss Warning Signs? https://www.thewrap.com/tylers-office-like-neverland-ranch-hollywood-agency-miss-warning-signs/ https://www.thewrap.com/tylers-office-like-neverland-ranch-hollywood-agency-miss-warning-signs/#respond Wed, 22 Nov 2017 01:30:42 +0000 Matt Donnelly https://www.thewrap.com/?p=1739712 Years before the LAPD opened a sexual misconduct investigation into Hollywood agent Tyler Grasham, his employers at the Agency for the Performing Arts received numerous warning signs about his behavior with underage clients, insiders told TheWrap.

Two former employees say that after a sexual harassment seminar in the fall of 2013, at least one person complained to management about Tyler’s behavior with minors — including serving alcohol to them in an office nicknamed “Neverland.”

The person who complained about Grasham, according to the two insiders, pointedly asked APA’s de facto human resources executive Joanne Johnson:  “Why are there drunk kids wandering the halls?”

APA denied the insiders’ account. “That allegation is absolutely false,” a lawyer for the agency, Adam Levin, wrote TheWrap. Johnson denied ever hearing such complaints, the lawyer said.

But a former client of Grasham’s told TheWrap he gave her alcohol, in his office, while she was underage.

“Multiple talent agents complained over the years about Tyler’s behavior to senior management,” said a former senior employee.

Grasham, a top agent to teen stars including “Stranger Things” star Finn Wolfhard, was fired in October after TheWrap reported on young men who accused him of plying them with alcohol and sexually assaulting them. Police in Los Angeles and London are investigating three accusations against him.

Grasham accuser Lucas Ozarowski (left) with the agent at his home in 2014

Now many current and former APA employees are struggling with how much top executives knew about Grasham’s conduct, and what could have been done to to stop it. One partner in the company was known to frequent parties at Grasham’s West Hollywood home, where three men say Grasham made unwanted advances on them.

“Our investigation into the allegations regarding Tyler Grasham is ongoing, and as a matter of policy APA does not comment on ongoing investigations,” an APA spokesperson told TheWrap.

Neither Grasham nor Matthias Wagener, the lawyer investigating accusations against Grasham on behalf of APA, responded to TheWrap’s requests for comment.

‘Drink After Drink After Drink’

“Tyler’s office was like Neverland Ranch,” said one former agent, who described complaining to Johnson, likening Grasham’s office at APA’s Beverly Hills location to the property where Michael Jackson was accused of giving wine to boys and molesting them. (Jackson was acquitted in 2005.)

The office was equipped with a basketball hoop and other games for his guests. A former employee and a former client said he served alcohol to actors under 21 in the office, both signed clients and young talent who hoped he would represent them.

The former client, a TV actress, told TheWrap she drank alcohol Grasham gave her in his office before she was of age, but that he did not make any sexual advances. Excessive drinking is a recurring theme in the accounts of Grasham’s accusers, all young men.

Actor Brady Lindsay told TheWrap that Grasham took him to a restaurant in West Hollywood in 2016, when he was 18, and plied him with several glasses of wine and champagne before making unwanted advances on him. Blaise Godbe Lipman said he was served alcohol at age 18 and assaulted at Grasham’s home in 2007. Lucas Ozarowski, who was 24 when he met Grasham in 2015, said the agent took him to a Los Angeles bar and “he was giving me drink after drink after drink. I started to leave them in the bathroom.”

The LAPD is investigating a complaint from Ozarowski, as well as a report from actor Tyler Cornell that Grasham sodomized him. London police are following up on British actor Jack Edwards’ report that Grasham served him several drinks and gave him a pill before assaulting him in a London hotel room in 2010. He was 15 at the time.

No Paper Trail to ‘Neverland’? 

The agent who complained about Grasham said Johnson took no notes, and three former employees said she was generally inconsistent in her handling of official paperwork and documentation. Johnson would get distracted in sensitive conversations to the point of sorting jelly beans that she kept in a jar on her desk, two of the individuals said.

Johnson reports to APA’s CEO Jim Gosnell, the insiders said. Gosnell runs the agency on a “granular level,” one of the individuals  said.

Work and Play 

One partner at the company, literary agent David Saunders, was known for not being especially social, one of the former employees said, except when Grasham invited him to parties at his home. Grasham’s residence was where three accusers said they were served alcohol, subjected to unwanted advances and, in one case, assaulted, as TheWrap previously reported.

Brady Lindsey accused Tyler Grasham of unwanted advances

“I’d doubt David was involved in any of the creepy stuff Tyler was doing, but he was an older guy who wasn’t very social on his own. Tyler often had something going on, and if David wasn’t encouraged to leave the house, he wouldn’t,” one of the former staffers said of Saunders.

Grasham had been an agent at APA for 11 years.  But another insider said Saunders wouldn’t have been in any position to promote him.

“David may have interacted with him socially, and been there for parties, but he didn’t have any say in either Tyler being promoted from an assistant or his contract renewed every three years. That was Ryan Martin,” the insider said.

Grasham was promoted from the assistant level by his boss Martin, the head of APAs talent department. Martin, who sits on APA’s board of directors, was also responsible for renewing Grasham’s contract in three year increments, a former senior employee told TheWrap.

APA’s business has suffered over the Grasham scandal. Wolfhard (“Stranger Things,” “It”) fired the agency only days after TheWrap’s first report hit. Golden Globe winner Gina Rodriguez (“Jane the Virgin”) also parted ways with APA over the scandal, one insider familiar with her decision told TheWrap, in addition to leaving manager David Guillod of Primary Wave Entertainment, who has been accused of sexual misconduct with four women.

Related stories from TheWrap:

Actor's Police Report Accuses Ex-Agent Tyler Grasham of Sodomizing Him

Teen: Fired Agent Tyler Grasham Asked Me to Be His Boyfriend, Start a Family

'Orphan Black' Star Jordan Gavaris Says Fired APA Agent Tyler Grasham 'Harassed' Him

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Thanksgiving Box Office Preview: Will ‘Coco’ Be Hurt by John Lasseter Accusations? https://www.thewrap.com/coco-thanksgiving-box-office-weekend-preview/ https://www.thewrap.com/coco-thanksgiving-box-office-weekend-preview/#respond Wed, 22 Nov 2017 00:37:36 +0000 Jeremy Fuster https://www.thewrap.com/?p=1744307 Thanksgiving weekend is shaping up to be a very interesting one at the box office for both good and bad reasons.

The biggest film — and the hottest news story — of the extended weekend will be Pixar’s critically-acclaimed “Coco,” which hits theaters right after studio founder John Lasseter took a leave of absence amid reports of sexual misconduct. Meanwhile, the underperforming “Justice League” will try to avoid a big drop, and “Wonder” will try to keep its surprising momentum going.

“Coco,” which has already become Mexico’s highest grossing film of all time with over $43 million grossed since its release on at the end of October, is projected to have a five-day opening of $55-60 million. By comparison, Pixar’s last Thanksgiving release, “The Good Dinosaur,” had a five-day start of $55.4 million in 2015 and a $123 million run, while Disney’s “Moana” had a five-day opening of $82 million last year en route to a $248.7 million domestic cume.

While audience hype for “Coco” hasn’t been very big, critics have been raving about the film’s emotional depth and commitment to its faithful depiction of Mexican culture, giving it a 95 percent score on Rotten Tomatoes. Analysts who spoke with TheWrap say they believe “Coco” will have a box office performance similar to “Zootopia,” a film that didn’t have much audience buzz prior to its release but had legs for several weeks thanks to stellar word of mouth.

But that word of mouth might be tainted by Tuesday’s news that Lasseter, who has been one of Disney’s biggest creative forces since directing “Toy Story” 22 years ago, admitted to “missteps” in an internal memo announcing his leave shortly before The Hollywood Reporter published a report outlining allegations of sexual misconduct. As on all Pixar films, Lasseter is credited in “Coco” as an executive producer.

Analysts say that its unlikely that the news will have an immediate box office impact on “Coco” this weekend, particularly among family audiences. But it’s still unknown how it will impact the conversation surrounding the film, as Lasseter is often credited for building Pixar’s reputation for high-quality animated films and has overseen Disney Animation as chief creative officer during its recent hot streak with films like “Frozen” and “Wreck-It Ralph.” Between them, Pixar and Lasseter-produced Disney films have won nine of the last ten Animated Feature Oscars.

“Coco” follows a 12-year-old boy named Miguel, whose yearning to escape his family’s ban on playing music leads him on a voyage to the Land of the Dead. The film stars Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Renee Victor, and Alanna Ubach. Adrian Molina directed the film with Lee Unkrich (“Toy Story 3”) and co-wrote the script with Matthew Aldrich.

“Justice League” will enter Thanksgiving weekend trying to avoid the heavy second weekend drop-off suffered by “Batman v Superman.” That film had an opening of $166 million, the second highest of 2016 behind only “Captain America: Civil War” ($179.1 million). But after poor word of mouth spread from early audiences, second weekend totals dropped 69 percent to $51 million.

By comparison, second weekend totals for the much better received “Wonder Woman” were $58.5 million. That was just a 43 percent drop from its $103 million opening, and the film’s domestic total passed those of “Suicide Squad” and “BvS” after just four weeks. The extended weekend could mitigate the fall for the film, but other films like “Coco” and “Thor: Ragnarok” will be heavy competition.

Despite this, Warner Bros. is still on pace to pass the $1.9 billion it made domestically last year, but had “Justice League” performed like “Wonder Woman,” which it is unlikely to do now, 2017 totals for the studio could have beaten the $2.1 billion record set in 2009.

“Warner Bros. is situated to be as successful as Disney if they get their act together with DC,” said Exhibitor Relations analyst Jeff Bock. “And I think that’s the most frustrating thing if you’re a comic book fan because WB has such amazing capability to compete toe-to-toe with Marvel but they’re not doing it, consistently underperforming other than ‘Wonder Woman.’ Warner Bros., box office wise, should be by now step-to-step with Disney, and that’s the next threshold they need to get to.”

Finally, there’s “Wonder,” which performed above expectations with a $27.5 million opening last weekend against a $20 million budget. The adaptation of R.J. Palacio’s inspirational novel has received rave reviews from family and older female audiences, and with school kids who read the book as part of their curriculum on an extended break this weekend, the movie should have strong holdover numbers. Combine that with robust group sales from schools who are taking classes on field trips to see the film, and a domestic total of over a $100 million is now a very feasible goal for this low-budget release.

“‘Wonder’ is a wonderful and inspiring film that is going to be a must-see for lots of families this holiday season,” said comScore’s Paul Dergarabedian. “This film has all the makings of a 4x or even 5x multiple by the time all is said and done.”

Related stories from TheWrap:

'Coco' Film Review: Pixar's Journey Down Mexico Way Pays Colorful, Moving Tribute to Family

Pixar Head John Lasseter Takes 'Six-Month Sabbatical,' Apologizes for 'Missteps'

'Justice League' Star Jason Momoa 'Bummed' by Movie's Weak Reception

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43 Hollywood and Media Heavyweights Accused of Sexual Misconduct Since Harvey Weinstein https://www.thewrap.com/hollywood-media-heavyweights-accused-sexual-misconduct-harvey-weinstein/ https://www.thewrap.com/hollywood-media-heavyweights-accused-sexual-misconduct-harvey-weinstein/#respond Wed, 22 Nov 2017 00:30:49 +0000 Brian Welk https://www.thewrap.com/?p=1734142 In the wake of the Harvey Weinstein sexual assault and harassment scandal, women and men alike have been more vocal about speaking out against sexual harassment. The accusations have been many, and the reaction and fallout has been swift across the industry.

Brett Ratner

Six women have accused the director and producer of sexual misconduct, including Olivia Munn and Natasha Henstridge. Ratner’s lawyer says no woman has ever requested or received any financial settlement from Ratner.

Fallout: Ratner chose to personally step away from all Warner Bros. related activities, and Playboy put Ratner’s biopic about Hugh Hefner on hold.

James Toback

Over 200 women contacted an LA Times reporter to accuse Toback of sexual harassment and assault, including Selma Blair, Rachel McAdams, Julianne Moore and Caterina Scorsone.

Fallout: Toback told Rolling Stone that anyone who has accused him, “is a lying c—sucker or c— or both.” Toback and Harvey Weinstein are both under investigation by the Beverly Hills police department.

Mark Halperin

Halperin sexually harassed five women while political director at ABC News over a decade ago. A sixth woman, journalist Emily Miller, said she was “attacked” by him.

Fallout: NBC News terminated Halperin’s contract as a special contributor, Showtime, which airs Halperin’s show “The Circus,” cut ties with the journalist, and CAA dropped him from their client list. Halperin issued a lengthy public apology.

Kevin Spacey

Actor Anthony Rapp told Buzzfeed that Spacey made a sexual advance on him three decades ago when Rapp was 14. Several other individuals subsequently came forward with claims of sexual harassment or assault, including an anonymous former actor who said Spacey tried to rape him when he was 14.

Fallout: Spacey apologized to Rapp and also came out as gay, which was widely criticized. Netflix since announced that “House of Cards” would end and halted production on the sixth and final season. The Old Vic theater in London, where Spacey was artistic director, also opened a confidential tip line.

Dustin Hoffman

Anna Graham Hunter, who worked with Hoffman as a production assistant, said Hoffman attempted to grope her four times and made a lewd comment while on set.

Fallout: Hoffman issued an apology, saying it was “not reflective of who I am.”

Michael Oreskes

Two women told The Washington Post Oreskes made unwanted sexual contact towards them while he was Washington bureau chief of The New York Times.

Fallout: Oreskes was forced to resign as Senior Vice President of News and Editorial Director at NPR.

Jeremy Piven

Actress Ariane Bellamar, a former Playboy Playmate, tweeted that Piven groped her on the set of “Entourage” and at the Playboy Mansion, twice cornering and fondling her. Two other women subsequently came forward to accuse him of sexual assault.

Fallout: CBS said it was looking into the situation, and Piven has “unequivocally” denied the allegations, offering to take a polygraph test to prove his innocence.

Andy Dick

Sources close to the production “Raising Buchanan” told The Hollywood Reporter Dick’s misconduct on set included kissing, licking, groping and making lewd propositions toward at least four members of the production.

Fallout: Dick was fired from the production of “Raising Buchanan.” Dick denied the groping claims but said it was “possible” he licked people.

Roy Price

Amazon Studios head Price allegedly told “The Man in the High Castle” producer Isa Hackett, “You’ll love my dick,” during a cab ride.

Fallout: Amazon placed Price on a leave of absence.

Chris Savino

Several female employees at Nickelodeon accused “The Loud House” showrunner of sexual assault, with 12 other women accusing him of sexual misconduct and threats of being blacklisted.

Fallout: Nickelodeon fired Savino, but will continue to air and produce the show.

Andrew Kramer

Lionsgate international COO Kramer was investigated for an accusation of inappropriate behavior toward a female assistant.

Fallout: Kramer left Lionsgate, but the company’s internal investigation was ruled “inconclusive.”

Ken Baker

Three women anonymously spoke with TheWrap claiming Baker, an E! News correspondent, sent inappropriate text messages and in one instance groped a woman at a party.

Fallout: E! is investigating the accusations and Baker will not appear on air during the investigation. Baker said in a statement to TheWrap that the “anonymous allegations are simply not true, and, frankly, are heartbreaking to hear.”

Ben Affleck

Affleck grabbed actress Hilarie Burton’s left breast while on air during an appearance together on MTV’s “Total Request Live.”

Fallout: Affleck wrote on Twitter, “I acted inappropriately toward Ms. Burton and I sincerely apologize.”

Andy Signore

Several women alleged sexual misconduct against Signore, the creator of the YouTube series “Honest Trailers.” Signore was accused of sexual assault, sending inappropriate messages and making lewd comments to employees.

Fallout: Signore was fired by his employers at Defy Media and Screen Junkies following an investigation.

Bill O’Reilly

After being fired from Fox News earlier in the year, it was reported by the New York Times that O’Reilly paid $32 million to settle sexual harassment claims from a coworker.

Fallout: O’Reilly told Matt Lauer he’d done “absolutely nothing wrong” and that this was “a political and financial hit job.”

Tyler Grasham

Actor Blaise Godbe Lipman said APA agent Grasham sexually assaulted him when the actor was in his late teens.

Fallout: Actors Finn Wolfhard and Cameron Boyce left the agency, and Grasham was fired.

Rick Najera

Najera, director of the CBS Diversity Sketch Comedy Showcase, made inappropriate and lewd comments to coworkers in multiple instances. Actress Rachel Bloom sent an email to participants warning of his behavior.

Fallout: Najera resigned from his role and issued a statement saying he was “heartbroken and confounded by deliberate and cruel defamations.”

Louis C.K.

Five women accused C.K. of masturbating in front of them or requesting to in a New York Times report. The comedian later admitted the allegations were true in a statement which stopped short of apologizing for the behavior.

Fallout: HBO, Netflix, FX and TBS all cut ties with the comedian, dropping his projects from their networks. The premiere of his film “I Love You, Daddy” was canceled, and he was cut from “The Secret Life of Pets 2.” His publicist, manager and touring agent all dropped him as a client.

Ed Westwick

The “Gossip Girl” star has been accused of sexual assault by two women, including actress Kristina Cohen, who said Westwick forced himself on her while she was napping at his house. Westwick denied the allegations, calling them “provably untrue.”

Fallout: Westwick said he was “cooperating with the authorities” on an investigation to clear his name. The BBC announced that it pulled his drama series “Ordeal by Innocence” from its schedule, and the production company behind the series “White Gold” said he had “paused” filming in light of the allegations.

Leon Wieseltier

The legendary former New Republic editor responded to multiple allegations of sexual harassment with a statement saying, “For my offenses against some of my colleagues in the past I offer a shaken apology and ask for their forgiveness.”

Fallout: The financial backer of a culture magazine Wieseltier had planned to launch announced that the magazine was suspended.

Jann Wenner

Rolling Stone founder Jann Wenner was accused of offering to trade sex for work by freelance journalist Ben Ryan. Wenner acknowledged the incident but denied any instance of quid pro quo.

Matthew Weiner

“Mad Men” writer Kater Gordon told The Information that Weiner once said to her “that [she] owed it to him to let him see [her] naked” while they were working alone together late at night.

Fallout: Weiner denied the accusation through a spokesperson, saying, “He does not remember saying this comment nor does it reflect a comment he would say to any colleague.”

Richard Dreyfuss

Following Dreyfuss coming out in support of his son Harry’s accusations against Kevin Spacey, writer Jessica Teich told Vulture that while working together, Dreyfuss exposed himself to her, made numerous advances over months and created an unsafe work environment.

Fallout: Dreyfuss “emphatically” denied exposing himself but said he “became an a–hole” in the late ’70s and “flirted with all the women.”

Jeffrey Tambor

Van Barnes, a transgender actress and former assistant to Tambor, posted a private accusation to her social media but had no additional comment for the media.

Fallout: Amazon is conducting an investigation, and “Transparent” showrunner Jill Soloway said they will cooperate with the investigation. Tambor said in a statement,  “I am appalled and distressed by this baseless allegation.”

Gary Goddard

Actor Anthony Edwards said producer and director Goddard molested him when he was a child and raped his friend over the course of several years. In 2014, Goddard was named in a lawsuit that was later dropped by Michael Egan, alongside “X-Men” director Bryan Singer and two other executives, accusing them of sexually abusing him as a teenager.

Fallout: Goddard’s publicist Sam Singer “unequivocally” denied the accusation and said Goddard was a “mentor, teacher and a friend” to Edwards.

Stephen Blackwell

Former intern Amy Rose Spiegel accused Blackwell, Billboard’s Chief Strategy Officer, of sexually harassing her when she was 19, along with other women who reported directly to him.

Fallout: Blackwell resigned from his position with Billboard.

George Takei

Model Scott R. Brunton said that after two drinks with Takei, he passed out and awoke with his pants down around his ankles and Takei was “groping my crotch and trying to get my underwear off.”

Fallout: Takei said he was “shocked and bewildered” by the claims. A recent clip from the Howard Stern Show in which the host and Takei talk about grabbing men’s genitals has since gone viral.

Matt Zimmerman

NBC Universal Senior Vice President for Booking, News & Entertainment Matt Zimmerman, “engaged in inappropriate conduct with more than one woman at NBCU,” a company spokesperson told TheWrap.

Fallout: Zimmerman has been fired for sexual misconduct from NBCU.

Andrew Kreisberg

Kreisberg, the co-creator and executive producer of “Arrow,” “The Flash” and “Supergirl” is accused of sexual harassment and inappropriate physical contact with 15 women and four men over a number of years, many of whom worked on shows Kreisberg produced, according to Variety.

Fallout: Warner Bros. TV suspended Kreisberg and launched an internal investigation. “Supergirl” star Melissa Benoist along with other co-stars called for change in Hollywood following the allegations.

Glenn Thrush

New York Times political reporter Glenn Thrush was accused of sexual misconduct by several female journalists. Vox had obtained text messages between Thrush and a 23-year-old journalist in a larger report alleging unwanted groping and kissing.

Fallout: The Times suspended Thrush, but he will for now remain an MSNBC correspondent as they await the outcome of the Times investigation. Thrush issued a full statement he’s never offered mentorship or advice with an expectation of something in return.

 

Related stories from TheWrap:

Gawker Founder Nick Denton on Harvey Weinstein, Kevin Spacey, Etc.: We Told You So

Asia Argento Tweets List of Harvey Weinstein Accusers

Here's Every Harvey Weinstein Accusation of Sexual Harassment and Assault

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https://www.thewrap.com/hollywood-media-heavyweights-accused-sexual-misconduct-harvey-weinstein/feed/ 0 In the wake of the Harvey Weinstein sexual assault and harassment scandal, women and men alike have been more vocal about speaking out against sexual harassment. The accusations have been many, and the reaction and fallout has been swift across the industry.

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In the wake of the Harvey Weinstein sexual assault and harassment scandal, women and men alike have been more vocal about speaking out against sexual harassment. The accusations have been many, and the reaction and fallout has been swift across the industry.

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Brett Ratner

Six women have accused the director and producer of sexual misconduct, including Olivia Munn and Natasha Henstridge. Ratner’s lawyer says no woman has ever requested or received any financial settlement from Ratner.

Fallout: Ratner chose to personally step away from all Warner Bros. related activities, and Playboy put Ratner’s biopic about Hugh Hefner on hold. Ratner has filed a libel lawsuit against one of his accusers, Melanie Kohler. 

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Brett Ratner

Six women have accused the director and producer of sexual misconduct, including Olivia Munn and Natasha Henstridge. Ratner’s lawyer says no woman has ever requested or received any financial settlement from Ratner.

Fallout: Ratner chose to personally step away from all Warner Bros. related activities, and Playboy put Ratner’s biopic about Hugh Hefner on hold. Ratner has filed a libel lawsuit against one of his accusers, Melanie Kohler. 

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James Toback

Hundreds of women contacted an LA Times reporter to accuse Toback of sexual harassment and assault, including Selma Blair, Rachel McAdams, Julianne Moore and Caterina Scorsone.

Fallout: Just before the LA Times story broke, Toback told Rolling Stone that anyone who has accused him, “is a lying c---sucker or c--- or both.” Toback and Harvey Weinstein are both under investigation by the Beverly Hills police department.

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James Toback

Hundreds of women contacted an LA Times reporter to accuse Toback of sexual harassment and assault, including Selma Blair, Rachel McAdams, Julianne Moore and Caterina Scorsone.

Fallout: Just before the LA Times story broke, Toback told Rolling Stone that anyone who has accused him, “is a lying c---sucker or c--- or both.” Toback and Harvey Weinstein are both under investigation by the Beverly Hills police department.

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Mark Halperin

Halperin sexually harassed five women while political director at ABC News over a decade ago. A sixth woman, journalist Emily Miller, said she was “attacked” by him.

Fallout: NBC News terminated Halperin’s contract as a special contributor, Showtime, which airs Halperin’s show “The Circus,” cut ties with the journalist, and CAA dropped him from their client list. Halperin issued a lengthy public apology.

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Mark Halperin

Halperin sexually harassed five women while political director at ABC News over a decade ago. A sixth woman, journalist Emily Miller, said she was “attacked” by him.

Fallout: NBC News terminated Halperin’s contract as a special contributor, Showtime, which airs Halperin’s show “The Circus,” cut ties with the journalist, and CAA dropped him from their client list. Halperin issued a lengthy public apology.

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Kevin Spacey 

Actor Anthony Rapp told Buzzfeed that Spacey made a sexual advance on him three decades ago when Rapp was 14. More than a dozen other individuals subsequently came forward with claims of sexual harassment or assault, including an anonymous former actor who said Spacey tried to rape him when he was 14. 

Fallout: Spacey apologized to Rapp and also came out as gay, which was widely criticized. Netflix since announced that "House of Cards" would end and halted production on the sixth and final season. The Old Vic theater in London, where Spacey was artistic director, also opened a confidential tip line.

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Kevin Spacey 

Actor Anthony Rapp told Buzzfeed that Spacey made a sexual advance on him three decades ago when Rapp was 14. More than a dozen other individuals subsequently came forward with claims of sexual harassment or assault, including an anonymous former actor who said Spacey tried to rape him when he was 14. 

Fallout: Spacey apologized to Rapp and also came out as gay, which was widely criticized. Netflix since announced that "House of Cards" would end and halted production on the sixth and final season. The Old Vic theater in London, where Spacey was artistic director, also opened a confidential tip line.

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Louis C.K. 

Five women accused C.K. of masturbating in front of them or requesting to in a New York Times report. The comedian later admitted the allegations were true in a statement, stopping short of apologizing for the behavior. 

Fallout: HBO, Netflix, FX and TBS all cut ties with the comedian, dropping his projects from their networks. The premiere of his film "I Love You, Daddy" was canceled, and he was cut from "The Secret Life of Pets 2." His publicist, manager and touring agent all dropped him as a client.

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Louis C.K. 

Five women accused C.K. of masturbating in front of them or requesting to in a New York Times report. The comedian later admitted the allegations were true in a statement, stopping short of apologizing for the behavior. 

Fallout: HBO, Netflix, FX and TBS all cut ties with the comedian, dropping his projects from their networks. The premiere of his film "I Love You, Daddy" was canceled, and he was cut from "The Secret Life of Pets 2." His publicist, manager and touring agent all dropped him as a client.

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Dustin Hoffman

Anna Graham Hunter, who worked with Hoffman as a production assistant, said Hoffman attempted to grope her four times and made a lewd comment while on set.

Fallout: Hoffman issued an apology, saying it was “not reflective of who I am.” Later that same day, a second woman accused him of sexual harassment.

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Dustin Hoffman

Anna Graham Hunter, who worked with Hoffman as a production assistant, said Hoffman attempted to grope her four times and made a lewd comment while on set.

Fallout: Hoffman issued an apology, saying it was “not reflective of who I am.” Later that same day, a second woman accused him of sexual harassment.

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Michael Oreskes

Two women told The Washington Post Oreskes made unwanted sexual contact towards them while he was Washington bureau chief of The New York Times.

Fallout: Oreskes was forced to resign as Senior Vice President of News and Editorial Director at NPR.

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Michael Oreskes

Two women told The Washington Post Oreskes made unwanted sexual contact towards them while he was Washington bureau chief of The New York Times.

Fallout: Oreskes was forced to resign as Senior Vice President of News and Editorial Director at NPR.

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Jeremy Piven

Actress Ariane Bellamar, a former Playboy Playmate, tweeted that Piven groped her on the set of “Entourage” and at the Playboy Mansion, twice cornering and fondling her. Actress Cassidy Freeman later accused Piven of "predatory behavior."

Fallout: CBS is looking into the situation, and Piven has “unequivocally” denied the allegations and offered to take a polygraph test to prove his innocence.

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Jeremy Piven

Actress Ariane Bellamar, a former Playboy Playmate, tweeted that Piven groped her on the set of “Entourage” and at the Playboy Mansion, twice cornering and fondling her. Actress Cassidy Freeman later accused Piven of "predatory behavior."

Fallout: CBS is looking into the situation, and Piven has “unequivocally” denied the allegations and offered to take a polygraph test to prove his innocence.

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Ed Westwick 

The "Gossip Girl" star has been accused of sexual assault by two women, including actress Kristina Cohen, who said Westwick forced himself on her while she was napping at his house. Westwick denied the allegations, calling them "provably untrue." 

Fallout: Westwick said he was "cooperating with the authorities" on an investigation to clear his name. The BBC announced that it pulled his drama series “Ordeal by Innocence” from its schedule, and the production company behind the series "White Gold" said he had "paused" filming in light of the allegations.

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Ed Westwick 

The "Gossip Girl" star has been accused of sexual assault by two women, including actress Kristina Cohen, who said Westwick forced himself on her while she was napping at his house. Westwick denied the allegations, calling them "provably untrue." 

Fallout: Westwick said he was "cooperating with the authorities" on an investigation to clear his name. The BBC announced that it pulled his drama series “Ordeal by Innocence” from its schedule, and the production company behind the series "White Gold" said he had "paused" filming in light of the allegations.

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Andy Dick

Sources close to the production “Raising Buchanan” told The Hollywood Reporter Dick’s misconduct on set included kissing, licking, groping and making lewd propositions toward at least four members of the production.

Fallout: Dick was fired from the production of “Raising Buchanan” and from the film "Vampire Dad." Dick denied the groping claims but said it was “possible” he licked people.

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Andy Dick

Sources close to the production “Raising Buchanan” told The Hollywood Reporter Dick’s misconduct on set included kissing, licking, groping and making lewd propositions toward at least four members of the production.

Fallout: Dick was fired from the production of “Raising Buchanan” and from the film "Vampire Dad." Dick denied the groping claims but said it was “possible” he licked people.

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Roy Price

Amazon Studios head Price allegedly told “The Man in the High Castle” producer Isa Hackett, “You’ll love my dick,” during a cab ride.

Fallout: Amazon placed Price on a leave of absence.   

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Roy Price

Amazon Studios head Price allegedly told “The Man in the High Castle” producer Isa Hackett, “You’ll love my dick,” during a cab ride.

Fallout: Amazon placed Price on a leave of absence.   

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Chris Savino

Several female employees at Nickelodeon accused “The Loud House” showrunner of sexual assault, with 12 other women accusing him of sexual misconduct and threats of being blacklisted.

Fallout: Nickelodeon fired Savino, but will continue to air and produce the show. Savino has since apologized. 

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Chris Savino

Several female employees at Nickelodeon accused “The Loud House” showrunner of sexual assault, with 12 other women accusing him of sexual misconduct and threats of being blacklisted.

Fallout: Nickelodeon fired Savino, but will continue to air and produce the show. Savino has since apologized. 

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Andrew Kramer

Lionsgate international COO Kramer was investigated for an accusation of inappropriate behavior toward a female assistant.

Fallout: Kramer left Lionsgate, but the company’s internal investigation was ruled “inconclusive.”

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Andrew Kramer

Lionsgate international COO Kramer was investigated for an accusation of inappropriate behavior toward a female assistant.

Fallout: Kramer left Lionsgate, but the company’s internal investigation was ruled “inconclusive.”

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Ken Baker

Three women anonymously spoke with TheWrap claiming Baker, an E! News correspondent, sent inappropriate text messages and in one instance groped a woman at a party.

Fallout: E! is investigating the accusations and Baker will not appear on air during the investigation. Baker said in a statement to TheWrap that the “anonymous allegations are simply not true, and, frankly, are heartbreaking to hear.”     

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Ken Baker

Three women anonymously spoke with TheWrap claiming Baker, an E! News correspondent, sent inappropriate text messages and in one instance groped a woman at a party.

Fallout: E! is investigating the accusations and Baker will not appear on air during the investigation. Baker said in a statement to TheWrap that the “anonymous allegations are simply not true, and, frankly, are heartbreaking to hear.”     

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Ben Affleck

Affleck grabbed actress Hilarie Burton’s left breast while on air during an appearance together on MTV’s “Total Request Live.”

Fallout: Affleck wrote on Twitter, “I acted inappropriately toward Ms. Burton and I sincerely apologize.”  

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Ben Affleck

Affleck grabbed actress Hilarie Burton’s left breast while on air during an appearance together on MTV’s “Total Request Live.”

Fallout: Affleck wrote on Twitter, “I acted inappropriately toward Ms. Burton and I sincerely apologize.”  

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Andy Signore

Several women alleged sexual misconduct against Signore, the creator of the YouTube series “Honest Trailers.” Signore was accused of sexual assault, sending inappropriate messages and making lewd comments to employees.

Fallout: His employers at Defy Media and Screen Junkies fired Signore following an investigation.

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Andy Signore

Several women alleged sexual misconduct against Signore, the creator of the YouTube series “Honest Trailers.” Signore was accused of sexual assault, sending inappropriate messages and making lewd comments to employees.

Fallout: His employers at Defy Media and Screen Junkies fired Signore following an investigation.

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Bill O’Reilly

After being fired from Fox News earlier in April, it was reported in October by the New York Times that O’Reilly paid $32 million to settle sexual harassment claims from a coworker.

Fallout: O’Reilly told Matt Lauer he’d done “absolutely nothing wrong” and that this was “a political and financial hit job.”

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Bill O’Reilly

After being fired from Fox News earlier in April, it was reported in October by the New York Times that O’Reilly paid $32 million to settle sexual harassment claims from a coworker.

Fallout: O’Reilly told Matt Lauer he’d done “absolutely nothing wrong” and that this was “a political and financial hit job.”

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Tyler Grasham

Actor Blaise Godbe Lipman said APA agent Grasham fed him alcohol and sexually assaulted him when the actor was in his late teens. Actor Tyler Cornell filed a police report claiming the agent sodomized him. And teen Brady Lindsey described predatory behavior by Grasham. 

Fallout: Actors Finn Wolfhard and Cameron Boyce left the agency, and Grasham was fired.

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Tyler Grasham

Actor Blaise Godbe Lipman said APA agent Grasham fed him alcohol and sexually assaulted him when the actor was in his late teens. Actor Tyler Cornell filed a police report claiming the agent sodomized him. And teen Brady Lindsey described predatory behavior by Grasham. 

Fallout: Actors Finn Wolfhard and Cameron Boyce left the agency, and Grasham was fired.

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Rick Najera

Najera, director of the CBS Diversity Sketch Comedy Showcase, made inappropriate and lewd comments to coworkers in multiple instances. Actress Rachel Bloom sent an email to participants warning of his behavior.

Fallout: Najera resigned from his role and issued a statement saying he was “heartbroken and confounded by deliberate and cruel defamations.”

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Rick Najera

Najera, director of the CBS Diversity Sketch Comedy Showcase, made inappropriate and lewd comments to coworkers in multiple instances. Actress Rachel Bloom sent an email to participants warning of his behavior.

Fallout: Najera resigned from his role and issued a statement saying he was “heartbroken and confounded by deliberate and cruel defamations.”

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David Corn

Mother Jones' Washington Bureau Chief was investigated for the second time in three years for claims of inappropriate physical conduct and "rape jokes" in light of two emails from former staffers in 2014 and 2015, according to Politico

Fallout: Mother Jones' CEO said that in the initial investigation, they determined there was "no misconduct." Corn denied the allegations but said it was possible his past actions had been misinterpreted.  

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David Corn

Mother Jones' Washington Bureau Chief was investigated for the second time in three years for claims of inappropriate physical conduct and "rape jokes" in light of two emails from former staffers in 2014 and 2015, according to Politico

Fallout: Mother Jones' CEO said that in the initial investigation, they determined there was "no misconduct." Corn denied the allegations but said it was possible his past actions had been misinterpreted.  

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Kirt Webster

Former country singer Austin Rick accused Webster, a veteran Nashville publicist, of repeatedly sexually assaulting, drugging and violating him in 2008 when Rick was 18.

Fallout: Webster will step down from his company Webster Public Relations and the company's name will be changed. 

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Kirt Webster

Former country singer Austin Rick accused Webster, a veteran Nashville publicist, of repeatedly sexually assaulting, drugging and violating him in 2008 when Rick was 18.

Fallout: Webster will step down from his company Webster Public Relations and the company's name will be changed. 

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David Guillod

Actress Jessica Barth told TheWrap she was drugged and sexually assaulted by Guillod, the co-CEO of talent and literary management company Primary Wave Entertainment, back in 2012. Three additional women later accused Guillod of rape.

Fallout: Guillod announced he would take an immediate leave of absence from the company. Barth also approached the LAPD to revive her attempt to bring criminal charges. 

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David Guillod

Actress Jessica Barth told TheWrap she was drugged and sexually assaulted by Guillod, the co-CEO of talent and literary management company Primary Wave Entertainment, back in 2012. Three additional women later accused Guillod of rape.

Fallout: Guillod announced he would take an immediate leave of absence from the company. Barth also approached the LAPD to revive her attempt to bring criminal charges. 

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Hamilton Fish

Several female employees at The New Republic, where Fish is president and publisher, came forward about workplace interactions that have made "an uncomfortable environment," according to the New York Times.

Fallout: The magazine's owner Win McCormack asked Fish to remain on a leave of absence, pending an investigation. 

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Hamilton Fish

Several female employees at The New Republic, where Fish is president and publisher, came forward about workplace interactions that have made "an uncomfortable environment," according to the New York Times.

Fallout: The magazine's owner Win McCormack asked Fish to remain on a leave of absence, pending an investigation. 

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Adam Venit

Actor Terry Crews disclosed on Twitter that a Hollywood executive "groped his privates," and sources told Variety that Crews was preparing to name Venit as the unnamed executive. 

Fallout: Venit has been placed on leave by WME. 

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Adam Venit

Actor Terry Crews disclosed on Twitter that a Hollywood executive "groped his privates," and sources told Variety that Crews was preparing to name Venit as the unnamed executive. 

Fallout: Venit has been placed on leave by WME. 

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Leon Wieseltier 

The legendary former New Republic editor responded to multiple allegations of sexual harassment with a statement saying, "For my offenses against some of my colleagues in the past I offer a shaken apology and ask for their forgiveness.” 

Fallout: The financial backer of a culture magazine Wieseltier had planned to launch announced that the magazine was suspended. 

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Leon Wieseltier 

The legendary former New Republic editor responded to multiple allegations of sexual harassment with a statement saying, "For my offenses against some of my colleagues in the past I offer a shaken apology and ask for their forgiveness.” 

Fallout: The financial backer of a culture magazine Wieseltier had planned to launch announced that the magazine was suspended. 

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Jann Wenner 

Rolling Stone founder Jann Wenner was accused of offering to trade sex for work by freelance journalist Ben Ryan. Wenner acknowledged the incident but denied any instance of quid pro quo.

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Jann Wenner 

Rolling Stone founder Jann Wenner was accused of offering to trade sex for work by freelance journalist Ben Ryan. Wenner acknowledged the incident but denied any instance of quid pro quo.

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Matt Zimmerman

NBC Universal Senior Vice President for Booking, News & Entertainment Matt Zimmerman "engaged in inappropriate conduct with more than one woman at NBCU," a company spokesperson told TheWrap.

Fallout: Zimmerman has been fired for sexual misconduct from NBCU.

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Matt Zimmerman

NBC Universal Senior Vice President for Booking, News & Entertainment Matt Zimmerman "engaged in inappropriate conduct with more than one woman at NBCU," a company spokesperson told TheWrap.

Fallout: Zimmerman has been fired for sexual misconduct from NBCU.

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Andrew Kreisberg

Kreisberg, the co-creator and executive producer of "Arrow," "The Flash" and "Supergirl," is accused of sexual harassment and inappropriate physical contact with 15 women and four men over a number of years, many of whom worked on shows Kreisberg produced, according to Variety.

Fallout: Warner Bros. TV suspended Kreisberg and launched an internal investigation. "Supergirl" star Melissa Benoist along with other co-stars called for change in Hollywood following the allegations. 

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Andrew Kreisberg

Kreisberg, the co-creator and executive producer of "Arrow," "The Flash" and "Supergirl," is accused of sexual harassment and inappropriate physical contact with 15 women and four men over a number of years, many of whom worked on shows Kreisberg produced, according to Variety.

Fallout: Warner Bros. TV suspended Kreisberg and launched an internal investigation. "Supergirl" star Melissa Benoist along with other co-stars called for change in Hollywood following the allegations. 

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Matthew Weiner

"Mad Men" writer Kater Gordon told The Information that Weiner once said to her “that [she] owed it to him to let him see [her] naked” while they were working alone together late at night.

Fallout: Weiner denied the accusation through a spokesperson, saying, “He does not remember saying this comment nor does it reflect a comment he would say to any colleague.”

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Matthew Weiner

"Mad Men" writer Kater Gordon told The Information that Weiner once said to her “that [she] owed it to him to let him see [her] naked” while they were working alone together late at night.

Fallout: Weiner denied the accusation through a spokesperson, saying, “He does not remember saying this comment nor does it reflect a comment he would say to any colleague.”

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Jeffrey Tambor

Van Barnes, a transgender actress and former assistant to Tambor, posted a private accusation to her social media but had no additional comment for the media. Trace Lysette, another "Transparent" actress, also came forward claiming Tambor sexually harassed her. 

Fallout: Amazon is conducting an investigation. Following reports that the show was exploring options to write Tambor's character out of the show, Tambor issued a statement stepping away from the show, though Amazon and Tambor have not come to an official decision to part ways. 

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Jeffrey Tambor

Van Barnes, a transgender actress and former assistant to Tambor, posted a private accusation to her social media but had no additional comment for the media. Trace Lysette, another "Transparent" actress, also came forward claiming Tambor sexually harassed her. 

Fallout: Amazon is conducting an investigation. Following reports that the show was exploring options to write Tambor's character out of the show, Tambor issued a statement stepping away from the show, though Amazon and Tambor have not come to an official decision to part ways. 

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Richard Dreyfuss

Following Dreyfuss coming out in support of his son Harry's accusations against Kevin Spacey, writer Jessica Teich told Vulture that while working together, Dreyfuss exposed himself to her, made numerous advances over months and created an unsafe work environment.

Fallout: Dreyfuss "emphatically" denied exposing himself but said he "became an a--hole" in the late '70s and “flirted with all the women.”

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Richard Dreyfuss

Following Dreyfuss coming out in support of his son Harry's accusations against Kevin Spacey, writer Jessica Teich told Vulture that while working together, Dreyfuss exposed himself to her, made numerous advances over months and created an unsafe work environment.

Fallout: Dreyfuss "emphatically" denied exposing himself but said he "became an a--hole" in the late '70s and “flirted with all the women.”

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Gary Goddard

Actor Anthony Edwards said producer and director Goddard molested him when he was a child and raped his friend over the course of several years. In 2014, Goddard was named in a lawsuit that was later dropped by Michael Egan, alongside “X-Men” director Bryan Singer and two other executives, accusing them of sexually abusing him as a teenager.

Fallout: Goddard's publicist Sam Singer "unequivocally" denied the accusation and said Goddard was a "mentor, teacher and a friend" to Edwards.   

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Gary Goddard

Actor Anthony Edwards said producer and director Goddard molested him when he was a child and raped his friend over the course of several years. In 2014, Goddard was named in a lawsuit that was later dropped by Michael Egan, alongside “X-Men” director Bryan Singer and two other executives, accusing them of sexually abusing him as a teenager.

Fallout: Goddard's publicist Sam Singer "unequivocally" denied the accusation and said Goddard was a "mentor, teacher and a friend" to Edwards.   

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George Takei

Model Scott R. Brunton told THR that after two drinks with Takei, he passed out and awoke with his pants down around his ankles and Takei was "groping my crotch and trying to get my underwear off."

Fallout: Takei said he was "shocked and bewildered" by the claims. A recent clip from the Howard Stern Show in which the host and Takei talk about grabbing men's genitals has since gone viral. 

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George Takei

Model Scott R. Brunton told THR that after two drinks with Takei, he passed out and awoke with his pants down around his ankles and Takei was "groping my crotch and trying to get my underwear off."

Fallout: Takei said he was "shocked and bewildered" by the claims. A recent clip from the Howard Stern Show in which the host and Takei talk about grabbing men's genitals has since gone viral. 

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Stephen Blackwell

Former intern Amy Rose Spiegel accused Blackwell, Billboard's Chief Strategy Officer, of sexually harassing her when she was 19, along with other women who reported directly to him.

Fallout: Blackwell resigned from his position with Billboard. 

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Stephen Blackwell

Former intern Amy Rose Spiegel accused Blackwell, Billboard's Chief Strategy Officer, of sexually harassing her when she was 19, along with other women who reported directly to him.

Fallout: Blackwell resigned from his position with Billboard. 

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Glenn Thrush

New York Times political reporter Glenn Thrush was accused of sexual misconduct by several female journalists. Vox had obtained text messages between Thrush and a 23-year-old journalist in a larger report alleging unwanted groping and kissing. 

Fallout: The Times suspended Thrush, but he will for now remain an MSNBC correspondent as they await the outcome of the Times investigation. Thrush issued a full statement he's never offered mentorship or advice with an expectation of something in return. 

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Glenn Thrush

New York Times political reporter Glenn Thrush was accused of sexual misconduct by several female journalists. Vox had obtained text messages between Thrush and a 23-year-old journalist in a larger report alleging unwanted groping and kissing. 

Fallout: The Times suspended Thrush, but he will for now remain an MSNBC correspondent as they await the outcome of the Times investigation. Thrush issued a full statement he's never offered mentorship or advice with an expectation of something in return. 

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Al Franken

Radio host Leeann Tweeden said sitting U.S. Senator Al Franken groped and kissed her without her consent during a 2006 USO tour. A second woman also came forward accusing Franken of inappropriately grabbing her. 

Fallout: Franken apologized to Tweeden and said he would comply with a Senate ethics investigation. Female staffers who worked with Franken at "Saturday Night Live" have come forward defending the senator. 

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Al Franken

Radio host Leeann Tweeden said sitting U.S. Senator Al Franken groped and kissed her without her consent during a 2006 USO tour. A second woman also came forward accusing Franken of inappropriately grabbing her. 

Fallout: Franken apologized to Tweeden and said he would comply with a Senate ethics investigation. Female staffers who worked with Franken at "Saturday Night Live" have come forward defending the senator. 

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Murray Miller

Actress Aurora Perrinaeu filed a police report accusing "Girls" writer and executive producer Murray Miller of raping her when she was underage.

Fallout: Miller’s attorney said he “categorically and vehemently denies Ms. Perrineau’s outrageous claims." "Girls" creators Lena Dunham and Jenni Konner initially defended Miller, saying this was "one of the 3% of assault cases that are misreported every year." She has retracted that statement.  

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Murray Miller

Actress Aurora Perrinaeu filed a police report accusing "Girls" writer and executive producer Murray Miller of raping her when she was underage.

Fallout: Miller’s attorney said he “categorically and vehemently denies Ms. Perrineau’s outrageous claims." "Girls" creators Lena Dunham and Jenni Konner initially defended Miller, saying this was "one of the 3% of assault cases that are misreported every year." She has retracted that statement.  

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Ryan Seacrest

Ryan Seacrest was accused by an "E! News" wardrobe stylist of inappropriate behavior. The accusations have not been made public.

Fallout: E! opened an investigation and Seacrest denied the allegations. 

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Ryan Seacrest

Ryan Seacrest was accused by an "E! News" wardrobe stylist of inappropriate behavior. The accusations have not been made public.

Fallout: E! opened an investigation and Seacrest denied the allegations. 

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Cameron Mitchell

The CAA agent was accused of sexual harassment and assault by actress Demi Mann.

Fallout: CAA fired Mitchell following an internal investigation. Mitchell “emphatically” denied Mann’s accusations in a press statement.

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Cameron Mitchell

The CAA agent was accused of sexual harassment and assault by actress Demi Mann.

Fallout: CAA fired Mitchell following an internal investigation. Mitchell “emphatically” denied Mann’s accusations in a press statement.

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Mark Schwahn

"One Tree Hill" star Hilarie Burton said showrunner Mark Schwahn forced himself on her on multiple occasions and issued a joint statement with the other women of the cast and crew.

Fallout: Schwahn was suspended by E! as the showrunner for "The Royals." 

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Mark Schwahn

"One Tree Hill" star Hilarie Burton said showrunner Mark Schwahn forced himself on her on multiple occasions and issued a joint statement with the other women of the cast and crew.

Fallout: Schwahn was suspended by E! as the showrunner for "The Royals." 

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Russell Simmons

Model Keri Claussen Khalighi said in an L.A. Times article that the Def Jam producer Simmons sexually assaulted her back in 1991 when she was 17 and that Brett Ratner watched. 

Fallout: Simmons confirmed that the two had med but said everything that happened was "completely consensual." 

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Russell Simmons

Model Keri Claussen Khalighi said in an L.A. Times article that the Def Jam producer Simmons sexually assaulted her back in 1991 when she was 17 and that Brett Ratner watched. 

Fallout: Simmons confirmed that the two had med but said everything that happened was "completely consensual." 

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Charlie Rose

Eight women told the Washington Post that veteran newsman Charlie Rose engaged in a variety of unwanted sexual ways, including groping, making unwanted sexual advances and walking in front of them nude.

Fallout: Rose issued an apology; CBS, Bloomberg and PBS have cut ties with him.  

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Charlie Rose

Eight women told the Washington Post that veteran newsman Charlie Rose engaged in a variety of unwanted sexual ways, including groping, making unwanted sexual advances and walking in front of them nude.

Fallout: Rose issued an apology; CBS, Bloomberg and PBS have cut ties with him.  

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John Lasseter

Former Pixar employees said in a Hollywood Reporter article that Oscar-winning animation boss John Lasseter made a habit of “grabbing, kissing, making comments about physical attributes” of women at the company.

Fallout: Lasseter announced he would take a six-month sabbatical from Disney and Pixar and apologized for "missteps" with staffers. 

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John Lasseter

Former Pixar employees said in a Hollywood Reporter article that Oscar-winning animation boss John Lasseter made a habit of “grabbing, kissing, making comments about physical attributes” of women at the company.

Fallout: Lasseter announced he would take a six-month sabbatical from Disney and Pixar and apologized for "missteps" with staffers. 

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‘The Man Who Invented Christmas’ Film Review: Scrooge’s Origin Story Is a Bit of a Humbug https://www.thewrap.com/the-man-who-invented-christmas-review-charles-dickens-scrooge-christmas-carol/ https://www.thewrap.com/the-man-who-invented-christmas-review-charles-dickens-scrooge-christmas-carol/#respond Tue, 21 Nov 2017 23:00:47 +0000 Alonso Duralde https://www.thewrap.com/?p=1730156 “The Man Who Invented Christmas” needed to accomplish two tasks: Tell the story of how Charles Dickens created the beloved classic “A Christmas Carol,” and in turn illustrate how the story’s popularity helped turn December 25 into a cultural behemoth.

Alas, it succeeds at neither, even though its source material (the non-fiction book by Les Standiford) excels at both. As a portrait of an author on the verge of a breakthrough, this is a run-of-the-mill, occasionally clumsy biopic; as for contextualizing Christmas, it never explains how it functioned before Dickens and only briefly mentions how it changed after him.

(When one of Dickens’ publishers shrugs off Christmas as a minor holiday, my very educated sister-in-law turned to me at the press screening and asked, “Wait, what?”)

The history of Christmas is a fascinating one, from the biblical account of Jesus’ birth, to the church’s moving of his birthdate so as to capitalize on the popularity of pagan holidays like Saturnalia and Yule, to the Puritans banning it as a feast of licentiousness, to the abundant, familial celebration we know today. Standiford touches upon all of this, and on how the immense popularity of “A Christmas Carol” changed the culture around the holiday, but screenwriter Susan Coyne (“Anne of Green Gables”) and director Bharat Nalluri (“Miss Pettigrew Lives for a Day”) gloss right over it in a way that will leave most viewers befuddled by the film’s title.

While Dickens (played here by Dan Stevens) was a well-established writer by 1843, the author was in something of a slump before he decided to take a crack at writing a Christmas story. “Barnaby Rudge” and “Martin Chuzzlewit” were slow sellers, and his essays about his trip to America hadn’t flown off the shelves either; meanwhile, he and his family were grandly restoring a new house, and his constantly-in-debt father John (Jonathan Pryce) was one of many people in Dickens’ orbit with hands perpetually out.

Having decided fairly late in the year to write “A Christmas Carol,” Dickens had relatively few weeks to get the story written and published, so there’s certainly some suspense involved in the book’s creation. And as Coyne and Nalluri tell the story, each new character Dickens created followed him around, waiting for him to figure out how to finish his tale. The most notable of these fictional hangers-on is, of course, Ebenezer Scrooge, brought to life with such delightful biliousness by Christopher Plummer that “The Man Who Invented Christmas” should, if nothing else, exist as an audition reel for a straightforward adaptation with Plummer in the lead.

There are aspects of the film that work, from the very convincing period interiors to a terrific ensemble of British character actors, including Miriam Margolyes (as Dickens’ housekeeper), Simon Callow (as John Leech, whose memorable illustrations are an essential ingredient to “A Christmas Carol”) and Miles Jupp (hilarious as Dickens’ smarmy rival William Makepeace Thackeray). All this talent on hand serves to highlight the blandness of Stevens in the central role. A writer writing is, admittedly, a mostly thankless task in movies, but given how this particular book connects to Dickens’ bleak youth working in a factory while his father was sent off to debtor’s prison, this character offers plenty for an actor willing to dive in; Stevens — here, anyway — seems content to bob at the surface.

Cinematographer Ben Smithard (“Goodbye Christopher Robin”) commits the sin of many a made-for-TV adaptation of “A Christmas Carol” by making industrial London far too bright and shiny; it’s a little hard to swallow Dickens’ complaints about the “damn London fog” when there are Malibu levels of sunshine coming in through the window behind him. London itself gets short shrift, since it appears to be about three blocks wide, unlike in more sumptuous productions that take over all the studios at Pinewood or Shepperton to recreate the city in all its 19th century glory and grime.

Most frustratingly, “The Man Who Invented Christmas” is the sort of author biopic that reduces the artist to a stenographer. People around Dickens spout off zingers like “Are there no workhouses?” or “A poor excuse to pick a man’s pocket every 25th of December,” and it’s like the book writes itself. That book, nearly 175 years later, remains an essential element to the holiday; this movie about its creation will be forgotten by Boxing Day.

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'Roman J. Israel, Esq' Film Review: Denzel Washington's Lawyer Doesn't Quite Close the Case

'Wonder' Film Review: Anti-Bullying Tale Is a Tasteful Tear-Jerker

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‘Coco’ Film Review: Pixar’s Journey Down Mexico Way Pays Colorful, Moving Tribute to Family https://www.thewrap.com/coco-review-pixar-disney-day-of-the-dead-dia-de-los-muertos/ https://www.thewrap.com/coco-review-pixar-disney-day-of-the-dead-dia-de-los-muertos/#respond Tue, 21 Nov 2017 22:45:23 +0000 Robert Abele https://www.thewrap.com/?p=1727961 If an animated movie is going to offer children a way to process death, it’s hard to envision a more spirited, touching and breezily entertaining example than “Coco,” Pixar’s full-throttled foray into the intricately celebratory world of Mexico’s annual remembrance festival Día de los Muertos.

In unfurling a story of dreams and curses, tradition and redemption, all experienced via the otherworldly adventures of a musically-inclined village boy named Miguel, the animation juggernaut has once more shown how its storytelling acumen and visual splendors are still the surest dance partners in movies today.

Though Pixar has been at the top of the animation food chain for decades now, “Coco” (directed by “Toy Story 3” helmer Lee Unkrich, and co-directed by Adrian Molina) represents one significant breakthrough in that it’s the most human-populated story the studio has yet told, even if many of those humans are in exaggerated skeletal form (with appropriately signifying clothes).

From the villagers of fictional Santa Cecilia to the ancestral inhabitants of the Land of the Dead — the candy-colored afterlife megalopolis where most of the story takes place — “Coco” eschews the easy-cute of anthropomorphizing the inanimate or fantastical in favor of characters grounded in the recognizable.

Whether deftly rendering Miguel’s wrinkled, beatific 97-year-old bisabuela (veteran Mexican actress Ana Ofelia Murguia) with a fading memory, or the graceful play of fingers on guitar strings, or even a skull with expressive eyes, it all still leads to the same multiple-hanky magic at which Pixar has usually excelled.

“Coco” starts with another Pixar trademark: the cleverly animated prologue, in this case told through brightly-hued Mexican doilies hanging from clotheslines. They tell the story of how, years ago, a guitar-playing dad left his wife and daughter to make his name, and how successive generations of Riveras — now master shoemakers, a trade learned out of necessity by the abandoned wife, Imelda — banished music from their lives as a bitter response.

That leaves young Miguel (newcomer Anthony Gonzalez), four generations later, with something of a dilemma: feeling the pressure of entering the family business by his indomitable abuelita (Renée Victor, “Weeds”) and loving dad (Jaime Camil, “Jane the Virgin”), all he wants to do is play guitar like his long-passed idol Ernesto de la Vega (Benjamin Bratt). Ernesto is still alive for Miguel, though, in old movies the boy secretly plays in his hidden shrine to the beloved Mexican star.

With Day of the Dead festivities starting up, and the town filling with revelers, mariachis and fireworks, Miguel is eager to prove his talent, and its worth, to his family. But a desperate scheme unwittingly triggers his entry into the parallel Land of the Dead. Suddenly Miguel is visible to the boney apparitions who annually cross a glowing, gorgeous bridge of marigold petals to visit their living descendants, the ones thoughtful enough to put photos of them on their homemade ofrendas, or altars. When no one is left to remember you, Miguel soon learns on his spectral trek, even the dead fade away.

With the aid of a friendly vagabond named Héctor (Gael Garcia Bernal), and his long-tongued hairless xolo dog Dante in tow, Miguel is eager to track down Ernesto to clarify what he believes is the hidden truth of their connection. But getting back to the living realm requires a family blessing, and great-great-grandmother Mamá Imelda (a humorously forbidding Alanna Ubach), ever the proud matriarch — willing to hold a grudge even in death — isn’t about to let Miguel go without a promise never to play music again.

“Coco,” which has the twists and turns of the kind of black-and-white melodramas Ernesto starred in, is in some respects as old-fashioned a story as they come about the close bonds of family; the many zestily-drawn characters speak entertainingly to the push and pull of tradition within that bubble and across generations.

It’s less jokey than other Pixar features, but that doesn’t mean it isn’t laugh-out-loud funny. Miguel is an eminently likable hero, and when given a shot at performing in the Land of the Dead — a son jarocho-inspired ditty called “Un Poco Loco” — the scene nicely deepens our connection to his quest.

It helps make “Coco,” scored by the erstwhile Michael Giacchino, play like a movie about music, rather than a musical, and the distinction is important as the story unfolds. (The movie’s signature corrida, “Remember Me,” an Ernesto standard, is by the “Frozen” team of Kristen Anderson-Lopez and Robert Lopez, and its use as both an anthem for popularity and tear-jerking familial plea is well-deployed.)

Visually, “Coco” is a swirling, vibrantly hued artistic achievement. It’s everything from a sepia-tinted memory book come to heart-tugging life to a pulsating multi-tinted mural. The stellar design team and animators find room for both the sun-kissed verisimilitude of a homey pueblo, and the razzle-dazzle of elaborately designed folk-art animals called alebrijas that become flying, hot-colored spirit creatures in the Land of the Dead.

In that way the movie, which also peppers its all-Latino voice cast with turns by Alfonso Arau, Edward James Olmos, Selene Luna, Cheech Marin and Luis Valdez, both honors the rich aesthetic heritage of Mexico and keeps these cultural markers from looking like they were merely dusted off and computer-generated for mass consumption.

There’s no getting around that Disney/Pixar hope “Coco” absolves them of past ethnic-representation sins in forging popular movie fare. But the honest feeling coursing through “Coco” is its own marigold bridge in a way, pointing toward a less-homogenized, but no less universal-in-theme future for creators of animated movies.

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Pixar Head John Lasseter Takes 'Six-Month Sabbatical,' Apologizes for 'Missteps'

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How Internet Cat Videos Paved the Way for Oscar Contender ‘Kedi’ https://www.thewrap.com/internet-cat-videos-paved-way-oscar-contender-kedi/ https://www.thewrap.com/internet-cat-videos-paved-way-oscar-contender-kedi/#respond Tue, 21 Nov 2017 22:37:38 +0000 Steve Pond https://www.thewrap.com/?p=1742149 This interview about “Kedi” first appeared in the Race Begins issue of TheWrap’s Oscar magazine.

Some of the most fascinating characters in this year’s Oscar-contending documentaries aren’t even human. Ceyda Torun’s “Kedi,” for instance, is a look at some of the street cats who roam free in Istanbul, a phenomenon that has been taking place for centuries – and its feline stars Bengu, Deniz, Duman and more are as indelible as any people you’ll meet in 2017’s non-fiction films.

“Growing up in Turkey, we had two TV channels when I was a kid,” Torun told TheWrap. “On Sundays they would show a documentary and a Disney movie.” “Kedi,”in a way, is her version of a mixture of both.

Why did you want to make a movie on this subject?
I never really lost touch with Turkey. I lived there until I was 11, until we moved because my stepfather was the director of UNICEF in the Middle East. But when we first moved and I was a kid, it was an important thing to my mom that we always returned at least twice a year.

Every time I went back for the summer, so much would have changed – big street changes, structural changes. The only thing that remained constant and familiar to me were the street cats. When we put together a film production company for a slate of films, we thought we’d like to do a documentary set in Istanbul with cats, but we didn’t quite know what it was. It wasn’t until we had this amazing online cat renaissance, all the cat videos that people watched online, when I was able to even conceive that it could work.

And when we were shooting the movie, every film crew that we bumped into in Istanbul said, “We always wanted to do something with cats!”

How did you get from “let’s make a movie about the cats of Istanbul” to figuring out exactly what that movie would be?
It was an ongoing process of discovery. We had an idea of interviewing reputable people who had special relationships to cats, so we went out in the summer of 2013. And amidst the tear gas clouds of the Gezi Park protests, we filmed the cats, talked to people and randomly struck up conversations thinking we could do a straightforward nature documentary.

Then we realized that what people had to say about cats was profound and poetic and philosophical. I realized that was the fastest way to strike up intimate conversations with strangers — cats were the real icebreaker.

When we came back, we edited together an online teaser, which also went viral and proved we were on the right track. We were able to get funding because of that video.

And before we went back the following summer, we had researchers who did a kind of street casting. They had leads on 35 cats, but when we were able to start filming we were only able to find 19 of them.

I imagine that cats don’t care what time it says on the call sheet.
Absolutely. There were plenty of times that we would show up in a location and have to sit and drink tea for an hour and wait for the cats. The humans of the cats were our informants — we would call and visit on a regular basis to check on the cat characters, or they would show up and do nothing, or they wouldn’t show up at all. But it was nice that I could take that time to bond with the humans.

So how’d you decide which cats made the cut?
We had 10 or 11 different stories that seemed to highlight different themes about how we live together. It was very much created in the edit. We wanted to convey a sense of place, the emotion of being with these cats, and the ordering of the cat stories was the most challenging part.

Following the cats with your cameras must have been an additional challenge.
My producing partner and cinematographer, Charlie Wuppermann, said, “I would love to be at their level and shoot them like we shoot humans.” And he devised this rig where he could place the camera on a stick and have focus control on a handle, and it would be at shoulder height of the cats. The cats seemed to like us following them, and we would do an elaborate dance around them.

We tried to think, “How would National Geographic do this?” And, “How can we do that on a budget?”

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Oliver Stone Denies Harassing Melissa Gilbert During ‘The Doors’ Audition https://www.thewrap.com/oliver-stone-denies-harassing-melissa-gilbert-during-the-doors-audition/ https://www.thewrap.com/oliver-stone-denies-harassing-melissa-gilbert-during-the-doors-audition/#respond Tue, 21 Nov 2017 20:43:05 +0000 Jeremy Fuster https://www.thewrap.com/?p=1744198 Director Oliver Stone responded Tuesday to sexual harassment accusations made by actress Melissa Gilbert, who claimed that the director tried to humiliate her during an audition for the 1991 Jim Morrison biopic “The Doors.”

The accusation was made Monday on Andy Cohen’s SiriusXM talk show, when Gilbert said Stone wanted her to do a scene he said he wrote just for her which involved saying, “Do me, baby,” repeatedly while on her hands and knees. Gilbert said she refused to do it and left the audition room in tears, and that she believed he did it to get back at her for embarrassing him at a club.

“He was ragging on television… he was telling everyone how television was crap and he’d never do it,” she said. “And then all these girls came running up to me because they had seen me on ‘Little House on the Prairie.’ And they left and he was dumbfounded, and I said, ‘You see, a*****e? That’s television!’ And I guess he never forgot it.'”

Stone and “The Doors” casting director Risa Bramon Garcia denied Gilbert’s account in statements sent to TheWrap. They said that the role Gilbert auditioned for, Jim Morrison’s girlfriend Pamela Courson, was a role that involved sexual scenes, but that steps were made to make sure the auditions were a safe environment. The role was played in the film by Meg Ryan.

“We auditioned dozens of actors for roles in ‘The Doors’ and it was made clear from the outset that our film was going to be a raunchy, no-holds-barred rock ‘n’ roll movie,” Stone said. “Anyone auditioning was told the scenes would be rehearsed and performed from a script, with my casting director, Risa Bramon Garcia, present throughout the process to ensure a safe environment for all actors who auditioned.”

“The auditions process for ‘The Doors’ was challenging given the nature of the material and the subject of the film. However, every actor who auditioned came in voluntarily and was aware of the provocative material prior to engaging in their scenes,” added Garcia. “No actor was forced or expected to do anything that might have been uncomfortable, and most actors embraced the challenge, recognizing Oliver Stone’s vision and the creative process.”

“In my experience, there was no attempt to personally offend any particular actor. I always have and still do go out of my way to create a safe and creative space for actors in the audition room. It was no different on The Doors.”

Stone made headlines last month when he commented on the downfall of Harvey Weinstein following his own accusations of sexual harassment, which are currently being investigated by American and British police. Stone said Weinstein “shouldn’t be condemned by a vigilante system” and that it was “not easy what he’s going through either.”

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Pixar Head John Lasseter Takes ‘Six-Month Sabbatical,’ Apologizes for ‘Missteps’ https://www.thewrap.com/pixar-head-john-lasseter-taking-six-month-sabbatical-apologizes-missteps-report/ https://www.thewrap.com/pixar-head-john-lasseter-taking-six-month-sabbatical-apologizes-missteps-report/#respond Tue, 21 Nov 2017 20:36:44 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1744207 John Lasseter, the head of Disney’s animation division, announced Tuesday that he would take a six-month sabbatical from Disney and the Pixar studio he has led for decades following reports of sexual misconduct.

The Oscar-winning animator also apologized for what he called “missteps” in his interactions with staffers that he said made some “feel disrespected or uncomfortable.”

“It’s never easy to face your missteps, but it’s the only way to learn from them,” Lasseter said in a memo sent to staff on Tuesday. “As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be.

“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down,” he continued. “I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.”

Lasseter announced that his leave of absence would provide an opportunity for him to take “better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.”

The announcement follows a Hollywood Reporter story published Tuesday in which an undisclosed number of “former Pixar insiders” alleged that Lasseter had frequently made a habit of “grabbing, kissing, making comments about physical attributes” of women at the company.

Lasseter is best known as one of the founders of Pixar and directed films such as “Toy Story,” “A Bug’s Life,” “Toy Story 2,” “Cars” and “Cars 2.” After Disney purchased Pixar in 2006, Lasseter was named the chief creative officer of both Pixar and Walt Disney Animation Studios, where he oversees all the media giant’s animated films and projects as executive producer.

Lasseter has won two Academy Awards — one for Best Animated Short Film (“Tin Toy”) and one Special Achievement Award for “Toy Story.” Pixar itself has won eight Academy Awards and the films have grossed over $6 billion at the box office, domestically.

Pixar will next release “Coco” on Thanksgiving Day, and is working on the sequel to “The Incredibles” as well as a fourth “Toy Story” film.

A spokesperson for Disney told TheWrap, “We are committed to maintaining an environment in which all employees are respected and empowered to do their best work. We appreciate John’s candor and sincere apology and fully support his sabbatical.”

See the full memo below.

I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.

I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.

In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.

I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.

John

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‘Get Out,’ ‘Call Me by Your Name,’ ‘Good Time’ Top Indie Spirit Awards Nominations https://www.thewrap.com/get-out-florida-project-lady-bird-top-indie-spirit-awards-nominations/ https://www.thewrap.com/get-out-florida-project-lady-bird-top-indie-spirit-awards-nominations/#respond Tue, 21 Nov 2017 18:20:18 +0000 Steve Pond https://www.thewrap.com/?p=1743980 “The Florida Project,” “Lady Bird,” “Get Out,” “Call Me by Your Name” and “The Rider” have been nominated as the best independent films of 2017 at the Film Independent Spirit Awards, Film Independent announced on Tuesday.

Luca Guadagnino’s “Call Me by Your Name” received the most nominations, six, followed by “Get Out” and “Good Time” with five and “Lady Bird” and “The Rider” with four.

Acting nominees included Salma Hayek for “Beatriz at Dinner,” Frances McDormand and Sam Rockwell for “Three Billboards Outside Ebbing Missouri,” Holly Hunter for “The Big Sick,” Saoirse Ronan and Laurie Metcalf for “Lady Bird” and Armie Hammer and Timothee Chalamet for “Call Me by Your Name.”

In true Spirit Awards fashion, the acting nominations also went to several performers whose films were largely under the radar of other awards voters: Regina Williams for”Life and nothing more,” Harris Dickinson for “Beach Rats,” Nnamdi Asomugha for “Crown Heights” and Shinobu Terajima for “Oh Lucy!”

“Mudbound” received the Robert Altman Award, which goes to a film’ director, casting director and ensemble cast.

Best director nominations went to Guadagnino, Sean Baker for “The Florida Project,” the Safdie brothers for “Good Time,” Jonas Carpignano for “A Ciambra” and Chloe Zhao for “The Rider,” an indie western that was probably the biggest surprise among the nominations.

Nominees in the Best First Feature category were “Columbus,” “Ingrid Goes West,” “Menashe,” “Oh Lucy!” and “Patti Cake$.”

To qualify for the Spirit Awards, a film must meet a variety of criteria, including a budget of less than $20 million and “significant American content,” or U.S. citizens or permanent residents in two of the three creative positions of director, writer and producer. (While “Three Billboards” was written and directed by the Irish-British Martin McDonagh, the fact that it was set and filmed in the U.S. was enough to qualify it.)

Nominations are chosen by a variety of nominating committees, a process that lends itself to surprises and offbeat choices more than most other awards shows.

Final voting is now in the hands of the members of Film Independent, an organization made up both of film professionals and movie fans who pay the annual membership fee.

The Spirit Awards have gotten closer to the Academy Awards in recent years, with the last four Best Feature winners, and five of the last six, going on to win the Oscar for Best Picture. (In the previous 26 years, that had only happened once.)

Since the Oscars expanded to more than five Best Picture nominees in 2009, there has never been a year in which at least one of the Spirit nominees did not also receive an Oscar nomination in the top category, with a high of four matches in 2010 and again in 2014. In an average year, two of the Spirit nominees will become Oscar Best Picture nominees.

In the acting categories, less than a third of the Spirit nominees are typically recognized by Oscar voters.

The nominations were announced at a press conference by Lily Collins and Tessa Thompson.

The 2018 Spirit Awards will be held on Saturday, March 3, 2018 and broadcast live on IFC. Nick Kroll and John Mulaney will host for the second year in a row.

The nominees:

BEST FEATURE
“Call Me by Your Name”
“The Florida Project”
“Get Out”
“Lady Bird”
“The Rider”

BEST FIRST FEATURE
“Columbus”
“Ingrid Goes West”
“Menashe”
“Oh Lucy!”
“Patti Cake$”

JOHN CASSAVETES AWARD – Given to the best feature made for under $500,000. (Award given to the writer, director and producer. Executive Producers are not awarded.)
“Dayveon”
“A Ghost Story”
“Life and nothing more”
“Most Beautiful Island”
“The Transfiguration”

BEST DIRECTOR
Sean Baker, “The Florida Project”
Jonas Carpignano, “A Ciambra”
Luca Guadagnino, “Call Me by Your Name”
Jordan Peele, “Get Out”
Benny Safdie, Josh Safdie, “Good Time”
Chloé Zhao, “The Rider”

BEST SCREENPLAY
Greta Gerwig, “Lady Bird”
Azazel Jacobs, “The Lovers”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Jordan Peele, “Get Out”
Mike White, “Beatriz at Dinner”

BEST FIRST SCREENPLAY
Kris Avedisian, Kyle Espeleta, Jesse Wakeman, “Donald Cried”
Emily V. Gordon, Kumail Nanjiani, “The Big Sick”
Ingrid Jungermann, “Women Who Kill”
Kogonada, “Columbus”
David Branson Smith, Matt Spicer, “Ingrid Goes West”

BEST CINEMATOGRAPHY
Thimios Bakatakis, “The Killing of a Sacred Deer”
Elisha Christian, “Columbus”
Hélène Louvart, “Beach Rats”
Sayombhu Mukdeeprom, “Call Me by Your Name”
Joshua James Richards, “The Rider”

BEST EDITING
Ronald Bronstein, Benny Safdie, “Good Time”
Walter Fasano, “Call Me by Your Name”
Alex O’Flinn, “The Rider”
Gregory Plotkin, “Get Out”
Tatiana S. Riegel, “I, Tonya”

BEST FEMALE LEAD
Salma Hayek, “Beatriz at Dinner”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Shinobu Terajima, “Oh Lucy!”
Regina Williams, “Life and nothing more”

BEST MALE LEAD
Timothée Chalamet, “Call Me by Your Name”
Harris Dickinson, “Beach Rats”
James Franco, “The Disaster Artist”
Daniel Kaluuya, “Get Out”
Robert Pattinson, “Good Time”

BEST SUPPORTING FEMALE
Holly Hunter, “The Big Sick”
Allison Janney, “I, Tonya”
Laurie Metcalf, “Lady Bird”
Lois Smith, “Marjorie Prime”
Taliah Lennice Webster, “Good Time”

BEST SUPPORTING MALE
Nnamdi Asomugha, “Crown Heights”
Armie Hammer, “Call Me by Your Name”
Barry Keoghan, “The Killing of a Sacred Deer”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”
Benny Safdie, “Good Time”

ROBERT ALTMAN AWARD – Given to one film’s director, casting director and ensemble cast

“Mudbound”
Director: Dee Rees
Casting Directors: Billy Hopkins, Ashley Ingram
Ensemble Cast: Jonathan Banks, Mary J. Blige, Jason Clarke, Garrett Hedlund, Jason Mitchell, Rob Morgan, Carey Mulligan

BEST DOCUMENTARY
“The Departure”
“Faces Places”
“Last Men in Aleppo”
“Motherland”
“Quest”

BEST INTERNATIONAL FILM
“BPM (Beats Per Minute)”
“A Fantastic Woman”
“I Am Not a Witch”
“Lady Macbeth”
“Loveless”

BONNIE AWARD
So Yong Kim
Lynn Shelton
Chloé Zhao

JEEP TRUER THAN FICTION AWARD
Shevaun Mizrahi, “Distant Constellation”
Jonathan Olshefski, “Quest”
Jeff Unay, “The Cage Fighter”

KIEHL’S SOMEONE TO WATCH AWARD
Amman Abbasi, “Dayveon”
Justin Chon, “Gook”
Kevin Phillips, “Super Dark Times”

PIAGET PRODUCERS AWARD
Giulia Caruso & Ki Jin Kim
Ben LeClair
Summer Shelton

Related stories from TheWrap:

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‘Bombshell: The Hedy Lamarr Story’ Film Review: She Was a Glamour Girl and a Scientist https://www.thewrap.com/bombshell-the-hedy-lamarr-story-film-review/ https://www.thewrap.com/bombshell-the-hedy-lamarr-story-film-review/#respond Tue, 21 Nov 2017 18:13:50 +0000 Inkoo Kang https://www.thewrap.com/?p=1741025 Hedy Lamarr’s early life was the stuff of movies: As a teenage starlet, she became the face of “Ecstasy,” one of the most controversial films of its day. By 18, she was the Jewish trophy wife of a munitions manufacturer who became the third-richest man in Austria by selling arms to the Nazis.

Lamarr fled her controlling first husband by drugging her own maid and sneaking out of her own house in a servant’s uniform with her jewelry sewn into the lining. She turned down Louis B. Mayer during one of the MGM chief’s scouting trips to Paris, where he scooped up actresses (desperate to flee Hitler) on the cheap. He’d only offered her $125 a week. Lamarr then booked herself a modest room on the same ship that took Mayer back to Hollywood and made sure every eyeball was fixated on her in the dining hall by dressing up in couture gowns and her last remaining jewels. Upon arrival in Los Angeles, she spoke virtually no English, but she was to start at MGM for a weekly salary of $500.

Lamarr died in 2000, but the exoticized star — best known for 1938’s “Algiers,” 1941’s “Ziegfeld Girl,” and 1942’s “White Cargo” – has been making headlines again for her contributions to a wireless communication system that have made our current wi-fi, cell phone, GPS, Bluetooth, and satellite technologies possible. The new documentary “Bombshell: The Hedy Lamarr Story,” from first-time director Alexandra Dean, is too sympathetic toward its subject to serve as a satisfying biography of the actress-inventor. But it’s a totally serviceable, if disappointingly uncinematic, film about a singular celebrity.

The centerpiece of “Bombshell” is Lamarr’s own voice, heard through a lengthy 1990 audio interview that had been lost until last year. The documentary is pieced together through family photos, film clips, and talking-head interviews with the actress’s family and cinema scholars. Lamarr’s daring bids for freedom and success are simply narrated; we’ll have to wait for the inevitable biopic to watch that midnight run from her first husband and the show-stopping performance for Mayer.

The film doesn’t flinch from Lamarr’s later years, which were marred by a series of bad decisions: brief marriages, fallouts with relatives, big bets as a producer that didn’t pay off, shoplifting, experimental plastic surgery, and, possibly, a drug addiction left over from the days when the studios routinely supplied its performers with uppers and downers to get them to work 12-hour days six days a week.

But the greatest tragedy of Lamarr’s life was that she was too beautiful — or so “Bombshell” would have you believe. It’s altogether credible that Lamarr was hurt that neither the men in her life nor the fans who paid to see her on screen were interested in who she really was. It’s also completely plausible that few people took her self-taught smarts seriously because MGM marketed her as “the most beautiful woman in the world,” and the idea that brains and beauty can’t exist in the same package is a pestilence still around today. The plastic surgery she felt pressured to undertake from her forties on left her a disfigured recluse, even from her own family.

But beauty was also Lamarr’s power, albeit one that faded over time. How else could she have become famous enough to have garnered an audition with Mayer in the first place? To have landed a job on the way to America? To become a cinematic sensation, at least for a little while, enough to marry a few more rich men and thus support herself, her two children, and her mother without ever pursuing an education or another line of work?

That Dean herself is entranced by Lamarr’s beauty is clear from the closing image of “Bombshell,” an excerpt from “Ziegfeld Girl” that showcases the actress at her most gorgeously otherworldlyBefore watching “Bombshell,” I’d read and heard of Lamarr’s contributions to wireless communications (with her friend, the composer and pianist George Antheil) several times, but never really understood it. Through charming pencil-doodle animation, the documentary explains Lamarr’s invention as clearly as I’ve ever seen it.

Even more delightful are the tales of the actress’s other inventions: a nature-inspired wing shape for Howard Hughes’ planes, Coca-Cola in a cube (for easier transport during wartime), and plastic-surgery techniques later copied by other actresses. Lamarr’s creations suggest a brilliant dilettantism. There’s no doubt she should have been taken more seriously by others — but by herself, too.

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Women on Supreme Court Are Interrupted 3 Times More Often Than Male Justices, Study Says

Women Got Shut Out of 2016 Nobel Prizes

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Jeremy Renner Pushes to Give ‘Wind River’ Life After Harvey Weinstein (Exclusive Video) https://www.thewrap.com/jeremy-renner-wind-river-life-after-harvey-weinstein/ https://www.thewrap.com/jeremy-renner-wind-river-life-after-harvey-weinstein/#respond Tue, 21 Nov 2017 18:04:21 +0000 Steve Pond https://www.thewrap.com/?p=1741139

A version of this story about Jeremy Renner first appeared in the Race Begins issue of TheWrap’s Oscar magazine.

For Jeremy Renner, “Wind River” was always going to be an awards-season longshot — even before the Harvey Weinstein mess.  Taylor Sheridan’s quietly gripping drama features what is likely Renner’s best performance since his Oscar-nominated turn in “The Hurt Locker,” but it was a small indie, a serious drama that was going to require careful nurturing.

It had a well-received debut at Sundance in January, a successful encore at Cannes in May, and a summer release that found it grossing an impressive $40 million amid the market heavy in would-be blockbusters.

But “Wind River” was released by the Weinstein Company, which means that it suffered a blow with accusations leveled at executive producer and distributor Harvey Weinstein. The film was already out of theaters at that point, and the Native American tribe that helped finance the movie put up additional money to reclaim it and fund an awards campaign on its own, with no input from the reeling TWC.

“They did a great job of putting it out and getting it seen,” Renner said said of the Weinstein Company. “But it’s ironic to have this movie we made about atrocities toward women, and then this guy does what he does.

“He’s not involved anymore, nor is the company. Let that empire crumble, as it probably deserves to do. All I can say is we’re very, very happy to get the film back, because we believe in it.”

There’s a lot to believe in about the movie, and Renner’s performance. Playing a tracker and hunter on a remote Native American reservation who assists a green FBI agent (Elizabeth Olsen) in the search for the killer of a young woman, in the process stirring up his own unimaginable loss, Renner plays a man who tries to be stoic but can’t help but crack.

The performance is all about understatement, but in his hands the smallest of gestures can be wrenching.

“This movie changed my life in a lot of ways,” said Renner, who said he only picked up the “Wind River” script after Sheridan promised to buy him a great bottle of whiskey if he’d just read the first 10 pages.

It only took three pages, he said, before he was hooked — and it only took one conversation with Sheridan for him to trust that the first-time director (who’d previously written “Hell or High Water” and “Sicario”) could handle the new job.

Photographed by Joe Schmelzer for TheWrap

The film shot in the snow in Utah, in conditions that he said served only to bond the cast and crew.

“In ‘Hurt Locker,’ it was the same thing,” he said. “The last thing I think about is me. Everybody is in it for the same reason — nobody’s there with attitude. We’re all cold, and there’s no place to go to the bathroom, and we’re all in it together. You have that communion. We’re a team, and that’s impenetrable.”

A surprise, he added, came when he looked back at his performance and realized who he’d been playing. “That character is my mom,” he said. “That fortitude — doesn’t complain, doesn’t focus on the negative, moves forward, problem-solves and keeps going. I played my mom.

“That makes you realize how badass my mom is, and I couldn’t be more proud because of that.”

Related stories from TheWrap:

'Wind River' Star Jeremy Renner on Playing a Man Who Loses His Child (Video)

'Wind River' Sundance Review: Jeremy Renner Shines in Taylor Sheridan's Directorial Debut

Weinstein Company, Harvey Weinstein, Miramax Hit With Class Action Lawsuit Charging RICO Violation (Exclusive)

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‘Darkest Hour’ Film Review: Gary Oldman’s Churchill Carries On But Never Keeps Calm https://www.thewrap.com/darkest-hour-film-review-gary-oldman-winston-churchill/ https://www.thewrap.com/darkest-hour-film-review-gary-oldman-winston-churchill/#respond Tue, 21 Nov 2017 17:23:57 +0000 Robert Abele https://www.thewrap.com/?p=1743998 The hardest part for any Great Person of History biopic is convincing us the subjects were ever not destined for that achievement, that decision, that feat of heroism. The movies in this category are inherently canvases saved for the larger-than-life, so the inevitable dip that precedes the glory is more like a human comfort than a genuine shock.

It allows us to say, “It almost didn’t happen?” while laying the groundwork for the warm feeling of triumph reinforced. Heroes, they’re just like us!

That said, the case of Winston Churchill in the run-up to World War II is truly a remarkable instance of a controversial, sidelined politician, maligned by his own party, becoming an unlikely national superman. And in chronicling that wobbly 1940 summer when Churchill took his stand against tyranny and prepared England to fight, Joe Wright’s “Darkest Hour” is elegantly commanding enough to be an entertaining reminder of what principled leadership looks like in a time of crisis. Not to mention what carefully chosen, vigorously spoken words designed to rally and inspire sound like when others want to choke out surrender.

If Christopher Nolan’s action-centered “Dunkirk” fed on a soundtrack diet of nervous clock-ticking to tell its dialogue-sparse story of tense waiting, the men-in-rooms companion piece “Darkest Hour” manages to make the recurring sound of typewriter clacking and stentorian oratory into a heartbeat of persuasion and freedom.

As the movie starts, Hitler is gaining ground in Europe, and Britain is in a state of overwhelm: hundreds of thousands of troops are stranded on a strip of French beach with Nazis within salivating reach, and prime minister Neville Chamberlain (Ronald Pickup), his weak placating of Hitler the ultimate unconfirmed friend-request, is losing his grip on the premiership.

Enter Conservative party pariah and hastily announced successor Churchill — in exquisitely jowled Oldman’s channeling a plump, pink, cigar-chomping force of nature — who accepts the begrudging authority of Chamberlain fan King George VI (a nicely understated Ben Mendelsohn) to form a government. But the belligerently pro-war Churchill’s first rousing speech as Prime Minister to a suspicious House of Commons (its cramped, rectangular chamber lit by cinematographer Bruno Delbonnel like a tomb of patriarchal fustiness) isn’t warmly received. As the Tories’ preferred Chamberlain replacement Lord Halifax (Stephen Dillane, looking like a used teabag) barks privately about Churchill, “He’s incapable of even pronouncing the word ‘peace’!”

At home, his dedicated, clear-eyed wife Clementine (Kristin Scott Thomas, charmingly brusque) worries that Winnie won’t get anything done if he isn’t likable, which for her starts with him not making his new secretary Elizabeth (Lily James) cry. Elizabeth toughens up, natch, but he learns to dial it back, too, making her a clerical confidante, even in matters of war strategy.

(She eventually grows comfortable enough to point out to her boss, in an amusing scene, that his attempt at a V-for-victory sign to a newspaper photographer was really the working class’s way of saying “up your bum,” to which he roars with approval.)

His assembled war cabinet, however — pragmatically stocked with friends and foes — proves a tougher nut to crack, with still-hanging-around Chamberlain and Hallifax in the mood to sow discontent by publicly resigning if Churchill doesn’t entertain negotiating with Hitler.

Wright has become a reliably flamboyant adapter of the literary and/or historical, and the determined verve with which he unfurls his symmetrically framed locations, stylish details, and tidy tracking shots is enjoyable if rarely transporting. He’s always looking for the moment that sings, when sometimes what’s called for is observational restraint. When a radio broadcaster’s red light turns on, it bathes the entire room in a blood-soaked hue.

Wright’s biggest special effect is, of course, Oldman, who serves his attentively-basted ham of a portrayal in thick slices that cover all the flavors: cantankerousness, wounded pride, fire, impudence, sensitivity, and patriotic fervor. (Kazuhiro Tsuji’s prosthetics in transforming the actor are world-class.) Coming on the heels of Brian Cox’s wanly supported stab at doddering vulnerability in this year’s earlier wartime snapshot “Churchill,” Oldman’s leonine prowling more readily satisfies as statesman theater, even if there are scenes that too easily tip toward mythic silliness.

The ever-present fantasy of seeing the powerful mix with the plebeian is, for example, stretched to the breaking point in Anthony McCarten’s screenplay when he invents Churchill venturing onto the Tube to take the temperature of workaday Britons (including a black man) about Hitler. Consensus in hand — don’t back down! — he can now give a hoi polloi-fortified what’s what to his feckless, fearful colleagues in government about the Nazi threat.

By that point, the filmmakers just want you stirred enough to fight World War II all over again if you had to. Moviegoers will surely debate whether “Dunkirk” or “Darkest Hour” did a better job at the rousing finale, since both close with Churchill’s “we shall fight” speech to Parliament: in the former, softly read by a surviving soldier as a kind of narrated elegy to an older era’s heroism, and in the latter, shot like urgent cannon fire from the source as a wake-up call.

They’re vastly different movies, of course, but considering the corny, revisionist professionalism on display in “Darkest Hour,” Oldman treats Churchill’s words the way a Broadway virtuoso would: as the showstopper. And who can blame him? It works.

Related stories from TheWrap:

Gary Oldman, Kristin Scott Thomas on Why 'Darkest Hour' Was 'Daunting' to Make (Exclusive Video)

'Churchill' Review: WWII Drama Shows Legendary Leader Gripped by Fear

Claire Foy Talks 'The Crown' Feminist Backlash, Queen Elizabeth's Drinking Habits

Naomi Watts, Gary Oldman and Ryan Murphy Named as Judges for 2017 Heath Ledger Scholarship (Exclusive)

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‘Justice League’ Star Jason Momoa ‘Bummed’ by Movie’s Weak Reception https://www.thewrap.com/justice-league-jason-momoa-aquaman-bummed/ https://www.thewrap.com/justice-league-jason-momoa-aquaman-bummed/#respond Tue, 21 Nov 2017 16:11:25 +0000 Tony Maglio https://www.thewrap.com/?p=1743900 Congratulations, critics — you done pissed off Khal Drogo. “Game of Thrones” alum Jason Momoa says he’s “kind of bummed” by the reception of his new movie “Justice League.”

“I try to stay the f— away from what people say,” the actor behind Aquaman told EW. “Some of my friends said, ‘”Justice League” isn’t doing well’ and it kind of bummed me out. But I didn’t want to look it up. I don’t want to look up the bad and the negativity. I don’t think that’s useful; it doesn’t help.”

Momoa, who has seen the movie twice, praised director Zack Snyder’s “bada–” vision for Aquaman — but acknowledged that much of it had to wait for “Aquaman.”

“The challenging part is [the ‘Justice League’ story] is only about a weekend in Arthur Curry’s life,” Momoa explained. “[Fans] might be like, ‘Why is he that grumpy? Why’s he hiding up there?’ We had it all planned out. A lot of things got cut. But it’s not my movie. It’s a huge movie introducing three new characters, and for myself and The Flash and Cyborg, there was a lot that was there we just couldn’t get in.”

“It could have been two movies,” he continued. “We had some stuff with William Dafoe. The whole Atlantean part, about me being this reluctant king. There was no need for it because you’re going to see it in ‘Aquaman.’ It’s not an Aquaman movie, it’s a Justice League movie.”

Read more from Momoa here.

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Bob Weinstein Paid £250,000 to Settle 2 Harvey Harassment Claims, New Yorker Says https://www.thewrap.com/bob-weinstein-personally-paid-250000-to-settle-2-harvey-harassment-claims-report/ https://www.thewrap.com/bob-weinstein-personally-paid-250000-to-settle-2-harvey-harassment-claims-report/#respond Tue, 21 Nov 2017 15:49:31 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1743923 Bob Weinstein personally paid £250,000 to settle two employees’ sexual misconduct claims against his brother, Harvey Weinstein, during their time at Miramax nearly two decades ago, according to a new report by Ronan Farrow in The New Yorker.

Bob Weinstein used his personal bank account to settle claims by two employees in Miramax’s London office who accused the elder Weinstein brother of sexual harassment and assault, the magazine wrote.

The amount would equal about $600,000 today — or $400,000 at the time, according to 1998 exchange rates.

The use of Bob Weinstein’s personal account helped hide the payment from executives at Miramax and its then-parent company Disney, the New Yorker suggested.

Zelda Perkins, Harvey Weinstein’s former assistant, was one of the women who received the settlement. According to the New Yorker story, Perkins hired an assistant of her own in 1998 and warned candidates for the job about Weinstein’s behavior.

Perkins told the magazine that she hired one woman after rejecting “very overtly attractive” applicants, but that the new assistant emerged from her first meeting with Harvey Weinstein during the Venice Film Festival saying that he had sexually assaulted her. When Perkins confronted him, she said that he lied.

Perkins and the assistant — whose identity has not been disclosed — resigned and sent notice of legal action, the magazine wrote. Perkins said her lawyers at the time told her it would be “too late” to notify the police and alerting Michael Eisner, the CEO of Disney, wouldn’t work because “they don’t give a s—.” Her attorneys told her that anything but a settlement was a “nonstarter,” she said.

Ultimately, the attorneys agreed on a £250,000 settlement. Perkins had no idea the money came from Bob Weinstein’s personal bank account, the report said.

Many former employees believe that Bob Weinstein must have been aware of Harvey Weinstein’s misconduct. Last month, “The Mist” showrunner Amanda Segel accused Bob Weinstein of harassment. He denied the allegations and questioned whether the claim even constituted harassment.

The New Yorker story said that Bob Weinstein acknowledged the payment from his personal bank account but added that his brother had misled him regarding the reason behind it.

“Regarding that payment, I only know what Harvey told me, and basically what he said was he was fooling around with two women and they were asking for money,” Bob Weinstein told the magazine. “And he didn’t want his wife to find out, so he asked me if I could write a check, and so I did, but there was nothing to indicate any kind of sexual harassment.”

A spokesperson for Bob Weinstein has not yet responded to TheWrap’s request for comment.

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Producers Guild Documentary Nominees Include ‘Jane,’ ‘City of Ghosts,’ ‘Cries From Syria’ https://www.thewrap.com/producers-guild-documentary-nominees-jane-city-of-ghosts-cries-from-syria/ https://www.thewrap.com/producers-guild-documentary-nominees-jane-city-of-ghosts-cries-from-syria/#respond Tue, 21 Nov 2017 02:03:41 +0000 Steve Pond https://www.thewrap.com/?p=1743768 “Jane,” “Chasing Coral,” “City of Ghosts” and “Cries From Syria” have been nominated as the best nonfiction film of 2017 by the Producers Guild of America, the PGA announced on Monday.

“Earth: One Amazing Day,” “Joshua: Teenager vs. Superpower” and “The Newspaperman: The Life and Times of Ben Bradlee” were also nominated in the Outstanding Producer of Documentary Theatrical Motion Pictures category.

For the first time, the category was expanded from five to seven nominees.

The winner will be revealed at the Producers Guild Awards ceremony on Jan. 20, 2018 at the Beverly Hilton Hotel.

The Producers Guild documentary category is among the most idiosyncratic of the documentary awards — and while the PGA’s best-picture nominations are typically a reliable Oscar indicator, its doc nominations are not.

Over the last five years, only seven of the 25 PGA doc nominees have gone on to receive Oscar nominations, without a single year in which more than two films were honored by both organizations.

In that time, though, three of the Producers Guild winners — “Searching for Sugar Man,” “Amy” and “O.J.: Made in America” — did go on to win the documentary-feature Oscar.

Of this year’s nominees, Matthew Heineman’s “City of Ghosts” and Evgeny Afineevsky’s “Cries From Syria,” both of which deal with the aftermath of the civil war in Syria, have done well in the year’s previous documentary awards and nominations. So has Brett Morgen’s Jane Goodall doc “Jane” and Jeff Orlowski’s climate-change film “Chasing Coral.”

The other nominees — “Earth: One Amazing Day,” “Joshua: Teenager vs. Superpower” and “The Newspaperman: The Life and Times of Ben Bradlee” (which was not submitted to the Oscar race) — are unique to the Producers Guild in awards voting so far.

A record 170 nonfiction films were entered in the Oscar doc category this year.

Nominees in the PGA’s feature film and television categories will be announced on Jan. 5.

The nominees:
“Chasing Coral”
“City of Ghosts”
“Cries from Syria”
“Earth: One Amazing Day”
“Jane”
“Joshua: Teenager vs. Superpower”
“The Newspaperman: The Life and Times of Ben Bradlee”

Related stories from TheWrap:

'Jane' Wins Top Prize at Critics' Choice Documentary Awards

'City of Ghosts,' 'Strong Island' Lead Cinema Eye Honors Nominations

Syria, LA Riots in the Spotlight With IDA Awards Nominations

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Here’s Everything Coming and Going on Hulu in December https://www.thewrap.com/hulu-coming-going-december/ https://www.thewrap.com/hulu-coming-going-december/#respond Tue, 21 Nov 2017 01:00:13 +0000 Ashley Boucher https://www.thewrap.com/?p=1743729 We’ve got you covered already on what’s heading to Amazon and Netflix next month, so here’s the list of titles on their way to Hulu to round out your streaming services.

“I’ll Be Home for Christmas” hits the platform on Dec. 1, along with the Finale Event for “East Los High,” one of Hulu’s originals. The same day, you’ll also be able to watch “Kill Bill” Volumes 1 and 2, along with “Robocop” 1-3 and all the “Rocky” movies.

The “Agents of S.H.I.E.L.D.” Season 5 premiere hits Hulu on Dec. 5, “The Great American Baking Show” Season 3 premiere is available Dec. 8, and the fourth season of “Younger” is available Dec. 12. You’ll want to re-watch “Ferris Bueller’s Day Off” before it leaves Hulu on Dec. 31.

See below for the complete list.

Available Dec. 1

“East Los High: Finale Event” (Hulu Original)

“The History of Comedy: Complete Season 1” (CNN)

“Inside Number 9: Complete Season 2” (BBCWW)

“Tree Fu Tom: Complete Seasons 3 & 4” (Sprout)

“Trust Me: Complete Season 1” (StudioCanal)

“The Wine Show: Complete Season 2” (Sky)

“3 Ninjas” (1992)

“A Christmas Wedding Tail” (2011)

“The Adventures of Ichabod and Mr. Toad” (1949)

“A Princess for Christmas” (2011)

“Aliens of the Deep” (2005)

“Apocalypse Now” (1979)

“Apocalypse Now Redux” (2001)

“At Close Range” (1986)

“Basic Instinct 2: Risk Addiction” (2006)

“The Black Cauldron” (1985)

“Bloodsport” (1988)

“Breakheart Pass” (1975)

“The Brothers Grimm” (2005)

“Buffalo 66” (1998)

“Cheri” (2009)

“Chicago” (2002)

“Child’s Play” (1988)

“Chilly Christmas” (2012)

“Coopers Camera” (AKA “Coopers’ Christmas”) (2010)

“The Count of Monte Cristo” (2002)

“Crazy/Beautiful” (2001)

“Dirty Rotten Scoundrels” (1988)

“Downhill Racer” (1969)

“Driftwood” (2006)

“Everything You Always Wanted to Know About Sex…” (1972)

“Evita” (1996)

“Extortion” (2017)

“The Falcon and the Snowman” (1985)

“The Final Cut” (2004)

“First Kid” (1996)

“The French Lieutenant’s Woman” (1981)

“George of the Jungle” (1997)

“Hammett” (1982)

“Hannibal” (2001)

“Heaven’s Gate” (1981)

“Hitch” (2005)

“I’ll Be Home for Christmas” (1998)

“The Improv: 50 Years Behind the Brick Wall” (2013)

“In & Out” (1997)

“In Enemy Hands” (2003)

“In the Line of Fire” (1993)

“Jack” (1996)

“Kill Bill: Volume 1” (2003)

“Kill Bill: Volume 2” (2004)

“L7: Pretend We’re Dead” (2016)

“The Last Warrior” (2000)

“Light Sleeper” (1992)

“Meet Wally Sparks” (1997)

“A Midsummer Night Sex Comedy” (1982)

“The Missing” (2003)

“Mississippi Burning” (1988)

“Moonstruck” (1987)

Mr. Wrong (1996)

“One From the Heart” (1982)

“One Magic Christmas” (1985)

“P2” (2007)

“Penelope” (2008)

“The Perfect Score” (2004)

“Political Animals” (2012)

“The Pope of Greenwich Village” (1984)

“Presumed Innocent” (1990)

“Primal Fear” (1996)

“Puppetmaster: Axis Termination” (2017)

“Red Corner” (1997)

“Robocop” (1987)

“Robocop 2” (1990)

“Robocop 3” (1993)

“Rocky” (1976)

“Rocky II” (1979)

“Rocky III” (1982)

“Rocky IV” (1985)

“Rocky V” (1990)

“S.F.W.” (1995)

“Sarafina!” (1992)

“Searching for Bobby Fischer” (1993)

“Searching for Sugar Man” (2012)

“Serpico” (1973)

“Shelby: A Magical Holiday Tail” (2014)

“Silence” (2016)

“The Silence of the Lambs” (1991)

“Space Jam” (1996)

“Stealing Harvard” (2002)

“Stigmata” (1999)

“The Three Musketeers” (1993)

“The Thomas Crown Affair” (1968)

“Three Men and a Baby” (1987)

“Titanic” (1997)

“Total Recall” (1990)

“Valkyrie” (2008)

“The Water Horse” (2007)

“The Weight of Water” (2002)

“Winnie the Pooh, A Valentine for You” (1999)

“Without” (2011)

“Wristcutters: A Love Story” (2007)

“The Yummy Gummy Search for Santa” (2012)

Available Dec. 2

Marvel’s Agents of S.H.I.E.L.D.: Season 5 Premiere” (ABC)

Available Dec. 3

“Cop Land” (1997)

“Sweet Home Alabama” (2002)

“The Rules of Attraction” (2002)

Available Dec. 4

Frontera” (2014)

“Superbad” (2007)

Available Dec. 5

The Great Christmas Light Fight: Season 5 Premiere” (ABC)

“Iron Protector” (2016)

Available Dec. 6

Shut Eye: Season 2 Premiere” (Hulu Original)

“Killers” (2015)

Available Dec. 8

Defining Moments: Season 1 Premiere” (ESL)

“The Great American Baking Show: Season 3 Premiere” (ABC)

“Legion: Complete Season 1” (FX)

“Crank: High Voltage” (2009)

“Legion of Brothers” (2017)

Available Dec. 9

Dave Made a Maze” (2017)

Available Dec. 11

“Steven Universe: Complete Season 4” (Cartoon Network)

Available Dec. 12

Younger: Complete Season 4” (TV Land)

“Holiday Fairy Tale Wedding: Special” (Freeform)

“Foreman” (2017)

Available Dec. 13

Vengeance of an Assassin (2014)

Available Dec. 14

“Bunheads: Complete Season 1” (Freeform)

Available Dec. 15

“40 Days and 40 Nights” (2002)

“The Crow” (1994)

“Everest” (1998)

“Kate and Leopold” (2001)

“The Limehouse Golem” (2017)

“Score” (2016)

“Tears of the Sun” (2003)

Available Dec. 16

“The Next Step: Complete Season 5” (BBC)

Available Dec. 18

“Graves: Complete Season 1” (Epix)

“Made in Chelsea: Complete Seasons 1-13” (E4)

“Mighty Magiswords: Complete Season S1A” (Cartoon Network)

“Ragnarok” (2013)

Available Dec. 19

“Decorating Disney: Special” (Freeform)

Available Dec. 20

“Kim Dotcom: Caught in the Web” (2017)

Available Dec. 21

“Lemon” (2017)

Available Dec. 22

“Goat” (2016)

“Monster Trucks” (2017)

Available Dec. 23

“Clarence: Complete Season 3” (Cartoon Network)

“Banksy Does New York” (2014)

“Someone Marry Barry” (2014)

Available Dec. 24

“The Detour: Complete Season 2” (TBS)

Available Dec. 25

“United Shades of America: Complete Season 2” (CNN)

“The Hollow One” (2015)

Available Dec. 28

“Anjelah Johnson: Mahalo & Good Night” (2017)

“Literally Right Before Aaron” (2017)

Available Dec. 29

“Gilbert” (2017)

“Rings” (2017)

Available Dec. 30

“The Art of the Game: Ukiyo-e Heroes” (2017)

Available Dec. 31

“Always Watching” (2015)

“Anarchy Parlor” (2015)

“Osiris Child: SFv1” (2016)

“Pilgrimage” (2016)

“Solace” (2016)

Leaving Dec. 31

“A View to Kill” (1985)

“Across the Great Divide” (1976)

“Alice” (1990)

“Barbershop” (2002)

“Barbershop 2: Back in Business” (2004)

“Blue Chips” (1994)

“Bringing Down the House” (2003)

“Clueless” (1995)

“Congo” (1995)

“Dances With Wolves” (1990)

“Delta Farce” (2007)

“Die Another Day” (2002)

“Election” (1999)

“Enemy at the Gates” (2001)

“Ferris Bueller’s Day Off” (1986)

“Fierce People” (2007)

“Fools Rush In” (1997)

“Fright Night” (1985)

“Ghoulies” (1984)

“Ghoulies II” (1987)

“Grumpier Old Men” (1995)

“Grumpy Old Men” (1993)

“Little Man” (2006)

“Love Finds You in Valentine” (2016)

“The Man With the Golden Gun” (1974)

“Mousehunt” (1997)

“Out of Time” (2003)

“P2” (2007)

“Pet Sematary” (1989)

“Pet Sematary Two” (1992)

“Proof” (2005)

“The Quiet American” (2002)

“Rent” (2005)

“Road House” (1989)

“Shopgirl” (2005)

“The Spy Who Loved Me” (1977)

“Swingers” (1996)

“This Binary Universe” (2012)

“Thunderball (1965)

“Total Recall” (1990)

“Under Siege” (1992)

“Undisputed” (2002)

“Volver” (2006)

“Yellowbird” (2014)

Related stories from TheWrap:

Netflix in December: What's Coming and What to Watch Before It's Gone (Photos)

Here's Everything That's Coming and Leaving Netflix in December

Top 25 Best Netflix Original Series, Ranked From Great to Phenomenal (Photos)

Rev Run Family Comedy Series Ordered by Netflix

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Oscar Contender ‘Jane’ Takes Brett Morgen From Kurt Cobain to Jane Goodall https://www.thewrap.com/jane-brett-morgen-kurt-cobain-jane-goodall/ https://www.thewrap.com/jane-brett-morgen-kurt-cobain-jane-goodall/#respond Mon, 20 Nov 2017 23:33:46 +0000 Steve Pond https://www.thewrap.com/?p=1742191 This interview with Brett Morgen about “Jane” was first conducted for the Race Begins issue of TheWrap’s Oscar magazine.

“Jane,” which recently won the Critics’ Choice Documentary Award as the best nonfiction film of 2017, is the latest in a series of high-profile character studies from director Brett Morgen. But its subject, Jane Goodall, is a far cry from the subjects of his 2015 rock doc “Kurt Cobain: Montage of Heck,” or his 2002 film “The Kid Stays in the Picture,” about movie producer Robert Evans.

The 83-year old Goodall, a pioneering anthropologist whose studies of African chimpanzees broke new ground, is perhaps less unruly than Cobain or Evans, but she might be more revolutionary. Morgen makes use of extensive footage of Goodall shot by her former husband, wildlife filmmaker Hugo van Lawick, and sets it to a new score by composer Philip Glass.

Why make a film about Jane Goodall?
Sometimes we choose our films, and sometimes they choose us. And I feel in some strange cosmic way this film kind of chose me and Jane and brought us together.

“Jane” is a story for our time, and yet one that transcends our time. I think that it’s not just a story of a scientist, but a story of a woman having to overcome the structural opposition of her time to fulfill and achieve her dreams. And it’s a story about a woman who doesn’t have to give up her career in other to have a family. And I feel in that sense, it’s an incredibly modern story.

National Geographic came to you with more than 100 hours of unseen footage from Hugo van Lawick, didn’t they?
Yes. I like to make immersive documentaries. I’m constantly looking for subject mater to allow me to work in that canvas, and when I saw the footage from National Geographic, I knew instantly I had the materials needed to bring Jane’s book “In the Shadow of Man” to life.

In many ways, the movie is an adaptation of that book. In Hugo’s footage, I found a visual complement to Jane’s prose. It wasn’t just documentation in terms of capturing a moment. The way he captured Jane’s work was so artful and intimate and lyrical in covering everything from the insects to some of the grand shots of the Serengeti.

The movie is very much a marriage of these two artists. When these two people joined up in Africa, neither of them had done anything before. They had no credentials, and they would go on to define their worlds.

The archival footage is spectacular, but you must have had some real challenges in dealing with it.
The first challenge came when we screened the footage. We realized that we were handed 140 hours of individual shots. Somehow in the early ’60s, they stored this material completely scrambled up. We were dealing with completely disparate shots with no sound and no logs. Just to start the process of constructing the film and writing the film took six to eight months to help us identify the chimpanzees and make sense of the footage.

And when I talk about the fact that there was 140 hours of individual shots, there’s no way to articulate the horrors of what that means. It’s like someone came up and took out a garbage bag of letters and dumped it in front of you, and said, “If you put these together in the right order, you’ll have the book ‘Watership Down.'”

So how’d you find the narrative in that footage?
There were three very distinct narratives: one was about the Garden of Eden, one was about the female empowerment story and the third was about Jane’s research.

One of the things I feel blessed about is that a lot of people have led extraordinary lives, but a lot of times those lives don’t fit into a three-act narrative. And a lot of people whose lives do fit into that narrative rarely can articulate it. But here I had a woman whose extraordinary life had been documented by one of the greatest cinematographers ever, and who could articulate it.

What was she like as an interview subject? Obviously, she’s been talking about her work for decades.
Generally when I work with someone, they’ve seen my films. Jane had no idea who I was. And when we showed up in Tanzania with a 35-person crew, I think she was a bit startled. She thought we were going to be a three-person crew.

But she worked at a documentary company in the late ’50s, and I think she did recognize our professionalism. And yet I never felt that she was performing or selling or making my life any easier for me. At the time I thought it was incredibly frustrating, but now I think it’s one of the secret strengths of the film.

The Philip Glass score is very prominent, but it has to fit in a very detailed soundscape.
That was another real challenge. I’ve always been obsessed with sound. With this film, we didn’t have any sound elements in Hugo’s footage. So when I started back in 2015, we built a 7.1 mixing stage in my office and acquired a library of sound effects from Gambia. And we started sound editing two and a half years before we locked picture.

We wanted to take this footage from 1962 and bring it into a current aesthetic. We wanted to really create an immersive, layered sound design. Which I think is part of why Jane reacted so favorably to the film. When we showed it to her, she felt like it was the first time when saw her life on film the way it was. And that as the way we graded and colorized the footage and created a soundscape.

We had to really work for this one. It was one of the most challenging films I’ve ever worked on, but also so satisfying.

Related stories from TheWrap:

Jane Goodall Thinks Cecil the Lion's Killer Has a 'Very Small Penis' (Video)

Nat Geo Wild Goes Ape With New Jane Goodall Special

Jane Goodall: 'Chimpanzee Politics Are Nicer than Ours'

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