TheWrapMovies – TheWrap https://www.thewrap.com Covering Hollywood Mon, 21 May 2018 04:28:55 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.5 ‘Deadpool 2’ Secret Weapon: Ryan Reynolds and His 2-Year Social Media Campaign https://www.thewrap.com/deadpool-is-back-but-thanks-to-ryan-reynolds-he-never-really-left/ https://www.thewrap.com/deadpool-is-back-but-thanks-to-ryan-reynolds-he-never-really-left/#respond Sun, 20 May 2018 23:52:26 +0000 Jeremy Fuster https://www.thewrap.com/?p=1897755 “Deadpool 2” scored $125 million in its opening weekend, a rarity for an R-rated film.

The Fox sequel’s early success is in large part due to the two years-plus worth of promotion by the man behind the mask and layers of scar tissue prosthetics: Ryan Reynolds.

Following on the $786 million success of 2016’s raunchy send-up of superhero movies, “Deadpool 2” has posted an opening weekend higher than the starts for “Thor: Ragnarok,” “Spider-Man: Homecoming,” or any of the films featuring those goody-two-shoes X-Men that Wade Wilson can’t stand.

Comic book movie fans are clearly excited to see Deadpool come back. But the truth is, he never really left. Reynolds, who shares a writing credit on the sequel, has kept him in the public consciousness on social media.

“There are some actors that have become so well-known in their superhero roles that it’s hard to imagine anyone else playing them,” said comScore analyst Paul Dergarabedian. “Robert Downey Jr. as Iron Man is an obvious example, but Ryan Reynolds has gone even further with the work he’s done on social media.”

In “Deadpool,” Reynolds won over audiences with his snarky, fourth-wall-shattering jokes that referenced other superhero films. In a moviegoing culture where superheroes are king, that quality earned the character perpetual relevance. Reynolds has taken advantage of that over the last two years by constantly firing out tweets about whatever big superhero movie had just come out, often with the same meta-humor his mutant alter-ego is known for.

That has allowed Reynolds to keep Deadpool constantly in the spotlight, giving fans just enough to look forward to the next time he’s back in cinemas… but not too much that it wears out its welcome.

And like the movies, Reynolds will tackle any pop culture topic or breaking movie news story. “Avengers: Infinity War” has the biggest box office opening of all-time? Here’s Reynolds tweeting out Deadpool’s rejection letter from Tony Stark:

Hugh Jackman’s finishing his career as Wolverine? Let’s make him Deadpool’s frenemy. The guy Fox picked to star alongside him as Cable is the same guy who plays Thanos? Let’s use that for a joke about Reynolds’ past as a ‘90s teen heartthrob.

Beyond the tweets, Reynolds has squeezed back into the flattering red uniform for things other than the sequel, and the results have been wildly unexpected. Before screenings of “Logan” last year, Fox treated fans to an extended teaser hyping “DP2,” as Wade Wilson tries to change into his outfit in a phone booth Superman-style and fails miserably.

Later, he filmed a sketch parodying “The Joy of Painting with Bob Ross.” And the Blu-Ray release of the first “Deadpool” made fun of erectile dysfunction commercials, noting that if watching “Deadpool” results in an erection lasting longer than six hours, “You’re welcome.”

The skits became so popular that even some suits from Fox got in on the fun. Movie theater owners who attended Fox’s presentation at CinemaCon last month were treated to a video of Deadpool in a Vegas hotel room that clearly was the setting for a wild party the previous night. He encourages them to screen his sequel in their theaters, and hopes they enjoy the convention while “cheating on your spouse on the company dime.”

Suddenly, from behind Deadpool rose Fox’s distribution chief Chris Aronson, looking seriously hung over and wearing Hugh Jackman’s outfit from “The Greatest Showman.” “Looks like Comcast really dodged the bullet,” joked Deadpool.

Merger jokes aside, Aronson told TheWrap that Reynolds has always been up for doing these promotional sketches, and that he was a blast to work with when working on the CinemaCon promo.

“We came up with the idea and pitched it to Ryan, and he was absolutely up for it,” Aronson said. “He’s always involved with all the jokes in these skits. He took the idea, and he sat down with writers and went to work with it. We’ve been so fortunate to have him here making this character such a blast to watch.”

That involvement in the character is what makes Reynolds so uniquely inextricable from Deadpool. Other actors from Downey to Jackman have put their indelible mark on the superheroes they have played. But the irreverent humor and charisma that has made Deadpool into such a huge draw comes directly from Reynolds, so much so that he shares screenplay credit for the sequel with the original film’s writers, Rhett Reese and Paul Wernick.

Like a comedian testing out new material on tour, Reynolds has kept Deadpool fresh through social media. He’s always armed with a joke about the latest blockbuster that feels like something either he or his character might say, to the point where the line between actor and character have become blurred. And if you’ve seen “Deadpool 2” this weekend, you know that line-blurring leads to hilarious results in the film’s post-credits scene, where Reynolds turns Deadpool’s acerbic wit, quite literally, on himself.

But we won’t spoil it for you. Thanos Wade Wilson demands our silence.

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'Deadpool 2' Director David Leitch on Overcoming Sequelitis, Franchise's Future

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The Cannes – Oscar Connection: How Strong Will It Be This Year? https://www.thewrap.com/the-cannes-oscar-connection-how-strong-will-it-be-this-year/ https://www.thewrap.com/the-cannes-oscar-connection-how-strong-will-it-be-this-year/#respond Sun, 20 May 2018 18:58:48 +0000 Steve Pond https://www.thewrap.com/?p=1901035 We now know what Cate Blanchett’s jury thought of the films that screened at this year’s Cannes Film Festival: “a very strong year,” she said at the jury’s festival-ending press conference. And we know what buyers thought of the festival lineup: not bad, judging by the deals.

But what will Oscar voters think?

That’s always a tricky question, because the connection between the world’s most prestigious film festival and the world’s most celebrated film award can fluctuate wildly. In 2011, for example, three of the films that screened at the festival — “The Artist,” “The Tree of Life” and “Midnight in Paris” — landed Best Picture nominations, with “The Artist” winning.

But the success rate hasn’t approached that since then, although 2016 had an impressive across-the-board showing: One Best Picture nominee (“Hell of High Water”), the Best Foreign Language Film winner (“The Salesman”), six other nominees in the Best Actress, Best Actor, Best Foreign Language Film and Best Animated Feature categories and eight more films submitted by their home countries in the foreign language race.

Last year, though, was more typical: two foreign nominees (“The Square” and “Loveless”), one supporting actor nominee (Willem Dafoe for “The Florida Project”) and one documentary nominee (“Faces Places”), with no winners among them.

Realistically, this year’s crop of Cannes films will probably fare similarly once Oscar voters get a look at them. The only film that screened at the festival or one of its sidebars that has a significant chance of landing a Best Picture nomination is Spike Lee’s “BlacKkKlansman,” which could well be in the conversation once U.S. audiences get a look at it later this summer.

Lee’s film, which mixes humor with incendiary anger and looks at the state of America today through a story set in the 1970s, is timely enough and strong enough to be a real player, though it will likely divide critics and audiences in America more than it did in Cannes.

Otherwise, Ron Howard’s “Solo: A Star Wars Story” seems destined for below-the-line categories at best, while a surge of attention for Paul Dano’s understated “Wildlife,” which premiered at Sundance but also screened in Cannes’ Critics’ Week sidebar, could make it a dark-horse contender in the adapted screenplay category.

A few Cannes documentaries could also have a shot, foremost among them Kevin Macdonald’s “Whitney,” which drew headlines out of Cannes for its allegations that Whitney Houston was sexually abused as a child by a relative. Wim Wenders’ “Pope Francis – A Man of His Word” will likely be in the conversation, and so might be “The State Against Mandela and the Others” and “Be Natural: The Untold Story of Alice Guy-Blache.”

But really, the most fruitful connection between Cannes and the Oscars this year will likely come in the foreign language category. Only six of the 93 countries that submitted films to the Oscars last year chose Cannes entries, but we could easily see double that many submissions come from this year’s festival.

While the individual committees that select each country’s entry can be making their decisions on the basis of politics, cronyism and lots of other factors, a Cannes berth is a powerful sign that the film might have international interest.

Among the no-brainer selections: Lebanon’s “Capharnaum,” the Jury Prize winner and the film that received the longest and loudest ovation of the festival; Poland’s “Cold War” from director Pawel Pawlikowski, whose last film, “Ida,” won the foreign language Oscar; Belgium’s “Girl,” which won the Camera d’Or and the Un Certain Regard performance award; Colombia’s “Birds of Passage,” from a director (Ciro Guerra) whose last film was an Oscar nominee; and Turkey’s “The Wild Pear Tree,” whose director, Nuri Bilge Ceylan, has been responsible for four previous Turkish submissions.

Kenya’s “Rafiki,” a same-sex romance that is the first Kenyan film ever accepted to the Oscars, would be an easy choice if it hadn’t been banned in its home country — though if the submitting committee is independent enough to choose it, the ban could give it a boost. First-time director A.B. Shawky’s “Yomeddine” seems likely to be the Egyptian entry, while the Cannes acting award that went to Samal Yesyamova should be enough to put “Ayka” at the top of Kazakhstan’s submission list.

The Icelandic film “Woman at War,” which was bought by Magnolia for the U.S., comes from Benedikt Erlingsson, whose brilliant “Of Horses and Men” was the country’s 2013 submission, though it may have been too weird for Oscar voters. Portugal’s soccer story “Diamantino” seems a logical choice, as does Hungary’s “One Day.”

Countries like France and Italy always have a plethora of choices, which holds true this year even if they don’t consider anything except Cannes movies. Italy, for example, could opt for Matteo Garrone’s “Dogman,” which won the festival’s best actor award and is from the director of the acclaimed “Gomorrah” (which Oscar voters didn’t go for); or Alice Rohrwacher’s “Happy as Lazzaro,” a fable that won the screenplay award and was widely thought to be a real Palme d’Or contender.

And France has a variety of possibilities, including Christophe Honore’s “Sorry Angel,” Stephane Brize’s “At War,” Vanessa Filho’s “Angel Face,” Gilles Lellouche’s audience-friendly “Sink or Swim,” Camille Vidal-Naquet’s “Sauvage” or even Gaspar Noe’s hallucinatory “Climax.”

But France could also opt for Eva Husson’s “Girls of the Sun,” a tough but mainstream war movie about an all-female unit fighting terrorists. It didn’t fare well with Cannes critics, but it could easily become a favorite of the Academy’s foreign language voters.

The biggest question marks might surround the Asian films. Japan, China and South Korea swing between submitting critical favorites and trying to second-guess Oscar voters by choosing less daring movies or big epics. So while China has strong candidates in Jia Zhang-Ke’s “Ash Is Purest White” or Bi Gan’s rapturously received “Long Day’s Journey Into Night,” it’s anybody’s guess as to whether their selection committee will deem those films acceptable. Likewise with South Korea and Lee Chang-dong’s “Burning,” which was clearly the hit of the festival, and Japan with Hirokazu Kore-eda’s “Shoplifters,” which won the Palme d’Or.

The director of the last of those films has been down this road before. In an interview with TheWrap in 2014, Kore-eda admitted that he was disappointed when “Like Father, Like Son,” which won the Jury Prize in Cannes, was passed over in favor of “The Great Passage” when Japan made its 2013 Oscar submission.

“But honestly, given the track record of how that committee in Japan decides on their films, I was not surprised,” he said. “The committee isn’t particularly interested in the world’s criteria on these films.”

Oh, one more thing:

Lars von Trier’s “The House That Jack Built”? Not a chance.

Related stories from TheWrap:

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‘First Reformed’ and ‘2001: A Space Odyssey’ Anniversary Blast Off at Indie Box Office https://www.thewrap.com/first-reformed-2001-a-space-odyssey-anniversary-indie-box-office/ https://www.thewrap.com/first-reformed-2001-a-space-odyssey-anniversary-indie-box-office/#respond Sun, 20 May 2018 18:27:30 +0000 Jeremy Fuster https://www.thewrap.com/?p=1901105 Cinephiles in Los Angeles, New York, San Francisco and Chicago were in for a treat this weekend, as Warner Bros. brought back Stanley Kubrick’s “2001: A Space Odyssey” for a limited engagement in 70mm. The re-release celebrating the epic sci-fi film’s 50th anniversary made an estimated $200,000 from four screens, leading all films this weekend with the highest per screen average of $50,000.

To oversee the mastering of the new 70mm prints, Warner Bros. brought in a filmmaker they’ve worked with for over a decade and who is a devoted fan of Kubrick: Christopher Nolan. The “Dunkirk” director led the project to create new copies of the film from Kubrick’s original negative, with no digital modifications made.

The re-release comes after a gala presentation of the film at the Cannes Film Festival and alongside a special edition of the film released on Blu-Ray.

As for new releases, the indie box office got a boost from A24’s “First Reformed,” the critically-acclaimed festival hit from “Taxi Driver” screenwriter Paul Schrader. Released on four screens this weekend with plans to expand into more major cities next weekend, the drama made $100,270 for a per screen average of $25,067.

Premiering at the Venice Film Festival and later screening at Toronto and SXSW, the film stars Ethan Hawke as Rev. Toller, the pastor of a megachurch-owned parish who slowly slides into despair after failing to save a severely depressed environmental activist from suicide.

Left to organize the man’s memorial service, Toller slowly begins to identify with the activist’s plight, with his only source of peace in his unraveling life being the man’s pregnant girlfriend, played by Amanda Seyfried. The film has been hailed as one of the best of both Hawke and Schrader’s careers, earning a sterling 97 percent score on Rotten Tomatoes.

On the documentary side, the Supreme Court beat the Vatican this weekend, as Magnolia Pictures/Participant Media’s “RBG” made $1.28 million in its third weekend, topping the opening of “Pope Francis: A Man of His Word.” “RBG,” which focuses on the life and career of U.S. Supreme Court Justice Ruth Bader Ginsburg, expanded to 375 screens this weekend and now has a total of $3.88 million.

“A Man of His Word,” meanwhile, had more mixed results, opening to $480,000. While that’s the highest of all new limited releases this weekend, it also came out on 346 screens, giving it a tepid per screen average (PSA) of $1,387.

Also finding middling returns this weekend is Bleecker Street’s “On Chesil Beach,” an adaptation of Ian McEwan’s bestselling novel which stars Saoirse Ronan as a newlywed in 1960s England who struggles with the social expectation of intimacy after marriage. The film made $36,563 from four screens, earning a per screen average of $9,141.

Finally, among holdovers, Sony Pictures Classics (SPC) expanded “The Seagull” to 13 screens, earning $65,949 for a PSA of $5,073 and a running total of just under $181,000. SPC also saw Chloe Zhao’s neo-Western drama “The Rider” pass $1 million in its sixth weekend, earning $169,640 to bring its total to $1.11 million.

Related stories from TheWrap:

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'Breaking In' Signals the Rise of Gabrielle Union as a Box Office Star

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‘Deadpool 2’ Dives Into Box Office With $125 Million Opening https://www.thewrap.com/deadpool-2-dives-box-office-125-million-opening/ https://www.thewrap.com/deadpool-2-dives-box-office-125-million-opening/#respond Sun, 20 May 2018 14:59:45 +0000 Jeremy Fuster https://www.thewrap.com/?p=1901094 The Avengers’ reign atop the box office has come to an end at the hands of the black sheep of the Marvel family, as 20th Century Fox’s “Deadpool 2” takes over the top spot with an opening of $125 million.

That means that the Ryan Reynolds sequel will fall just short of the $132 million made by the first “Deadpool” two years ago, despite setting a new opening day record for R-rated films with $53 million. After that Friday result, industry estimates were projecting a 15 percent drop for Saturday, but the Saturday returns ended up being more than 20 percent down.

But Fox won’t cry over spilled milk — or perhaps in this antihero’s case, spilled blood — as “Deadpool 2” joins its predecessor as the only films released by the studio since 2011 to score openings above $100 million. With “DP2” making $301 million on 4,349 screens its opening weekend, it is the second-biggest launch and widest release in Fox’s history.

Even the X-Men — whom Deadpool loves to trash talk — haven’t reach that $100 million mark lately, as 2014’s “X-Men: Days of Future Past” opened to $90.8 million while last year’s “Logan” opened to $88 million. “Deadpool 2” also beat the openings of two recent Marvel Cinematic Universe films: “Spider-Man: Homecoming” ($117 million) and “Thor: Ragnarok” ($122 million).

“Avengers: Infinity War,” meanwhile, didn’t let Deadpool’s arrival affect it too much with $28.7 million in its fourth weekend, to bring its domestic total to $595 million. Globally, “Avengers” now sits at $1.81 billion after making $113 million worldwide this weekend, including $53.7 million in its second weekend in China.

After scoring a near-record $200 million last weekend – and $300 million after 10 days — at the Chinese box office, “Avengers” now sits fourth among all Western releases. The film is expected to become the first summer release to gross $2 billion worldwide, possibly by the end of Memorial Day weekend.

In third place this weekend was Paramount’s “Book Club,” which opened to an estimated $12.5 million from 2,781 theaters. That’s slightly ahead of box office expectations, but more importantly, the film starring Diane Keaton, Jane Fonda and Candice Bergen won over audiences with an A- on CinemaScore despite a tepid critical response with 58 percent on Rotten Tomatoes.

According to CinemaScore’s demographic breakdown, 50 percent of opening night crowds polled were women over the age of 50, and women overall made up 80 percent. A common expectation with older audiences is that they tend to see films they are interested in later in their theatrical run. Paramount will be banking on this strong approval from the boomer generation to trigger results for the weeks to come.

Completing the top five are last week’s releases, WB/New Line’s “Life of the Party” and Universal’s “Breaking In,” both of which took steep drops this weekend. The Melissa McCarthy-led “Life of the Party” fell 58 percent to a $7.5 million result this weekend, giving the $32 million film a 10-day total of $30 million. “Breaking In” starring Gabrielle Union fell 63 percent to $6.4 million, but has already made its money back with a $28 million 10-day total against a $6 million production budget.

Sitting outside the top five is Global Road’s “Show Dogs,” which failed to win Best in Show with just $6 million from 3,145 screens.

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‘Fahrenheit 451’ Film Review: Michael B. Jordan Remakes Ray Bradbury for the Age of Fake News https://www.thewrap.com/fahrenheit-451-film-review-michael-b-jordan-version-remakes-ray-bradbury-for-the-age-of-fake-news/ https://www.thewrap.com/fahrenheit-451-film-review-michael-b-jordan-version-remakes-ray-bradbury-for-the-age-of-fake-news/#respond Sun, 20 May 2018 02:00:00 +0000 Steve Pond https://www.thewrap.com/?p=1890889 Most people who see Ramin Bahrani’s “Fahrenheit 451,” which had a midnight screening at the Cannes Film Festival on Saturday and comes to HBO on May 19, will probably think of it as a new adaptation of the classic science-fiction novel by Ray Bradbury, who posited a future in which books were outlawed and the job of a fireman was to burn them.

But in Cannes, there’s another strong association, because an earlier film based on Bradbury’s book was directed by legendary French director Francois Truffaut, whose only English-language film was a 1966 version starring Oskar Werner and Julie Christie.

So Bahrani, the director of “99 Homes” and “Chop Shop,” comes to the Croisette having to measure up to two formidable artists — a task he approaches by doing his best to ignore Truffaut and give glancing service to Bradbury.

Bahrani’s “Fahrenheit 451” is more high-tech than Truffaut’s, of course, and far more violent. It jettisons big portions of Bradbury’s story to zero in on one relationship, and adds a shoot-‘em-out finale miles away in tone from the novelist’s more contemplative coda. (To be fair, that coda followed the nuking of a city, so the author hardly eschewed violence.)

It works, to a degree, though largely as a showcase for a battle between Michael B. Jordan and Michael Shannon. The former plays Guy Montag, a gung-ho fireman primed for a promotion and seemingly eager to be the brash hero of every book-burning for the mindless masses who watch his exploits on 24-hour-a-day reality TV (or is it fake news?) projected on the side of the skyscrapers in the unnamed future metropolis.

Shannon is Captain Beatty, Montag’s boss, whose quintessential Shannonesque villainy is slightly undercut by the fact that he seems to have read a lot of the books he burns, and can eloquently explain that they contradict each other and would just confuse regular people.

Those people are kept in a state of perpetual vacuity by state news and by “The 9,” this film’s version of the internet, albeit an internet designed to dumb down everybody who uses it — which is to say, everybody.

In Bradbury’s book and Truffaut’s film, the misguided masses were epitomized by Montag’s wife, Millie, who’s been so techno-lobotomized that she can’t even remember her suicide attempt the morning after. Bahrani filmed Millie’s scenes, with actress Laura Harrier in the role, but they wound up on the cutting-room floor; in this “Fahrenheit 451,” the mindless masses are barely seen and Montag is a bachelor, all the better to hasten his showdown with Captain Beatty.

That showdown comes when Montag, spurred by a few conversations with a mysterious young woman who informs for Beatty but also has ties to the resistance, and shaken by an old woman who incinerates herself rather than watch her illicit library burn, begins to think that books just might be better for, you know, reading instead of burning.

He swipes a copy of Dostoyevsky’s “Notes From the Underground” (in Bradbury’s telling, it was the Bible) and starts having the kind of doubts we knew were inevitable from the moment Jordan strutted and grinned like the world’s most enthusiastic fireman in his early scenes.

Bahrani’s “Fahrenheit” has its topical touches, with clear nods to today’s anti-immigrant crusades in the way people are separated into “natives” and “eels” — i.e., good citizens who do what the government tells them and outsiders who don’t. But despite the timeliness, and the spectacle of all those gleaming high-rise towers serving as giant TV screens, the film sometimes seems as besotted with the shiny images as Montag initially is with the flames he unleashes.

Bradbury and Truffaut both had more humane, more human takes on the material, and maybe more love for the power of the words that Montag ends up trying to save rather than burn.

This version of the story turns into a chase of sorts, and places the real key to humanity’s future not in the memories of a colony of people who’ve memorized entire books, but the DNA of a bird who’s been programmed with all human knowledge. (The book people are here, but they’re expendable; it’s the bird who’s got to be saved at all costs.)

Jordan and Shannon, though, make suitably fierce competitors. And in an era where inconvenient truths are branded as fake, any take on Bradbury’s cautionary tale can’t help but be resonant, and worth seeing.

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Kentucky Derby Winner Justify Wins Preakness, Sets Up Triple Crown Run https://www.thewrap.com/kentucky-derby-winner-justify-wins-preakness-sets-up-triple-crown-run/ https://www.thewrap.com/kentucky-derby-winner-justify-wins-preakness-sets-up-triple-crown-run/#respond Sat, 19 May 2018 23:34:48 +0000 Rosemary Rossi https://www.thewrap.com/?p=1900530 Heavy fog and a muddy track didn’t stop Justify from winning the 143rd Preakness Stakes on Saturday and putting the American thoroughbred just one win away from the Triple Crown.

Ridden by jockey Mike Smith and trained by Bob Baffert, Justify took the lead late in the race but held on for the narrow victory with a winning time of 1:55.93.

“Oh, man. It was a nail-biter,” Baffert told NBC after the race. “They put it to us. That [Good Magic] was a good horse, and it was like they had their own private match race. Somebody had to give, and I’m glad it wasn’t us. I’m so happy that we got it done. He’s just a great horse to handle all that pressure and keep on running.”

After besting eight horses at today’s race in front of an announced crowd of 134,487 at the Pimlico Race Course in Baltimore, and the Kentucky Derby on May 5, Justify is next headed to the Belmont Stakes in Elmont, New York, on June 9, where he could become one of only two horses in 40 years to sweep the Triple Crown.

Justify has remained undefeated in four career starts, which has led to him being compared to another racing great, American Pharoah, who, in 2015, was the last to win all three race.

The 3-year-old colt is undefeated in five career starts.

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Terry Gilliam’s Epically Troubled ‘The Man Who Killed Don Quixote:’ A Brief History https://www.thewrap.com/terry-gilliams-epically-troubled-the-man-who-killed-don-quixote-a-brief-history/ https://www.thewrap.com/terry-gilliams-epically-troubled-the-man-who-killed-don-quixote-a-brief-history/#respond Sat, 19 May 2018 22:00:19 +0000 Brian Welk https://www.thewrap.com/?p=1887306 Terry Gilliam has tried to make his film “The Man Who Killed Don Quixote” for two decades, and it finally screened on the closing night of this year’s Cannes Film Festival.

It’s the quintessential production from hell, complete with on-set injuries, lost funding, natural disasters and outsize ambitions worthy of the hero of Cervantes’ classic novel. Even after it wrapped, a lawsuit threatened to derail the film from screening at Cannes, and Amazon Studios pulled out of a deal to distribute the film in the U.S.

So the irony isn’t lost on anyone that Gilliam’s quest to make a movie about Don Quixote has been nothing if not quixotic. Here’s a not-so-brief timeline of every step on the road to Gilliam getting his film made.

1997

Gilliam started thinking about an adaptation of Cervantes’ 1615 novel “Don Quixote” in the early ’90s, and in a 1997 interview with Neon Magazine, he revealed “Don Quixote” as one of the “10 movies they wouldn’t let me make.”

“The years I wasted on this one,” he lamented, hardly realizing how quaint that now sounds. He originally asked for $20 million in funding from Europe and found that still wasn’t enough for his vision.

Gilliam also revealed that the studio wanted Sean Connery for the title role, but the actor left the project to make “The Defective Detective” (another movie that never came to pass). The director was replaced by Fred Schepesi, with John Cleese and Robin Williams in the lead roles, though that version never panned out either. “That really hurts, that I let a project I’m convinced I’m the best director on the planet to do, slip by,” Gilliam said.

1998

After the U.K. premiere of “Fear and Loathing in Las Vegas” in 1998, Gilliam said that “The Man Who Killed Don Quixote” would be his next film. He had secured a $32 million budget and planned to begin production in Spain in September 2000.

In this version, Quixote would be played by French actor Jean Rochefort, who had learned English for the role, with the director’s “Fear and Loathing” star Johnny Depp as the Sancho Panza figure.

The script he wrote with Tony Grisoni was about a 21st-century ad executive (Depp) who travels back in time to the 17th century and gets mistaken for Sancho Panza. The story also drew inspiration from Mark Twain’s “A Connecticut Yankee in King Arthur’s Court,” another of the 10 movies Gilliam said he hoped to adapt for the screen in that Neon interview.

IFC Films

September 2000

The production appeared cursed from day one. As documented in the 2002 documentary “Lost in La Mancha,” production began north of Madrid near a Spanish military base and fighter planes flying overhead drowned out the sound recording.

On the second day of shooting, a flood washed through the area, causing the crew to lose equipment and for the landscape to be changed so drastically that it affected continuity. And after feeling pain from riding a horse, Rochefort was then sent to a doctor in Paris and was found to have a back issue.

He would not return, and production was canceled altogether in November. Nicola Pecorini, the film’s director of photography, said in the documentary, “Never in 22 years of being in this business have I seen such a sum of bad luck.”

September 2005

Gilliam’s interest in “Don Quixote” perked up again in 2005, when “Tideland” producer Jeremy Thomas came on board the project and Gilliam hinted that he wanted Gerard Depardieu to play the lead role.

June 2009

Johnny Depp breathed new life into the project when he told Ain’t It Cool News that he loved Gilliam and was still on board — though he hedged about whether he would be available given his commitment to the “Pirates of the Caribbean” movies.

“I’d hate to put him in a position — or ask to be in a position — where he’d have to wait for me. That would be wrong,” Depp said. “But also… I feel like we went there and tried something, and, whatever it was — the elements and all the things that got up underneath us – -were there and happened and were documented well in that film ‘Lost in La Mancha.’ So I don’t know if it’s right for me to go back there. I don’t know if it’s right for Terry to, but if he wants to…”

December 2009

Collider reported that Gilliam wanted Robert Duvall for the lead role of Don Quixote, but only “if they get the money,” Duvall said.

May 2010

With Depp tied up, Gilliam turned to Ewan McGregor to play the Sancho Panza role opposite Duvall. He also said that he slashed the budget to a mere $20 million.

September 2010

Funding falls apart again for Gilliam’s film, despite having Robert Duvall and Ewan McGregor attached. “I shouldn’t be here. The plan was to be shooting ‘Quixote’ right now,” Gilliam told Variety.

November 2013

Shortly after releasing his sci-fi “The Zero Theorem,” Gilliam confirmed to ComingSoon.net that he had begun preproduction on a seventh version of on “The Man Who Killed Don Quixote.”

“Lucky seven, maybe,” he said. “We’ll see if it happens. This is kind of my default position, going back to that. I actually just want to make it and get rid of it. Get it out of my life.”

August 2014

Gilliam told TheWrap that he secured funding for “Don Quixote” and planned to shoot it in early 2015 — with the film now set in the present day and revolving around a movie being made about Quixote. “I keep incorporating my own life into it and shifting it,” Gilliam said. “I’ve done it so many times — or not done it so many times — I’ll believe it when I see it.”

September-November 2014

After another casting “hiccup” that Gilliam described to Rolling Stone as a “Sisyphean rock,” John Hurt was confirmed to play the role of Don Quixote, with Jack O’Connell as Sancho Panza. He even sparked a renewed excitement by releasing concept art for the film on his Facebook page.

September 2015

Another major setback suspended production when star Hurt was diagnosed with pancreatic cancer. He eventually passed away in 2017, a sad reality Gilliam knew all too well after Heath Ledger passed away during production of “The Imaginarium of Dr. Parnassus.”

May 2016

Teaming with Portuguese producer Paulo Branco, Gilliam got “Don Quixote” back on track yet again with a new cast that this time includes Gilliam’s “Monty Python” co-hort Michael Palin, Adam Driver and Olga Kurylenko as the female lead.

September 2016

Branco failed to get together funds that he promised, stalling its planned production date in October. Branco clashed with Gilliam, demanded creative control over the film, slashed the budget, dramatically reduced the fee for Palin and even threatened legal action over the film.

“I was moving with caution,” Branco said in Le Monde. “In most of Gilliam’s films, budgets had exploded. But I quickly realized that he had a deep hatred towards producers. I started to have doubts even though I had a lot of funding.” 

But Gilliam persevered, telling BBC Radio 2, “We are still marching forward. It is not dead. I will be dead before the film is.”

June 2017

Production finally wrapped on “The Man Who Killed Don Quixote” — this time with Jonathan Pryce as Quixote and Driver as Toby, a modern ad executive mistaken for Sancho Panza. The cast also included Stellan Skarsgard, Kurylenko, Joana Ribeiro, Jordi Molla, Sergi Lopez and Rossy de Palma.

April 2018

At long last, a trailer is released for “The Man Who Killed Don Quixote.” The film tells the story of a 21st-century marketing executive named Toby (Driver) who time jumps between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.

Then the film landed the closing-night slot at the 2018 Cannes Film Festival, with a gala screening on May 19.

Within days, though, former producer Branco filed a lawsuit seeking an injunction to prevent Cannes from screening the film and claiming that Gilliam needs Branco’s permission to screen the film. Cannes organizers stood by Gilliam and defends the right to screen it, even taking a swipe at Branco.

May 2018

A Paris court dismissed Branco’s lawsuit, allowing the film to screen at Cannes’ closing night as planned.

But the troubles didn’t end. Gilliam suffered a minor stroke just days before the court ruling and Amazon Studios pulled out of its deal to release “Don Quixote” in North America, telling TheWrap they pulled out because producers failed to deliver it.

The film finally did screen and won affectionate reviews from critics, including TheWrap’s Ben Croll, who called it “an awful lot of fun”: “The director hasn’t lost an inch of his Monty Python irreverence, gleefully poking holes in the narrative by breaking the fourth wall and calling attention to all the artifice.”

Related stories from TheWrap:

Cannes Stands by Terry Gilliam's 'Don Quixote' Despite Producer's Lawsuit to Block Screening

Cannes Adds Terry Gilliam's 'Don Quixote,' Lars von Trier's 'The House That Jack Built'

Terry Gilliam Blasts 'Mob Rule' of #MeToo Movement in Hollywood: 'It Is a World of Victims'

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‘Deadpool 2’ Writers Say They Shot (But Cut) an ‘Increasingly Violent’ Wade Wilson Suicide Montage https://www.thewrap.com/deadpool-2-writers-ama-shot-cut-increasingly-violent-suicide-montage/ https://www.thewrap.com/deadpool-2-writers-ama-shot-cut-increasingly-violent-suicide-montage/#respond Sat, 19 May 2018 21:31:18 +0000 Tony Maglio https://www.thewrap.com/?p=1900193 “Deadpool 2” writers Rhett Reese and Paul Wernick invited Marvel fans to ask them anything on Friday, and the Reddit community didn’t disappoint.

A user named ace22nd posed to the duo: “Any jokes/gags you really wanted to do but couldn’t?”

“One thing we really wanted to see (and actually shot!) was a Deadpool suicide montage, where DP is trying to kill himself over and over in increasingly violent ways (drinking Drano, jumping into a polar bear enclosure), etc.,” they responded during the AMA. “You should be able to see it on the DVD!”

In case you’re not a fan, Wade Wilson — Deadpool’s public alter-ego — can’t really die due to his accelerated healing factor superpower. Or at the very least, he’s pretty damn hard to kill, try as Cable (Josh Brolin) might.

On Friday, the Twentieth Century Fox film set a new box office record for an R-rated movie opening.

Back to that whole “suicide montage” thing for a second — where have we seen that before?

Oh, yeah:

Related stories from TheWrap:

'Deadpool 2': Blink and You Probably Missed These Cameos in the X-Mansion

'Deadpool 2' Director David Leitch on Overcoming Sequelitis, Franchise's Future

'Deadpool 2' Is Right: That 'Frozen' Song Does Sound Like 'Yentl'

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‘Deadpool 2': Blink and You Probably Missed These Cameos in the X-Mansion https://www.thewrap.com/deadpool-2-blink-and-you-probably-missed-these-cameos-in-the-x-mansion/ https://www.thewrap.com/deadpool-2-blink-and-you-probably-missed-these-cameos-in-the-x-mansion/#respond Sat, 19 May 2018 20:27:22 +0000 Trey Williams https://www.thewrap.com/?p=1898812 (Note: This post, while very good, contains spoilers for “Deadpool 2.” Read at your own risk.)

Since the failure of the Deadpool character in Fox’s “X-Men Origins: Wolverine” in 2009, the self-aware and self-referential anti-hero has been seemingly relegated to the B team of Fox’s superhero assets.

There’s a running gag from the first film that carries over to “Deadpool 2” that the studio couldn’t — or wouldn’t — spring to include more popular characters from the X-Men universe in the film.

In the first “Deadpool,” while talking to X-Men Colossus and Negasonic Teenage Warhead, Deadpool says, “It’s funny that I only ever see two of you. It’s almost like the studio couldn’t afford another X-Man.”

In “Deadpool 2,” as is the curse and joy of sequels, the filmmakers double down on the gag and outdid the original reference.

In an early scene after Deadpool has blown himself to bits following the death of his fridged girlfriend played by Morena Baccarin, Colossus takes Deadpool/Wade Wilson to X-Mansion. That is, of course, X-Men home base.

As Wade rides around the mansion in Professor X’s wheelchair — an Easter egg that gets a laugh in and of itself — he makes another reference to the scarcity of significant X-Men characters the studio forked over for “Deadpool 2.”

If you blinked, you might have missed it because it’s in that split-second when he rides by an open door, and in the room is a host of X-Men from the studio’s other movies. It’s a quick glimpse and you may have to squint to catch them all, but at the very least we see Evan Peters’ Quicksilver, James McAvoy as Professor Xavier, Beast and Cyclops.

They give a quick exasperated look as Wade rants and complains, and then Beast shuts the door.

Related stories from TheWrap:

'Deadpool 2': Here Are All the Pop Culture References, From 'Frozen' to 'Sharknado' (Photos)

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

Here's What's Going on in That Brilliant 'Deadpool 2' Mid-Credits Scene

Yes, Stan Lee Did Have a Very Brief Cameo in 'Deadpool 2'

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Asia Argento Condemns Harvey Weinstein During Cannes Awards: ‘This Festival Was His Hunting Ground’ (Video) https://www.thewrap.com/asia-argento-condemns-harvey-weinstein-during-cannes-awards-hunting-ground/ https://www.thewrap.com/asia-argento-condemns-harvey-weinstein-during-cannes-awards-hunting-ground/#respond Sat, 19 May 2018 20:09:49 +0000 Tony Maglio https://www.thewrap.com/?p=1899736 Italian actress Asia Argento called out Harvey Weinstein for his “crimes” on Saturday during the Cannes Film Festival’s awards show. She also put other predators in the industry on notice, promising, “We’re not going to allow you to get away with it any longer.”

“I have a few words to tell you. In 1997, I was raped by Harvey Weinstein here at Cannes,” Argento began during her presentation of the best actress award. “I was 21 years old. This festival was his hunting ground.”

“I want to make a prediction: Harvey Weinstein will never be welcomed here ever again,” she said while flanked by fellow presenter Ava DuVernay. “He will live in disgrace, shunned by a film community that once embraced him and covered up for his crimes.”

“And even tonight, sitting among you, there are those who still have to be held accountable for their conduct against women,” Argento continued. “For behavior that does not belong in this industry, does not belong in any industry or workplace. You know who you are. But most importantly, we know who you are, and we’re not going to allow you to get away with it any longer.”

Argento came forward with her accusations against Weinstein as part of the 2017 Ronan Farrow New Yorker piece that ultimately took the disgraced movie mogul down.

Watch Argento’s impassioned speech from Cannes below.

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‘Deadpool 2’ Director David Leitch on Overcoming Sequelitis, Franchise’s Future https://www.thewrap.com/deadpool-2-director-david-leitch-sequelitis-future/ https://www.thewrap.com/deadpool-2-director-david-leitch-sequelitis-future/#respond Sat, 19 May 2018 20:00:43 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1897511 David Leitch admitted he was reluctant to step into the director’s chair for “Deadpool 2” after Tim Miller’s 2016 original became a global phenomenon.

“I never really thought I would want to do a sequel because I like to create worlds,” he told TheWrap, noting that Ryan Reynolds’ R-rated superhero film breaking various records and capturing the hearts of fans all over the world.

But the star himself persuaded the “Atomic Blonde” director to come on board. “Ryan told me it would be most fun film to work on. That was a lie,” Leitch said, before he started laughing. “Just kidding — it was great!”

While Reynolds previously teased “Deadpool 2” might be the end of the franchise, Leitch hopes the team will come up with something “unconventional” for any follow-up films.

“Deadpool,” starring Reynolds, Zazie Beetz, Josh Brolin and T.J. Miller, hit theaters on Friday.

Read TheWrap’s Q&A with Leitch below.

Did you feel any pressure with this film, given the trend of “sequelitis” and the fact that the first one did so much for so many people?
Yeah, I mean the first one was a global phenomenon. I was a huge fan, I respect the film so much and the world that Tim [Miller] and Ryan [Reynolds] re-created, and it was daunting to be approached.

I never really thought I would want to do a sequel because I like to create worlds. I like to have my own voice. The thing about this “Deadpool” world, it’s so fast and creative, you can go anywhere, and with this, I believed I could have my imprint as a filmmaker and include the DNA of the film at the same time.”

What did you do to amp up the second film to make it different from the first?
Everybody tried to take it to the next level. The script was great, we wanted to amp up the pop culture references, Deadpool’s character development, expand the world. Adding these X-Force characters in the film allowed us to expand the universe and set pieces to open in the summer landscape. It was, on all fronts, us just thinking, “Let’s make the movie breathe and be bigger.”

Are there any scenes you cut from the script or in the editing room you wish you’d kept?
During the process of editorial, it’s always those “tortured artists” moments. You’re like, man, you know how hard it was to get that scene. You imagine all the logistics to make that happen. But the movie ends up speaking to you and becomes what it’s supposed to be. You sometimes just have to let things go.

There are things I love that didn’t make it in the film — maybe they’ll be on Blu-ray or the extended version. This was what the movie was supposed to be. We trimmed and tightened, some scenes get dropped, but it gave us the opportunity to polish out character arcs.

Ryan Reynolds recently said he doesn’t know if there will be a third “Deadpool.” What are your thoughts and what would you do if you had the opportunity to direct it?
Well, I always say… I would love to be involved and I hope I am and I hope Ryan makes “Deadpool” movies until he’s not happy making them anymore. The thing that’s cool about “Deadpool” is, it can go anywhere. I would hope they make the unconventional choice and surprise the audience and do something out of the norm with “Deadpool.” Like the Celine Dion video but a 90-minute version. No, just kidding. Just something we’re not expecting.

You are working on next year’s “Fast & Furious” spinoff  “Hobbs and Shaw,” starring Dwayne Johnson and Jason Statham. Do you feel like it’s going to be an extension of the “Fast” universe or it’s own entire entity?
It’s more of its own entity than an extension. We have to be respectful to the canon of “Fast” and what we’ve learned about these guys. The plan with [writer] Chris Morgan and the creators and Dwayne and Jason is to bring in the “Fast” fans and have them enjoy the relationship but give them a lot more characters to connect with. It will circle around the same focus of family that’s all “Fast” DNA. We are in prep and it’s approaching fast. No rest!

Dwayne Johnson said it was always the idea to take Hobbs and go in another direction. Do you feel there is enough material there to make an entire franchise just focused on him or those two characters?
Definitely. Again — we’re starting something new. It lives in this “Fast” universe, with these characters having interesting lives and sort of families and we’re going to meet great characters and build out the universe.

I think it’s great. The chemistry between Dwayne and Jason was something I responded to in the films, and when presented with this opportunity, I thought it’d be fun.

We have been scouting different locations, and Sunday we leave to find some more and then I think it’s happening. Dwayne has already said we start shooting in September. He is a machine — his work ethic is off the charts. It comes from pure passion.

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'Deadpool 2' Is Better Than First Film and 'Infinity War,' Critics Say

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‘Deadpool 2’ Is Right: That ‘Frozen’ Song Does Sound Like ‘Yentl’ https://www.thewrap.com/deadpool-2-frozen-song-sound-like-yentl/ https://www.thewrap.com/deadpool-2-frozen-song-sound-like-yentl/#respond Sat, 19 May 2018 19:46:22 +0000 Phil Hornshaw https://www.thewrap.com/?p=1899666 (Note: This post contains some light spoilers for “Deadpool 2.”)

“Deadpool 2” definitely knows its audience. That’s why it rattles off jokes about the Marvel Cinematic Universe and the DC movie universe with abandon — it knows the folks who like superhero movies will be able to follow along. But one of the weirder pop culture jokes in the movie is the one about two more unlikely references: Barbra Streisand’s “Yentl,” and Disney’s “Frozen.”

The joke runs throughout the movie, starting in the scene in which Wade Wilson (Ryan Reynolds) and Vanessa (Morena Baccarin) celebrate their anniversary. The couple decides to start a family. “Let’s put on some porn and you can pump a baby into me,” Vanessa says, and the pair presumably head to another room to get it on.

Cut to Wade and Vanessa watching a movie, but not the one you might expect: It’s “Yentl,” the 1983 musical starring Streisand, in which she pretends to be a man so she can enroll in a Jewish religious school. Whether the couple is watching Streisand after their baby-making session or they have a non-standard definition of porn is up to the audience.

The use of “Yentl” is funny on its own, but it goes a lot further as it becomes a running gag. The movie pops up again later, after Wade goes through some tough emotional moments. As he wallows in sadness, wishing he was dead, he also ponders some of the mysteries of the universe — specifically, whether he’s the only one who thinks the song “Papa, Can You Hear Me?” from “Yentl” sounds like “Do You Want to Build a Snowman” from the 2013 animated movie “Frozen.” He makes the observation a couple of times, always when the emotional chips are down.

You can compare the two songs below for yourself.

Unlike “Yentl,” “Deadpool 2” doesn’t include a direct reference to “Frozen” on-screen, so one might wonder why Wade might be thinking about a children’s movie (apart from the fact that knowing everything about pop culture could be considered one of his superpowers).

The answer is that “Frozen” isn’t on Wade’s mind, but on Reynolds’. As USA Today reports, Reynolds and wife and actress Blake Lively have two young daughters, James and Ines. It’s become something of a truism in America that all small children are obsessed with “Frozen,” and it seems that’s true for Reynolds’ kids, too.

The “Yentl” joke is just a long road to give Reynolds a chance to make a dadly observation about the two songs — and maybe kick off a copyright battle between Streisand and Disney.

What’s less clear is where the inspiration came from for the joke that “Yentl” might be Deadpool’s porn. That one is left to fans’ imaginations, apparently.

Related stories from TheWrap:

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

'Deadpool 2' Perfectly Mocks the Worst Moment in 'Batman v. Superman'

Here's What's Going on in That Brilliant 'Deadpool 2' Mid-Credits Scene

Yes, Stan Lee Did Have a Very Brief Cameo in 'Deadpool 2'

'Deadpool 2': Did You Catch Deadpool's Jared Kushner Joke?

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Is the Cannes Film Festival in Decline? Not to the French https://www.thewrap.com/is-cannes-film-festival-in-decline-not-to-the-french/ https://www.thewrap.com/is-cannes-film-festival-in-decline-not-to-the-french/#respond Sat, 19 May 2018 19:31:50 +0000 Ben Croll https://www.thewrap.com/?p=1899667 Long before the red carpet was unrolled or a single film had screened, many in the press circled in on a narrative: The Cannes Film Festival, it was decided, was a festival in decline.

And the vast majority of those pieces had another thing in common: They were written outside of France. The disparity between views has never been clearer than it has this year.

While many in the international press groused about a festival in decline, their French counterparts once again seized upon the Riviera, covering Cannes with the same intensity of interest and breathless focus as others covered the Royal Wedding (if not more — Harry and Megs are over and done in a day, while this party lasted 12 days).

While many in the press — TheWrap included, admittedly — longed for sizzle, there was the cast of “Sink or Swim” flashing their pearly whites up and down the Croisette.

Broadly appealing, chalk full of stars and likely to make a splash at the French box office, the film was exactly the kind of attention-grabbing title many in the press wished had an American counterpart at this year’s festival.

The middle-aged dramedy about a bunch of sad sacks who form a synchronized swim team has a real murderer’s row of bankable local talent, including arthouse leading man Mathieu Amalric (“Ismael’s Ghosts,” “The Diving Bell and the Butterfly”), comic star Virginie Efira (“Elle”) and heartthrob Guillaume Canet (who, alongside wife Marion Cotillard, makes up the country’s biggest celebrity couple)… and you’d better believe that all of them showed up.

Though the amiable crowd-pleaser won no points for originality, it offered the festival something of even greater importance: a dazzling red carpet, well-documented in the local press. While it offered critics little to chew on, it gave the French marketers the chance to plaster the Cannes logo upon the film’s poster, reinforcing the festival’s local prestige.

Don’t you forget: This festival is very much a product of its native country. The French government actually created it back in the 1940s, and it remains by far the largest cultural event in a land that defines itself by culture — and devotes a substantial part of its GDP to such pursuits.

Cannes occupies an almost mythic place in the French imagination, in turn receiving private and public subsidies commensurate to that heft. Despite what gets reported back, that is its primary identity.

So many of this year’s major trends stem from that. Those who remember last year’s go-round can attest that festival heads Thierry Fremaux and Pierre Lescure made Netflix feel very welcome in town. The impasse that led to this year’s blackout was not because the two honchos suddenly changed their minds. No, their hands were more or less tied by the country’s powerful exhibitor and distributor interests, many of whom sit on the festival’s board of directors.

Of course, Cannes has a powerful hand in shaping the film year — and years — to come. Think of it as the arthouse heavyweight championship, where promising new voices come to emerge as brand-name auteurs, and brand-name auteurs return to retain their title.

Some might not have heard of Nadine Labaki’s “Capharnaum” before its Thursday premiere, but heaven knows we’ll all get plenty of opportunities to misspell that title once the awards race gets into full swing. Spike Lee’s “BlackKklansman” was the most open of questions only one short week ago. Now it has ironclad critical support and a Cannes Grand Prize to its name. No account of the 2018 film year will be complete without it.

And Lee’s Grand Prize arrives, in a sense, at the expense of his “She’s Gotta Have It” partners at Netflix. Because if the festival wants to continue shaping the film year, it also has to let itself be shaped by larger local forces. Like letting French bigwigs call some shots. Like, say, programming “Sink or Swim,” and letting its glow of prestige shine down upon a film that will no doubt make exhibitors happy once it hits wide-release at the end of the year.

And hey, the film isn’t half bad! It has a fun hook and likeable stars. It’s the kind of project you can absolutely see the studios remaking in a couple years’ time.

But unless something changes soon, don’t expect to see the remake in Cannes.

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Netflix Lands Cannes Award Winners ‘Happy as Lazzaro’ and ‘Girl’ https://www.thewrap.com/happy-lazzaro-girl-cannes-netflix/ https://www.thewrap.com/happy-lazzaro-girl-cannes-netflix/#respond Sat, 19 May 2018 19:13:53 +0000 Tony Maglio https://www.thewrap.com/?p=1899702 Netflix has acquired Cannes Film Festival award winners “Happy as Lazzaro” and “Girl.”

Just ahead of Cannes, the streaming service had closed a $30 million worldwide deal for the animated film “Next Gen.”

Below are the official descriptions and all of the relevant details for Netflix’s newest acquisitions and the latest Cannes sales.

“Happy as Lazzaro” (pictured above)

  • Alice Rohrwacher was awarded Best Screenplay for “Happy as Lazzaro” (in a tie with Nader Saeivar for ‘3 Faces”)

  • Synopsis: This is the tale of a meeting between Lazzaro, a young peasant so good that he is often mistaken for simple-minded, and Tancredi, a young nobleman cursed  by his imagination. Life in their isolated pastoral village Inviolata is dominated by the terrible ­Marchesa­ Alfonsina de Luna, the queen of cigarettes. A loyal bond is sealed when Tancredi asks Lazzaro to help him orchestrate his own kidnapping. This strange and improbable alliance is a revelation for Lazzaro. A friendship so precious that it will travel in time and transport Lazzaro in search of Tancredi. His first time in the big city, Lazzaro is like a fragment of the past lost in the modern world.

  • Writer & Director: Alice Rohrwacher

  • Cast: Adriano Tardiolo, Luca Chikovani, Alba Rohrwacher, Agnese Graziani, Tommaso Ragno, Sergi Lopez, Natalino Balasso, Gala Othero Winter, David Bennent, Nicoletta Braschi

  • Producer: Carlo Cresto-Dina

  • Co-producers: Tiziana Soudani, Alexandra Henochsberg, Grégory Gajos, Arthur Hallereau, Pierre-François Piet, Michel Merkt, Michael Weber, Viola Fügen

  • Production Companies: A Tempesta production with Rai Cinema in co-production with Amka Films Prods., Ad Vitam Production, KNM, Pola Pandora, RSI Radiotelevisione Svizzera, ARTE France Cinéma, ZDF/ARTE

  • International Sales: The Match Factory

“Girl”

  • The Camera d’Or, for best first film, was awarded to “Girl”

  • Vincent Polster won the Best Actor Prize for Un Certain Regard for his performance in “Girl”

  • Lukas Dhont’s Un Certain Regard entry “Girl” was awarded this year’s Queer Palm award. (The Queer Palm launched in 2010 and selects its winner from all LGBTQ-themed films across the official selection of the Cannes film festival, Un Certain Regard, Directors’ Fortnight, Critics’ Week and the unofficial ACID section.)

  • Synopsis: Determined 15-year-old Lara is committed to becoming a professional ballerina. With the support of her father, she throws herself into this quest for the absolute at a new school. Lara’s adolescent frustrations and impatience are heightened as she realizes her body does not bend so easily to the strict discipline because she was born a boy.

  • Director: Lukas Dhont

  • Cast: Victor Polster, Arieh Worthalter, Oliver Bodart, Tijmen Govaerts, Katelijne Damen, Valentijn Dhaenens, Magali Elali, Alice de Broqueville

  • Screenwriters: Lukas Dhont, Angelo Tijssens

  • Producer: Dirk Impens

  • Production companies: Menuet, Frakas Productions, Topkapi Films

  • International Sales: The Match Factory

Related stories from TheWrap:

'The Wild Pear Tree' Film Review: Cannes Competition Ends With Exasperating, Talky Drama

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Cannes Report, Day 10: What Will Win the Palme d'Or?

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French Director Luc Besson Denies Accusation He Drugged and Raped Actress https://www.thewrap.com/luc-besson-accused-drugging-raping-actress-denies/ https://www.thewrap.com/luc-besson-accused-drugging-raping-actress-denies/#respond Sat, 19 May 2018 18:22:05 +0000 Rosemary Rossi https://www.thewrap.com/?p=1899624 “The Fifth Element” director Luc Besson has been accused of drugging and raping a young actress in a Paris hotel, according to multiple media reports.

As first reported by Europe 1, the unidentified woman, who has worked with Besson on two movies, filed a complaint with authorities Friday morning, accusing him of drugging her tea and then sexually abusing her while she was unconscious.

According to the French broadcast station, the woman said she awoke with memories of touching and penetration, adding that Besson left the hotel room before she did, and he left behind a wad of cash.

Reps for Besson did not respond to TheWrap’s request for comment, but an attorney for the director told Europe 1 “Besson fell off his chair upon hearing of the complaint’s existence.” He does acknowledge knowing the actress, but denied drugging or raping her.

Besson’s films include “Lucy” with Scarlett Johansson, the “Taken” trilogy with Liam Neeson, and “I Love You Phillip Morris” with Jim Carrey.

Related stories from TheWrap:

2018 ESPYS: Sexual Abuse Accusers to Receive Arthur Ashe Courage Award

LA Times Suspends Beijing Bureau Chief Over Sexual Misconduct Accusations

Pulitzer Board Investigates Junot Diaz Over Sexual Misconduct Accusation

Tom Brokaw Accuser: Not All Sexual Harassers 'Look and Act Like Harvey Weinstein' (Video)

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‘Deadpool 2’ Star Ryan Reynolds Shares His Oscar Speech One Day After Movie Opens https://www.thewrap.com/deadpool-2-ryan-reynolds-oscars-speech-thank-you/ https://www.thewrap.com/deadpool-2-ryan-reynolds-oscars-speech-thank-you/#respond Sat, 19 May 2018 17:41:03 +0000 Tony Maglio https://www.thewrap.com/?p=1899560 Ryan Reynolds already has his Oscars speech prepared for that inevitable “Deadpool 2” Best Picture win. Or perhaps it’s for Best Actor. Either way.

Among those the all-red Marvel superhero would like to thank are the fans, the fans, and “especially the fans.” Throw in the other requisites like “the cast” and “crew” and we’re off to a good start.

The posted GIF also expresses gratitude to the families of those involved on the Twentieth Century Fox film, which we thought was a nice touch.

And then the whole thing gets very Deadpool-y.

The Merc with a Mouth goes on to thank the crew’s pets and “their communicable diseases.” He then shouts out Jimmy Changa, which the Urban Dictionary defines as “a penis that is so unappealing that you wake up the next morning feeling like you shouldn’t have taken that wiener. Much like the after feelings of eating a chimichanga.”

Plus, there are the Teletubbies, Seabiscuit the movie horse, Ron Weasley from “Harry Potter” and even the insect that bit Spider-Man. We’ll let readers discover some of the other ones on their own.

The lone person he seemingly won’t thank? Ryan Reynolds. OK, so this is technically Deadpool’s speech — that masked rapscallion.

Here’s his note celebrating a record box office open:

Related stories from TheWrap:

'Deadpool 2' Director David Leitch on Overcoming Sequelitis, Franchise's Future

'Deadpool 2' Stars Ryan Reynolds and Josh Brolin Call James Corden 'Ugly' for Like 5 Minutes (Video)

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

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‘Shoplifters’ Wins Palme d’Or at 2018 Cannes Film Festival https://www.thewrap.com/cannes-film-festival-winners-2018-shoplifters/ https://www.thewrap.com/cannes-film-festival-winners-2018-shoplifters/#respond Sat, 19 May 2018 17:18:18 +0000 Steve Pond https://www.thewrap.com/?p=1898829 Hirozazu Kore-eda’s “Shoplifters” has won the Palme d’Or as the best film at the 2018 Cannes Film Festival.

The film was the seventh by the Japanese director to screen in Cannes, and the first to win the festival’s top prize. The story of a close-knit family who live on the edge of homelessness and resort to petty crime to stay alive, the film won near-unanimous raves since it debuted midway through the festival.

In his review at TheWrap, Ben Croll called the film “his richest film to date” and added, “Not only does ‘Shoplifters’ skillfully entwine several disparate threads he’s explored over his prolific career, it does so with the understated confidence and patient elegance of an artist who has fully matured.”

Magnolia Pictures acquired U.S. distribution during the festival.

Spike Lee took the runner-up award, the Grand Prize, for his explosive and barbed film about a black policeman who infiltrated the Ku Klux Klan, “BlacKkKlansman.”

Nadine Labaki won the Jury Prize, essentially third place, for “Capharnaum,” a tale of a young boy who sues his parents for bringing him into a hard world.

French cinema legend Jean-Luc Godard won a special Palme d’Or for “Image Book,” his experimental essay in sound and image. The first such award in Cannes history, it was given, said jury president Cate Blanchett, for the 87-year-old director’s “continually striving to define and redefine what cinema can be.”

Pawel Pawlikowski won the best director award for “Cold War,” his decade-spanning drama about a troubled romance set in the aftermath of World War II.

Samal Yeslyamova was named best actress award for her performance in the Russian film “Ayka” as a new mother struggling to support herself and her baby, while Marcello Fonte was named best actor his performance as a mild-mannered dog groomer swept up in violence in “Dogman.”

The screenplay award was a tie between Alice Rohrwacher for “Happy as Lazzaro” and Jafar Panahi and Nader Saeivar for “Three Faces.”

“Girl,” a drama about a transgender teen directed by Belgian Lukas Dhont, won the Camera d’Or, which is given to the best debut film from any section of the festival.

The film that was the clear favorite of critics at the festival, Korean director Lee Chang-dong’s “Burning,” did not win anything. That marks the second time in three years that a Cannes jury headed by an Australian opted not to award a film that had set a new record for the highest score in the history of ScreenDaily’s Cannes critics’ poll.

In 2016, “Toni Erdmann” set a record in that poll but was ignored by the jury headed by Australian director George Miller.

Blanchett served as president of the jury, which also included actors Chang Chen, Lea Seydoux and Kristen Stewart, directors Ava DuVernay, Robert Guediguian, Denis Villeneuve and Andrey Zvyagintsev and singer-songwriter Khadja Nin.

The 21 films in the main competition also included David Robert Mitchell’s “Under the Silver Lake,” Asghar Farhadi’s “Everybody Knows,” Christophe Honore’s “Sorry Angel,” Jia Zhang-Ke’s “Ash Is Purest White” and Nuri Bilge Ceylan’s “The Wild Pear Tree.”

Three were directed by women: Eva Husson’s “Girls of the Sun,” Rohrwacher’s “Happy as Felice” and Nadine Labaki’s “Capharnaum.”

In the 71-year history of Cannes, only one woman, Jane Campion, has won the Palme d’Or — and she did so in 1993 for a film, “The Piano,” that tied with Chen Kaige’s “Farewell My Concubine” for the award.

In addition, Agnès Varda was awarded an honorary Palme d’Or in 2015, while actresses Lea Seydoux and Adele Exarchopoulos were singled out in 2013 when “Blue Is the Warmest Color” won the Palme, though director Abdellatif Kechiche was the official winner of that award.

Going into Saturday’s ceremony, Rohrwacher and particularly Labaki were considered strong contenders to become the second woman to win the award.

The winners:

Palme d’Or: “Shoplifters,” Hirokazu Kore-eda
Grand Prize: BlacKkKlansman,” Spike L”ee
Jury Prize: “Capharnaum,” Nadine Labaki
Special Palme d’Or: Jean-Luc Godard, “Image Book”
Best Director: Pawel Pawlikowski, “Cold War”
Best Actor: Marcello Fonte, “Dogman”
Best Actress: Samal Yeslyamova, “Ayka”
Best Screenplay: (tie) “Happy as Felice,” Alice Rohrwacher and “Three Faces,” Jafar Panahi and Nader Saeivar
Camera d’Or (best first feature): “Girl,” Lukas Dhont
Best Short Film: “All These Creatures,” Charles Williams
Short Film Special Mention: “On the Border,” Wei Shujun

Related stories from TheWrap:

Troll Sex Movie 'Border' Wins Top Prize in Cannes' Un Certain Regard Section

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

Gasper Noe's Polarizing 'Climax' Wins Top Prize at Cannes Directors' Fortnight

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That Time Aleister Crowley Tried to Summon a Demon With ‘Sex Magick’ (Podcast) https://www.thewrap.com/aleister-crowley-sex-magick-call-me-by-your-name-with-demons-timothee-chalamet/ https://www.thewrap.com/aleister-crowley-sex-magick-call-me-by-your-name-with-demons-timothee-chalamet/#respond Sat, 19 May 2018 17:00:02 +0000 Tim Molloy and Matt Donnelly https://www.thewrap.com/?p=1898731 Aleister Crowley, an occultist, poet, and self-appointed magician, was known a century ago as “the wickedest man in the world.” But he did at least one good thing: Contributed to the sexual awakening of poet Victor Benjamin Neuburg.

Each week on “Shoot This Now,” we talk about stories that should be made into movies, and we think Crowley’s relationship with the younger Neuburg could be a kind of “Call Me by Your Name” with demons. You can listen on Apple or here:

Actually, there weren’t any demons. But not for lack of trying: Crowley enlisted Neuburg in a “sex magick” ritual designed to bring a demon into the world. You can learn more about it from Dan Cummins’ excellent “Timesuck” podcast, where we first learned about Crowley and Neuburg’s relationship.

In our discussion of the relationship, we posit that perhaps Crowley and Neuburg (who we think should be played by Timothée Chalamet) were only using the “sex magick” as an excuse to do what they really wanted to do: have sex. Both were coming out of the repressive Victorian era, where practicing magic was apparently more acceptable than a same-sex relationship.

Crowley’s reputation as a terrible person is well-founded, for reasons we get into in the podcast. But in our fictionalized film version of this story, we imagine that Neuburg’s character might end up OK.

We also explain why we see many parallels between his character and Chalamet’s in “Call Me by Your Name.”

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Critics’ Groups Give Top Cannes Awards to Korean Drama ‘Burning’ https://www.thewrap.com/critics-groups-give-top-cannes-awards-korean-drama-burning/ https://www.thewrap.com/critics-groups-give-top-cannes-awards-korean-drama-burning/#respond Sat, 19 May 2018 16:15:48 +0000 Steve Pond https://www.thewrap.com/?p=1899162 Lee Chang-dong’s “Burning” has been named the best film of the 2018 Cannes Film Festival by two critics’ groups, the International Federation of Film Critics (FIPRESCI) and the International Cinephile Society.

The Korean director’s leisurely paced love-triangle drama has topped all critics’ polls at the festival. “Always shifting gears the moment you think you’ve figured it out, Lee Chang-dong’s slow burn tale of alienation and obsession is something like an art-house equivalent of fine wine,” wrote Ben Croll in TheWrap.

The awards came as sharp-eyed Cannes-watchers on Twitter, noting which filmmakers had returned to the town for Saturday’s awards ceremony, buzzed about rumors that “Burning” might be completely overlooked by the Cannes jury headed by Cate Blanchett.

The FIPRESCI awards, which were chosen by a nine-person jury of critics from seven different countries, went to “Burning” in the main competition, with the jury citation calling it “a visually stunning film and an emotionally complex comment on contemporary society”; and Lukas Dhont’s “Girl” in the Un Certain Regard section, which the jury lauded for “its bold integrity in tackling gender issues and displaying incredible poise.”

For a first or second film from the independent Directors’ Fortnight and Critics’ Week sections, the jury chose “One Day” by Zsofia Szilagyi, lauding how “the precise camera work and the powerful mise-en-scene convey the extraordinary intensity and tension of an utterly ordinary situation with feeling, humor and drama.”

The International Cinephile Society, which is made up of 21 critics from around the world, also gave its top award to “Burning.” In fact, wrote the group in its announcement, Lee Chang-dong’s film “burned the competition to ashes in virtually every category” and “should technically have won everything but Best Actress.” But the ICS follows the same rules as the official Cannes jury, which rules out giving any other awards to the film that wins the Palme d’Or.

“Burning” won the ICS’s Palme, while Jean-Luc Godard’s “Image Book” took the runner-up Grand Prize and Jia Zhang-Ke’s “Ash is Purest White” and Hirokazu Kore-eda’s “Shoplifters” tied for the Jury Prize.

The group named Alice Rohrwacher best director for “Happy as Lazzaro,” and gave the acting awards to Marcello Fonte for “Dogman” and Zhao Tao for “Ash Is Purest White.”

Its screenplay awards went to Christophe Honore for “Sorry Angel” and Ryusuke Hamaguchi for “Asako I & II.”

In other Cannes awards, the Ecumenical Jury gave its top award to Nadine Labaki’s “Capharnaum,” with a special commendation to Spike Lee for “BlacKkKlansman.”

And the tongue-in-cheek Palme Dog award, which goes to the best canine performance at the festival, was shared by all the dogs in Matteo Garrone’s main-competition film “Dogman.”

The Palme d’Or and other official Cannes awards will be presented during a Saturday evening ceremony in the Grand Theatre Lumiere.

Related stories from TheWrap:

Troll Sex Movie 'Border' Wins Top Prize in Cannes' Un Certain Regard Section

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

Gasper Noe's Polarizing 'Climax' Wins Top Prize at Cannes Directors' Fortnight

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‘The Wild Pear Tree’ Film Review: Cannes Competition Ends With Exasperating, Talky Drama https://www.thewrap.com/the-wild-pear-tree-film-review-cannes-competition-ends-with-exasperating-talky-drama/ https://www.thewrap.com/the-wild-pear-tree-film-review-cannes-competition-ends-with-exasperating-talky-drama/#respond Sat, 19 May 2018 15:42:20 +0000 Ben Croll https://www.thewrap.com/?p=1899153 Timing is a funny thing.

Take director Nuri Bilge Ceylan, whose latest film “The Wild Pear Tree” was the final film to screen in competition at the Cannes Film Festival on Friday night.

He took home the Palme d’Or with his previous work, 2014’s “Winter Sleep,” so you could hardly call his last trip to Cannes a failure. However, you could argue that that award winner — a searing indictment of male entitlement, ego and privilege — might have come out a few years too early.

The market will always be tough for verbose Turkish dramas that are more than three hours long, but you’d have to imagine that the many thematic overlaps between “Winter Sleep” and our ongoing cultural conversation might have pushed that talky drama a bit further into the spotlight.

Alas, that was not the case for “Winter Sleep” and will not be the case for “The Wild Pear Tree,” which has plenty of the former’s verbose sprawl with little of its gravitas and heft.

Like “Winter Sleep”, the narrative focuses on a flawed middle-aged man and his harmful impact on those around him, only this time the protagonist is one of the victims (as it were) and not the perpetrator.

We follow Sinan (Aydın Doğu Demirkol), an aspiring writer newly graduated from university, as he returns to his family home to begin his adult life.

Here, adult life is synonymous with disappointment as Sinan, described by one character as “an incurably obsessed romantic,” begins to put together that things aren’t guaranteed to work out. The young man may still have his life before him, but it will probably not be successful on the terms that he’s set for himself.

Following Sinan through long conversations with friends, family and associates, Ceylan crafts a narrative of disillusionment. Every rambling talk lays bare another former support that has let the young man down. Sinan doesn’t spare the local imams nor his professional mentors, but no single person becomes a more targeted focus of ire than his gambling-addicted father, Idris (Murat Cemcir).

Sinan looks to schoolteacher dad with a wash of anger, pity and fear. Anger for all that Idris’ habit has cost his family, pity for the way the older man can’t even own up to his addiction and most of all fear — fear that his father’s fate awaits Sinan as well.

“You feel sorry for him,” Sinan says of Idris. “Sorry for him and exasperated at the same time.”

Frankly, the film’s glacial pace can exasperate too. What worked so well in “Winter Sleep” feels significantly more trying here. In his 2014 Palme d’Or winner, Ceylan unpacked thorny issues of ethics and morality with a surgeon’s steady patience; he employs a similar approach here, only the territory is much less fertile.

Related stories from TheWrap:

Cannes Report, Day 10: What Will Win the Palme d'Or?

Troll Sex Movie 'Border' Wins Top Prize in Cannes' Un Certain Regard Section

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

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‘Deadpool 2’ Breaks Opening Day Record for R-Rated Film https://www.thewrap.com/deadpool-2-breaks-opening-day-record-r-rated-film/ https://www.thewrap.com/deadpool-2-breaks-opening-day-record-r-rated-film/#respond Sat, 19 May 2018 15:14:44 +0000 Jeremy Fuster https://www.thewrap.com/?p=1898933 “Deadpool 2” broken the opening-day record for an R-rated movie with a $53.3 million debut, reclaiming the title its predecessor had held until the $50.4 million Friday debut of “It” last September.

Fox’s sequel, which was distributed to a studio-record 4,349 screens, is now on pace to match the 2016 original’s $132 million opening weekend total.

Critics and audiences loved the film as much as Wade Wilson’s first outing, giving it an 84 percent Rotten Tomatoes score and an A on CinemaScore.

The $53 million start for “Deadpool 2” includes $18 million from Thursday previews, also a record for R-rated films.

This new record was fueled in good part by robust advance ticket sales. Fandango reported that sales for “Deadpool 2” on their site were outpacing that of the first “Deadpool,” while Atom Tickets reported that the sequel was now their biggest advance seller ever, passing even “Avengers: Infinity War.” Atom reported the demographic breakdown of the sales as 61 percent male and 57 percent under the age of 34.

In the face of this comic book movie competition, “Avengers: Infinity War” is looking at a fourth-weekend total of about $27 million, which would bring the Disney/Marvel Studios megahit a few million short of $600 million domestic.

“Avengers” shed about 400 screens with the arrival of “Deadpool 2,” and will likely shed more next weekend when “Solo: A Star Wars Story” arrives.

“Infinity War” passed $1.7 billion worldwide on Thursday and is expected to make history by crossing $2 billion sometime during Memorial Day weekend.

In third is Paramount’s “Book Club,” which is looking at an opening of $14-15 million from 2,781 locations. The comedy, which grossed $4.7 million on Friday, stars Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen.

While critics have been mixed with a 57 percent RT score, the film succeeded in winning over older female audiences, who gave it an A- on CinemaScore.

That’s good news for Paramount, who bought distribution rights for $10 million and will now look for the good word of mouth to carry “Book Club” to strong numbers in the coming weeks.

The top five is completed by last week’s releases, Warner Bros./New Line’s “Life of the Party” and Universal’s “Breaking In.”

“Life of the Party” is estimated to fall around 60 percent from its $17.8 million start after making $2.2 million on its second Friday, while “Breaking In” is estimated for a 63 percent drop after making $1.9 million.

This should put the 10-day total for both films at $29-30 million, though this is better news for “Breaking In” as it has a $6 million budget compared to $32 million for “Life of the Party.”

Falling outside the top five is Global Road’s family comedy “Show Dogs” with an estimated $5 million opening from 3,212 screens. The film has an A- on CinemaScore, mostly from kids who loved the slapstick comedy of a cop (Will Arnett) who goes undercover at a dog show with his talking canine partner, but critics panned it with a 26 percent RT score.

Finally, Warner Bros. brought back “2001: A Space Odyssey” for a limited engagement to celebrate the legendary sci-fi epic’s 50th anniversary.

Four theaters, one each in L.A., New York, San Francisco, and Chicago, screened a restored 70mm print of Stanley Kubrick’s film taken from the original negative by a team led by Kubrick and 70mm enthusiast Christopher Nolan. The limited engagement made $57,000 on Friday and is expected to have the highest per-screen average of the weekend.

Related stories from TheWrap:

'Deadpool 2' Director David Leitch on Overcoming Sequelitis, Franchise's Future

'Deadpool 2': Here Are All the Pop Culture References, From 'Frozen' to 'Sharknado' (Photos)

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

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The Evolution of Meghan Markle, From ‘Suits’ Star to Real-Life Princess (Photos) https://www.thewrap.com/meghan-markle-roles-suits-prince-harry-photos/ https://www.thewrap.com/meghan-markle-roles-suits-prince-harry-photos/#respond Sat, 19 May 2018 13:00:51 +0000 Jennifer Maas https://www.thewrap.com/?p=1745928 Prince Harry’s mother, Princess Diana, may have been the People’s Princess, but it looks like his new fiancee may run a close second.  Meghan Markle, who is an actress who started from very humble beginnings. Her next role?  A member of the British royal family.  Check out this gallery to see where she started.

Related stories from TheWrap:

Meghan Markle Celebrated as UK's First American 'Biracial Princess': 'Real-Life Fairy Tale'

Congrats, Meghan Markle and Prince Harry! Twitter Is Already Planning Royal Wedding

'Suits' Star Meghan Markle Engaged to England's Prince Harry

Prince Harry Rips Media for 'Sexism and Racism' Against Girlfriend Meghan Markle

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https://www.thewrap.com/meghan-markle-roles-suits-prince-harry-photos/feed/ 0 Prince Harry's mother, the late Princess Diana, may have been the People's Princess, but it looks like his new fiancee may run a close second.  Meghan Markle, Harry's fiancee, is an actress who started from very humble beginnings. Her next role? A member of the British royal family. 

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Prince Harry's mother, the late Princess Diana, may have been the People's Princess, but it looks like his new fiancee may run a close second.  Meghan Markle, Harry's fiancee, is an actress who started from very humble beginnings. Her next role? A member of the British royal family. 

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"A Lot Like Love" (2005) 

Markle literally played a "hot girl" in this romantic comedy starring Ashton Kutcher. Markle was seated next to Kutcher's character on a plane. And that was pretty much it.  

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"A Lot Like Love" (2005) 

Markle literally played a "hot girl" in this romantic comedy starring Ashton Kutcher. Markle was seated next to Kutcher's character on a plane. And that was pretty much it.  

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"CSI: NY" (2006) 

Before Meghan landed a series regular role, she had a small bit in this crime procedural, playing a maid who cleaned up for businessmen while dressed in lingerie.  Spoiler alert: She didn't commit the murder.

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"CSI: NY" (2006) 

Before Meghan landed a series regular role, she had a small bit in this crime procedural, playing a maid who cleaned up for businessmen while dressed in lingerie.  Spoiler alert: She didn't commit the murder.

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"Remember Me" (2010) 

One of Markle's first roles was a small part in this romantic drama starring Robert Pattinson and Emilie de Ravin. Luckily, Markle's career took a better turn than the end of this film.  

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"Remember Me" (2010) 

One of Markle's first roles was a small part in this romantic drama starring Robert Pattinson and Emilie de Ravin. Luckily, Markle's career took a better turn than the end of this film.  

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Markle met her first husband, Trevor Engelson, when he was a producer on "Remember Me." The two divorced in 2013 after two years of marriage.

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Markle met her first husband, Trevor Engelson, when he was a producer on "Remember Me." The two divorced in 2013 after two years of marriage.

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"Suits" (2011 - 2018):  Meghan starred on this USA legal drama from its premiere as Rachel Zane, a paralegal who eventually goes to law school herself.

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"Suits" (2011 - 2018):  Meghan starred on this USA legal drama from its premiere as Rachel Zane, a paralegal who eventually goes to law school herself.

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"Horrible Bosses" (2011) 

Markle had a teeny, tiny bit in this raunchy comedy, but managed to steal a scene with Jason Sudeikis, who told her she was far too cute to be a FedEx girl. "You’ve got to be an actress or a model or something," he said. Try royalty, Sudeikis.

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"Horrible Bosses" (2011) 

Markle had a teeny, tiny bit in this raunchy comedy, but managed to steal a scene with Jason Sudeikis, who told her she was far too cute to be a FedEx girl. "You’ve got to be an actress or a model or something," he said. Try royalty, Sudeikis.

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"Castle" (2012)  

Markle actually played a princess once. Well, kinda. The actress starred in an episode of this ABC drama as Sleeping Beauty, or a woman who is dressed up like her before she is almost murdered. Markle turned out to be the one who hatched the entire scheme and was killing off her friends. 

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"Castle" (2012)  

Markle actually played a princess once. Well, kinda. The actress starred in an episode of this ABC drama as Sleeping Beauty, or a woman who is dressed up like her before she is almost murdered. Markle turned out to be the one who hatched the entire scheme and was killing off her friends. 

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"Dater’s Handbook" (2016) 

Yes, Markle has even done a Hallmark channel movie. She played Cass, a successful businesswoman who had some trouble finding love. But don't worry, she did after using a dating manual, and then throwing it out entirely.  Soon after wrapping this made-for-TV movie, Markle truly found love with Harry.

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"Dater’s Handbook" (2016) 

Yes, Markle has even done a Hallmark channel movie. She played Cass, a successful businesswoman who had some trouble finding love. But don't worry, she did after using a dating manual, and then throwing it out entirely.  Soon after wrapping this made-for-TV movie, Markle truly found love with Harry.

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Markle told Vanity Fair that she met Prince Harry in July 2016 -- and the two first made an official joint public appearance at the Invictus Games in September 2017 in Toronto, a multi-sport event launched by Harry for wounded, injured and sick military servicepeople to compete.

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Markle told Vanity Fair that she met Prince Harry in July 2016 -- and the two first made an official joint public appearance at the Invictus Games in September 2017 in Toronto, a multi-sport event launched by Harry for wounded, injured and sick military servicepeople to compete.

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In November 2017, Harry and Meghan announced their engagement.

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In November 2017, Harry and Meghan announced their engagement.

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On May 19, 2018, Markle and Prince Harry wed in a star-studded ceremony at St. George's Chapel in Windsor Castle. She holds the title Duchess of Sussex as well as Princess Henry of Wales (Henry is Harry's real name).

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On May 19, 2018, Markle and Prince Harry wed in a star-studded ceremony at St. George's Chapel in Windsor Castle. She holds the title Duchess of Sussex as well as Princess Henry of Wales (Henry is Harry's real name).

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So What Exactly Is Domino’s Superpower in ‘Deadpool 2?’ https://www.thewrap.com/domino-superpower-deadpool-2/ https://www.thewrap.com/domino-superpower-deadpool-2/#respond Sat, 19 May 2018 00:42:43 +0000 Umberto Gonzalez https://www.thewrap.com/?p=1898730 (Warning: Spoilers ahead for “Deadpool 2,” so for real, don’t read any further unless you just want to be spoiled.)

So you’ve finally seen “Deadpool 2” and are wondering what exactly is Domino’s superpower in the movie – besides stealing every scene she is in, of course.

Played by “Atlanta” star Zazie Beetz, the short answer is that Neena Thurman, AKA Domino is extremely lucky. And not just in a random, occasional, hey-wow-I-won-the-lottery way. But in an all-day-every-day-things-just-work-out-perfectly kind of lucky.

The long answer, as explained in the comics, is that Domino is a mutant whose power is subconscious, highly random telekinesis affecting things within her line of sight. In other words, her mind autonomically controls objects and space around her just like her heart keeps beating and her lungs keep delivering oxygen to her body.  This causes improbable (though not impossible) things to just sort of occur — things that benefit her, or things that hurt people trying to attack her.

In the film, this power comes in handy a lot, including one hilarious sequence when she and the rest of X-Force jump out of a helicopter in dangerously high winds. While the winds blow the rest of the team toward some particularly gruesome ends, they end up sending her exactly where she needed to be.

Created by Rob Liefeld, Domino first fully appeared in X-Force, vol. 1 #11 (June 1992). She’s also got longstanding ties to other characters from “Deadpool 2,” especially Cable. (You can read more about all that here.)

Beetz is best known as being the breakout star of FX’s “Atalanta,” and the only female lead on the show. She plays the on-again off-again girlfriend of Donald Glover’s character, Earn.

Related stories from TheWrap:

'Deadpool 2' Director David Leitch on Overcoming Sequelitis, Franchise's Future

'Deadpool 2' Stars Ryan Reynolds and Josh Brolin Call James Corden 'Ugly' for Like 5 Minutes (Video)

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

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The Orchard Acquires Award-Winning Documentary ‘The Dawn Wall’ https://www.thewrap.com/p1898672/ https://www.thewrap.com/p1898672/#respond Fri, 18 May 2018 20:57:59 +0000 Trey Williams https://www.thewrap.com/?p=1898672 Indie distributor The Orchard said on Friday that it’s nabbed U.S. distribution rights for award-winning documentary “The Dawn Wall.”

The film, which took home the audience award at South By Southwest, presents an inside look at the historic 3,000 foot climb in Yosemite National Park attempted by American rock climbers Tommy Caldwell and Kevin Jorgeson in January 2015.

“The Dawn Wall” was directed by Josh Lowell and Peter Mortimer, and produced by Red Bull Media House in association with Sender Films.

The Orchard is planning a theatrical release for this fall.

“After seven years of filming and another three years of post-production, we are proud that ‘The Dawn Wall’ finally releases in theaters,” Lowell said in a statement. “Tommy took us on this wild climbing adventure with his partner Kevin, and their motivation and drive goes deeper than anything we’ve encountered in filmmaking.”

In January, 2015, American rock climbers Tommy Caldwell and Kevin Jorgeson set out to free climb the Dawn Wall, a 3,000 foot rock face in Yosemite National Park, California. The two lived on the sheer vertical cliff for weeks, garnering global media attention.

For Caldwell, however, the Dawn Wall was much more than just a climb. It was the culmination of a lifetime defined by overcoming obstacles. At age 22, he was taken hostage by rebels in Kyrgyzstan. He lost his index finger in an accident shortly after. And when his marriage fell apart, he refocused his life around the goal of free climbing the Dawn Wall.

They spent six years plotting and practicing the route, blurring the line between dedication and obsession. And when it came to the final attempt, Caldwell faces a tough question: should he abandon his partner to fulfill his ultimate dream, or risk his own success for the sake of their friendship?

“‘The Dawn Wall’ is a truly incredible story,” said Danny Grant, The Orchard’s vice president of sports acquisitions in a statement. “We couldn’t be more thrilled to partner with Red Bull Media House and Sender Films to distribute it.”

The deal was negotiated by The Orchard’s Danny Grant and CAA Media Finance on behalf of the filmmakers.

Related stories from TheWrap:

Mary Elizabeth Winstead and Common's 'All About Nina' Plucked by The Orchard

The Orchard Picks Up Colombian Film 'Birds of Passage'

The Orchard Takes North American Rights to Festival Hit 'Beauty Mark'

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‘The Man Who Killed Don Quixote’ Film Review: Terry Gilliam Finally Delivers Messy Fun https://www.thewrap.com/man-killed-don-quixote-film-review-terry-gilliam-finally-delivers-messy-fun/ https://www.thewrap.com/man-killed-don-quixote-film-review-terry-gilliam-finally-delivers-messy-fun/#respond Fri, 18 May 2018 18:54:47 +0000 Ben Croll https://www.thewrap.com/?p=1898599 With the caveat that “The Man Who Killed Don Quixote” might be assessed on the most loaded grading curve in contemporary cinema memory, we’ve got to say that Terry Gilliam’s long-awaited adventure tale is an awful lot of fun.

Of course, the fun can be far from perfect. The film is also messy and hysterical in places, and by running an exhausting 132 minutes, it rather insistently overstays its welcome.

Somehow, knowledge of the years of calamity and incident that befell this seemingly perma-doomed production can’t help but turbo-charge our reactions to it. We’re so thrilled by the film’s improbable existence that we’re willing to go wherever Gilliam wants to take us, but respond with an extra degree of disappointment whenever he stumbles along the way.

Knowing full well that the myth of the film’s production is (at least at this point) inseparable from the work itself, Gilliam goes right in and addresses the matter at the start. We open with on a credit that reads “and now … after 25 years of making … and unmaking… a film by Terry Gilliam,” a move that doesn’t exactly deflate expectations but does address the elephant in the room.

What’s more surprising is how many times Gilliam bring it up again. More than anything else, “The Man Who Killed Don Quixote” is fundamentally about its own creation and the obsessions that pushed the director to finally see it through.

Adam Driver plays Toby, a hotshot ad director shooting a Cervantes-themed insurance commercial in La Mancha, Spain. Toby has been this way before — he actually made his name with Quixote-themed student film a decade prior — but the text has seemingly lingered in his mind. At least Toby was able to tackle other projects before inevitably circling back; his thesis film’s leading man, Javier (Jonathan Pryce), has been stuck in the role ever since.

Soon enough, the two are back together, getting into hijinks at a breakneck pace and often shrill pitch. Gilliam’s madman orchestrations occasionally result in individual sequences where the action onscreen is hard enough to make sense of — let alone describe — but the broad sweep is crystal clear.

What begins in the real world (or as close to the real world as Gilliam can approximate) soon gives way to fantasy. When Toby initially sets off with the ersatz Don Quixote, the film sees things as he does. By the time they end up in an opulent Moorish castle owned by venal cabal of Russian vodka moguls, we’re firmly in fantasia.

But getting there is half the fun, and Gilliam plays to his considerable strengths with long sequences and short interjections that make us question what is real, what is a hallucination — and this world, what is the difference? The director hasn’t lost an inch of his Monty Python irreverence, gleefully poking holes in the narrative by breaking the fourth wall and calling attention to all the artifice.

Both leads visibly have a great time onscreen, though in their frenzied glee, sometimes at the expense of the audience. It’s no surprise that Jonathan Pryce, star of Gilliam’s wonderful “Brazil,” fits easily into the director’s manic play-to-the-rafters approach, while Adam Driver proves no less adept. With last year’s “Logan Lucky” and even in part of “BlacKkKlansman,” the usually moody screen presence has displayed a lighter touch, but he’s never let loose with as much abandon as he does here.

The scene where he mugs and whoops and dances a full Eddie Cantor routine in order to shock Javier out of a stupor just about sums up the project. It’s too much, it’s out of step with today and it’s oddly endearing.

Related stories from TheWrap:

Cannes Report, Day 10: What Will Win the Palme d'Or?

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

John Travolta, Spike Lee and 31 More Portraits From TheWrap's Studio at The Girls' Lounge Cannes (Exclusive Photos)

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Cannes Film ‘Woman at War’ Domestic Rights Nabbed by Magnolia Pictures https://www.thewrap.com/magnolia-pictures-cannes-woman-at-war/ https://www.thewrap.com/magnolia-pictures-cannes-woman-at-war/#respond Fri, 18 May 2018 18:35:26 +0000 Umberto Gonzalez https://www.thewrap.com/?p=1898532 Magnolia Pictures has acquired the North American rights to writer-director Benedikt Erlingsson’s buzzy Cannes dramatic comedy “Woman at War,” the company announced Friday.

The film, a unique modern day fable about an Icelandic activist taking on big industry, recently premiered in Cannes Critics’ Week to high acclaim and won the SACD prize, which recognizes a screenplay from the French writers guild, and also won the Critics’ Week Grand Rail d’Or.

In “Woman at War,” Halla (Halldóra Geirharðsdóttir) declares a one-woman-war on the local aluminum industry. She is prepared to risk everything to protect the pristine Icelandic Highlands she loves… until an orphan unexpectedly enters her life.

“‘Woman at War’ is a blast,” said Magnolia President Eamonn Bowles. “Director Benedikt Erlingsson has fashioned an incredibly bracing, original and modern tale and Halldóra Geirharðsdóttir is an electrifying revelation in the dual roles.”

“I feel blessed to be in such good hands with Magnolia to meet the American audience,” said Erlingsson.

Directed by Benedikt Erlingsson and written by Erlingsson and ?”lafur Egill Egilsson, “Woman at War” was produced by Marianne Slot, Benedikt Erlingsson, and Carine Leblanc. Co-producers are Serge Lavrenyuk, Bergsteinn Björgúlfsson, and Birgitta Björnsdóttir.

The deal was negotiated by Magnolia co-EVP Dori Begley and Magnolia SVP of Acquisitions John Von Thaden, with Beta Cinema’s CEO Dirk Schuerhoff on behalf of the filmmakers.

“We are very proud and honored that Magnolia Pictures picked ‘Woman at War,'” said Schuerhoff. “We feel in very good hands and it is great to see Eamonn, Dori, John and the whole team, believing so strongly in this unique film.”

Related stories from TheWrap:

Troll Sex Movie 'Border' Wins Top Prize in Cannes' Un Certain Regard Section

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

Gasper Noe's Polarizing 'Climax' Wins Top Prize at Cannes Directors' Fortnight

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Bradley Cooper in Talks for Starring Role in Clint Eastwood’s ‘The Mule’ https://www.thewrap.com/bradley-cooper-talks-starring-role-clint-eastwoods-mule/ https://www.thewrap.com/bradley-cooper-talks-starring-role-clint-eastwoods-mule/#respond Fri, 18 May 2018 17:38:03 +0000 Trey Williams https://www.thewrap.com/?p=1898472 Bradley Cooper is closing in on nabbing a starring role in Clint Eastwood’s next directorial project, “The Mule,” a person familiar with the project told TheWrap.

Cooper would star alongside Eastwood, who is returning to the screen for his first acting gig since “Trouble With the Curve” in 2012. The two last worked together on the 2014 Oscar-nominated film “American Sniper.”

Warner Bros. and Imperative Entertainment will co-produce the film.

Eastwood is also producing via his Malpaso banner, along with Imperative’s Dan Friedkin and Bradley Thomas.

“The Mule” is based on the true life story of 90-year-old drug courier Leo Sharp, who was an award-winning horticulturist and decorated WWII veteran.

In “The Mule,” Eastwood stars as Earl Stone, a man in his 80s who is broke, alone, and facing foreclosure of his business when he is offered a job that simply requires him to drive–easy enough but, unbeknownst to Earl, he’s just signed on as a drug courier for a Mexican cartel, and also hit the radar of hard-charging DEA agent Colin Bates.

 

Cooper has been looking for his next project as he wraps up putting the finishing touches on his directorial debut, “A Star Is Born.” The four-time Oscar nominee is set to follow that debut up with another directing gig for the Leonard Bernstein biopic “Bernstein,” in which he also plans to star.

Cooper is repped by CAA.

Variety was first to report that Cooper is in talks for the project.

Related stories from TheWrap:

Bradley Cooper to Direct, Star in Leonard Bernstein Biopic for Paramount, Amblin

Bradley Cooper to Receive 32nd American Cinematheque Award

'A Star Is Born': Bradley Cooper and Lady Gaga Nail High Notes With Trailer Debut

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Cannes Report, Day 10: What Will Win the Palme d’Or? https://www.thewrap.com/cannes-report-day-10-will-win-palme-dor/ https://www.thewrap.com/cannes-report-day-10-will-win-palme-dor/#respond Fri, 18 May 2018 16:53:50 +0000 Steve Pond https://www.thewrap.com/?p=1898422 The 2018 Cannes Film Festival is about to come down to a single question: What film will win the Palme d’Or? In the waning days of the 12-day festival, a couple of the strongest contenders in the 21-film field have emerged – but beware, because Cannes juries are nothing if not unpredictable.

After all, it was only two years ago that Maren Ade’s “Toni Erdmann” was by most reckonings the biggest sensation of the festival, setting a new record in Screen Daily’s annual critics’ poll, which tracks reviewers’ reactions to the competition films. But George Miller’s jury sent “Toni Erdmann” home empty-handed, while prizes went to less celebrated films like “I, Daniel Blake,” “It’s Only the End of the World” and “American Honey.”

This year, Korean director Lee Chang-dong’s “Burning” has broken the “Toni Erdmann” record in the Screen Daily poll, landing a 3.8 score out of a possible 4.0. If the critics were in charge, it would be the clear Palme winner, followed by Hizokazu Kore-eda’s “Shoplifters” (3.2), Jean-Luc Godard’s “The Image Book” (3) and a three-way tie between Jia Zhang-Ke’s “Ash Is Purest White,” Pawel Pawlikowski’s “Cold War” and Alice Rohrwacher’s “Happy as Lazzaro” (2.9).

“Burning,” a love triangle of sorts from the Korean director, is also a clear leader in the International Cinephile Society’s ICS Critics’ Panel, which tracks a different group of reviewers and is on a scale of 0-to-5 rather than 0-to-4. “Burning” has a 4.50 average to top that poll, with “The Image Book” the runner-up at 4.37, followed by “Shoplifters” at 4.12 and “Ash Is Purest White” at 4.08.

Only one film from the Far East has won the Palme in the last 20 years, Apichatpong Weerasthekul’s “Uncle Boonme Who Can Recall His Past Lives” in 2010. No Korean film has ever won.

But in a year in which Cannes signed a pledge to push for more female representation, and a year in which 82 women (including jurors Cate Blanchett, Ava Duvernay and Kristen Stewart) staged a protest on the steps of the Grand Theatre Lumiere, the pressure to hand the Palme d’Or to only the second female director in history might also be strong.

If Cannes wants to atone for being one of Harvey Weinstein’s favorite playgrounds by finding a successor to 1993 Palme winner Jane Campion for “The Piano” (irony of ironies, a film distributed by Weinstein’s Miramax), Nadine Labaki’s “Capharnaum” could be a very popular way to go. The drama, which follows a preteen boy of indeterminate age who is trying to care for a one-year-old baby and suing his parents for bringing him into the world, won one of the festival’s longest standing ovations on Thursday and immediately became the focus of Palme conversations.

“Capharnaum” sits near the bottom of both critics’ polls, most likely because they see it as too manipulative – but the Sony Pictures Classics acquisition is clearly a strong Oscar contender in the foreign-language category, and its chances to win Cannes’ top prize can’t be discounted.

“In a year defined by political and moral outrage, the ability to honor something of equivalent force might prove irresistible,” wrote Ben Croll in his review on TheWrap.

The other two women in competition, Alice Rohrwacher (“Happy as Lazzaro”) and Eva Husson (“Girls of the Sun”) are also formidable, Rohrwacher because of the poetic beauty of her gentle fable and Husson because of the muscularity of her story of Kurdish women taking arms against the extremists who abducted and sold them into sex slavery.

Still, it’s hard to imagine Blanchett’s jury going for a female director just to make a point – so if there’s resistance to those films, the panel has plenty of other directions it can go.

Want to make a political point about race? Spike Lee’s “BlacKkKlansman” is a deft blend of black humor and searing outrage over racial injustice. About totalitarian governments? Iran’s Jafar Panahi and Russia’s Kirill Serebrennikov were both forbidden from coming to Cannes with their films by their governments, but they have top-notch contenders in Panahi’s modest but profound “Three Faces” and Serebrennikov’s raucous rock musical “Leto.” Want to surrender to the pleasures of an exquisitely made love story? Pawel Pawlikowski’s “Cold War” will have you swooning.

And then there’s one wild card. The final film to screen in competition is from Nuri Bilge Ceylan, the only competing director who has won the Palme in the past. He turned the trick with “Winter Sleep” in 2014, and it would be foolish to write off his “The Wild Pear Tree,” which will close out the competition on Friday evening.

UPDATE: The first reviews of “The Wild Pear Tree” are now out, and for the most part the three-hour-plus drama has drawn raves, along with numerous suggestions that Cannes saved the best for last. “A gentle, humane, beautifully made and magnificently acted movie,” wrote The Guardian’s Peter Bradshaw;

Without having a mole inside the jury room, there’s no way to tell what Blanchett and company are thinking. IndieWire currently lists “Capharnaum” as their Palme favorite, followed by “Happy as Lazzaro,” “Shoplifters” and “BlacKkKlansman.” Meanwhile, Neil Young’s Film Lounge, a site that’s completely obsessive about these things, has the same top three, though it pushes the Spike Lee film way down and has “The Wild Pear Tree” and “Burning” tied in the fourth slot.

The answers will come on just after 7 p.m. in Cannes on Saturday, a few hours after that other big European event. Which brings up one other question: Will Cannes organizers be sorry they moved their grand finale to Saturday from its usual Sunday slot, and wound up sharing the spotlight with the royal wedding?

Related stories from TheWrap:

Troll Sex Movie 'Border' Wins Top Prize in Cannes' Un Certain Regard Section

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

Cannes Film Festival Signs Pledge for More Women Directors, More Transparency

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Jennifer Aniston, Tig Notaro to Play President and First Lady in Netflix Feature Comedy https://www.thewrap.com/jennifer-aniston-tig-notaro-lesbian-president-first-ladies-netflix-comedy/ https://www.thewrap.com/jennifer-aniston-tig-notaro-lesbian-president-first-ladies-netflix-comedy/#respond Fri, 18 May 2018 16:00:00 +0000 Matt Donnelly https://www.thewrap.com/?p=1898290 Jennifer Aniston and Tig Notaro are moving into the White House.

The actress and comic will topline the Netflix original film “First Ladies,” a political comedy about a female president (Aniston) and her same-sex first lady (Notaro).

Based on a pitch from Notaro and Stephanie Allynne, the film follows characters Beverly and Kasey Nicholson. The women take the highest office in the land and “prove that behind every great woman … is another great woman,” a synopsis said.

Production timing is unclear, as streaming darling Aniston will shoot an Apple original streaming series this fall with Reese Witherspoon.

Oscar winner Adam McKay, Will Ferrell, Jessica Elbaum and Betsy Koch are producing the project for Gloria Sanchez Productions, along with Notaro and Allynne. Chris Henchy will executive produce.

“First Ladies” is Notaro’s latest in a building relationship with Netflix. Her original comedy special “Tig Notaro: Happy to Be Here” hits the service May 22. She’ll also direct an upcoming Ellen DeGeneres’ original comedy special for the company.

Notaro is repped by ICM Partners and Integral Entertainment, Allynne by Gersh and Rise. Aniston is repped by CAA and Lighthouse Management.

Related stories from TheWrap:

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‘Deadpool 2': Here Are All the Pop Culture References, From ‘Frozen’ to ‘Sharknado’ (Photos) https://www.thewrap.com/deadpool-all-pop-culture-references-photos/ https://www.thewrap.com/deadpool-all-pop-culture-references-photos/#respond Fri, 18 May 2018 15:42:29 +0000 Beatrice Verhoeven and Brian Welk https://www.thewrap.com/?p=1895561 DC Universe

Not only does Deadpool mention Superman, Green Lantern and Batman, but he asks Cable: “You’re so dark — are you sure you’re not from the DC Universe?”

Marvel Superheroes

Deadpool mentions Black Widow, Hawkeye, Thanos and Black Panther — in some form. Deadpool also tells a character, “The Sun is Getting Low,” a clear reference to The Hulk.

“John Wick”

In the opening credits, director David Leitch is described as “one of the guys who killed the dog in ‘John Wick.'” Leitch directed several scenes in the Keanu Reeves film.

In a state of utter sadness, Wade Wilson compares “Frozen” to Barbra Streisand’s 1983 film “Yentl.”

“Fox & Friends”

In the movie, Deadpool uses “Fox & Friends” as an insult.

“RoboCop”

Colossus does something that reminds the rest of the X-Force gang of the movie “RoboCop.”

“Harry Potter”

In the movie, the Merc with the Mouth makes a joke about the Sorting Hat from “Harry Potter.”

“The Human Centipede”

Which other Marvel character would openly (and happily) talk about the 2009 Dutch horror film “The Human Centipede” mid conversation.

“Cool Runnings”

Deadpool mentions “Cool Runnings” in a moment he talks about hitting rock bottom.

“Sharknado”

When Deadpool is speaking to Cable, he asks about the future and what “Sharknado” film we are on.

Dub-step

Dub-step and how much Cable seems to hate it gets mentioned throughout the film.

“The Proposition”

During a group scene, one of the X-Force members mentions the film, when another pipes up adding that it has a really good Guy Pearce performance.

“The Academy”

In a particular dramatic scene, Wade Wilson hopes “The Academy is watching.”

Ford

A Ford truck is front and center in the film

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https://www.thewrap.com/deadpool-all-pop-culture-references-photos/feed/ 0 "Deadpool 2" is full of awesome and hilarious references to classic films, toys, songs and yes, even other superheroes. Click through TheWrap's gallery to see what made the cut. 

Spoiler alert: Do not read on if you haven't seen "Deadpool 2." 

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"Deadpool 2" is full of awesome and hilarious references to classic films, toys, songs and yes, even other superheroes. Click through TheWrap's gallery to see what made the cut. 

Spoiler alert: Do not read on if you haven't seen "Deadpool 2." 

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"Frozen" 

In a state of utter sadness, Wade Wilson compares "Frozen" to Barbra Streisand's 1983 film "Yentl."

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"Frozen" 

In a state of utter sadness, Wade Wilson compares "Frozen" to Barbra Streisand's 1983 film "Yentl."

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"Yentl" 

Wade Wilson seems fixated on Barbra Streisand's 1983 musical "Yentl" -- and watches it early on in the film.

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"Yentl" 

Wade Wilson seems fixated on Barbra Streisand's 1983 musical "Yentl" -- and watches it early on in the film.

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"My Little Pony" 

When the Merc with a Mouth heads to the Academy in the movie, he makes a "My Little Pony" joke. 

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"My Little Pony" 

When the Merc with a Mouth heads to the Academy in the movie, he makes a "My Little Pony" joke. 

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"Fox & Friends" 

In the movie, Deadpool uses "Fox & Friends" as an insult. 

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"Fox & Friends" 

In the movie, Deadpool uses "Fox & Friends" as an insult. 

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"RoboCop" 

Colossus does something that reminds the rest of the X-Force gang of the movie "RoboCop." 

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"RoboCop" 

Colossus does something that reminds the rest of the X-Force gang of the movie "RoboCop." 

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"Harry Potter" 

In the movie, the Merc with the Mouth makes a joke about the Sorting Hat from the "Harry Potter" series.  

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"Harry Potter" 

In the movie, the Merc with the Mouth makes a joke about the Sorting Hat from the "Harry Potter" series.  

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"The Human Centipede"   

Which other Marvel character would openly (and happily) talk about the 2009 Dutch horror film "The Human Centipede" mid-conversation? 

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"The Human Centipede"   

Which other Marvel character would openly (and happily) talk about the 2009 Dutch horror film "The Human Centipede" mid-conversation? 

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"Cool Runnings" 

Deadpool mentions the comedy "Cool Runnings" in a moment he talks about hitting rock bottom. 

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"Cool Runnings" 

Deadpool mentions the comedy "Cool Runnings" in a moment he talks about hitting rock bottom. 

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"Sharknado" 

When Deadpool is speaking to Cable, he asks about the future and what "Sharknado" film we are on. 

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"Sharknado" 

When Deadpool is speaking to Cable, he asks about the future and what "Sharknado" film we are on. 

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DC Universe 

Not only does Deadpool mention Superman, Green Lantern and Batman, but he asks Cable: "You're so dark -- are you sure you're not from the DC Universe?"

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DC Universe 

Not only does Deadpool mention Superman, Green Lantern and Batman, but he asks Cable: "You're so dark -- are you sure you're not from the DC Universe?"

]]>
Marvel Superheroes 

Deadpool mentions Black Widow, Hawkeye, Thanos and Black Panther -- in some form. Deadpool also tells a character, "The sun is getting low," a clear reference to The Hulk.

]]>
Marvel Superheroes 

Deadpool mentions Black Widow, Hawkeye, Thanos and Black Panther -- in some form. Deadpool also tells a character, "The sun is getting low," a clear reference to The Hulk.

]]>
Cher and Celine Dion 

The pop divas get name-checked by Wade -- and the latter also sings the title song.

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Cher and Celine Dion 

The pop divas get name-checked by Wade -- and the latter also sings the title song.

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James Bond 

The opening of the movie pays homage to the opening title sequence of classic 007 films.

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James Bond 

The opening of the movie pays homage to the opening title sequence of classic 007 films.

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"Felicity" 

"I cried when they canceled 'Felicity,'" T.J. Miller's character says in the movie. 

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"Felicity" 

"I cried when they canceled 'Felicity,'" T.J. Miller's character says in the movie. 

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"The Terminator" 

"Hands off that kid, John Connor," Deadpool says at one point.

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"The Terminator" 

"Hands off that kid, John Connor," Deadpool says at one point.

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"Basic Instinct" 

Deadpool loses another body part in this film that finds himself having a "Basic Instinct" moment, crossed legs and all. 

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"Basic Instinct" 

Deadpool loses another body part in this film that finds himself having a "Basic Instinct" moment, crossed legs and all. 

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"Say Anything" 

There's also a "Say Anything" homage, complete with the Peter Gabriel song "In Your Eyes" and Deadpool holding up a smartphone with a picture of a boombox.

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"Say Anything" 

There's also a "Say Anything" homage, complete with the Peter Gabriel song "In Your Eyes" and Deadpool holding up a smartphone with a picture of a boombox.

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"The Passion of the Christ" 

At the beginning of the movie, Wade Wilson says "Deadpool" made more than "The Passion of the Christ" did overseas. Which is true.

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"The Passion of the Christ" 

At the beginning of the movie, Wade Wilson says "Deadpool" made more than "The Passion of the Christ" did overseas. Which is true.

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"Star Wars" 

Not only does Deadpool talk about Luke and Leia, but he and wife Vanessa (Morena Bacarin) talk specifically about "The Empire Strikes Back."

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"Star Wars" 

Not only does Deadpool talk about Luke and Leia, but he and wife Vanessa (Morena Bacarin) talk specifically about "The Empire Strikes Back."

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Taylor Swift's Cats 

Deadpool wears a T-shirt with the names Olivia and Meredith, Taylor Swift's beloved cats, on it.

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Taylor Swift's Cats 

Deadpool wears a T-shirt with the names Olivia and Meredith, Taylor Swift's beloved cats, on it.

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X-Men 

Not only does Wade prance around in Professor X's wheelchair but there is so, so, so many more references to X-Men characters in and out of Xavier's School for Gifted Youngsters.

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X-Men 

Not only does Wade prance around in Professor X's wheelchair but there is so, so, so many more references to X-Men characters in and out of Xavier's School for Gifted Youngsters.

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Beyonce 

Deadpool references the singer when he says "please stop cheating on me." 

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Beyonce 

Deadpool references the singer when he says "please stop cheating on me." 

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Arby's 

Deadpool makes fun of Bill Skarsgard's Zeitgeist for his "toxic spit" superpower by referencing the fare at Arby's.

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Arby's 

Deadpool makes fun of Bill Skarsgard's Zeitgeist for his "toxic spit" superpower by referencing the fare at Arby's.

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Social Media and Dating Platforms 

Throughout the film, Wade Wilson mentions LinkedIn, Grindr and Tinder.

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Social Media and Dating Platforms 

Throughout the film, Wade Wilson mentions LinkedIn, Grindr and Tinder.

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McRib 

Paging McDonald's corporate offices: Wade Wilson wants nothing more than to have a McRib year-round.

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McRib 

Paging McDonald's corporate offices: Wade Wilson wants nothing more than to have a McRib year-round.

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"Adventure Time" 

The Merc with a Mouth still dons his "Adventure Time" watch. 

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"Adventure Time" 

The Merc with a Mouth still dons his "Adventure Time" watch. 

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Eleven from "Stranger Things"  

Millie Bobby Brown's character gets a special shoutout in the film. 

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Eleven from "Stranger Things"  

Millie Bobby Brown's character gets a special shoutout in the film. 

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"Annie"

A part of the movie features the song "Tomorrow" from the musical "Annie."

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"Annie"

A part of the movie features the song "Tomorrow" from the musical "Annie."

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"Sabrina the Teenage Witch"

Deadpool calls Negasonic Teenage Warhead "Sabrina the Teenage Witch" in the film. 

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"Sabrina the Teenage Witch"

Deadpool calls Negasonic Teenage Warhead "Sabrina the Teenage Witch" in the film. 

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George Michael and David Bowie 

Wade Wilson talks about the two iconic singers at the beginning of the film. 

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George Michael and David Bowie 

Wade Wilson talks about the two iconic singers at the beginning of the film. 

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"John Wick" 

In the opening credits, director David Leitch is described as "one of the guys who killed the dog in 'John Wick.'" Leitch directed several scenes in the Keanu Reeves film.

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"John Wick" 

In the opening credits, director David Leitch is described as "one of the guys who killed the dog in 'John Wick.'" Leitch directed several scenes in the Keanu Reeves film.

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Dubstep 

The '90s electronic-music dance craze dubstep -- and how much Cable seems to hate it -- gets mentioned throughout the film. 

 

 

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Dubstep 

The '90s electronic-music dance craze dubstep -- and how much Cable seems to hate it -- gets mentioned throughout the film. 

 

 

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Tupac and Ice Cube 

Julian Dennison's character tells Deadpool they're best friends, like Tupac and Ice Cube.

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Tupac and Ice Cube 

Julian Dennison's character tells Deadpool they're best friends, like Tupac and Ice Cube.

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Winter Soldier's Arm 

Deadpool compares the Winter Soldier's bionic arm to the one Cable has in the film.

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Winter Soldier's Arm 

Deadpool compares the Winter Soldier's bionic arm to the one Cable has in the film.

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Jared Kushner 

Wade Wilson insults one of the characters in the film by calling him "Jared Kushner." 

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Jared Kushner 

Wade Wilson insults one of the characters in the film by calling him "Jared Kushner." 

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Justin Bieber 

Brianna Hildebrand's Negasonic Teenage Warhead gets compared to "Justin Bieber." 

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Justin Bieber 

Brianna Hildebrand's Negasonic Teenage Warhead gets compared to "Justin Bieber." 

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Patrick Stewart 

Wade Wilson wears Professor X's Cerebra at one point in the movie and says, "It smells like Patrick Stewart."

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Patrick Stewart 

Wade Wilson wears Professor X's Cerebra at one point in the movie and says, "It smells like Patrick Stewart."

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Matthew McConaughey 

Blind Al (Leslie Uggams) says "Just keep living," a reference to McConaughey's Just Keep Livin' Foundation -- and the actor gets another name-check earlier in the film.

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Matthew McConaughey 

Blind Al (Leslie Uggams) says "Just keep living," a reference to McConaughey's Just Keep Livin' Foundation -- and the actor gets another name-check earlier in the film.

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Bronco Buster 

During a prison riot scene, characters break out the classic neck-straddling wrestling move made famous by WWF star X-Pac (Sean Waltman) in the '90s.

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Bronco Buster 

During a prison riot scene, characters break out the classic neck-straddling wrestling move made famous by WWF star X-Pac (Sean Waltman) in the '90s.

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Kirsten Dunst 

Reynolds' Deadpool mentions Kirsten Dunst twice -- but once botches her name as Kristen once.

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Kirsten Dunst 

Reynolds' Deadpool mentions Kirsten Dunst twice -- but once botches her name as Kristen once.

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"Interview With the Vampire"

There are two references to "Interview With the Vampire," both having to do with Kirsten Dunst (the second is about how quickly her character in the film develops a taste for blood).

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"Interview With the Vampire"

There are two references to "Interview With the Vampire," both having to do with Kirsten Dunst (the second is about how quickly her character in the film develops a taste for blood).

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"All Out of Love" by Air Supply 

It's pretty much the opening song of the movie.

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"All Out of Love" by Air Supply 

It's pretty much the opening song of the movie.

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Wolverine 

There are multiple Logan/Wolverine references throughout the film.

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Wolverine 

There are multiple Logan/Wolverine references throughout the film.

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Dave Matthews   

Deadpool tells Terry Crews that he's the Dave Matthews of superheroes. 

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Dave Matthews   

Deadpool tells Terry Crews that he's the Dave Matthews of superheroes. 

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Joker's "Bang!" Flag From 1989 "Batman" 

When Deadpool and Weasel are interviewing members for the X-Force, behind them there is a flag sticking out of a gun like the one that Jack Nicholson's Joker used in 1989 "Batman." 

 

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Joker's "Bang!" Flag From 1989 "Batman" 

When Deadpool and Weasel are interviewing members for the X-Force, behind them there is a flag sticking out of a gun like the one that Jack Nicholson's Joker used in 1989 "Batman." 

 

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Enya 

Enya’s "Orinoco Flow” song plays at a key moment in the film. 

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Enya 

Enya’s "Orinoco Flow” song plays at a key moment in the film. 

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"Sesame Street"

In the movie, there’s a riff on whether the puppets in “Sesame Street,” like Grover, can really be called Muppets.

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"Sesame Street"

In the movie, there’s a riff on whether the puppets in “Sesame Street,” like Grover, can really be called Muppets.

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"The Time Traveler's Wife's Husband" 

Deadpool refers to time-traveling Cable in the most round-about way possible.

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"The Time Traveler's Wife's Husband" 

Deadpool refers to time-traveling Cable in the most round-about way possible.

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"The Proposition" 

During a group scene, one of the X-Force members mentions the 2005 Aussie Western, when another pipes up adding that it has a really good Guy Pearce performance. 

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"The Proposition" 

During a group scene, one of the X-Force members mentions the 2005 Aussie Western, when another pipes up adding that it has a really good Guy Pearce performance. 

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"The Academy" 

In a particular dramatic scene, Wade Wilson breaks the fourth wall to express his hope that "The Academy is watching." 

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"The Academy" 

In a particular dramatic scene, Wade Wilson breaks the fourth wall to express his hope that "The Academy is watching." 

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"Take on Me" 

Actually, you hear A-ha's "Take On Me" multiple times throughout the film.

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"Take on Me" 

Actually, you hear A-ha's "Take On Me" multiple times throughout the film.

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Winnie the Pooh 

The iconic bear is seen in the credits scene.

 

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Winnie the Pooh 

The iconic bear is seen in the credits scene.

 

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DMX's "X Gon' Give It To Ya" 

During one of Deadpool's rampage fights, DMX's 2003 song plays in the background.

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DMX's "X Gon' Give It To Ya" 

During one of Deadpool's rampage fights, DMX's 2003 song plays in the background.

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"If You Like Pina Coladas" 

Rupert Holmes' "Pina Colada Song" is another song on the movie's official soundtrack.

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"If You Like Pina Coladas" 

Rupert Holmes' "Pina Colada Song" is another song on the movie's official soundtrack.

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Budweiser 

Everyone drinks Budweiser throughout the movie.

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Budweiser 

Everyone drinks Budweiser throughout the movie.

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Troll Sex Movie ‘Border’ Wins Top Prize in Cannes’ Un Certain Regard Section https://www.thewrap.com/troll-sex-movie-border-wins-top-prize-cannes-un-certain-regard-section/ https://www.thewrap.com/troll-sex-movie-border-wins-top-prize-cannes-un-certain-regard-section/#respond Fri, 18 May 2018 15:09:39 +0000 Steve Pond https://www.thewrap.com/?p=1898197 Director Ali Abbasi’s “Border” (“Grans”) has been named the best film in the Cannes Film Festival’s Un Certain Regard section, a sidebar to the main competition that is largely devoted to younger directors and more experimental films.

The film, whose U.S. rights were acquired by Neon during the festival, is part horror film about maggot-eating trolls, part timely allegory about how we treat outsiders. “Either way, it’s creepy and disturbing and freaky, with enough room to find whatever subtext you’re looking for,” wrote TheWrap in its review.

It also includes a jaw-dropping scene of troll sex that had the Cannes audience both squirming in its seats and laughing nervously.

Sergei Loznitsa won the UCR best director award for “Donbass,” his searing and sometimes surreal look at the war in his homeland of Ukraine.

Viktor Polster, a teenaged dancer who starred in Lukas Dhont’s moving “Girl” as a transgender girl with aspirations of becoming a ballerina, won the award for the section’s best performance.

Meryem Benm’Barek won the screenplay award for “Sofia.”

Other contenders in Un Certain Regard included Vanessa Filho’s “Angel Face,” Antoine Desrosieres’ “Sextape,” Valeria Golino’s “Euphoria,” Wanuri Kahiu’s “Rafiki” and one of the latest to screen, Bi Gan’s wildly acclaimed “Long Day’s Journey Into Night.”

The jury was headed by Benicio del Toro and also included actress Virginie Ledoyen, director Kantemir Balagov, writer-director Annemarie Jacir and Telluride Film Festival director Julie Huntsinger.

Prizes in the main competition, including the Palme d’Or, will be handed out on Saturday evening at the festival’s closing ceremony.

The awards:

Un Certain Regard Prize: “Border” (“Grans”)
Jury Prize: “The Dead and the Others,” Joao Salaviza and Renee Nader Messor
Prize for Best Direction: Sergei Loznitsa, “Donbass”
Prize for Best Performance: Viktor Polster, “Girl”
Prize for Best Screenplay: Meryem Benm’Barek, “Sofia”

Related stories from TheWrap:

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

Gasper Noe's Polarizing 'Climax' Wins Top Prize at Cannes Directors' Fortnight

John Travolta, Spike Lee and 31 More Portraits From TheWrap's Studio at The Girls' Lounge Cannes (Exclusive Photos)

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‘The Happytime Murders’ NSFW Trailer: Melissa McCarthy Kicks A– in Puppet Underworld (Video) https://www.thewrap.com/the-happytime-murders-trailer-melissa-mccarthy-video/ https://www.thewrap.com/the-happytime-murders-trailer-melissa-mccarthy-video/#respond Fri, 18 May 2018 14:49:17 +0000 Jennifer Maas https://www.thewrap.com/?p=1898158

Melissa McCarthy is ready to screw up your childhood memories of adorable puppets with “The Happytime Murders,” a new action comedy starring both humans and the most twisted miniature stuffed people we’ve ever seen. The red-band trailer for the flick was released Friday and if you want to keep that glowing image of Jim Henson creations in your head, you should probably leave now.

In the preview, we see solicitation (“You looking for some rotten cotton?” one of the grimier sex workers taunts), oral sex offers for less than a dollar, freebasing ecstasy through Twizzlers and brass-knuckle street fights were all included. And all of that was perpetrated by the puppets.

The closing scene featured a lengthy male puppet’s orgasm that resulted in quite a bit of silly string. It’s serious raunch to be coupled with the company who produced the beloved Kermit the Frog and Miss Piggy. But the theater owners were screaming for it.

Here’s the official synopsis for the flick: No Sesame. All Street. “The Happytime Murders” is a filthy comedy set in the underbelly of Los Angeles where puppets and humans coexist. Two clashing detectives with a shared secret, one human (McCarthy) and one puppet, are forced to work together again to solve the brutal murders of the former cast of a beloved classic puppet television show.

The cast includes McCarthy, Maya Rudolph, Joel McHale and Elizabeth Banks. It’s directed by Brian Henson and hails from STXfilms.

Watch the trailer above.

Related stories from TheWrap:

Melissa McCarthy's 'Life of the Party' Rages Ahead of 'Breaking In' at Thursday Box Office

'Life of the Party' Film Review: Melissa McCarthy Goes to College, But This Class Is Easily Dismissed

Melissa McCarthy's 'The Happytime Murders': Gritty, Gross, Hilarious First Look

Melissa McCarthy Crashes Christina Aguilera's 'Carpool Karaoke' to Spit Redman's 'Dirrty' Bars (Video)

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‘Knife + Heart’ Film Review: Gay Porn Murder Story Pays Tribute to Exploitation Cinema https://www.thewrap.com/knife-heart-film-review-gay-porn-murder-story-pays-tribute-exploitation-cinema/ https://www.thewrap.com/knife-heart-film-review-gay-porn-murder-story-pays-tribute-exploitation-cinema/#respond Fri, 18 May 2018 14:33:24 +0000 Ben Croll https://www.thewrap.com/?p=1898160 It’s become a time-honored tradition. Every year, Cannes tends to run a spiky provocation towards the end of its 12-day run. Think of it as a foolproof way to give fading festivalgoers one last lift, to let them barrel to the close on a burst of perverse energy.

This time, the honor goes to Yann Gonzalez’s “Knife + Heart,” a lascivious giallo about a tight-knit clan of gay pornographers and the rubber-masked assassin out to kill them, set in the seediest corners of Paris in the late ’70s.

“Knife + Heart” premiered late Thursday night in Cannes — and though it’s hardly likely to figure among those titles honored at Saturday night’s awards ceremony, the film will no doubt give remaining festival-goers plenty to chew on as they enter the final stretch.

Vanessa Paradis stars as Anne, the booze-swilling, heartbroken leader of the pack. As much a creative force of nature as she is a troublesome romantic partner, Anne fuels the detritus of her romantic life into her art — and the fact that her art takes shape as seedy 16mm blue movies with titles like “Anal Fury V” and “Homo Cidal” is entirely the part of the joke.

Gonzalez may goof on this often-ridiculous world — I mean, how could he not? — but he does so from a place of real respect and admiration. With vividly saturated 35mm cinematography and pulsing score from synth-pop outfit M83 (whose founder, Anthony Gonzalez, is the director’s brother), “Knife + Heart” is an appealingly stylish destination for the eyes and ears, even if its storytelling can sometimes falter.

The film’s bifurcated title speaks to its overall intent as well as issues in execution. Gonzalez has no issue selling the “Knife” part of the title in staging the various murders: The silent leather-faced villain offs various men in Anne’s crew with his black dildo knife (what did I say about perverse energy?). But the director never quite cracks the “Heart.”

Though set in various sex dungeons and cruising grounds, the film fetishizes nothing more than the look and feel of ’70s exploitation cinema, often to its narrative detriment. The emotional hook finds Anne trying to win back her ex-girlfriend Lois (Kate Moran), but it’s often difficult to buy into any larger emotional propositions when the film’s interest seems to lie more on the day-for-night lighting gels on top of the lens rather than the characters in front of it.

If anything, the emotional component can be equally studied and intellectualized. Lois works as Anne’s editor, even if the former lovers are no longer on speaking terms. So film director Anne tries to break through to her once-partner with the footage from set, looking for more and more appealing to faces to offer as mea culpa valentines to her discerning editor.

In one wonderful bit, Anne tries to convince a straight-identifying construction worker to go gay-for-pay by using her feminine wiles. In short, you have a gay woman seducing a straight man, convincing him to have sex with another man so that she can win back her lesbian love — it’s a playfully queer ouroboros.

Related stories from TheWrap:

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

John Travolta, Spike Lee and 31 More Portraits From TheWrap's Studio at The Girls' Lounge Cannes (Exclusive Photos)

The Scene at TheWrap and The Female Quotient's Cannes Panel on Gender Equity (Photos)

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‘Deadpool 2’ Shoots to $18.6 Million at Thursday Box Office, Smashing Record for R-Rated Film https://www.thewrap.com/deadpool-2-shoots-to-18-6-million-at-thursday-box-office-r-rated-thursday-record/ https://www.thewrap.com/deadpool-2-shoots-to-18-6-million-at-thursday-box-office-r-rated-thursday-record/#respond Fri, 18 May 2018 14:31:57 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1898154 “Deadpool 2” shot to $18.6 million at the Thursday box office, surpassing its predecessor which earned $12.7 million in previews two years ago.

The sequel also broke the R-rated Thursday box office record that was previously held by “It.” The horror film grossed $13.5 million last September in previews.

Independent trackers expect the film to at least match the $132 million opening weekend scored by the first “Deadpool” in 2016, which was then a record for February releases.

a

For more comparisons, “Black Panther” grossed $25.2 million in previews, while “Thor: Ragnarok” thundered to $14.5 million. The former took in a total of $202 million its opening weekend, while “Ragnarok” grossed $122.7 million.

“Deadpool 2” sees the titular antihero start a new mutant team called X-Force to protect a young, surly mutant named Firefist (Julian Dennison) from falling into the clutches of Cable. In addition to starring as Deadpool, Reynolds shares writing credit with Rhett Reese and Paul Wernick, with David Leitch directing. Morena Baccarin, Zazie Beetz, Brianna Hildebrand, and Jack Kesy also star. After early reviews, the film has an 84 percent Rotten Tomatoes score, nearly identical to the score earned by its predecessor.

As counter-programming, Paramount is rolling out “Book Club,” which earned $625,000 in previews. It stars Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen as a group of lifelong friends who decide to jumpstart their sluggish love lives after reading “Fifty Shades of Grey.” Tracking has the film only making $10-12 million from 2,800 locations, with Paramount projecting a $9 million start.

“Book Club” is directed by Bill Holderman in his directorial debut from a script he co-wrote with Erin Simms. Andy Garcia, Craig T. Nelson, Don Johnson, and Richard Dreyfuss also star. The film holds a score of 61 percent on Rotten Tomatoes.

Finally, there’s Global Road’s “Show Dogs,” a kids’ action-comedy developed by Open Road Films prior to its acquisition by Tang Media Group. The film is expected to open to $7 million from 3,145 locations. The film stars Will Arnett as a human detective who must go undercover at a dog show with his canine partner (voiced by Ludacris). Raja Gosnell directed the film from a script by Max Botkin and Marc Hyman.

Related stories from TheWrap:

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

'Deadpool 2' Perfectly Mocks the Worst Moment in 'Batman v. Superman'

Here's What's Going on in That Brilliant 'Deadpool 2' Mid-Credits Scene

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‘Deadpool 2’ Stars Ryan Reynolds and Josh Brolin Call James Corden ‘Ugly’ for Like 5 Minutes (Video) https://www.thewrap.com/deadpool-2-ryan-reynolds-josh-brolin-james-corden-ugly/ https://www.thewrap.com/deadpool-2-ryan-reynolds-josh-brolin-james-corden-ugly/#respond Fri, 18 May 2018 14:30:28 +0000 Tony Maglio https://www.thewrap.com/?p=1898151

“Deadpool 2” hero and villain Ryan Reynolds and Josh Brolin carried over their protagonist-antagonist relationship to James Corden’s “Late Late Show” on Thursday when the trio remade “The Good, The Bad, and The Ugly.”

Or at least, that’s what they set out to do. The whole thing blew up once the CBS host heard the V.O. label him as “The Ugly.” Corden just couldn’t make heads or tails of that unfortunate designation — though the man behind Cable (and yes, Thanos) laid it out for him in plain English.

“Uglier than a sack of pig testicles,” Brolin described Corden to his face.

That didn’t sit well with the Brit, who really, really hated the moniker. In an attempt to shed his one-third of the title, Corden even went so far as to suggest that maybe Reynolds is the ugly one. C’mon dude, no one is buying that — not even Ryan’s on-screen nemesis.

“No, he lights up a room,” Brolin fired back. “He’s God’s perfect little snickerdoodle.”

“I am absolutely gorgeous,” Reynolds threw in.

At a clear impasse, Corden killed the whole shoot — but they still had the cameras and lighting, so…

Bringing bandleader Reggie Watts into the fold, the guys transitioned right into a “Three Men and a Baby” scene. Guess who the baby was?

Watch the video above.

Related stories from TheWrap:

'Deadpool 2' Perfectly Mocks the Worst Moment in 'Batman v. Superman'

Here's What's Going on in That Brilliant 'Deadpool 2' Mid-Credits Scene

Yes, Stan Lee Did Have a Very Brief Cameo in 'Deadpool 2'

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Magnolia Pictures Pinches Japanese Drama ‘Shoplifters’ https://www.thewrap.com/magnolia-pictures-pinches-japanese-drama-shoplifters/ https://www.thewrap.com/magnolia-pictures-pinches-japanese-drama-shoplifters/#respond Fri, 18 May 2018 14:22:49 +0000 Thom Geier https://www.thewrap.com/?p=1898159 Magnolia Pictures has acquired North American rights to Japanese director Hirokazu Kore-eda’s new drama “Shoplifters” following its premiere this week in competition at the Cannes Film Festival, the company announced Friday.

Magnolia, which had previously released the director’s film “I Wish,” did not disclose terms of the deal.

The drama follows a father and son team of shoplifters who come across a little girl in the freezing cold. At first reluctant to shelter the girl, Osamu’s wife agrees to take care of her after learning of the hardships she faces. Although the family is poor, barely making enough money to survive through petty crime, they seem to live happily together until an unforeseen incident reveals hidden secrets, testing the bonds that unite them.

TheWrap critic Ben Croll hailed “Shoplifters” as Kore-eda’s “richest film to date” in a career that has seen six previous films screen at Cannes. “Not only does ‘Shoplifters’ skillfully entwine several disparate threads he’s explored over his prolific career, it does so with the understated confidence and patient elegance of an artist who has fully matured,” Croll wrote.

Kore-eda wrote, directed and edited the film, which was produced by Kaoru Matsuzaki, Akihiko Yose and Hijiri Taguchi. Executive producers are Takashi Ishihara, Tom Yoda and Yasuhito Nakae.

“In a long career of incredible peaks, Hirokazu Kore-eda has delivered one of his best works,” Magnolia President Eamonn Bowles said in a statement. “‘Shoplifters’ is an incredible story that deals with familial bonds in a way I’ve never seen before.”

Related stories from TheWrap:

'Shoplifters' Cannes Review: Is the Seventh Time a Charm for Hirokazu Kore-eda?

'Whitney' Cannes Review: Beyond the Bombshells Is a Straightforward Music Documentary

Gasper Noe's Polarizing 'Climax' Wins Top Prize at Cannes Directors' Fortnight

Cannes Report, Day 9: Lars von Trier Responds to Criticism, 'Burning' Has Critics Fawning

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‘Deadpool 2': Every Joke Dunking on the DC Movie Universe https://www.thewrap.com/deadpool-2-every-joke-dunking-dc-movie-universe/ https://www.thewrap.com/deadpool-2-every-joke-dunking-dc-movie-universe/#respond Fri, 18 May 2018 02:59:11 +0000 Phil Hornshaw and Phil Owen https://www.thewrap.com/?p=1897899 (Some minor spoilers ahead for “Deadpool 2,” obviously.)

“Deadpool 2” is the rare superhero movie that’s fully willing to break the fourth wall, not just making jokes in the plot, but making fun of other superhero movies.

Deadpool (Ryan Reynolds) is a Marvel character, and while he has plenty of jokes for the Marvel Cinematic Universe and for Hugh Jackman’s Wolverine, he saves some of his best jokes for making fun of the rival DC movie universe.

Here are all the gags Deadpool drops about the DC movies in “Deadpool 2.”

The Martha(s) joke

Toward the beginning of the movie, Deadpool goes through a number of mercenary jobs, taking down bad guys in a bunch of brutal, violent scenes. When he finally gets home to Vanessa (Morena Baccarin) for their anniversary, he arrives a bit late and starts rattling off excuses.

The best one is a big dunk on “Batman v. Superman: Dawn of Justice.” Deadpool tells Vanessa he was” fighting a caped badass, but then I found out that his mom is named Martha, too.” That’s a reference to the battle between Batman (Ben Affleck) and Superman (Henry Cavill). In “Batman v. Superman,” the two caped heroes each believe the other is actually a bad guy, and they come pretty close to killing each other — until they bond over the fact that both their moms are named Martha.

It’s a much-derided plot point, since Batman and Superman don’t actually resolve any of their differences, and “Deadpool 2” perfectly makes fun of a moment that lots of audiences also thought was ridiculous.

 

Cable is that dark

Ever since “Man of Steel” came onto the scene, the more recent DC Comics movie adaptations have been known as grittier, darker takes on superheroes than those of the Marvel Cinematic Universe. “Deadpool 2” jokes doesn’t let the grittiness escape a joke. At one point during the fight, when Cable reveals he’s from the future, Deadpool asks if dubstep music is still a thing. Cable responds that “dubstep is for pussies.”

“So dark!” Deadpool responds. “You sure you’re not from the DC universe?”

 

“Green Lantern” sucks

The final DC joke comes at the end of “Deadpool 2,” during its mid-credits scene, which is itself a long meta-joke about Reynolds. It finds Deadpool using Cable’s time travel device to hop around the past, first saving Vanessa’s life, and then “cleaning up the timelines,” as Deadpool puts it.

Deadpool eventually travels back to find the actor Ryan Reynolds sitting at his desk, looking over the script for 2011’s critically panned “Green Lantern.” Reynolds starred in the movie as DC superhero Hal Jordan — but the movie was derided by fans and panned by critics, earning just a 26 percent on Rotten Tomatoes. As Reynolds remarks that the script is about to get him to the big leagues, Deadpool executes Reynolds, because it would be better to die than star in such a terrible DC movie.

BONUS: Above are the jokes Deadpool made at the expense of DC, but “Deadpool 2” also has few references that weren’t so mean. Not everything he says or does is negative!

BANG

It would seem that Deadpool has at least some kind of appreciation for DC movies, because in the scene where he and Weasel (T.J. Miller) are interviewing candidates for X-Force, there’s a gun on the wall behind them with the Joker’s BANG flag from the 1989 “Batman” hanging out of the barrel.

“Who are you?”

When Cable (Josh Brolin) breaks into the Icebox, a prison for mutants, where Deadpool and Russell (Julian Dennison) are held. When Deadpool realizes Cable is after Russell, he starts fighting to stop Cable from killing the kid. As they start beating each other down, Cable asks, “Who are you?”

Deadpool, responding by putting on a gravely voice, returns with a classic superhero response: “I’m Batman.” It reads like a direct reference to the 1989 “Batman,” in which Michael Keaton’s Caped Crusader gives the same response to a frightened crook as he beats him up during Batman’s first reveal.

 

Superman of Canada

When Deadpool and Weasel team up to find people to help save Russell from Cable and form X-Force, they meet Shatterstar (Lewis Tan). The hero explains that he’s an alien from a place called Mojoworld, and that he enjoys hanging out on Earth because it’s nice to be in a place where he’s better than everyone else.

Deadpool tells Weasel that just once, he’d like to go to a planet like that — a place full of “functional idiots,” where he can be their god, “like Superman,” he says.

“Isn’t that just Canada?” Weasel returns. Deadpool responds by angrily threatening Weasel for insulting his home country.

And that’s all of them. We have no idea how they managed to skip doing a joke about “Jonah Hex,” which was Josh Brolin’s foray into DC movies a while back. Maybe in “Deadpool 3.”

 

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‘Deadpool 2’ Perfectly Mocks the Worst Moment in ‘Batman v. Superman’ https://www.thewrap.com/deadpool-2-dunks-batman-v-superman/ https://www.thewrap.com/deadpool-2-dunks-batman-v-superman/#respond Fri, 18 May 2018 02:22:11 +0000 Phil Hornshaw and Ross A. Lincoln https://www.thewrap.com/?p=1897961 (Note: This post contains spoilers for “Deadpool 2” and “Batman v. Superman: Dawn of Justice.”)

“Deadpool 2” has no shortage of jokes that break the fourth wall and make the viewer complicit — and one of the best totally dunks on what might be the single worst thing about “Batman v. Superman: Dawn of Justice.”

C’mon, you know what it is.

The joke comes pretty early in “Deadpool 2,” before the opening credits even, after a montage of Deadpool, aka Wade Wilson, kicking the crap out of bad guy as he completes some mercenary jobs. When he finishes, he returns home to Vanessa (Morena Baccarin). It’s their anniversary, and Wade rattles of a series of excuses to cover for being late.

The last of the excuses Wade gives Vanessa for his tardiness is the claim that he ran into another superhero, and the pair got into a fight. “Actually, I was fighting this caped badass, until I found out that his mom is also named Martha,” Wade explains.

The jokes references the moment in the DC and Warner Bros. superhero throw-down from 2016, when Batman and Superman finally stop “v.”-ing and start being friends. After having been manipulated by Lex Luthor (Jesse Eisenberg) to hate each other throughout the film, Batman (Ben Affleck) and Superman (Henry Cavill) finally duke it out. Eventually, Batman nearly kills Superman using a Kryptonite spear.

He only stops when Superman uses his (apparent) dying breath to beg the Dark Knight to save his mother, rasping out her name, “Martha.” But, Batman, realizes, his mom is named Martha too! Suddenly, the two heroes have common ground and realize that they should be allies. Or, as the film put it, “No Marthas will die tonight.”

Yes, it plays as dumb as it sounds in “Batman v. Superman,” and it’s been mocked ever since. Apparently, Deadpool thought it was a little hokey too.

In the films, Deadpool (Ryan Reynolds) routinely makes fun of the X-Men, Wolverine (Hugh Jackman) and the Marvel Cinematic Universe. But some of his hardest-hitting gags are aimed at the DC Comics universe of films. Most often it’s not Batman though, it’s Reynolds’ starring role in “Green Lantern,” the 2011 superhero flop in which he plays protagonist Hal Jordan. And in “Deadpool 2,: Reynolds even engages in a little wish fulfillment to erase the whole thing from history.

So don’t worry, Batman and Superman — at least you’re still in this timeline.

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Here’s What’s Going on in That Brilliant ‘Deadpool 2’ Mid-Credits Scene https://www.thewrap.com/heres-whats-going-on-in-that-brilliant-deadpool-2-mid-credits-scene/ https://www.thewrap.com/heres-whats-going-on-in-that-brilliant-deadpool-2-mid-credits-scene/#respond Fri, 18 May 2018 01:45:45 +0000 Phil Hornshaw and Ross A. Lincoln https://www.thewrap.com/?p=1897635 (Note: This post contains spoilers for the end of “Deadpool 2,” so read on at your own risk!)

Don’t leave “Deadpool 2” when the credits roll, because one of the best parts of the movie comes during its mid-credits scene.

Or at least, it’s one of the best parts if you’re a Ryan Reynolds and superhero movie fan. “Deadpool 2” and its star have no problems making fun of themselves, taking shots at Reynolds’ previous roles in superherodom.

The mid-credits scene sees Deadpool (Reynolds) using Cable’s time travel device (he’s from the future) to go back in time, first skipping through the events of “Deadpool 2” to undo some tragedies and save a few lives — specifically, Vanessa (Morena Baccarin) and Peter (Rob Delaney). Then he goes fully meta, and goes further back in time to save Ryan Reynolds’ career.

First, the scene flashes to a weird warehouse where we see Wolverine (Hugh Jackman) standing across from a weird, shirtless scary guy with his mouth stitched shut. Yep, it’s a scene from 2009’s “X-Men Origins: Wolverine.”

If you don’t remember that film, it actually contains the first attempt at bringing Wade Wilson, AKA Deadpool, to moviescreens. Set in the post-Vietnam era, it tells the story of how Wolverine got his metal skeleton and metal claws. But it also sees Wade turned into a truly bizarre version of Deadpool: a shirtless monster whose face and body are ritually scarred and whose mouth is sewn shut — meaning the “Merc with the Mouth” can’t even talk.

It’s almost universally considered the worst-ever take on the character, to the point that it was even mocked in the first “Deadpool,” when wade plays with the action figure version.

Luckily, before we can see any of that, the current version of Deadpool pops into the scene and shoots other-Deadpool execution style, telling Wolverine he’s “just cleaning up some timelines.”

Deadpool next travels through time for one more meta joke: to find Ryan Reynolds himself. We see Reynolds sitting at a desk, looking over the script for 2011’s “Green Lantern” and gloating that he’s about to hit the big time. Deadpool pops into the scene and shoots Reynolds too, then looks at the camera and says “You’re welcome, Canada.”

“Green Lantern” was very much panned by critics and fans — it caries only a 26 percent rating on Rotten Tomatoes. Reynolds uses Deadpool to make the joke that “Green Lantern” was so bad, he’d rather be dead than have starred as its hero, Hal Jordan. What’s more, Reynolds makes fun of himself for thinking that the panned “Green Lantern” might rocket him into becoming a major player in the world of superhero blockbusters.

Of course, that moment did eventually come a few years later when he finally got a proper “Deadpool” movie made in 2016. And the rest would be history, if Deadpool hadn’t murdered Reynolds years before that movie happened. It’s a paradox!

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Yes, Stan Lee Did Have a Very Brief Cameo in ‘Deadpool 2’ https://www.thewrap.com/yes-stan-lee-did-have-a-very-brief-cameo-in-deadpool-2/ https://www.thewrap.com/yes-stan-lee-did-have-a-very-brief-cameo-in-deadpool-2/#respond Fri, 18 May 2018 01:03:54 +0000 Phil Hornshaw https://www.thewrap.com/?p=1897819 (Note: This post contains spoilers for “Deadpool 2.”)

Marvel Comics icon Stan Lee is known for his frequent cameos in Marvel movies. They’re usually pretty hilarious, like in “Black Panther” when Lee tries to steal the casino winnings of T’Challa (Chadwick Boseman), or in “Thor: Ragnarok,” when he uses a scary bladed machine to give Thor (Chris Hemsworth) a haircut.

But Lee’s cameo in “Deadpool 2” is a blink-and-you’ll-miss-it appearance. It’s actually very easy for it to come and go without you even noticing it: rather than a spoken role, it’s just a very large image of his face during one of the film’s big action sequences.

You can catch Lee during the sequence in which Deadpool (Ryan Reynolds) and the rest of his X-Force buds jump out of a helicopter to parachute down onto a prison convey transporting Russell (Julian Dennison). While all the other X-Force members are scattered by the high winds that Deadpool ignored, Domino (Zazie Beetz) still finds herself on course.

As Domino descends toward the convoy, she passes a building with a wall-sized mural of Lee’s face, painted in psychedelic colors. It whips by very quickly on the right side of the frame as Domino lands on the convoy.

It’s a bit unusual that Lee didn’t show up in a normal cameo in “Deadpool 2,” since he usually appears in person. In the first “Deadpool,” he played a DJ in a strip club that Wade Wilson’s girlfriend Vanessa (Morena Baccarin) works at, and most recently, in “Avengers: Infinity War,” he drove the bus taking Peter Parker (Tom Holland) and Ned (Jacob Batalon) on a field trip just as Thanos’ minions attack New York.

It’s not the first time Lee has skipped a live cameo, though — his image appeared in a bus ad in the Netflix show “Jessica Jones,” for instance. Lee also said in February that he recently had battled pneumonia, so it’s possible he had to skip “Deadpool 2” for health reasons. Here’s hoping he’s feeling better now.

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