1-20 of 142 items « Prev | Next »
'All Eyez on Me' Prompts Journalist to Admit Having "Embellished" Tupac Articles
Journalists are supposed to be factual. Then again, copyright law doesn't protect the naked recitation of historical facts. Alas, a quandry showcased in a new lawsuit against Lionsgate, Morgan Creek and others associated with All Eyez on Me, the biopic about the late rapper, Tupac Shakur.
In a complaint filed on Friday in New York federal court, Kevin Powell claims the movie infringes upon several of his articles for Vibe Magazine published in the 1990s. But again, if Shakur's life events are in the public domain, how does a journalist possibly get around copyright limitations to sue filmmakers who tread similar »
- Eriq Gardner
‘The Big Sick’ reviews: It could follow in Oscars footsteps of rom-coms like ‘Four Weddings and Funeral’
Could “The Big Sick” be one of the year’s earliest Oscar contenders? True, 2017 is nearly half over, so it’s hardly the earliest acclaimed film of the year, but studios usually aren’t in an Oscar frame of mind until the fall, when they start releasing their weightiest biopics, historical dramas, and other such genres that […] »
- Daniel Montgomery
‘Okja': iPic Theaters to Offer Vegetarian-Only Menu for Netflix Movie
Netflix and iPic Theaters have teamed up to offer an all-vegetarian menu for screenings of “Okja,” Bong Joon Ho’s Cannes favorite about a giant pig and the young girl who loves the creature. “Okja” centers on Mija, a defiant child who attempts to rescue her best friend — an enormous but seemingly gentle pig-like creature named Okja — from the clutches of a large corporation that wants to harm her. Also Read: 'Okja' Star Tilda Swinton on How Ivanka Trump Inspired Her Role as 'Daughter of a Different Dubious Dynasty' The menu will offer an array of meatless dishes, »
- Ashley Eady
‘Transformers: The Last Knight’ Dawns With $48M In China – International Box Office
Refresh for latest…: Rolling out in 41 overseas markets this weekend, Paramount's Transformers: The Last Knight opened in China today with an estimated $47.9M (Rmb 330.76M). That's 69% above Transformers: Age Of Extinction's June 27, 2014 bow in local currency. Par puts the opening day for Last Knight at No. 3 for an import ever in the Middle Kingdom (including Thursday’s midnight shows). The debut sets the film on track for a $100M+ weekend launch there. We are waiting… »
Mark Wahlberg Doesn’t Think Michael Bay Is Going To Quit ‘Transformers’
In the past week both Mark Wahlberg and Michael Bay announced that after this weekend’s “Transformers: The Last Knight,” they were both done with the franchise. However, when it comes to the director, we’ve heard this before. After the past couple of “Transformers” movies, Bay had said he was done smashing robots together, only to come back and do it again. And if you don’t think he’ll quit the toy franchise, you’re not alone.
- Kevin Jagernauth
Sofia Coppola’s ‘The Beguiled’ Opens Against Sundance Hit ‘The Big Sick’ This Weekend – Specialty B.O. Preview
Two big festival films go head to head this weekend in limited release. Focus Features' The Beguiled, which debuted last month in Cannes will open on both coasts via Focus Features. Sofia Coppola won Best Director in Cannes for the feature, which stars Colin Farrell, Nicole Kidman, Kirsten Dunst and Elle Fanning. The Big Sick by Michael Showalter and starring Kumail Nanjiani, Zoe Kazan, Holly Hunter and Ray Romano, made a splash at the Sundance Film Festival in January… »
‘The Leftovers’ & ‘Fargo’ Star Carrie Coon Joins Steve McQueen’s ‘Widows’
Carrie Coon has made quite a name for herself on the small screen recently. Her roles in “Fargo” and “The Leftovers” are putting her in the Emmy discussion. Now, it seems, she’s ready to make that transition to the big screen, and she’s signed up for her next big film. According to The Hollywood Reporter, Coon will soon begin production on “Widows.”
“Widows” is based on the 1980’s British TV series about a group of armed robbers who are killed during a heist attempt.
- Charles Dean
Box Office: ‘Transformers 5’ Stumbles With $8.1 Million Thursday
“Transformers: The Last Knight” is looking very creaky as it lumbers towards its opening weekend.
The fifth film in the robots series picked up $8.1 million on Thursday, bringing its domestic gross to $23.7 million after two days of release. At this pace, “Transformers: The Last Knight” will just top $60 million in the the first five days of its release. That’s a dramatic slide from the $100 million that the most recent installment, “Transformers: Age of Extinction” racked up over its first three days of release when it hit theaters in 2014.
Michael Bay Movies Ranked From Worst to Best
It’s also a sign that the long-running franchise, which kicked off a decade ago, may be showing its age. It joins the likes of “Pirates of the Caribbean: Dead Men Tell No Tales” and “Alien: Covenant” in the ranks of film series that are running out of steam this summer.
Like the previous films, this “Transformers” is directed by Michael Bay. It brings back “Age of Extinction” star Mark Wahlberg and pairs him with Anthony Hopkins. “The Last Knight” pits humans versus robots, with Wahlberg and Hopkins searching the Transformers’ secret history for clues to save the world. This being a Bay film, there’s a healthy amount of visual bombast.
The muted response is bad news for Paramount. The studio could use a hit after suffering a string of bombs such as “Ghost in the Shell” and “Baywatch.”
With domestic audiences cooling on the film, “The Last Knight” will lean heavily on foreign crowds. To that end, the film opens in 41 international markets beginning Friday. They include such heavy-hitting territories as China, the United Kingdom, Russia, Australia, Germany, and Korea.
All those action didn’t come cheap. The film carries a hefty $217 million price tag.
Related stories'Transformers: The Last Knight' Blasts Off With $41 Million Opening Day in China'Transformers: The Last Knight' Crumbles With Franchise-Low Opening Day'Transformers: The Last Knight' Eyes Clunky $62 Million 5-Day Opening »
- Brent Lang
‘Downton Abbey’ Movie Aims for Production in 2018
The much anticipated “Downton Abbey” movie project is moving forward, with the big screen adaptation of the period series set to head into production next year.
The series, which follows the lives of an aristocratic English family, ended its six season run on ITV in the U.K. and PBS in the U.S. in 2015 and 2016 respectively, and the producer of the show, Carnival Films, and its studio owner, NBCUniversal, have frequently spoken about making a “Downton” movie.
- Stewart Clarke
Tommy Lee Jones To Star With Brad Pitt In Deep Space Epic
Exclusive: Tommy Lee Jones is in final talks to star with Brad Pitt in Ad Astra, the working title of the futuristic sci-fi epic that James Gray co-wrote and will direct for New Regency. Production begins in September. Details are being kept close to the vest, but here’s what I’ve heard. In Ad Astra (which means "to the stars" in Latin), Pitt would play the slightly autistic space engineer Roy McBride. Twenty years after his father left on a one-way mission to Neptune in… »
How Editing ‘The Walking Dead’ Helped the ‘Midnighters’ Director Make His First Horror Film
Julius Ramsay has made his living editing a number of the better genre television shows of the last couple decades, including “Battlestar Galactica,” “Alias,” and now “The Walking Dead.” With an eye toward making his own films, in 2008 he directed a 20-minute short, “Pivot,” that achieved some success on the film festival circuit.
Read More: The 20 Best Horror Movies Of The 21st Century, From ’28 Days Later’ to ‘Get Out’
“When I joined ‘The Walking Dead’ in season one as an editor, I expressed an interest in directing,” said Ramsay. “I showed the producers and the network my film, and after working on the show for a few years, I was fortunate enough to earn their trust and get a chance to direct my first episode.”
Ramsay believes editing is a good training ground for directors, forcing you to find the essence of a story and distill it into a series of shots, sounds, and impressions.
“Being able to edit a scene in my mind has made me a more effective director, and better able to communicate my vision to collaborators on a film,” said Ramsay.
There were also some more specific lessons he took from the hit AMC show when it came time to make his first horror feature, “Midnighters,” which premiered at the Los Angeles Film Festival this week.
“‘The Walking Dead’ has a deliberate, measured pace that’s a large part of what makes its tone so effective,” said Ramsay. “I think of it as the heartbeat of the series, and it’s most often set in the editing room. It determines everything about how an audience experiences a film. When directing and editing ‘Midnighters,’ I knew that I similarly had to find the film’s heartbeat and set it to the right rhythm.”
Getting a few “Walking Dead” directing credits under his belt also gave “Midnighters” some credibility and a track record when it came time to fundraising. The show also gave him a cast member, Andrew Rothenberg, who played Jim in season one. But while his TV experience helped make him a better filmmaker and get the project off the ground, Ramsay said the parallels between shooting a massive TV show and an indie film are few and far between.
“On a major TV series, there’s a massive infrastructure in place to deal with nearly every contingency you could imagine,” said Ramsay. “This is particularly true on ‘The Walking Dead,’ which has an insane number of moving parts, and is produced by a brilliant group of producers in Georgia and Los Angeles. On ‘Midnighters,’ we had limited resources and money, so our infrastructure was much smaller. Hence, when something went wrong, we had to improvise.”
For example, one morning the lead makeup artist on “Midnighters” went to the emergency room with a stomach virus. Ramsay scrambled to find a backup, since what they were shooting that day called for star Alex Essoe to have a wound on her forehead.
Read More: The 20 Best-Directed TV Drama Series of the 21st Century, Ranked
“We found a replacement who could arrive that afternoon, but that meant we’d lose hours of filming,” said Ramsay. “When she heard about the problem, Alex Essoe said that she actually knew how to apply prosthetic wounds from her experience on another film. We gathered the materials and she did it herself – 30 minutes later, we were filming.”
There are benefits to an indie Diy mentality, as it’s not always about powering through the limitations. Sometimes those limitations can lead to ingenuity and better use of the medium itself.
“On an indie, you can’t rely on big budget special effects or monsters to scare the audience – you have to milk the horror of the human experience for all it’s worth,” said Ramsay. “I think fewer resources force a director to put a lot more emphasis on the horror of the unknown, and in the end that’s more frightening than anything else.”
“Midnighters” premiered at the 2017 Los Angeles Film Festival.
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related storiesWhy 'The Book of Henry' Isn't As Bad As Everybody Says -- IndieWire's Movie Podcast (Screen Talk Episode 153)As the Los Angeles Film Festival Struggles for Relevancy, a New Director Has Big Ideas For Change'The F Word' Trailer: Follow One Queer Couple's Foster-to-Adopt Journey In This Funny Docu-Series »
- Chris O'Falt
‘Westworld’ Creators & Evan Rachel Wood on Fan Theories, Secrets, and Season 2
Though the next season of Westworld is tragically far away (as in 2018), it's never too early to start talking about that Season 2 may hold. The HBO series' co-creators Lisa Joy and Jonathan Nolan recently spoke to Variety's podcast "Remote Controlled" along with star Evan Rachel Wood about the response to the first season and what's coming next. Be aware that some of their quotes contain major spoilers for Season 1 of the show ... One of the great pleasures of watching Westworld each week was theorizing on the nature of the park and its beings. … »
- Allison Keene
How ‘Poison’ Distributor Zeitgeist Films Found a Lifeline in Kino Lorber
Zeitgeist Films and Kino Lorber have always been kindred spirits, but as of this week, the indie distributors are officially strategic partners, a business relationship that has been in works for the past six months. Richard Lorber’s arthouse distribution company has formed a multi-year alliance with Nancy Gerstman and Emily Russo’s Zeitgeist that will see the two companies co-acquire four to five theatrical titles per year that will be marketed and released by Zeitgeist Films, starting with the 2017 Tribeca Film Festival audience award-winner “The Divine Order.” Directed by Petra Volpe, the film tells the story of a young housewife in Switzerland in 1971 who stands up to the closed-minded villagers in her town and overthrows the status quo.
Read More: Beyond A24: How Hip New Distributors Are Targeting Millennial Tastemakers With Bold Films
“We were at Tribeca and covered every film that we could get our eyes on, but we totally missed ‘The Divine Order’ for some reason,” Lorber said. “Nancy and Emily said it was great, we committed to doing it, and two days later it won the audience prize at Tribeca.”
Founded in 1988, Zeitgeist film’s is known for having distributed early films by directors including Todd Hayes (“Poison”), Christopher Nolan (“Following”), Laura Poitras (“The Oath”) and Atom Egoyan (“Speaking Parts”), but has struggled in recent years to adapt to the changing landscape for indie distributors.
“There’s no denying the fact that the business has gotten tougher, and I think over the years Zeitgeist has maintained an almost artisanal approach, which has not always kept pace with some of the other opportunities that have been available, such as the expansion of digital and alternative venues that films can play in,” Lorber said. Going forward, Kino Lorber will become the exclusive distributor of all Zeitgeist films for the home video, educational, and digital media markets, adding Zeitgeist’s roughly 130-film library to its collection of 1,600 titles.
“Once home video sort of ended as a possibility for us, we really had to go into the digital realm, and dealing with five or six films a year, it’s difficult to really bulk up your digital [catalog] to be able to do the sort of deals that Kino Lorber is able to do,” Gerstman said. “It’s been very tough, so these are really great resources for us to be able to have.
Read More: Hybrid Distribution: One-Night-Only Screenings Could Make Your Documentary a Theatrical Hit
Kino Lorber will release two of Zeitgeist’s 2016 films, the biographical documentary “Eva Hesse” and “Vita Activa: The Spirit of Hannah Arendt.” Zeitgeist’s 2001 film “Nowhere in Africa” won the Academy Award for best foreign language film, taking more than $6 million at the U.S. box office. Some of the company’s most successful theatrical releases include “Bill Cunningham: New York,” “The Corporation” and “Aimee & Jaguar.”
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related storiesJulian Assange and WikiLeaks Accused of Censorship by 'Risk' Documentarian Laura Poitras'Pop Aye' Trailer: A Man Finds Himself with the Help of an Elephant in Sundance Drama -- Watch'Wonderstruck' Is Cannes' First Oscar Contender and Other Revelations From Festival Press Conference »
- Graham Winfrey
2 Major ‘Spider-Man: Homecoming’ Cameos Revealed
With Amy Pascal revealing this week that Sony and Marvel’s collaboration on “Spider-Man: Homecoming” could be extending much further than anyone thought, the revelation of some big cameos certainly suggests a relationship between the two companies that’s very open.
ComicBookMovie have rifled through the press kit for ‘Homecoming,’ and in the credits block, two very key cameos have been revealed. First, Gwyneth Paltrow returns to the Marvel Cinematic Universe for the first time since “Iron Man 3,” playing Pepper Potts.
- Kevin Jagernauth
Jedi Council: Ron Howard to Direct the ‘Han Solo’ Spin-off Film
- Collider Video
Ana Lily Amirpour Responds to Racism Charges — But Won’t Apologize For Making You Uncomfortable
Ana Lily Amirpour seems like the ultimate counterpunch to Hollywood’s diversity problem. She’s an Iranian woman director raised in America, directing inventive genre movies with an anarchic sensibility all her own. While much of the country celebrated the feminist leanings of “Wonder Woman,” Amirpour had already finished “The Bad Batch,” her horror-sci-fi-western hybrid about a dystopian world in which a young woman battles cannibals in a desolate wasteland. The movie, which premiered at the festivals last fall, confirmed Amirpour’s capacity for exploring marginalized figures through the empowering lens of ferocious female characters first seen in her acclaimed debut, “A Girl Walks Home Alone at Night.”
Which was why, eight months into her promotional tour for “The Bad Batch,” Amirpour was astonished to find herself accused of racism. During a post-screening Q&A for “The Bad Batch” in Chicago, Amirpour was confronted by a woman named Bianca Xiunse, who demanded to know why all the black characters in the movie were killed.
The complaint appeared to be a reaction to one scene in particular. In the film, which is set in a near future in which prisoners are unleashed into a lawless desert, Arlen (Suki Waterhouse) comes upon one of the cannibals who had kidnapped and mutilated her in the opening minutes.
Now armless, Arlen confronts Maria (Yolonda Ross), the wife of Cuban cannibal Miami Man (Jason Momoa), along with her young daughter. Arlen shoots Maria, but spares the child; later, Miami Man tracks Arlen down to exact revenge, but the pair end up falling in love as they face down a much scarier threat — a stone-faced tyrant named The Dream (Keanu Reeves), who lords over the nearby town of Comfort with an iron grip.
While one reading of “The Bad Batch” would find two outcasts (a one-armed woman and a vilified immigrant) joining forces to take down an evil white man, Xiunse wanted to know why Amirpour felt it was necessary for the black characters to perish.
“I found it offensive,” she said. “So I’m curious, what was your message for it?”
In video of the moment, Amirpour cocks her head, seemingly baffled by the response, and asks the moderator to repeat the question. (As she would later explain, the filmmaker is 30 percent deaf.) Finally, she offered a succinct response. “Just because I give you something to look at, doesn’t mean I’m telling you what to see.”
The audience cheered, and Xiunse turned to Twitter to further vent her frustrations. “I have never felt such an embarrassment in my life,” she wrote. Later that night, Amirpour checked her social media account, saw the complaints, and blocked Xiunse; when Xiunse called her out, Amirpour wrote, “How am I supposed to respond you calling my film anti black? It’s so crazy. It offended me. So I blocked you.”
So began a social media storm of vitriol on both sides, with Amirpour’s fans leaping to her defense and others lashing out against her; Xiunse herself even did an interview about the experience. Amirpour acknowledged that she reacted too quickly on Twitter, which she has since deleted from her phone, but she’s still aghast about the experience as a whole.
“I’m a brown woman immigrant, my family escaped the Iranian Revolution, I grew up on two continents, English wasn’t the first language in my home,” she said over lunch in New York a few days before the film’s release. “I know what it is to be the ‘other’ very, very well. My film and my filmmaking is all about asking questions about how the system pits us against each other. If anything, this movie is about how we are eating each other. It’s fine, I get it, some people don’t see those things or ask those questions. Cinema is a private, personal experience for individual. But this felt personal against me.”
She was also astonished about the complaints regarding the color of the character’s skin. “Why wouldn’t he be married to a black woman? Jason Momoa is married to a black woman. It’s how I see the world — it’s a modern relationship,” she said. “They have a mixed-race child. She’s the future, in this wonderful way.”
But Amirpour didn’t have the opportunity for that nuanced reaction at the time, and then came the second wave: Internet forums picked up on an old photo posted to social media in which Amirpour dressed up as Lil Wayne for Halloween. If she had been a white person wearing blackface, that would have been ever tougher to wriggle away from — but Amirpour’s not about to apologize for that one, either.
“What could I do?” She asks. “I feel nothing but joy about the fact that I dressed up like Lil Wayne for Halloween. I’m brown. I didn’t do anything wrong. That’s what I look like when I put my hat on and tattoos on my face. I love Weezy. I just have to believe in myself, that I’m a good person, having fun on planet Earth like anyone else.”
Amirpour’s experience may not permanently tarnish her reputation, but it’s indicative of a single-minded director who has been gradually forced to deal with the challenges associated with a rising profile. The last two years of her career were all about forward momentum, with support systems to sustain her vision on her own terms.
When she came to Sundance with “A Girl Walks Home Alone at Night” in 2014, she had no agent, and insisted on controlling every facet of her film — including its distribution deal, which she decided to avoid closing until after the festival. “I was going off instinct, but my instinct was, if you want to fuck me now, you have to want to fuck me four months from now,” she said. (The movie eventually sold to Kino Lorber, well after it opened New Directors/New Films in New York that March.) In the meantime, she had started writing “The Bad Batch,” and after Sundance she was approached by Vice creative director Danny Gabai. From there, a wealth of new resources came her way.
Next page: The creative wisdom of taking acid at Burning Man.
Related storiesRian Johnson and Ana Lily Amirpour Talk 'Star Wars,' 'The Bad Batch' and Cinematic Boners -- ListenHow 'The Beguiled' Star Kirsten Dunst Took Control of Her Career by Owning Her Taste for Depressives, Smart Directors, and Powerful TVHow a Chance Encounter With Terrence Malick Turned Trey Edward Shults Into a Filmmaker »
- Eric Kohn
Well Go USA acquires North American rights to 'Once Upon A Time'
The distributor plans an August 11 theatrical release, followed by digital and home video release.
The film is based on the novel Three Lives Three Worlds, Ten Miles Of Peach Blossoms, which also spawned the television series Ten Miles Of Peach Blossoms, also known as Eternal Love, earlier this year.
Once Upon A Time follows Bai Qian, a goddess and monarch from the Heavenly Realms, who is sent to the mortal world to undergo a trial to become a High Goddess. »
‘The Incredible Jessica James’ Teaser Trailer: Jessica Jones Is a Confident Delight
You might know Jessica Jones from her time as a correspondent on The Daily Show when Jon Stewart was still hosting the show. However, her indie romantic comedy that debuted at Sundance earlier this year has started turning some heads. Hopefully, she’ll become a movie star. The Incredible Jessica James finds Jones playing an aspiring […]
The post ‘The Incredible Jessica James’ Teaser Trailer: Jessica Jones Is a Confident Delight appeared first on /Film. »
- Ethan Anderton
Why Get Out's Jordan Peele Doesn't Want To Make A Big Budget Movie... Yet
Jordan Peele is in an extremely enviable position thanks to his directorial debut being a smash hit... but he has a very good reason for not just jumping to a blockbuster. »
‘Transformers’ Less Than Meets The Eye With Near $60M Five-Day Domestic Opening – Midday B.O. Update
Update, Friday, 12:24 Pm: Paramount’s Transformers: The Last Knight is looking at an estimated $12.5 million today based off of midday matinees, with a current outlook that’s just under $60M over five days. That number could fall if these estimates don’t maintain themselves into the night. Three-day already is estimated at $36.5M. Again, this is a waning property stateside, which many in town believe Paramount strictly made for China, which is bound to clear a $100M openin… »
1-20 of 142 items « Prev | Next »« Prev | Next »