‘November Man’ and ‘As Above’ Are No Match for ‘Guardians’ as Summer Draws to Close
Low-budget horror flick “As Above/So Below” and Pierce Brosnan thriller “November Man” won't put up much of a fight against box-office champ “Guardians of the Galaxy” over Labor Day Weekend. Thriller “As Above/So Below” will slightly exceed analysts’ $10 million weekend estimates. On Friday, the Universal film's box office hit $3.2 million and is expected to generate a $11.3 take over the holiday for a possible fourth-place finish. “As Above” may run neck-and-neck with Warner Bros. teen weepy, “If I Stay.” The teen melodrama took in $2.6 million in box office receipts on Friday and is headed for a $11.8 million weekend »
- Gina Hall
Brett Ratner Sued Over 'Hercules' Party Injury
Hercules was a disappointment at the box office this summer, but the troubles don't stop there for the film's director, Brett Ratner. Lauryn Flynn filed a lawsuit on Thursday against Ratner for injuries she allegedly suffered at his home during a party after the premiere of the Dwayne Johnson film on July 24. Flynn, a 42-year-old stylist, says she was a guest at the party and went into Ratner's basement during the festivities, where a DJ was performing for 100-200 people. She says that someone accidentally broke a glass table and that she tore her Achilles tendon when glass
- Ryan Gajewski
Telluride: 'Rosewater' Director Jon Stewart Receives Hero's Welcome
On Friday evening, Telluride Film Festival moviegoers became the first members of the public to see the fruits of the three-month hiatus that Jon Stewart took from The Daily Show in the summer of 2013 -- during which John Oliver's solo career took off -- when the world premiere of Rosewater, Stewart's feature directorial debut, unspooled at the Galaxy Theatre and was met with warm applause. Stewart, who also penned the film's script -- which he adapted from London-based journalist Maziar Bahari and Aimee Molloy's 2011 book Then They Came for Me: A Family’s Story of Love, Captivity and Survival, about
- Scott Feinberg
'Unbroken' Star Jack O'Connell On Empathizing With Prisoners, Becoming Louis Zamperini
[Warning: Spoilers ahead for Starred Up.] Jack O'Connell barely says anything for the first part of his latest movie Starred Up, but the violent, British prison drama still serves an effective introduction to the actor who will soon be the focus of a great deal of U.S. attention this December as he stars in the Angelina Jolie-directed Oscar hopeful Unbroken. O'Connell is largely best-known for his role as Cook on the British series Skins and had a small part in the 300 sequel, Rise of an Empire, released in March. But he'll next be seen as
- Hilary Lewis
Tripled California Film-TV Tax Credit Heads to Gov. Jerry Brown’s Desk
A bill to more than triple California’s film-tv tax credit program from $100 million to $330 million a year has cleared its final legislative hurdle and is headed for the desk of Gov. Jerry Brown.
The State Assembly approved Ab 1839 late Friday night, following the State Senate’s approval in the afternoon — two days after Brown and legislative leaders had worked out a compromise that reduced the annual allocation from $400 million to $330 million.
That’s still short of the $420 million offered by New York each year but backers assert it will enable California to remain a leading production center and compete more effectively against Georgia, Lousiana and New York. The new bill will expand the program to offer credits of 20% and 25% to most one-hour network TV dramas, movies with budgets over $75 million and one-hour TV pilots.
The new program, which will go into effect in the 2015-16 fiscal year for five years, »
- Dave McNary
Venice Film Review: ‘Jackie & Ryan’
There was a time when a major studio might have made “Jackie & Ryan,” a wholesome, female-skewing heartland romance, with a Sandra Bullock in the lead and reaped the profits; today, it’s a wing-and-a-prayer festival film that marks Katherine Heigl’s introduction to independent cinema. That’s more of a knock on the shifting biases of mainstream audiences than it is on the ample cornball charms of Ami Canaan Mann’s third feature, which casts Heigl as a hard-up single mother and former country star who’s brought out of her shell by dreamy, drifting busker Ben Barnes. , and merits a carefully targeted release from a nurturing distributor.
The Venice Lido is a curious place to unveil a not-especially-arty film this cozily American in flavor and focus. Everything about “Jackie & Ryan” (filmed under the initial title “Your Right Mind”) seems geared more toward a Sundance berth, right down to its »
- Guy Lodge
Venice Film Review: ‘Labor of Love’
The heavy-handed method of conveying a worthy message k.o.’s “Labor of Love,” tyro helmer Aditya Vikram Sengupta’s well-meaning attempt to highlight the difficulties of the average working man and woman in Calcutta. It’s not simply the glacial pacing or the lack of dialogue — words are heard offscreen — but also the preachiness of it all, combined with an absence of characterization. . A few fests looking for indie Indian fare may take a look, but otherwise this could be titled “Labor’s Love Lost.”
Against a black screen, we hear a news report about unemployment and inflation in West Bengal — not the most subtle opener. The first shot is of the back of a woman (Basabdutta Chatterjee) walking through tight alleyways, on her way to work in a handbag factory. For the remainder of the film, Sengupta cuts between the woman and the man (Ritwick Chakraborty), each on a different work trajectory. »
- Jay Weissberg
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