'Bullet Train' locked and loaded atop N.America box office

LOS ANGELES, United States - Sony's "Bullet Train" held the top spot for the second week running in the North American box office, industry watcher Exhibitor Relations estimated Sunday during a relatively flat mid-August period of moviegoing.

As the last major studio release of the summer, the action thriller starring Brad Pitt pulled in $13.4 million, less than half its take the previous week but still nearly doubling up on its closest competitor.

Pitt, who plays a professional assassin on a Japanese train seemingly loaded with them, heads a cast that includes Joey King, Aaron Taylor-Johnson and Latin music star Bad Bunny, as well as Sandra Bullock and Channing Tatum in bit roles.

Holding second spot was former number one "DC League of Super-Pets," Warner Bros.' animated film which pairs the likes of Superman and other action heroes with furry partners. It earned $7.2 million.

Jumping back up three spots to third was "Top Gun: Maverick," Paramount's long-awaited -- and extremely popular -- Tom Cruise sequel. It pulled in $7.1 million, for an eye-popping $674 million in North American ticket sales over the past 12 weeks.

Fourth spot went to Disney's action comedy "Thor: Love and Thunder," at $5.3 million. It stars Chris Hemsworth as the uber-muscular space Viking, who pines for his ex-girlfriend (Natalie Portman). It has now eclipsed $325 million over six weeks.

Following closely in fifth was Universal's "Nope," also at $5.3 million. The sci-fi/horror flick, boosted by the involvement of popular writer/director Jordan Peele, stars Daniel Kaluuya.

Overall, domestic releases are gradually getting back on track since the coronavirus pandemic hammered the industry, but the schedule remains relatively "thin," according to Franchise Entertainment Research's box office newsletter.

"There's no question, the total box office would be bigger with more studio releases," it said.

Rounding out the weekend's top 10 were:

"Minions: The Rise of Gru" ($4.9 million)

"Where the Crawdads Sing" ($4 million)

"Bodies Bodies Bodies" ($3.3 million)

"Elvis" ($2.6 million)

"Fall" ($2.5 million)

Agence France-Presse

Apple TV+ counts its 'Luck' as fallen 'Toy Story' exec makes comeback

LOS ANGELES, United States - Like all good animated family movies, "Luck" has a thoroughly optimistic premise: that no matter how hopeless or dire your circumstances may seem, something good will eventually come of it.

Apple TV+ will be hoping the same is true for John Lasseter, the former Pixar guru who resigned under a cloud of #MeToo harassment claims, and later became head of the new Skydance Animation.

"Luck" is that studio's first film, available to stream Friday, which follows 18-year-old girl Sam and a talking black cat called Bob on their adventures in the fantastical Land of Luck.

In this land of perfect fortune, all the world's good and bad luck is produced by magical creatures including leprechauns, dragons, unicorns and goblins, who then funnel it down to Earth.

The movie features a voice cast of Simon Pegg, Whoopi Goldberg and Jane Fonda, along with Broadway star Eva Noblezada in the lead role of Sam, the world's unluckiest girl.

The cast could have been even starrier, had Emma Thompson not very publicly withdrawn in 2019 over the hiring of Lasseter, publishing her resignation letter in the Los Angeles Times.

It was a decision that other cast members have mulled over, with Pegg telling AFP he "initially" had qualms before deciding to proceed.

"It's a dangerous thing to just write people off immediately, I think, if there's some accountability, if there's some acknowledgement and acceptance," he told AFP.

- 'Complicated' -

Lasseter, who transformed Pixar from a small Lucasfilm graphics department into the world's most successful animation studio with hits including "Toy Story," was accused of misconduct at the 2017 height of the #MeToo movement.

The powerful studio president apologized to "anyone who has ever been on the receiving end of an unwanted hug," and for "falling short" in ensuring a culture of "trust and respect." 

The following year, he resigned, acknowledging in an internal memo that he had made staff feel "disrespected or uncomfortable."

Multiple sources alleged that Lasseter was a heavy drinker at company social events who would try to kiss women, place his hands on their thighs and hug them in meetings. 

In her letter, Thompson said the case of Lasseter was "complicated."

Upon his hiring by Skydance, Thompson wrote that "any Skydance employees who don't want to give him a second chance have to stay and be uncomfortable or lose their jobs."

For Pegg, it was important that Lasseter had "admitted accountability for the things that had been aimed at him."

"We're all doomed if we are banished for stuff that we regret and apologize for, and mean that apology. That's the most important thing."

Goldberg had a more succinct take: "Everybody steps in it sometime," she told AFP.

- 'Real-world stakes' -

In the film, Sam -- an orphan who has reached adulthood without finding a permanent foster home -- follows Bob the cat (Pegg) into the Land of Luck in order to find a lucky penny.

She hopes this magical coin can help her young friend Hazel find the "forever family" she never had.

Of course, getting her hands on it is anything but straightforward, taking Sam on a physical journey through the realm's whirring Rube Goldberg machines and glittering waterfalls -- and an emotional one.

"I really love that element. It's a film which is the most outrageous environments and concepts but paired with genuine real-world stakes about friendship," said Pegg.

"Sometimes what appears to be bad luck can end up being good luck. Not least for Sam, who apparently lives an entire life of bad luck, only to go on this adventure and find exactly what she's looking for."

For the filmmakers, the withdrawal of Thompson led to the hiring of Oscar-winner and social campaigner Jane Fonda, playing an elegant dragon who is the CEO of the luck-making operation. 

"When Jane joined the cast, I looked to her as being such a legendary activist and feminist," said Pegg.

"I felt like she was a great person to take the lead from. And it was her involvement in the film that cemented my decision to do it."

Agence France Presse

New Amy Winehouse film to mark 10 years since singer's death

LONDON — A new documentary about Amy Winehouse, in which her mother will share details about her late daughter’s life, will be released in July, marking 10 years since the British singer’s death at age 27.

“Amy Winehouse: 10 Years On”, commissioned by Britain’s BBC Two and BBC Music, will be told through the narrative of the “Rehab” and “Back to Black” singer’s mother Janis, who has multiple sclerosis and wants to share her memories, the broadcaster said.

It described Janis as “a figure close to Amy whom we have yet to hear a lot from and whose version of events often differs from the narrative we have been told before”.

“I don’t feel the world knew the true Amy, the one that I brought up, and I’m looking forward to the opportunity to offer an understanding of her roots and a deeper insight into the real Amy,” Janis Winehouse said in a statement on Wednesday.

Winehouse, a Grammy Award winner, died from alcohol poisoning at her London home in July 2011. She had struggled with drinking and drug problems through much of her career.

The documentary will feature previously unseen family archive material, the BBC said. “Janis will be aided by family, friends and those who knew Amy best to piece together the side of Amy rarely seen,” it said.

“The film will be a powerful and sensitive account of one of Britain’s best-loved and greatly-missed musical talents, offering a new female-driven interpretation of her life, her loves and her legacy.”

A 2015 documentary “AMY” about Winehouse won director Asif Kapadia an Oscar, although at the time the singer’s father Mitch Winehouse called it misleading and said the family had disassociated itself from the film.

Reporting by Marie-Louise Gumuchian; Editing by Mark Heinrich

-reuters

'Matrix 4' announced with Keanu Reeves to return as Neo

LOS ANGELES, United States — Sci-fi franchise "The Matrix" will return for a fourth film with Keanu Reeves reprising his role as kung fu-kicking, shades-wearing hero Neo, studio Warner Bros said Tuesday.

Lana Wachowski will helm the project, returning to write, direct and produce the latest installment of the hugely popular series about humans trapped in a virtual reality by machines, which has netted more than $1.6 billion worldwide.

"We could not be more excited to be re-entering 'The Matrix' with Lana," studio chairman Toby Emmerich said in a statement sent to AFP.


"Lana is a true visionary -- a singular and original creative filmmaker," he added.

Lana and her sister Lilly -- who were formerly known as the Wachowski brothers, Andy and Larry, before switching gender -- directed the original trilogy.

Warner Bros did not specify if the new film would be a direct sequel, saying only that it was "set in the world of 'The Matrix'," and did not give a release date.

The original films followed a band of rebels who battled intelligent machines in a future where humans are enslaved within the Matrix -- a virtual reality that resembles the contemporary world.

Reeves' Neo was a hero on a mission to save mankind.

The dark fantasy featured a mix of pseudo-eastern philosophy and Western mythology, spectacular fight scenes and lavish special effects.

"Many of the ideas Lilly and I explored 20 years ago about our reality are even more relevant now," said Lana Wachowski.

"I'm very happy to have these characters back in my life and grateful for another chance to work with my brilliant friends."

Carrie-Anne Moss will also return to her role as Trinity, the studio said Tuesday.

The original film turns 20 this year, with special screenings planned in the US later this month.

The third film in the series, "The Matrix Revolutions" (2003), was the first film to be released simultaneously around the world at the same hour.

source: philstar.com

The ‘Mendgame’

Film review: Avengers: Endgame

MANILA, Philippines — After Infinity War left half the world in tatters, and half our Marvel Cinematic Universe (MCU) superheroes presumed expired, we all knew that the stakes placed on the concluding installment Avengers: Endgame would be sky high. Endgame would be the film where superhero survivor grief would be addressed, mending would occur, and the final answer to Thanos would be addressed. It would be the culmination of all the interconnected MCU films since Iron Man in 2008, and would spell the future of the MCU. In truth, it would be both end and beginning; and we all held our breath, waiting in anticipation.

Now that Endgame has finally arrived, it’s being asked whether the 181-minute behemoth delivers on its promise, and sets a new standard for the superhero film genre. A standard that can carry the torch that Black Panther established earlier this year, as the first superhero film included among the Oscars Best Picture nominees. If you recall, the furor started back in 2008 when The Dark Knight was snubbed as Best Picture, even if it received eight nominations, which included the Best Supporting Actor that Heath Ledger won posthumously. It’s only with last year’s Black Panther that a superhero film finally made it to the Best Picture list.

So Endgame basically picks up from where Infinity War left us. And for the first hour, we’re really talking about stages of grief, the varying reactions of the surviving superheroes and how they cope — whether with on-the-surface success, or abject futility. This is as emotional a gut punch as we can get from any film, and at times, it does look like we’ve stumbled upon a drama about despair and sublimation, rather than a comic superhero film.

With Endgame led by the acting prowess of Robert Downey Jr. as Iron Man and Chris Evans as Captain America, we are fascinated, subscribing to this film loaded with “gravitas.” For the first hour, the only shafts of humor come from Thor (Chris Hemsworth) and to a lesser degree, Ant-Man (Paul Rudd); and you’ll have to love the willingness of Hemsworth to continue to mine this comedic direction that really gave Ragnarok its special quality. He is hilarious here, and we’re thankful for the relief it provides amidst all the hand-wringing and furrowed foreheads.

After the 60-minute mark, there’s finally the semblance of an action plan for the surviving superheroes, and a wonderful plot device is set in motion; one that allows us to be treated to one cameo after another, a virtual gallery of all the major and minor characters we’ve encountered through the previous 21 MCU films. It’s nostalgia with a capital n, and you can audibly hear the exclamations of surprise and delight from the audience as this section unfolds. It’s an obvious salute to the moviegoers who count themselves among the MCU faithful and it’s great to see Marvel acknowledge this unabashedly.

At the 120-minute point, a galactic battle of epic proportions gets underway; and here, finally, is the justification for regarding this as an action film. If in the past there were films where the action bit was the letdown, here is the one that lives up to its billing. It’s been often said that Marvel films are primarily about character, plotting second, and action a close but definite third. This may still hold true for Endgame, but “coming in third” just got much stronger.

Marvel has always set its own path and direction with its films. And the really great surprise with Endgame is how it invests so much in character study and development. After all, we’ve been following some of these superheroes for a decade now, so it’s the narrative and the reactions that can catch us unaware, or bring forth a new facet of  personalities. This is as emo a superhero film as we’ll ever get, so while it may snag a Best Picture nomination in the 2020 Oscars, don’t be surprised if both Downey and Evans will also be part of the conversation when it comes to Best Actor.

Endgame is a MCU fan fantasy come true. And you’ll be left open-mouthed and in tears as mantles are passed, new storylines and partnerships established, and we’re treated to glimpses of where the MCU is headed for in the years to come.

source: philstar.com

LIST: Oscars 2019 winners in main categories

HOLLYWOOD — Here are the winners in key categories at the 91st Academy Awards, which were handed out on Sunday in Hollywood.

"Green Book" took home the best picture Oscar, while Alfonso Cuaron's "Roma" won for best director, best foreign film and best cinematography.




Top acting honors were shared among four different films.


Best picture: "Green Book"

Best director: Alfonso Cuaron, "Roma"


Best actor: Rami Malek, "Bohemian Rhapsody"

Best actress: Olivia Colman, "The Favourite"

Best supporting actor: Mahershala Ali, "Green Book"

Best supporting actress: Regina King, "If Beale Street Could Talk"

Best foreign language film: "Roma" (Mexico)

Best cinematography: Alfonso Cuaron, "Roma"

Best animated feature: "Spider-Man: Into the Spider-Verse"

Best documentary feature: "Free Solo"

Best original screenplay: "Green Book" - Nick Vallelonga, Brian Currie and Peter Farrelly

Best adapted screenplay: "BlacKkKlansman" - Spike Lee, Charlie Wachtel, David Rabinowitz and Kevin Willmott

Best original score: "Black Panther" - Ludwig Goransson

Best original song: "Shallow" from "A Star Is Born," Lady Gaga

source: philstar.com

Review: ‘Ant-man and the Wasp’ a hilarious return

MANILA, Philippines — Marvel’s tiniest hero returns to the big screen on a hilarious note after three long years.

The wait was well worth it as Ant-Man’s return came with the reintroduction of Scott Lang’s (Also Ant-man, Paul Rudd) love interest, Hope Van Dyne (Evangeline Lily), now his suited ally, The Wasp.

Ant-Man (2015) director Peyton Reed once again helms the sequel, which is considered as Marvel’s first super-heroine film. It is set in the aftermath of “Captain America: Civil War” making it a follow-up to two movies.

In "Ant-Man and The Wasp," the good-hearted ex-convict Scott was under house arrest following his exploits with the Avengers. He finds himself in conflict when he decided to once again don the Ant-Man suit while he’s on the verge of getting his life back on track and continuously become a good father to Cassie (Abby Ryder Fortson).

This struggle came after Scott suddenly reached out to fugitive Hope and her father, Dr. Hank Pym who asked our hero to take on an urgent mission to save the family’s matriarch, Janet Van Dyne (Michelle Pfeiffer). Janet is the original wasp to Hank and is believed to be stuck in the Quantum Realm.

Aside from the mission to have a family reunion, the size-shifting heroes also face other villains–the elusive Ava/Ghost (Hannah John-Kamen) who wants to derail the operation due to personal reasons and Sonny Burch (Walton Goggins), who covets Hank’s newest piece of technology for billion profits.

The mission is also marred by the FBI’s interference but will Ant-Man and the Wasp succeed with their own special skill set?

As the film goes microscopic, it goes large with comedy.
There are several comedic moments featuring Scott as well as the X-Con Security crew led by Luis (Michael Peña), showing their good character connection.

As Scott and Hope’s sidekick, Luis and the crew including Kurt (David Dastmalchian) and Dave (Tip “T.I” Harris) managed to bring in themselves and elevated the laugh quotient.

While there are comedic moments, there are also poignant scenes featuring Scott and his daughter Cassie and Hope. Cassie's charm softens the action-filled film.

The film generally excites with the pile of conflicts and intriguing new characters, making it engaging from beginning to the end and even beyond credits. This is best-viewed in IMAX 3D experience.

Marvel Studio’s “Ant-man and The Wasp” opened in Philippine cinemas on July 4, Wednesday. — Rosette Adel

source: philstar.com

Harvey Weinstein ‘Casting Couch’ statue unveiled ahead of Oscars

LOS ANGELES | Harvey Weinstein won’t be going to Sunday’s Oscar ceremony, but the film producer’s presence is still being felt in Hollywood.

Los Angeles-based street artist Plastic Jesus on Thursday unveiled a statue called “Casting Couch,” depicting a life-size Weinstein, clothed in a bathrobe, sitting on a golden colored couch and holding an Oscar. It was installed near the Hollywood venue where the Academy Awards ceremony will be held.

More than 70 women have accused Weinstein of sexual misconduct, including rape. Weinstein has denied having nonconsensual sex with anyone.

His representatives did not immediately respond to a request for comment on the installation.

The accusations against Weinstein triggered a flood of allegations of sexual impropriety by other celebrities that have rocked Hollywood and dominated this year’s movie awards season.


“Whilst many thought the ‘casting couch’ was a thing of the past it was clearly still a part of the Hollywood culture,” Plastic Jesus said in a statement on his Facebook page.

“Hopefully now in the light of recent allegations against many leading figures in Hollywood the industry will clean up it’s (sic) act,” he said.

Weinstein was one of the movie industry’s most influential men, powering independent movies such as “The King’s Speech” and “Shakespeare in Love” to Oscar best picture wins.

He was expelled from the Academy of Motion Picture Arts and Sciences last year and fired from his company, the Weinstein Company. The company said on Sunday it planned to file for bankruptcy.

The ‘Casting Couch’ statue followed the appearance in Los Angeles on Wednesday of billboards designed by street artist Sabo that accused the entertainment industry of staying silent about sexual misconduct.

Plastic Jesus said the Weinstein statue was a collaboration with the artist Joshua “Ginger” Monroe and took two months to produce. It was paid for by donations through their websites.

Plastic Jesus and Ginger were also responsible for producing naked statues of Donald Trump that appeared in various U.S. cities in 2016, before he was elected U.S. president.

Insurer Chubb Ltd is refusing to pay for Weinstein’s legal defense against 11 lawsuits that accuse the movie producer of sexually harassing or assaulting women over the past three decades, according to a court document filed on Wednesday.

Units of the insurer have together issued 80 policies to Weinstein and his family between 1994 and 2018, including coverage for personal liability, according to Chubb. That would normally cover legal costs to defend against claims of damage or injury caused accidentally, but the insurer said Weinstein’s conduct was intentional.

He faces many legal cases, including one brought by New York State Attorney General Eric Schneiderman accusing him of civil and human rights violations.

Chubb Indemnity Insurance Co and several other Chubb units asked New York State Supreme Court to issue a judgment declaring that the policies’ terms exclude defending charges in the lawsuits, specifically sexual assault, discrimination and intentional acts.

The Weinstein Co on Thursday reached a deal to sell assets to a group led by a former Obama administration official who plans to use a majority-female board to rebuild the Hollywood studio tarnished by sexual misconduct allegations.

In a statement, Maria Contreras-Sweet said she plans to launch a new company, save about 150 jobs, protect the small businesses that are owed money, and create a victims’ compensation fund that will supplement existing insurance coverage for those who have been harmed.

“This next step represents the best possible pathway to support victims and protect employees,” Contreras-Sweet, the former head of the Small Business Administration, said in the statement.

With reports from Lisa Richwine and Suzanne Barlyn

source: interaksyon.com

REVIEW | ‘The Last Jedi’ is fragmented but still an amazing cinematic experience

At two hours and thirty-two minutes, “Star Wars: The Last Jedi” boasts of having the longest running time in the franchise and you can feel it. The film’s story is divided into three parts and not all of them stand on equal measure with each other.

The most interesting of the three parts is the story of Rey (Daisy Ridley) as she tries to convince Luke Skywalker (Mark Hamill) to join the resistance and discovers a connection with Kylo Ren (Adam Driver).

The second part involves rebellion pilot Poe Dameron (Oscar Isaac) and his reckless and daredevil heroics clashing with Princess Leia (Carrie Fisher) and capping the overall story of the rebellion.

Finally, the weakest of all the stories involves Finn (John Boyega), who meets ground crew member Rose (Kelly Marie Tran) and takes on a mission to help save the rebellion from destruction.

“Star Wars: The Last Jedi” takes off right after the events of “Star Wars: The Force Awakens” and puts us squarely into a battle between The First Order and Princess Leia’s rebellion. The energy is high, the suspense is palpable, and the stakes are huge. It’s a terrific opening for the much awaited installment in the series.

But the moment the action splits and the story fragments into the three parts, it starts to falter. Rey, Kylo Ren, and Luke Skywalker’s story stands out because it’s rooted in each character’s personal goals but those goals are very much interwoven into the larger plot of the series.

These are three key figures in the battle between The First Order and the Rebel Alliance and they have to solve their inner conflicts first before they can make large contributions to either side of the battle.

Ridley, Driver, and Hamill are working so well off of each other. Ridley is captivating as the scavenger who discovers she has a powerful connection to the Force and she makes you believe in her desperate attempt to find her place in this war.

Driver’s intensity works to his advantage, creating a fractured Kylo Ren at the cusp of a breaking point. Hamill’s tortured Luke Skywalker is a shadow of who he was and the effect is dazzling.

Their segment in the film is the most emotional; it draws you into their personal conflicts but it clear in its place within the story. These three characters and their choices can make or break this war and it holds the most interest in the film.

Poe Dameron’s story is personal and it falters because his story uses the war to develop his character, instead of the other way around, like Rey’s, Kylo Ren’s, Luke Skywalker’s. It’s interesting because of the very high stakes involved.

Isaac and Fisher have great rapport and throw into the mix a fantastic performance by Laura Dern as Vice Admiral Holdo, who also clashes with Poe Dameron’s way of doing things, but the focus is on Poe Dameron’s lesson than it does with the battle against The First Order. This segment, while still engaging with the main plot line, feels small because the learnings here only really affect Poe Dameron.

For Finn and new character Rose, their story ends up feeling like a subplot that hardly fits into the big picture. Their mission takes them out of the main action into a world that doesn’t quite mesh with the whole movie and most of the story elements here progress because of fortunate events and not character choices.

There’s a lot of deus ex machina elements at work and Finn and Rose just seem to be getting through because of fortunate circumstances. It feels the least developed and the least connected to the overall plot.

But despite all of this, there’s a lot that is done great in “Star Wars: The Last Jedi.” Director Rian Johnson keeps the action moving with fantastic transitions and exceptionally great use of music to heighten every scene.

There is also the clever use of dark and light to symbolize the battle between the authoritarian rule of The First Order and the rebel forces. Many times, the scenes are dark but there are always shafts of light bursting through and trying to illuminate the characters. It’s an inspired choice.

There’s a lot of action to go around and edge-of-your-seat moments. There’s humor and there’s touching moments. It’s never dull. It just seems bloated but the final thirty minutes of “Star Wars: The Last Jedi” is great cinema fit for the largest screen possible with the best sound system that you can avail. Despite the flaws, it’s an experience that will leave you breathless and applauding.

“Star Wars: The Last Jedi” is brave enough to challenge the franchise’s own ideas about the rebellion and The Force, in turn, making hard statements that are very relevant and apt for our times with regards to authoritarian governments and strict adherence to religion. It’s a brave movie wrapped up in a fun, science fiction adventure that is worth the ticket price.

source: interaksyon.com

Emma Stone honed dance skills to play tennis great Billie Jean King

LOS ANGELES | Emma Stone admits she’s never been a sports player, so when she was asked to play former world tennis No. 1 Billie Jean King in the movie “Battle of the Sexes,” the Oscar-winning actress approached it from a different direction — dancing.

King, by contrast, who pioneered the fight for equal pay in tennis more than 40 years ago, pictured herself in Stone’s position as she worked with the actress to portray her character.

“I tried to put myself in Emma’s shoes. That’s really taking a risk portraying someone who is still alive. I‘m like, ‘God, that’s a little pressure,” King said.

Stone, 28, and the 73-year-old tennis legend became good friends while making the movie that tells the story behind King’s 1973 exhibition match against former men’s champion Bobby Riggs (Steve Carell) to fight sexism in the sport and society at large. It opens in U.S. movie theaters on Friday.

Stone, who won an Oscar in February for song and dance musical “La La Land,” had never played tennis so her early sessions with King focused on footwork and choreography.

“I danced, so footwork was good. (And) I had been on stage before and when Billie Jean went out onto the tennis court it felt like her stage, so she really keyed in on that,” Stone said.

Later came weeks of practice on serves and cross-court backhands, but for Stone, even the simplest things were tough.

”We went to the U.S. Open … and I was sitting next to Billie Jean, and Sloane Stephens was catching balls and tucking them in her skirt and bouncing them with the racquet.

“It’s just little in-between stuff but that took me months to learn!” Stone said.

Professional players were hired to reproduce the shots in the match against Riggs, which was watched by more than 50 million on television.

For her part, King worked for weeks with screenwriter Simon Beaufoy recalling her experience in the early 1970s, when she not only established the break-away Women’s Tennis Association and took on Riggs but also was wrestling with her own sexual identity. She came out as gay in 1981.

More than 40 years after beating Riggs, women are still fighting for equal pay and rights on and off the tennis court, not that it comes as any surprise to King.

”If you read history, you realize how slow progress is and that it’s each generation’s job to try and move the ball forward.

“We’ve come further, but we’ve a lot further to go,” King said.

source: interaksyon.com

‘Mother!’ crumbles with $7.5 million opening, ‘It’ repeats No. 1

LOS ANGELES (Variety.com) | “It” continues to post terrifyingly huge numbers, while “Mother!” opens with a thud.

“It,” from Warner Bros. and New Line, expects to finish its second weekend with $60 million from 4,103 locations. That would make its domestic gross so far $218.7 million — a record for the highest earning September release ever. The old record-holder was 1986’s “Crocodile Dundee” with $174.8 million.

Broken down by day, this past weekend “It” earned $19.4 million on Friday and $26.2 million on Saturday. Sunday’s take is estimated to be about $14.5 million. 389 Imax screens are expected to account for just over $3 million of the film’s take in North America this weekend.

Overseas, “It” is pulling in an additional $60.3 million in 56 markets. That raises its international total to $152.6 million and the worldwide tally to $371.3 million.

Based on Stephen King’s novel, “It” opened last weekend with an enormous domestic pull of $123.4 million. The R-rated title, reportedly made for about $35 million, stars Bill Skarsgard as an evil clown named Pennywise who terrorizes children.

The rest of the cast includes Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Wyatt Oleff, Chosen Jacobs, Jack Dylan Grazer, Nicholas Hamilton, Jaeden Lieberher, and Jackson Robert Scott.

Meanwhile “Mother!” is struggling. The Paramount release directed by Darren Aronofsky is expected to earn $7.5 million from 2,368 locations. That’s an all-time low for wide releases starring Jennifer Lawrence.

One contributing factor to the movie’s bottom line is that audiences entirely rejected it and bestowed an F CinemaScore. That’s despite a critical split that landed the polarizing movie a generally positive 68% on Rotten Tomatoes.

Women made up the bulk of the audience (56%), and slightly more than half of the audience (52%) was over the age of 35. The launch was driven by a marketing campaign that shrouded the R-rated movie in mystery and didn’t give much away regarding plot. In addition to Lawrence, Javier Bardem, Ed Harris, and Michelle Pfeiffer also star.

Another fresh R-rated launch, “American Assassin” — a joint production between CBS Films and Lionsgate — is expecting an opening of $14.8 million from 3,154 locations. The audience breakdown was 55% male and 29% under the age of 35.

The film is an adaptation of Vince Flynn’s 2010 novel, and stars Dylan O‘Brien as a CIA black ops recruit who is trained by a Cold War veteran (Michael Keaton). The film’s opening is comparable to 2014’s “John Wick,” which opened to $14.4 million on its way to launch a franchise with $43 million in domestic earnings.

“We feel that we’re off to a very solid start,” Shaun Barber, Lionsgate’s EVP and general sales manager of domestic theatrical distribution, said, pointing to the A CinemaScore the movie earned from the under 25 audience, and a strong September box office so far. As for plans to make the movie a franchise, he said “it’s very early in the run” and “too soon to call.”

Open Road’s “Home Again” should land in fourth this weekend with $5.3 million from 3,036 locations (only a 38% drop from last weekend). “The Hitman’s Bodyguard,” from Lionsgate, continues to stay in the top five with about $3.6 million from 3,272 spots.

The rest of the top ten is made up of “Annabelle: Creation” ($2.6 million); Taylor Sheridan’s “Wind River” ($2.6 million), which has now out-grossed “Hell of High Water” in North America; “Leap!” ($2.1 million); “Spider-Man: Homecoming” ($1.9 million); and “Dunkirk” ($1.3 million).

In limited release, Annapurna and Amazon’s “Brad’s Status” is tracking to earn $100,179 this weekend from four locations. Mike White wrote and directed the movie starring Ben Stiller as a man who is constantly comparing his life to those of his college friends.

Austin Abrams, Jenna Fischer, Luke Wilson, and Michael Sheen also star in the flick, which has been generally well-reviewed (83% on Rotten Tomatoes). The film is expected to expand to 100 locations next weekend.

Amazon Studios’ head of marketing and distribution Bob Berney noted that “fathers are really relating to the film” and Stiller’s performance.

After a catastrophic summer of moviegoing, a strong September so far (39.4% better than last year, powered by “It”) is leading a gradual recovery. The year to date box office is now 4.9% behind last year — up from 6.5% behind at the end of the summer. The domestic box office so far this year has earned $7.9 billion.

source: interaksyon.com

‘Hitman’s Bodyguard’ leads slowest Labor Day weekend in about two decades

LOS ANGELES | A disastrous domestic summer box office is ending on a low note.

Without any fresh competition in wide release, “Hitman’s Bodyguard” appears the be the holiday weekend’s movie of choice. The Lionsgate release with Ryan Reynolds and Samuel L. Jackson at the center should earn $13.4 million from 3,370 locations over the four-day weekend.

Its seemingly imminent win would make “Hitman’s Bodyguard” the only flick this summer to retain the top spot on the domestic box office charts for three consecutive weekends. “Dunkirk,” “Wonder Woman,” and “Guardians of the Galaxy Vol. 2” each stayed first for two frames.

But while the action comedy is certainly profitable at this point, its threepeat is less due to the movie’s overwhelming popularity, and more attributable to the lack of alternatives. This — the first Labor Day weekend in recent history without a new wide release — is tracking to have the lowest four-day total for the holiday in nearly two decades.

The 28 movies currently in release are tracking to bring in about $95.5 million, according to ComScore. Not since 1998 has the Labor Day domestic box office dropped below a $100 million four-day total. The last time there were no wide releases over Labor Day weekend was in 1992.

Of the weekend’s medium-sized launches, Sony’s re-release of “Close Encounters of the Third Kind” is faring best. The 40th anniversary theatrical event is set to take in $2.3 million for the four-day holiday weekend from 901 locations.

Meanwhile, TWC’s long-delayed release “Tulip Fever” is not finding its audience. The historical drama starring Alicia Vikander is expected to earn $1.4 million from 765 locations.

A unique collaboration between Marvel Television and ABC Studios brought “Marvel’s Inhumans” to 393 Imax screens in North America, where it is expected to earn $1.5 million. And Pantellion’s “Do It Like an Hombre” is looking at about $1.4 million for the four days at 382 locations.

Otherwise, “Annabelle: Creation” should remain in the two slot for Warner Bros. The horror sequel has an estimated three-day tally of $7.3 million from 3,358 locations, and is tracking for $9.3 million with the extended holiday.

While “Tulip Fever” might fail to crack the weekend’s top 20, TWC has the third and fourth highest-grossing movies of the weekend. “Wind River” is expecting an $8 million four-day total from 2,602 spots.

The animated adventure “Leap!” should follow close behind with $6.6 million from 2,705 locations. “Logan Lucky” should round out the top five with a reported $4.4 million three-day and estimated $5.6 million for the entire holiday.

The summer box office, which ends after this coming Monday, is still on track to end with less than $4 billion in North America for the first time since 2006. Major flops including “King Arthur” and “Valerian,” as well as several big-budget sequels that underperformed should serve as a wake up call to studios that are used to splashy features with familiar faces equaling ticket sales.

While this Labor Day weekend is especially low for overall grosses, the frame has not historically been an especially huge source of revenue — August and September are traditionally thought of as a dumping ground for the industry between summer blockbusters and awards season contenders.

Last year, for example, “Don’t Breathe” led the pack during its second weekend with just under $20 million. The year prior, “War Room” landed in first with $13.4 million.

Still, the month of August has been especially slow for the industry, especially with nothing to match last year’s record-breaking “Suicide Squad.”

So the film business looks ahead to next weekend when “It” is expected to enter the scene with a bold statement, and potentially reignite what is a marketplace in a dire state.

source: interaksyon.com

Tom Cruise breaks ankle in stunt, halts production on ‘Mission’ film

LOS ANGELES | Tom Cruise broke his ankle while performing a stunt on the set of the upcoming “Mission: Impossible 6,” causing production on the film to go on hiatus while the actor recovers, Paramount Pictures said in a statement on Wednesday.

Paramount, a unit of Viacom (VIAB.O), said the action movie, which is one of it biggest franchises, remains on schedule to open on July 27, 2018.

Cruise, 55, who is known for doing his own stunts, was seen in a video on celebrity news website TMZ trying to jump between the roofs of two high-rise buildings and landing hard against a wall during filming in London at the weekend. He was later seen limping off the set.

“During production on the latest ‘Mission: Impossible’ film, Tom Cruise broke his ankle while performing a stunt. Production will go on hiatus while Tom makes a full recovery,” Paramount said. “Tom wants to thank you all for your concern and support and can’t wait to share the film with everyone next summer.”

Paramount did not say how long production would be delayed. Hollywood trade paper Variety said filming could be halted anywhere from six weeks to three months while Cruise recovers. Variety said the actor also injured his hip.

“Mission: Impossible – Rogue Nation,” in which Cruise reprised his role as agent Ethan Hunt, made more than $680 million at the worldwide box office in 2015, according to movie tracker BoxOfficeMojo.com.

Cruise has carved a career as one of Hollywood’s top-earning and longest-running action stars, much of it built on his reputation for doing his own stunts, including swinging around a Dubai skyscraper and hanging off a plane as it taxied down a runway and took off.

“I just don’t sleep, I just keep going,” he told Reuters in 2015 while promoting “Mission: Impossible – Rogue Nation.”

“Mission: Impossible 6” director Christopher McQuarrie told Britain’s Empire magazine in an interview posted on Wednesday that the production schedule would be rearranged to shoot around Cruise while he recovers.

McQuarrie said he did not know how long the immediate hiatus would be and said there are still seven or eight weeks left of filming.

source: interaksyon.com

‘Transformers: The Last Knight’ opens to franchise low $69.1 million

LOS ANGELES (Variety.com) | It seems the “Transformers” franchise is rusty.

As of Sunday morning “Transformers: The Last Knight,” the fifth installment directed by Michael Bay, looks to bring in $69.1 million from 4,069 domestic locations during its five-day opening weekend.

That’s a franchise low for the sequel from Paramount and Hasbro, behind the first in the modern series, which earned $70.5 million in 2007. “The Last Knight” carries an estimated $217 million production budget.

This makes “Transformers: The Last Knight” the latest summer blockbuster to bank on overseas ticket sales to have a shot at turning a profit. In China, the big-budget action sequel made $41 million in its opening day alone. The projected international come through Sunday is $196.2 million, powered by $123.4 million in China.

“The Last Knight” comes at a time when Paramount could have used an all-around hit, following recent misses “Baywatch” and “Ghost in the Shell.”

While the latest “Transformers” movie has been advertised as “the final chapter” and Bay’s last go-around, the franchise will continue — Paramount has at least two more movies slated, including a spinoff that could star Hailee Steinfeld. The franchise has historically been massively profitable and seen solid multiples for the studio. Together, the first four earned over $1.3 billion domestically and well over $3.5 billion worldwide.

The latest take on the series centers on an alliance between Bumblebee, Cade Yeager — who Mark Wahlberg also played in 2014’s “Age of Extinction” — and roles played by franchise newcomers Anthony Hopkins and Laura Haddock. Together, the team works together to save the world. Audiences have earned the film a B+ CinemaScore, while critics have mostly dismissed it — it currently holds a 15 percent fresh rating on Rotten Tomatoes.

“The Last Knight” was uncontested at the box office this weekend, but a few indie releases showed traction. Sofia Coppola’s “The Beguiled” remake from Focus Features played at four theaters this weekend, and should gross $240,545 with a strong per screen average before it expands to over 500 locations next weekend.

“We’re thrilled by this opening,” said Lisa Bunnell, Focus Features’ distribution president. “This is Focus’ third collaboration with Sofia and she’s created an entertaining, atmospheric thriller featuring strong female representation in front of and behind the camera.”

And Kumail Nanjiani’s critically adored romantic comedy “The Big Sick” should earn $435,000 during its opening weekend in five locations — that would give the Lionsgate and Amazon Studios release the highest per screen average of any film that has opened this year so far.

“Kumail and Emily’s true story provided audiences of all ages a much-needed alternative to the summer blockbusters,” said Bob Berney, Amazon Studios’ distribution chief.

Otherwise, “Wonder Woman” continues to post impressive numbers, and holds onto second place during its fourth weekend in theaters. This weekend, it should earn an additional $25.2 million, bringing its domestic total to $318.4 million. Earlier this week, the film became the highest-grossing live-action movie to be directed by a woman — a major distinction for Patty Jenkins.

Disney and Pixar’s “Cars 3” also looks to earn $25.2 million domestically during its second weekend. Some estimates have the film slightly lower, just below $25 million. The family film, which won last weekend’s box office, is expected to pass the $100 million mark in North America by Monday.

“Transformers: The Last Knight’s” performance is a tough break for the summer box office’s bottom line domestically.

For the past two years, this weekend has seen monster grosses for “Jurassic World” and “Finding Dory.” Now, attention is turned toward a trio of releases next weekend, as the box office hopes for a shot in the arm from “Despicable Me 3,” “Baby Driver,” and “The House.”

source: interaksyon.com

Kinky ‘Fifty Shades’ stokes fantasy, not reality, says author

LOS ANGELES | E.L. James, the British author and producer of the erotic “Fifty Shades of Grey” novels and film franchise, knows that her story about an attractive couple engaged in a kinky relationship is very much a fantasy.

In the “Fifty Shades” trilogy, Christian Grey is a young handsome billionaire entrepreneur with a penchant for bondage, discipline, dominance, submission and sadomasochism (BDSM) who introduces the beautiful but naive Anastasia “Ana” Steele to his world of whips and sex toys.

“It’s a wish fulfillment piece that you can escape into, you can become Ana, you can see where you can go to with this guy and change him to be a far better human being, and of course, that’s just a fantasy,” James, 53, told Reuters.

James’ trilogy, born out of fan fiction that she had written inspired by young adult vampire love story “Twilight,” has sold more than 150 million copies worldwide since its 2012 release. It became a pop culture phenomenon, making erotic literature mainstream, and spawned a film franchise for Universal Pictures.

The “Fifty Shades of Grey” film, starring Jamie Dornan and Dakota Johnson, grossed $560 million worldwide in 2015. The sequel, “Fifty Shades Darker,” debuted in theaters on Friday.

After the first film ended with Ana and Christian driven apart because she couldn’t commit to his desires, “Darker” sees the two reconcile, but on her terms. James said Ana is now “empowered and strong” and that it is Christian who finds himself under her spell.

Ana and Christian’s relationship, in which he exhibits controlling and stalker-ish habits, fueled a domestic abuse debate after the books were released. When the first film came out, a grassroots movement urged people to donate to women’s shelters rather than see the film.

“What I find really annoying about these people is that women are entitled to their fantasies too, and it’s a far safer place to explore things in a book,” James said.

“This does not encourage domestic violence, it’s not about domestic violence, they’re completely missing the point – however it’s an important issue so I’m glad it’s out there,” she added.

The film franchise wraps up next year with the release of “Fifty Shades Freed” and James said she’s already written another book exploring a young adult love story – with no sex.

“If you can make people fall in love with your characters and care about them, then that’s a huge achievement,” she said.

source: interaksyon.com

Disney hits industry-first $7 billion at box office

LOS ANGELES | A huge debut for “Rogue One” has seen Walt Disney Studios become the first distributor in history to hit $7 billion in annual global box office receipts, it said Monday.

The $290 million worldwide opening for the “Star Wars” spinoff puts Disney’s haul for 2016 at $2.7 billion in North America, also an industry record, and $4.3 billion elsewhere.

It is the first year in which all five of Walt Disney Studios’ top brands — Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios and Lucasfilm — have released movies.

“This historic achievement is possible because all of our film studios are bringing their absolute best to the table, telling great stories of all kinds that resonate with audiences across borders, gender and generations,” said Alan Horn, chairman of Walt Disney Studios.

“These films work because each one has not only something for everyone, but everything for someone. It’s our honor to be able to create these experiences for audiences, and we’re thankful to them for continuing to come out to the theater with us.

Even before “Rogue One” came out, hits such as “Finding Dory,” “Captain America: Civil War” and “Zootopia” ensured the studio had beaten last year’s record $5.8 billion by the end of October and was comfortably on track to pass the record of $6.9 billion set by Universal in 2015.

Disney has set several records this year, becoming the fastest studio ever to hit $2 billion domestically and $5 billion at the global box office, both in July.

It has not been entirely plain sailing, as “Alice Through The Looking Glass” and “The BFG” were deemed commercial flops.

Coastguard drama “The Finest Hours” also sank without a trace, with Variety magazine reporting that Disney was expecting losses of around $75 million from the film.

On the other side of the ledger, the studio had three hits in 2016 that passed the illustrious $1 billion global mark — “Captain America” ($1.2 billion), “Finding Dory,” ($1.03 billion) and “Zootopia” ($1.02 billion).

“The Jungle Book” made $967 million, while “Star Wars: The Force Awakens,” which debuted in December last year, brought in $737 million of its $2.1 billion global take in 2016.

Those five films scored an average 94 percent rating on RottenTomatoes.com, which aggregates the reviews for all releases.

“Rogue One,” which is yet to open in the vast Chinese market, is expected to do better than all of these, although much of its global take will come in 2017.

source: interaksyon.com

Emotion-filled ‘La La Land,’ ‘Moonlight’ lead Golden Globe nominations

LOS ANGELES | “La La Land,” an ambitious musical about two dreamers falling in love in Hollywood, and the intimate coming of age drama “Moonlight” led nominations for the Golden Globes on Monday, underscoring their frontrunner status in the long road to the Oscars.

“La La Land” scored seven nominations in all, including for Emma Stone and Ryan Gosling in the comedy/musical acting categories, while writer-director Damien Chazelle received nods for best director and best screenplay.

“Making ‘La La Land’ was a dream come true and we’re thrilled that Damien Chazelle’s vision has been recognized,” producers Fred Berger, Jordan Horowitz and Marc Platt said in a statement.

“Moonlight,” the tale of an impoverished black boy in Miami struggling with his sexuality, scored six nods, including Barry Jenkins in the directing and screenplay categories and Naomie Harris and Mahershala Ali in the best supporting acting races.

“La La Land” is up against “20th Century Women,” the story of a free-spirited mother; raunchy superhero action movie “Deadpool”; singing comedy “Florence Foster Jenkins”; and teen tale “Sing Street” for best comedy/musical film at the Golden Globes.

“Moonlight” will face war drama “Hacksaw Ridge,” Western crime story “Hell or High Water,” adoption tale “Lion” and “Manchester by the Sea,” which is about a working-class family dealing with tragedy, in the best drama film category.

“La La Land” and “Moonlight” are very different films. But Claudia Puig, film critic at National Public Radio’s FilmWeek and president of the Los Angeles Film Critics’ Association, said they had a key element in common.

“Both are very emotional movies. They move you, they’re poignant, they touch your emotions,” Puig told Reuters.

“One maybe has a much more intellectual, sociological component while the other is escapist, but both are also about love and finding your dreams,” she added.

“Manchester by the Sea” landed five nominations, including for actor Casey Affleck and screenplay and director nods for Kenneth Lonergan.

“It will actually be my first time attending the Golden Globes and I’ve been working for more than 20 years, so this moment isn’t lost on me,” Affleck said in a statement.

DIVERSITY FINDS SPOTLIGHT

After a furor that erupted earlier this year because all 20 acting Oscar nominees were white, the Golden Globes feature numerous actors of color, including Ruth Negga of “Loving,” Ali and Harris of “Moonlight,” and Dev Patel, who is of Indian descent, for “Lion.”

“It’s taken a long time to get to this point and for people who are producing content to really see the value of opening up a bit and being more inclusive,” Ali told Reuters.

Notable omissions from the best drama film field included “Jackie,” a character study of the widow of U.S. president John F. Kennedy in the week after his assassination. Lead Natalie Portman, however, received a best actress nomination.

Martin Scorsese’s “Silence,” the tale of missionaries in 17th-century Japan, and “Fences,” a tense African-American family drama set in the 1950s, were also snubbed in the best drama race. “Fences” did bring nods for actors Denzel Washington and Viola Davis.

More than 90 journalists in the Hollywood Foreign Press Association choose the Golden Globes. Winners will be announced on Jan. 8 at a televised ceremony hosted by Jimmy Fallon.

source: interaksyon.com

Justin Timberlake kicks off concert documentary at Toronto festival

TORONTO | Pop star Justin Timberlake’s new concert documentary was a joy to make because the lack of rigid plot or story structure makes shooting such productions the “purest form of film making,” director Jonathan Demme said on Wednesday.

“Justin Timberlake and the Tennessee Kids,” which premiered at the Toronto International Film Festival on Tuesday, was filmed at the final performances of the singer’s world tour in Las Vegas in January 2015.

It begins with a pre-show band huddle and then launches within minutes into the action-packed dance and musical spectacle from onstage.

“When we film music, to me that’s the purest form of film making,” Demme said in an interview in Toronto with Timberlake. “There’s no script that has to be followed. The only narrative is the music itself.”

Demme, known for “Philadelphia,” “The Silence of the Lambs,” and concert films such as “Stop Making Sense” with Talking Heads, said being in the middle of the show makes even a non-musician such as himself feel part of the music.

“We’re feeling it, so intense, and capturing it, it’s like, ‘We’re in the band now!’” he said.

The film, which will be released on Netflix on Oct. 12, is a culmination of Timberlake’s 134 shows and 2 years on the road on a tour billed as one of the highest-grossing of the decade.

Timberlake said on Wednesday he initially was nervous because he was being himself, instead of portraying characters as he usually does on screen.

“Last night I had a bit of that,” he said. “I was going like, ‘Oh, wow, a lot of people are going to see this now.’”

But Demme had told him that, in a way, performing on stage was playing a character as well, Timberlake said.

“Being on stage is intuitive but it’s also a bigger version of yourself,” he said.

Timberlake is a Demme fan and said the movie maker had captured the concert well, including his supporting cast. While Timberlake was the focus, the film did not neglect the Tennessee Kids, Timberlake’s 25-piece band whose members were given liberal screen time.

“I feel proud for everyone else in the show, the musicians and the dancers, because they’re such a part of what’s happening,” Timberlake said.

“I just kind of feel like I’m standing in the middle of them. I’m really happy for them to be showcased the way that they are.”

source: interaksyon.com

Beyonce celebrates black women in intricate album-film

NEW YORK | Pop superstar Beyonce released a musically diverse new album in the form of a film Saturday, a bold tribute to the perseverance of African American women.

“Lemonade” was advertised only as a special on cable network HBO but, more than halfway through, Beyonce dropped an album by the same name.

The sixth studio album by the 34-year-old pop giant features collaborations with the critically acclaimed rapper Kendrick Lamar, garage rocker Jack White and the young R&B sensation The Weeknd.

It also shows a growing musical range by Beyonce, who performs one song with simple acoustic guitar, but elsewhere goes into hip-hop and electronica.

The movie opens with a bleak picture of betrayal and jealousy as Beyonce dances across New Orleans, smashing up cars as she rages against the infidelities of an unnamed partner.

The subject matter immediately triggered a fury of speculation on social media that “Lemonade” was an elaborate artistic announcement of separation from her husband, rap mogul Jay-Z.

But toward the end of the film, Beyonce heads into a chapter entitled “Forgiveness” as she is seen embracing a sullen-looking Jay-Z.

In a further sign that they are still together, Beyonce released the album of “Lemonade” exclusively on the Tidal streaming service led by Jay-Z.

Beyonce, who appears throughout the film with African American women in roles as speakers, artists and dancers, drew a theme early in “Lemonade” as the film cuts to a snippet from late civil rights leader Malcolm X, who is heard saying: “The most disrespected person in America is the black woman.”

The album is Beyonce’s first full-length release since her chart-topping self-titled album in late 2013.

The “Beyonce” album also brought in a strong visual component, with a series of short films to accompany the music.

But the theme of the 2013 album was far different, as it dealt with passion and monogamy, with the song “Drunk In Love” an ode to marital bliss sung in duet with Jay-Z.

source: interaksyon.com

‘Miles Ahead’ plumbs mute years of jazz icon Miles Davis

LOS ANGELES | Miles Davis, one of America’s most iconic and prolific musicians, went musically mute for several years in the 1970s, and actor Don Cheadle plumbed that silence in his visually jazzy directorial film debut “Miles Ahead.”

“We wanted to find a way to tell the story that would give us the latitude and the license to show a creative person trying to figure out how to be creative again,” said Cheadle, who also stars in and co-wrote the independent film.

In “Miles Ahead,” opening in New York and Los Angeles movie theaters on Friday, Cheadle’s Davis is stuck in creative block.

Set roughly a decade after the 1959 release of Davis’ “Kind of Blue,” which remains the best-selling jazz album of all time, the film finds the mercurial trumpeter burrowed in his New York home following the demise of his marriage to his muse, dancer Frances Taylor, played by Emayatzy Corinealdi.

He’s at war with his record company, hobbled by a deteriorating hip, alternately fueled and numbed by street and prescription drugs, and haunted by history when a reporter of dubious skill (Ewan McGregor) literally bursts through his front door.

Honed during the decade it took to raise the $8.5 million budget, the film’s narrative is a lean, tumbling mix of present, past and reverie punctuated by cocaine and testosterone-fueled high jinks, historical events and Davis’ iconic horn.

“He didn’t know what he was going to say, if he was going to say it, what it was going to sound like when he said it,” Cheadle said of Davis, who worked with musicians from Dizzy Gillespie to Prince before his death in 1991.

Cheadle, who nabbed a best actor Oscar nomination for 2004′s “Hotel Rwanda” and stars in Showtime’s satire “House of Lies,” said he aimed to make a film with “free form and good flow.”

He channeled the musician, known for prodding bandmates to “play what’s not there,” devoting years to learning the trumpet so his fingering would be a match when Davis’ music was dubbed into the film, and choosing actors in the same way that Davis would put together a band.

“It’s like Don Cheadle cast Miles Davis in a movie that Miles Davis might have liked to have been in,” said co-star McGregor. “As a result, the film feels like Miles Davis, it feels like a piece of his music.”

source: interaksyon.com