Feb 23 2012 08:53 PM ET

'Bully' doc loses 'R' rating appeal; Weinstein Co. threatens to leave MPAA

Filed under: Movies and tagged: , ,
the-bully-project

Image Credit: The Weinstein Company

The Weinstein Company lost an appeal this morning to have the MPAA rating of its upcoming documentary Bully changed from R to PG-13, the studio announced. The film, about the epidemic of adolescent bullying in America, was rated R for “some language.”

TWC co-chairman Harvey Weinstein and one of the bullied children in the film, Alex Libby (pictured), delivered statements to the MPAA’s Classification and Rating Appeals Board today, arguing that an R rating would prevent Bully from reaching the adolescent audience that would most benefit from the movie. (The studio was planning on screening the documentary at various middle and high schools.) However, for an MPAA rating to be overturned, a two-thirds vote is required — and Bully was one vote short. READ FULL STORY »

Feb 23 2012 08:30 PM ET

Sacha Baron Cohen's 'Dictator' character to post video response to 'the Academy of Motion Picture Arts and Zionists' after Oscars ban

Filed under: Movies, News and tagged: , ,
THE-DICTATOR

Image Credit: Mark Seliger

Sacha Baron Cohen is milking his public standoff with the Academy for all the free publicity it’s worth. The comic provocateur reportedly wanted to walk the red carpet at this Sunday’s Oscars as his character from Paramount’s upcoming comedy The Dictator, a Middle Eastern strongman named Admiral General Aladeen, but the Academy put the kibosh on that plan, saying it would rescind its invitation to Baron Cohen (who is one of the stars of the Best Picture-nominated Hugo) if he went ahead with the stunt. Now comes word that tomorrow morning Baron Cohen, in the guise of the character, will post a video response to “the Academy of Motion Picture Arts and Zionists” on the web site for the fictitious Republic of Wadiya. Check back here tomorrow for the video.

Feb 23 2012 07:00 PM ET

'John Carter' premiere (or, the moment we accepted Taylor Kitsch's short hair): Pics!

Filed under: Movies and tagged: ,
taylor-kitsch

Image Credit: Alberto E. Rodriguez/Getty Images

As we get closer to John Carter‘s March 9 release date, we look forward to seeing more photos of Taylor Kitsch, even with his short hair. After last night’s premiere in Los Angeles, we have officially accepted it. Which is why we’re gonna go ahead and blow that photo up below.  READ FULL STORY »

Feb 23 2012 06:43 PM ET

Box office preview: 'Tyler Perry's Good Deeds' and 'Act of Valor' head into battle

good-deeds

Image Credit: Quantrell Colbert

Thanks to the arrival of four new movies — Act of Valor, Gone, Tyler Perry’s Good Deeds, and Wanderlust — and some strong holdovers, the box office should maintain a healthy amount of depth this weekend, with many of grosses in the $10-20 million range. Still, we’re probably not looking at another frame like two weeks ago, when The Vow and Safe House both shattered industry expectations.

Which films will be on top, and which will more likely flop? Read on for my box office predictions:

1. Tyler Perry’s Good Deeds – $18 million

Tyler Perry is as consistent a box office draw as anyone in Hollywood. His movies usually debut right around $20 million — with his Madea movies scoring substantially higher grosses. His last non-Madea drama, For Colored Girls, opened with $19.5 million in November 2010, and although Good Deeds hasn’t been drumming up quite the same amount of excitement, I’m not counting it out. Online buzz for the film is rather low, but that is likely because Perry’s primary demographic, older women, aren’t as active on social media sites. If there’s one thing that’s certain, it’s that history has taught us not to doubt Mr. Perry’s appeal. Still, I just don’t see the heavier Good Deeds breaking out the same way as comedies like Why Did I Get Married?, which opened with $21.4 million. Give Deeds, which is playing in 2,132 theaters, a slightly smaller $18 million. (Lionsgate did not disclose budget information for this release.)

2. Act of Valor – $17 million

Relativity’s Act of Valor is an ambitious project. The film was financed for $12 million by the Bandito Brothers, but Relativity acquired it for $13 million and invested another $30 million in promotion — including a high-profile Super Bowl ad. The film’s major appeal comes from the fact that it stars real live Navy SEALs instead of trained Hollywood actors. Relativity has targeted males of all ages with aggressive campaigns in sports, gaming communities, and country music. (Keith Urban just released a music video for a song on the film’s soundtrack.) The last high-profile modern war movie, Green Zone, opened with $14.3 million on its way to an underwhelming $35.1 million total. But there is a key difference between Green Zone and Act of Valor that make me think the latter film will exceed the box office returns of the former.

Green Zone‘s story followed the invasion of Baghdad in 2003, and when it debuted, America was still very much present in Iraq. The film offered no escape from the real Middle Eastern conflict that inundated our news media every day. Act of Valor, meanwhile, focuses on a fictional international terrorist plot, which the SEALs are trying to stop. Unrooting the situation from specific current events makes it a more palatable property for many audiences. Act of Valor could break out and burst into the number one spot, but I’ve learned better than to bet against Tyler Perry. Act should start with a sturdy $17 million out of 3,039 theaters over its first three days.

3. Journey 2: The Mysterious Island – $13.8 million

The 3-D family film held up very well last weekend, and it shot to number one on President’s Day with a $6.1 million haul. With no new kiddie offerings this weekend, Journey may dip by a scant 30 percent to $13.8 million in its third weekend, which would lift its total to about $77 million.

4. Safe House – $13.5 million

The $80 million Denzel Washington thriller won’t top the box office for another weekend, but it should still do solid business in its third frame. Due to direct competition from Act of Valor, Safe House may fall by about 45 percent this weekend, leading to a $13.5 million take, which would put it at just about $100 million total.

5. The Vow –$12.5 million

This romantic drama will also pass the $100 million mark this weekend. A likely 45 percent drop would give the Rachel McAdams/Channing Tatum love story $12.5 million.

6. Wanderlust – $11 million

Wanderlust has a lot working in its favor: It stars Jennifer Aniston and Paul Rudd — both hugely likable comedic stars, it has no competition from any other R-rated comedies, and it’s earning some great reviews. But then, Wanderlust has a few things working against it as well: It has a strange title that many audiences won’t understand, it’s only getting released in a slim 2,001 theaters, and online ticket sales for the film haven’t been especially strong. Still, the comedy, which Universal produced for somewhere in the $30-40 million range, has been well-marketed, and it may laugh up an $11 million debut.

Gone, meanwhile, will likely struggle over its first three days. The film, made for a reported $28 million, hasn’t built much buzz leading up to its release — perhaps due to the fact that, judging from ads and trailers, it looks like a generic thriller. Star Amanda Seyfried’s last two films, Red Riding Hood ($37.7 million) and In Time ($37.5 million), have both majorly underperformed, but Gone seems headed to even worse results. The Summit title may start with about $6 million.

What are you planning on seeing this weekend?

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Feb 23 2012 04:27 PM ET

Oscar 2012 Behind the Scenes: Secrets of the sets of 'The Artist'

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Image Credit: Peter Iovino

The Artist celebrates the oldest of old Hollywood, an era when moviemaking magic was still very much in its infancy. Re-creating that era — both the real-world city streets and the era’s movie sets — was up to the film’s Oscar-nominated production designer Laurence Bennett, who came up with an unorthodox strategy for capturing the allure of the period in a black-and-white film. Click here for our annotated conversation with Bennett about one of the iconic movie sets of the era,  and click here for our annotated conversation on the grand exterior of the La Reina Theater. Some of the details may surprise you!

Read more:
Oscars 2012 Behind the Scenes: How do ‘The Artist’ costumes look in color?
EW Special Coverage: Oscars 2012
Oscars 2012: Behind the Scenes

Feb 23 2012 02:57 PM ET

Oscars 2012 Behind the Scenes: How do 'The Artist' costumes look in color?

Peppy-interview

Image Credit: The Weinstein Company

The Artist is if nothing else a joyous celebration of the oldest of old Hollywood, of an era when moviemaking magic was still very much in its infancy. One of that era’s lost arts: Costuming in black-and-white. How do you know how a piece of colored fabric will look when its rendered only in grey tones? We spoke with Oscar-nominated costume designer Mark Bridges (previous credits include The Fighter, There Will Be Blood, and Boogie Nights) about how he designed the frocks worn by Bérénice Bejo as Peppy Miller, both when she’s a nobody wannabe actress who has an accidental encounter with mega-star George Valentin (Jean Dujardin), and when she herself is a major rising movie star.  READ FULL STORY »

Feb 23 2012 01:30 PM ET

Oscars 1972: Peter Bogdanovich on 'The Last Picture Show' and that legendary Charlie Chaplin tribute

Peter-Bogdanovich

In 1968 Esquire film writer and MoMA film curator Peter Bogdanovich decided to follow the example of critics-turned-filmmakers François Truffaut and Jean-Luc Godard and try his hand at directing. Four years after moving to Hollywood, Bogdanovich’s second feature film, The Last Picture Show, received eight Oscar nominations, including Best Picture and personal nods for Best Director and for co-writing the Adapted Screenplay. Though the film lost the top prize to The French Connection, the Academy did honor The Last Picture Show with Oscars for Supporting Actor Ben Johnson and Supporting Actress Cloris Leachman at the ceremony on April 10, 1972 hosted by Helen Hayes, Alan King, Sammy Davis Jr., and Jack Lemmon at the Dorothy Chandler Pavilion. However, the 44th Academy Awards may be best remembered for the loving tribute to Charlie Chaplin after his 20 years in exile, which Bogdanovich himself organized to honor the man many consider the first true movie star. Bogdanovich shares his memories of that night with EW.

I had been to the Oscars once before in the late ’60s. I can’t remember which one. They all merge together. Unless you’re nominated, the Oscars are no fun to go to at all. You can see it better on TV. At least you don’t have to go through that horrible red carpet.

I can’t remember who hosted the night I was nominated in 1972. They weren’t Bob Hope. READ FULL STORY »

Feb 23 2012 12:00 PM ET

Imagine a world in which 'Bridesmaids' can win Best Picture...

Filed under: Movies and tagged:
bridesmaids-melissa-mccarthy

Image Credit: Suzanne Hanover/Universal Pictures

Take a minute, if you will, to imagine this year’s Academy Awards ceremony as it might unfold in a parallel universe. On this alternate-dimension Oscar night, there are five Best Picture nominees: The Artist, Bridesmaids, The Descendants, The Help, and Rise of the Planet of the Apes. In a vividly suspenseful contest that even the sharpest Oscar prognosticators all agreed was too close to call, the big award ends up going to a movie that received lavish critical praise, that entertained huge audiences in a splendid fashion, and that single-handedly redefined the landscape for women in Hollywood. When the award is announced, it’s greeted by war whoops of joy — and also by laughter, tears, and a great many dropped jaws. I’m speaking, of course, of Bridesmaids.

You think I’m joking! Well, members of the Academy, the joke’s on anyone who thinks that the scenario I just described would somehow make you look bad. But now let’s talk about how this year’s Oscar night probably will unfold. READ FULL STORY »

Feb 23 2012 11:06 AM ET

'Comic-Con Episode IV: A Fan's Hope' trailer: Morgan Spurlock's Comic-Con documentary

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I admit to being a bit skeptical about the idea of relentless self-promoters Stan Lee and Morgan Spurlock making a documentary about the revelrous self-promotion orgy known as Comic-Con. But the debut trailer for Comic-Con Episode IV: A Fan’s Hope focuses mostly on the regular citizens of the annual unreality invasion. One guy arrives with a bag full of drawings, looking to make a name for himself. One guy’s there for the collecting, and deadpans, “My wife’s not too ecstatic about this whole toy-collecting thing.” And then there’s the lady who wants to show off her clothing designs by cosplaying FemShep’s Mass Effect N7 Armor. Don’t understand a single word I just said? Me neither! Also, Kevin Smith. Watch the trailer: READ FULL STORY »

Feb 23 2012 11:00 AM ET

Oscars 2012 Behind the Scenes: 'Real Steel' visual effects supervisor Erik Nash on bringing robot boxing to life

real-steel

Each year, the Oscars recognize A-list talent we regularly see on screen, on the red carpet, and in tabloids. But the Academy Awards also reward those who work behind the scenes: the writers, editors, costume designers, and others who help create trophy-worthy movie magic. This Oscars season, we’ll be toasting those off-screen artists by delving into the hidden secrets that helped create the on-screen magic that we — and the Academy — fell in love with. For more access backstage during this Oscars season, click here for EW.com’s Oscars Behind the Scenes coverage.

Real Steel director Shawn Levy knew he succeeded in telling the story of a washed-up fighter (Hugh Jackman) who redeems himself in the eyes of his estranged son (Dakota Goyo)–they partner to train a boxing robot–when that robot, named Atom, tested as well with movie audiences as Jackman and Goyo. Bringing Atom to life–a character that doesn’t speak or have facial expressions–involved a combination of animatronic and CG robots and the skill of motion-capture performers, puppeteers, and animators. The end result earned the film’s visual effects team an Oscar nomination. EW spoke with Digital Domain visual effects supervisor Erik Nash, who shares the nod–his second (he was also nominated for I, Robot)–with John Rosengrant, Dan Taylor, and Swen Gillberg. READ FULL STORY »

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