What do you get when you cross chemical waste with beavers? The answer is the horror-comedy Zombeavers – and Hollywood’s latest viral phenomenon. The trailer for this film about (you guessed it!) zombified beavers has racked up almost 2 million views since it debuted a couple of weeks back. “It’s cool to get the validation,” says first-time director Jordan Rubin, who co-penned the film with regular writing partners Al and Jon Kaplan. “Once something starts getting up in the hits it’s interesting to see how people go, ‘Oh, we might have something here.”
Tag: Industry News (1-10 of 152)
While The Lego Movie and About Last Night may have been neck-and-neck at the box office on Valentine’s Day, it was the former which ultimately won the weekend with awesome ease. In all, The Lego Movie constructed an estimated total of $48.81 million for the three-day period, making for a cumulative total of $129.11 million in its second week of release. About Last Night earned $13 million on Friday, just a smidge less than The Lego Movie, and received an A- cinemascore. But the Kevin Hart-starring romantic comedy could not compete with Lego once love began to disappear from the air, ultimately earning an impressive but not Lego impressive $27 million over the three-day frame.
Box office update: 'Lego' and 'About Last Night' freeze out the competition with $13 million each on Friday
The Lego Movie built a second floor to its box office success yesterday, earning $13.03 million and just beating out the Kevin Hart-starring About Last Night, a remake of the Rob Lowe- and Demi Moore-topped 1986 comedy.
One of the most up-in-the-air Academy Award races in memory just got even more unpredictable. For the first time in its 25-year history, the Producers Guild Awards—generally considered the most reliable predictor of which film will take home the Best Picture Oscar—ended in a tie. Alfonso Cuarón’s Gravity and Steve McQueen’s 12 Years a Slave shared the group’s prize for Best Picture at Sunday night’s ceremony.
Eyebrows were raised with both surprise and suspicion yesterday when it was announced that the track “Alone Yet Not Alone” — from a faith-based film of the same name — had gained an Oscar nomination, beating out tunes by both Taylor Swift and Coldplay, among others. The surprise was due to the fact that very few people had heard of either the song or its parent film. The suspicion? That the song’s cowriter Bruce Broughton had used his position as a former chief of the Academy’s music section to egregiously game the voting system and convince people to tick the box for his song.
Following Thursday’s Instagram tease of the new trailer for X-Men: Days of Future Past, we have an exclusive look at more aspects of the highly anticipated new film, which hits theaters May 23. Patrick Stewart maneuvers in his new hover-chair as Professor X, Jennifer Lawrence dons full blue mode (and yellow eyes) as Mystique, and Game of Thrones star Peter Dinklage addresses the U.S. president as Bolivar Trask, the creator of mutant-hunting robots called Sentinels.
The new film, inspired by Chris Claremont and John Byrne’s beloved 1981 comic-book storyline of the same name, unites the cast from the original X-Men films (Stewart, Hugh Jackman, Halle Berry, Ian McKellen, etc.) with those from 2011′s prequel First Class (Lawrence, James McAvoy, Michael Fassbender, Nicholas Hoult) in a time-bending adventure. The plot follows Wolverine (Jackman) as he travels from the bleak future to the 1970s, sent by Professor X (Stewart) and Magneto (McKellen) to change certain key events.
Bryan Singer, returning to the franchise after directing the first two X-Men films, says Days of Future Past will take viewers on an emotional ride. “The stakes are high, not just for the world and the future but also the stakes of some of the characters,” says the director. “Clearly there was enormous fragmentation between the characters that happened at the end of First Class. That left the characters on a certain path. This movie will show you where those paths lead.”
Check out six brand-new seconds from the movie below: READ FULL STORY
Earlier today, Ryan Brooks and Gold Glove Productions filed a lawsuit at the U.S. District Court for the Central District of California claiming that the concept for Warner Bros.’ 2012 film Trouble With the Curve was stolen from three of the production company’s copyrighted scripts as well as a concept reel.
The lawsuit alleges that the script for Trouble With the Curve, which was credited to Randy Brown, was originally for a film titled Omaha, written by Don Handfield. Both scripts focus on a father-daughter relationship in the middle of a baseball story, and now, it’s being alleged that he was involved in changing the script into what would become Trouble With the Curve, before Brown’s name was stamped on the work.
The lawsuit claims, “Don Handfield’s writing style, tics, and persona are like fingerprints and DNA all over Trouble With the Curve, which steals the very story noted above from Omaha, including aspects from notes by Handfield and Brooks when they worked together on Omaha and earlier treatments of Omaha (when entitled Run Down).” It continues: “In short, Don Handfield helped write the original, copyrighted work Omaha for Plaintiff Gold Glove Productions as a requested work-for-hire but had a falling out with its founder and creator of that project, college baseball standout, Plaintiff Brooks. Thus, Don Handfield switched the setting, adjusted the trimmings, and gave birth to an infringing counterfeit version of the same story.”
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As the Toronto Film Festival winds down this weekend, we’ve rounded up a list of the deals coming out of the annual fest. For a complete look at all the deals, combine this list with our first deal report of the week. Here’s what’s happened since:
A24 is close to gaining the U.S. distribution rights to Jake Gyllenhaal’s Enemy, which also stars Melanie Laurent and Sarah Gadon and tells the story of a history professor who sees his double in a film and decides to track him down. It’s based on an adaptation of ose Saramago’s novel The Double. [Variety]
Roadside Attractions has acquired U.S. rights to Fred Schepisi’s romance, Words and Pictures, which stars Clive Owen and Juliette Binoche as a writer struggling with losing his talent and an artist struggling with her body’s abilities (or lack thereof).
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The Toronto Film Festival is off and running, which means deals are being made. Here’s a look at what’s happened so far [Updated]:
The Weinstein Company has picked up the Nicole Kidman-Colin Firth pic The Railway Man, about a British officer still traumatized by his time as a POW at a Japanese camp. The true story is based on the autobiography of Eric Lomax. In the press release announcing the news Harvey Weinstein said: “After watching people jump to their feet applauding when the credits rolled with tears in their eyes, we knew this was a film we wanted to help take to audiences across America.” [Deadline]
Harvey Weinstein and co will also likely take The Disappearance of Eleanor Rigby, starring Jessica Chastain and James McAvoy as a struggling married couple, told across two films His and Hers, from their different perspectives. [Deadline]
Lionsgate and Roadside Attractions will likely release the Jennifer Aniston-starrer Life of Crime, an adaptation of Elmore Leonard’s The Switch, directed by Daniel Schecter and co-starring Mos Def, Tim Robbins, John Hawkes, and Isla Fisher. In the story, a pair of criminals kidnap the wife of a Detroit real estate developer hoping to secure a hefty ransom. Things get complicated when her husband refuses to pay. [Deadline]
Open Road Films will distribute Eli Roth’s horror pic The Green Inferno, about a group of student activists who go to Peru and happen upon some unwelcoming (or, welcoming) cannibals. [Deadline]
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