Some easter eggs and other little facts from Boogie Nights, Pulp Fiction, Captain America, Silence of the Lambs, Shawshank Redemption and RoboCop. “Pulp Fiction” and “Kill Bill” connection to “Fox Force Five” In “Boogie Nights”, Don Cheadle is extremely dedicated when Luis Guzmán asks him to ‘watch the phone.’ Nick Fury’s tombstone in “Captain America: […]
When you’re busy convincing witches to cast a spell on Donald Trump while also completing a new album, it’s safe to say you might need a little vacation at some point.
Lana del Rey found herself in Coachella last weekend for the first round of the festival, dancing along with the rest of the world. But while frolicking in the desert seems like a great way to unwind, Lana apparently had a lot on her mind—enough to cause her to stop her travels to write a new tune and share it with us all.
Director Ron Howard may have found his next project, an adaptation of J.D. Vance‘s memoir “Hillbilly Elegy: A Memoir of a Family and Culture in Crisis.” Imagine Entertainment acquired the book after producers Brian Grazer and Erica Huggins pursued it. They’ll both produce the film alongside Howard.
Below, learn more about the Hillbilly Elegy movie.
According to Deadline, Imagine Entertainment came on top following a bidding war for Vance’s New York Times bestseller. The book has struck quite a chord with people, for good and bad. Some viewed the book as a symbol for those in Rust Belt supporting Donald Trump, although Vance was not a supporter. Throughout last year’s presidential election, Vance was called the “Trump whisperer,” as he was often explaining the President’s supporters.
Vance, who’s now a political contributor on CNN, overcame economic and social hardships throughout his youth. The author grew up in Middletown, Ohio, before him and his family moved to the Appalachian town of Jackson, Kentucky. Growing up, his grandmother taught him the importance of education, which led to him one day graduating from Ohio State University and Yale Law School, after he served in the Marine Corps.
Here’s a part of Vance’s memoir’s synopsis:
Hillbilly Elegy is a passionate and personal analysis of a culture in crisis—that of white working-class Americans. The decline of this group, a demographic of our country that has been slowly disintegrating over forty years, has been reported on with growing frequency and alarm, but has never before been written about as searingly from the inside. J. D. Vance tells the true story of what a social, regional, and class decline feels like when you were born with it hung around your neck.
The Vance family story begins hopefully in postwar America. J. D.’s grandparents were “dirt poor and in love,” and moved north from Kentucky’s Appalachia region to Ohio in the hopes of escaping the dreadful poverty around them. They raised a middle-class family, and eventually their grandchild (the author) would graduate from Yale Law School, a conventional marker of their success in achieving generational upward mobility.
But as the family saga of Hillbilly Elegy plays out, we learn that this is only the short, superficial version. Vance’s grandparents, aunt, uncle, sister, and, most of all, his mother, struggled profoundly with the demands of their new middle-class life, and were never able to fully escape the legacy of abuse, alcoholism, poverty, and trauma so characteristic of their part of America. Vance piercingly shows how he himself still carries around the demons of their chaotic family history.
A screenwriter hasn’t been hired yet to adapt Vance’s memoir. In a statement to Deadline, producer Erica Huggins said she believes the author’s story, “with compassion and self-awareness,” illuminates “the plight of America’s white working class, speaking directly to the turmoil of our current political climate.”
This marks the second true story Howard has become involved with recently. The director is also considering a Zelda Fitzgerald biopic starring Jennifer Lawrence. The director behind Frost/Nixon, Apollo 13, and Rush often gravitates towards powerful true stories, and more often than not, they make for his most inspired work.
One of the biggest film-related arguments of the past year was whether or not Ezra Edelman’s superlative documentary O.J.: Made in America should have been eligible for an Academy Award for Best Documentary Feature. There were passionate advocates on both sides, and the nearly eight-hour doc ended up winning the Oscar. But it seems like that argument may only happen once, because the Academy has just adopted a new rule that means multi-part documentaries can’t win Oscars in the future.
The Hollywood Reporter brings word about the new rule change, which states “multi-part or limited series are not eligible for awards consideration.” Moving forward, producers will no longer be allowed to put multi-part documentaries in theaters to earn Oscar consideration.
There is a slight catch:
There does, however, appear to be one way a doc like O.J. could make the cut. O.J. played numerous festivals where it was regarded as a film in the run-up to its Academy-qualifying run, and if producers of a multi-part project followed that route, they could still argue to the branch’s exec committee that their film deserved consideration.
O.J.: Made in America premiered at the 2016 Sundance Film Festival as a film, airing in its entirety with one intermission taking place during the screening. After making a few other stops on the festival circuit, the documentary had a limited theatrical run in both New York and Los Angeles before eventually making its way to television, airing in five parts across ABC and ESPN.
Supporters said that the cohesive subject matter and the fact that it premiered as a film (as opposed to just being dropped into theaters for a qualifying run later) were enough for it to be considered a movie, but detractors claimed that since most people saw it broken up in parts on television, it should be considered a TV show or limited series.
New rules be damned: I still consider O.J.: Made in America a movie, and it was one of my favorite films of 2016. It’s a staggering piece of work that earns its length by providing essential context and setting up the state of the country leading up to O.J. Simpson’s murder trial, and I truly think everyone should watch it (even if you’re O.J.’ed out after watching FX’s American Crime Story: The People vs. O.J. Simpson).
There was apparently such an outcry about the film vs. TV distinction in the documentary community that the Academy needed to step in to try to prevent this from happening again. I can understand where they’re coming from; film fans should never want discussion about a movie to get buried under a larger controversy. (See also: coverage of Moonlight‘s historic Best Picture win being partially overshadowed by the bungled announcement during the ceremony.)
But it sounds like instead of putting this issue to bed once and for all, this new rule leaves a little leeway for future docs to possibly squeeze through. So it’s probably only a matter of time before this argument rears its head once again. What do you think? Is O.J.: Made in America a movie? Should future projects like it be eligible for Oscars?
The Razzies used to be a fun way to make fun of bad movies, but more often than not they’ve become a way to turn high profile movies into easy targets, usually after critics have already bashed them to death. Even so, some people still like to see who ends up with these awards, and the 37th round of “winners” has been announced ahead of the Academy Awards tonight.
It should come as no surprise that the 2017 Razzie winners include a handful of trophies for Batman v Superman: Dawn of Justice. The movie became quite the punching bag on the internet and still sparks arguments to this day. Frankly, I’m not sure that the movie is worth this much hate, simply because it’s not downright terrible. Independence Day: Resurgence is a far worse movie and had an even worse screenplay. But the good news is that Batman v Superman wasn’t even deemed bad enough to take home worst picture. Find out which film landed the big prize after the jump.
It was the “documentary” Hillary’s America: The Secret History of the Democratic Party from political troll and felon Dinesh D’Souza that took home Worst Picture, and the film also rounded up three more wins, tying with Batman v Superman for four Razzies each. Regardless of Dinesh D’Souza is a convicted felon and a despicable troll. Anything he does is the worst, so I’m glad the Razzies reward this movie instead of Batman v Superman, which really isn’t awful, just misguided.
The one award that I think is truly out of place is giving Kristen Wiig the Worst Supporting Actress award for Zoolander No. 2. First of all, I’m a staunch defender of the sequel, because I think it accomplished exactly what it set out to do. It’s just as goofy as the first movie, and I don’t think it deserved so much hate. Even if you didn’t like it, Kristen Wiig is easily one of the best parts of the movie, so that award just doesn’t make sense here.
Anyway, here’s the video announcement of all the winners, including Dinesh D’Souza accepting his awards:
If you don’t want to watch, here’s the list of 2017 Razzie winners bolded among the other nominees:
WORST PICTURE Batman v Superman: Dawn of Justice Dirty Grandpa Gods of Egypt Hillary’s America: The Secret History of the Democratic Party Independence Day: Resurgence Zoolander No. 2
WORST ACTOR Ben Affleck / Batman v Superman: Dawn of Justice Gerard Butler / Gods of Egypt & London Has Fallen Henry Cavill / Batman v Superman: Dawn of Justice Robert de Niro / Dirty Grandpa Dinesh D’Souza [as Himself] Hillary’s America: The Secret History of the Democratic Party Ben Stiller / Zoolander No. 2
WORST ACTRESS Megan Fox / Teenage Mutant Ninja Turtles: Out of the Shadows Tyler Perry / BOO! A Madea Halloween Julia Roberts / Mother’s Day Becky Turner [as Hillary Clinton] Hillary’s America: The Secret History of the Democratic Party Naomi Watts / Divergent Series: Allegiant & Shut-In Shailene Woodley / Divergent Series: Allegiant
WORST SUPPORTING ACTRESS Julianne Hough / Dirty Grandpa Kate Hudson / Mother’s Day Aubrey Plaza / Dirty Grandpa Jane Seymour / Fifty Shades of Black Sela Ward / Independence Day: Resurgence Kristen Wiig / Zoolander No. 2
WORST SUPPORTING ACTOR Nicolas Cage / Snowden Johnny Depp / Alice Through the Looking Glass Will Ferrell / Zoolander No. 2 Jesse Eisenberg / Batman v Superman: Dawn of Justice Jared Leto / Suicide Squad Owen Wilson / Zoolander No. 2
WORST SCREEN COMBO Ben Affleck & His BFF (Baddest Foe Forever) Henry Cavill / Batman v Superman: Dawn of Justice Any 2 Egyptian Gods or Mortals / Gods of Egypt Johnny Depp & His Vomitously Vibrant Costume / Alice Through the Looking Glass The Entire Cast of Once Respected Actors / Collateral Beauty Tyler Perry & That Same Old Worn Out Wig / BOO! A Madea Halloween Ben Stiller and His BFF (Barely Funny Friend) Owen Wilson / Zoolander No. 2
WORST DIRECTOR Dinesh D’Souza and Bruce Schooley / Hillary’s America: The Secret History of the Democratic Party Roland Emmerich / Independence Day: Resurgence Tyler Perry / BOO! A Madea Halloween Alex Proyas / Gods of Egypt Zack Snyder / Batman v Superman: Dawn of Justice Ben Stiller / Zoolander No. 2
WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL Alice Through the Looking Glass Batman v Superman: Dawn of Justice: Dawn of Justice Fifty Shades of Black Independence Day: Resurgence Teenage Mutant Ninja Turtles: Out of the Shadows Zoolander No. 2
WORST SCREENPLAY Batman v Superman: Dawn of Justice Dirty Grandpa Gods of Egypt Hillary’s America: The Secret History of the Democratic Party Independence Day: Resurgence Suicide Squad
Barry L. Bumstead Award For A Movie That Cost A Lot And Lost A Lot — “Misconduct”
The Razzies Redeemer Award — Mel Gibson for “Hacksaw Ridge.”
Imagine how America would react if Australia was mean to the late Maurice Sendak or even Eric Carle, author of The Very Hungry Caterpillar.
That’s how the latter feels now, after hearing that beloved children’s book author Mem Fox was apparently left in tears after being detained for hours at Los Angeles Airport and accused of having the wrong visa in early February.
Just 24 days into Donald Trump’s presidency, more than 680 undocumented immigrants were forced to leave the country in a series of mass raids. That’s an average of about 28 people each day.
Now, 27-year-old web developer and designer Celso Mireles, once an undocumented immigrant himself, is developing an open source app that will show people exactly when and where these raids are happening, as Vice‘s Motherboardreports.
While still in the development phase, RedadAlertas (or «raid alerts») plans to give verified, secure information about when the government sends in U.S. Immigration and Customs Enforcement (ICE) officers to round people up. Read more…