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The Oscar winner previously clarified that she was “extremely fortunate and happy” with her salary deal for the Adam McKay film, which gave Lawrence top billing but a $5 million-less paycheck compared to co-star Leonardo DiCaprio. Still, Lawrence said in a new Vogue cover story that such pay gaps remain frustrating overall, citing that she was paid less than her male co-stars on “American Hustle” in 2013 for a role which Lawrence earned an Oscar nod for....

Mickey Rourke’s worn-out griping in “The Wrestler” that he’s a “broken-down piece of meat” might put you somewhat in the headspace of the character that Clifton Collins, Jr. plays in “Jockey.” He’s a, as the title promises, jockey, but at the end of his tether, and grappling with the bodily consequences of years of injuries sustained from falling off the horse both proverbial and literal, and trying to get back up on it one more time....

During the FreedomFest conference in Las Vegas (via New York Post), Cleese told Fox News Digital that comedians do not have the freedom to be funny in 2022. “There’s always been limitations on what they’re allowed to say,” Cleese said. “I think it’s particularly worrying at the moment because you can only create in an atmosphere of freedom, where you’re not checking everything you say critically before you move on. What you have to be able to do is to build without knowing where you’re going because you’ve never been there before....

“If people want to pull up stuff, go back to the same tweets of old, go ahead. There is nothing I can do,” Hart told The Sunday Times. “You’re looking at a younger version of myself. A comedian trying to be funny and, at that attempt, failing. Apologies were made…I understand now how it comes off. I look back and cringe. So it’s growth. It’s about growth.” Hart continued, “I personally don’t give a shit about [cancel culture]…If somebody has done something truly damaging then, absolutely, a consequence should be attached....

“I spent four or five years on this book, ‘Killers of the Flower Moon,’ which everybody should read. It’s a wonderful book,” Roth said. “My screenplay I think was accurate to the book. It’s the story of Osage Indians, 1921, the poorest people in America who discover oil in this terrible land in Oklahoma where they’ve been driven to. Then every killer in America comes to kill 184 of them for their money, but this really heroic guy comes in [to help]....

On paper, that might sound like a morbid and/or cynical exercise in mining public content from private loss. On screen, however, Timoner’s warm, open, and unexpectedly gentle “Last Flight Home” rescues a rare grace from the inherent performativity of saying goodbye. The director’s camera encourages her family to make themselves vulnerable and meet the moment head-on, while legal euthanasia offers them enough control over the timeline to let go of their precious Eli with love in both hands....

“He’s crazy, but he’s the best actor I’ve ever met. Everything he does on the set has a reason,” Ramsay said at the festival. “It’s much more difficult when you come up with an original idea like this, but it’s impossible not to get excited when you’re preparing a movie with Joaquin.” Ramsay and Phoenix earned great acclaim with “You Were Never Really Here,” which premiered at the 2017 Cannes Film Festival and won Phoenix the Best Actor prize....