Posts

After early stints with the Associated Press, Newsweek, the Los Angeles Times, and The New York Observer, Finke rose to prominence when she launched her Deadline Hollywood column for LA Weekly in 2002. The column was notable for Finke’s distinctive voice, unflinching coverage of Hollywood’s most powerful figures, and willingness to shatter industry norms. Finke eventually spun off the column into a blog first known as Deadline Hollywood Daily and later truncated to Deadline Hollywood, which allowed her to break stories without the rigidity of a scheduled column....

“Immediately, I knew that Cash wasn’t for me,” the actor told IndieWire during a recent interview. “I was playing Mac in ‘High Fidelity’ [at the time] and I felt that I was [now] playing someone who was evolved and older. He just felt so young.” Clay, soon to become Muhammad Ali, was young at the time: He had just turned 22 and Ben-Adir had already passed 30. While the British actor didn’t vibe with Cassius Clay, he couldn’t tear his eyes away from the scenes that involved the boxer’s spiritual guide, then-Nation of Islam leader Malcolm X....

Critics Choice and BAFTA nominee Aunjanue Ellis plays Brandi Williams, the nurturing mother of aspiring tennis stars Venus and Serena Williams in Reinaldo Marcus Green’s sports drama “King Richard” (Warner Bros./HBO Max). The scene that clinched her nomination: Brandi challenges her overbearing husband Richard (Will Smith) in a kitchen standoff. BAFTA nominee Jessie Buckley is a young academic mother (played as an older woman by Olivia Colman) in Maggie Gyllenhaal’s Elena Ferrante adaptation “The Lost Daughter” (Netflix)....

“This is the part where I’m supposed to put a smile on,” the 62-year-old director said in a recent interview. He attempted a dry laugh that did not come naturally to him. “I would love for a different type of people to see this film. If they’ll watch it because of this Oscar thing, great.” And they should. Costa has been making rich, ambitious documentary-fiction hybrids since the ‘90s, but they rarely get noticed much beyond the festival circuit....

Why should the sex industry be any different? In “Pleasure,” Swedish writer/director Ninja Thyberg dives head-first into the Los Angeles porn industry to tell the story of 19-year-old Bella Cherry (Sofia Kappel), who dreams of becoming the next big porn star. When the film premiered last year at the Sundance Film Festival, the headline for Variety’s review, written by Owen Gleiberman, called “Pleasure” a “documentary-like drama,” describing it as a “disturbingly authentic … explicit piece of anthropological voyeurism....

The top-grossing domestic film was “Bad Boys for Life,” a January release that became the only title to reach $200 million. The only other film to pass $100 million was “Sonic the Hedgehog” which, released in February, approached $150 million. “Onward” and “The Invisible Man” were doing well in mid-March when theaters closed almost overnight. Once (some) theaters reopened, the best gross was “Tenet,” just shy of $58 million. “Wonder Woman 1984,” which faced fewer available theaters and a worse COVID-19 situation than “Tenet,” will end up closer to $40 million....

“You’ve got Maverick, all right?” Tarantino’s character says. “He’s on the edge, man. He’s right on the fucking line, all right? And you’ve got Iceman, and all his crew. They’re gay, they represent the gay man, all right? And they’re saying, go, go the gay way, go the gay way. He could go both ways…Kelly McGillis, she’s heterosexuality. She’s saying: no, no, no, no, no, no, go the normal way, play by the rules, go the normal way....