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Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixLana Condor said she wanted to show her character “stepping into the world as a young woman choosing herself for the first time.”Credit…Ricardo Nagaoka for The New York TimesSkip to contentSkip to site indexExit InterviewLana Condor Says Goodbye to ‘To All the Boys’The actress discusses being one of the few Asian-Americans to headline a rom-com and pushing to make Lara Jean more independent.Lana Condor said she wanted to show her character “stepping into the world as a young woman choosing herself for the first time.”Credit…Ricardo Nagaoka for The New York TimesSupported byContinue reading the main storyFeb. 12, 2021, 2:31 p.m. ETThe first two films in the Netflix trilogy “To All the Boys I’ve Loved Before” pretty much checked every box on the teen rom-com boy-drama bingo card: a boy next door, a boy doomed to be on the losing end of a love triangle and, most important, the boy who helps hatch a fake dating plot that inevitably becomes … not so fake.So when it came time to film the final installment, Lana Condor, who plays Lara Jean, the girl at the center of it all, was just about ready for a change of pace: “It’s called ‘To All the Boys,’” the actress, 23, said in a Zoom interview on Monday. “It’s been about the boys. From Day 1. We get it.”“To All the Boys: Always and Forever,” which begins streaming Friday, sets aside Team Josh and Team John Ambrose and Team Peter in favor of Team Lara Jean, as she finds herself on the brink of some major life decisions with high school graduation approaching. She’s come a long way from the hopeless romantic who wrote down her feelings in sweeping love letters rather than acting on them, a habit that set off the antics of the first film when the letters inadvertently made their way to their recipients.Condor in character as Lara Jean, in the final installment of the trilogy.Credit…Sarah Shatz/NetflixA lot has changed for Condor, too. She became a star overnight with the first installment, in 2018, and post-“To All the Boys,” she’s set to star in and executive produce a new comedy series for Netflix.But first, after several years of a whirlwind work schedule, she’s focused on settling into her new home in Seattle with her boyfriend, the actor Anthony De La Torre, and her dog, Emmy. As she prepares to say goodbye to the character that has defined her career so far, Condor discussed what it means to be one of the few Asian-American actresses to headline a romantic comedy and why the Lara Jean of “Always and Forever” is her favorite. These are edited excerpts from the conversation.This time last year, you surprised fans at the Paris Theater in New York for a screening of the second film of the trilogy — an experience that seems pretty foreign now. How does it feel looking back?That was really emotional and made me feel just overwhelmed with joy. I’ve put so much of myself into these movies because I love them. And they’ve also changed my life. But looking back, I was running on fumes at that point, because it was shooting the movies back-to-back and then going on the big press tour. I wish that I had taken it all in and really been present.Before auditioning, Condor read the novel the first film was based on. She remembers thinking, “This is an Asian-American girl falling in love and this is something we need to see.”Credit…Ricardo Nagaoka for The New York TimesWhat was making this last film like for you?I remember thinking, “How did I get here?” I wanted nothing more than to finish it the way that I would be super proud of Lara Jean. So I was just hellbent; I was constantly talking to the director and the producers and writers and everyone like, “You guys, we need to show her stepping into the world as a young woman choosing herself for the first time.”It was a crazy emotional experience, because the last few years have been the greatest ups and the greatest downs of my life. [She has said she felt burned out after the first film.] I love the movies, the friends I made in the movies, the story — I love the color scheme of our movies, the pinks and the teals. So knowing it’s the last time I’ll be in the bedroom, the last time I’ll be in the school, all these things that I’ve been spending so much time in in the past three years, is emotional. I’m going to miss it a lot.What was it like filming in Korea?We went during typhoon season. So I was like, who thought of this? But it was amazing. We were just shooting touristy things, so we got to shoot at all locations that we would have gone to as normal tourists. We would meet people on the street and people would walk into the shot as we’re filming and just be like, “Oh hi! I love your movie!” And we’d be like, “You’re in it.”Condor and Noah Centineo in “To All the Boys I’ve Loved Before,” the first film in the series.Credit…NetflixHow did you feel about the way Lara Jean’s story came to an end?Something I’m the most proud of is she never really loses her weird little -isms and quirks, and she never loses or changes her personality. That’s really hard not to do when you’re in high school. Yes, the Lara Jean we see in the third movie is a grown Lara Jean, and she’s different in that she has life experience now, but ultimately the things that make her her, she never let go of.Did you get to keep any of the clothes?Did I get to keep any of the clothes? No. Did I steal the clothes? Yes. We spent hours and hours for every outfit making it perfect, because we saw from the first movie that girls actually went out to buy the outfits.In the third movie, they have this bowling jersey that we mimic from “The Big Lebowski,” so I have that. I have the hatbox, which is not a piece of clothing, but I wasn’t going to leave the set without it. I have this blue silk jacket that she wears during a scene with Peter [in Part 1] when she’s talking about people leaving — “The more people you let into your life, the more that can walk right out.” I love that. I took a pair of jeans, which is not exciting, but it’s very hard to find a good pair of jeans.The movies are based on Jenny Han’s books, and it’s fun spotting her cameos in each film — what has your relationship with her been like for the past few years?She’s like my sister. We’re always on the phone for hours and hours. When we first were talking years ago, she said, “I just want you as Lana and as a young Asian-American girl to have the same opportunities that Jennifer Lawrence as Katniss would have or Kristen Stewart as Bella from ‘Twilight.’” And that was before we even knew we would have three movies. I’ve never had anyone say that to me, particularly as an Asian-American actress — almost to the point where I was like, is that even possible?Next up for Condor is a Netflix comedy series that she’s set to star in and executive produce.Credit…Ricardo Nagaoka for The New York TimesWas that representation aspect top of mind for you when making the movies? Did it add any extra pressure?I read the book immediately before the audition, and that’s when I was like, OK, this I have to have. Because this is an Asian-American girl falling in love and this is something we need to see.But when we were making the movies, it almost was like I was just being Lana. Because ultimately, it’s about a young girl falling in love and showing that anyone can fall in love. So I think that it was in my mind, but it also wasn’t. Because I don’t walk around in life like, Asian Lana going to the store, Asian Lana going to pick up food, Asian Lana walking my dog.We’ve reached the end of what Jenny Han has written for Lara Jean. But do you see a scenario in which we might see more of this story unfold, or in which you might play this character again?I think never say never. [But] the third is all I know. To me, that’s the ending. But I would really like to see Lara Jean and Peter in their mid- to late 20s. Like they’ve gone through college, and I want to see what they’re like in the work space. I have this dream that Lara Jean is working in some realm of literature, I don’t know, in New York, writing, living her life. Because I personally have this feeling that they’re going to try to make it work in college, but they’re going to have to grow separately to be fully ready to come together.But I know for a fact that they’re going to get married; they’re going to live happily ever after. I just think they might need to grow as individuals first. And then I’d love to see them meeting each other again — she’s like at a cafe writing an article for a newspaper she’s working for, and he happens to be there, and they meet again in a new way where they’re older and developed. That would be so cool. If it happens, you heard it here first.AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Judas and the Black Messiah’: What to Know About the HBO Max FilmThe Shaka King movie dramatizes the life and death of Fred Hampton, chairman of the Illinois Black Panther Party. Here’s a guide to the people and the issues of the day.Daniel Kaluuya, top, as Fred Hampton, and below him Lakeith Steinfeld as the informant William O’Neal in “Judas and the Black Messiah.”Credit…Glen Wilson/Warner BrosFeb. 12, 2021, 12:18 p.m. ETTo Black Americans in the 1960s who were targeted and harassed by the police, 21-year-old Fred Hampton was an empowering figure.To the F.B.I. and its director, J. Edgar Hoover, Hampton, the chairman of the Illinois Black Panther Party, was a radical threat.Hampton was killed by Chicago police officers early on the morning of Dec. 4, 1969, during a raid on his West Side apartment, which was a block south of the Black Panther Party’s Chicago headquarters. The ambush, and the months of F.B.I. surveillance of Hampton and the Panthers that preceded it, are dramatized in Shaka King’s film “Judas and the Black Messiah,” which begins streaming Friday on HBO Max.At the time of Hampton’s death, Chicago was the site of political protests and violent clashes with law enforcement. The infamous trial of the Chicago 7, a court battle that involved seven Vietnam War protesters charged with conspiring to incite riots during the 1968 Democratic National Convention (a saga chronicled in Aaron Sorkin’s recent film “The Trial of the Chicago 7”), had been underway for a little over two months.King, who co-wrote the script with Will Berson, drew mostly from fact while taking viewers inside the Black Panther Party in the months leading up to Hampton’s death, though they took a few dramatic liberties. For instance, the film’s star, Daniel Kaluuya, is a decade older than the 21-year-old Hampton was when he was killed.Here is a guide to the real-life people, groups and events that feature in “Judas and the Black Messiah.” Be warned, there are spoilers, if such a thing is possible when speaking of history.Who were the Black Panthers?Bobby Seale, left, and Huey P. Newton at the Black Panther Party headquarters in San Francisco.Credit…Ted Streshinsky/Corbis via Getty ImagesThe Black Panther Party was founded in 1966 in Oakland, Calif., by a pair of Black college students, Bobby Seale and Huey P. Newton, to oppose police brutality and racism in local neighborhoods. The Panthers, who were known for their military-style black berets, leather jackets and raised-fist salute, believed in removing abusive officers from communities by any means necessary, including armed resistance.The F.B.I. viewed the Panthers as a radical group capable of galvanizing a militant Black nationalist movement. (Hoover, the bureau’s first director, called the Black Panther Party “the greatest threat to the internal security of the country”). But the Panthers also launched a number of social initiatives: Members ran medical clinics, provided free transportation to prisons for family members of inmates, and started a free breakfast program that fed thousands of schoolchildren.Who was Fred Hampton?Fred Hampton at the “Days of Rage” rally in Chicago, less than two months before he was killed.Credit…David Fenton/Getty ImagesThe charismatic community organizer enjoyed a meteoric rise that took him from campaigning for an integrated community pool and recreational center in his hometown, Maywood, Ill., to preaching to thousands as the chairman of the Illinois Black Panther Party.In 1969, a few months after helping to found the party’s Illinois chapter, the 20-year-old Hampton brokered an alliance he called the Rainbow Coalition, which united the Black Panthers, the Young Patriots (Southern white leftists) and the Young Lords (a Puerto Rican civil and human rights organization) in an effort to combat poverty and racism in their Chicago communities.Hampton’s rapid ascent through the ranks of the Black Panther Party landed him in the cross hairs of a secret F.B.I. counterintelligence program, known as Cointelpro, that Hoover formed to “expose, disrupt, misdirect, discredit or otherwise neutralize the activities of Black nationalist, hate-type organizations.” Targets included both the Rev. Dr. Martin Luther King Jr. and the Ku Klux Klan. Hoover declared in an internal memo that he sought to prevent the “rise of a ‘messiah’ who could unify and electrify the militant Black nationalist movement.”Under Cointelpro, the F.B.I. tried a number of tactics to sow discord within the Black Panther Party at the national and local levels, including sending bogus letters to two of its leaders, Eldridge Cleaver and Huey P. Newton, which claimed that each sought to depose the other. Authorities also arrested Hampton and several other Panthers in an effort to publicly discredit the group. In the months before the raid on Hampton’s apartment, the Panthers and the police also faced off in two gun battles: One in July 1969 at the party’s West Side headquarters in which five police officers and three Panthers were injured, and a South Side fight that November that left two officers and one Panther dead.Who was William O’Neal?At 17, O’Neal (Lakeith Stanfield) already had a criminal record when the F.B.I. agent Roy Mitchell (Jesse Plemons) tracked him down after he stole a car in 1966. But O’Neal soon took on a new role: F.B.I. informant. Given the choice between facing felony charges or agreeing to infiltrate the Panthers, he opted for the latter: as a security captain in the Illinois Black Panther Party, he infiltrated Hampton’s inner circle.In 1969, O’Neal sketched a floor plan of Hampton’s West Side apartment, including where everyone slept, which the F.B.I. then shared with the Chicago Police Department, the agency that conducted the fatal raid. But unlike the character in “Judas and the Black Messiah,” the real O’Neal did not see his actions as a betrayal of Hampton or the Panthers. “I had no allegiance to the Panthers,” he recalled in an interview for the PBS docuseries “Eyes on the Prize,” which chronicled the history of the civil rights movement in the United States.What happened the morning Fred Hampton was killed?Demonstrators in Boston in 1970 protested the killing of Fred Hampton. Credit…Spencer Grant/Getty ImagesFourteen Chicago police officers showed up before dawn on Dec. 4, 1969, at Hampton’s apartment, acting on the orders of Edward V. Hanrahan, the Cook County state’s attorney. Over the course of about 10 minutes, more than 80 shots were fired. When the smoke cleared, Hampton, 21, and another party leader, Mark Clark, 22, were dead, and four other Panthers and two police officers were wounded.At first, the police claimed they killed Hampton in self-defense after people in the apartment began firing shotguns at them as they tried to execute a search warrant for illegal weapons. But ballistics experts determined that only one of the bullets was probably discharged from a weapon belonging to an occupant of the apartment. A federal grand jury investigation also revealed that the “bullet holes” in the apartment’s front door, which officers had cited as evidence that the Panthers had shot at them, were in fact nail holes created by police.Though the Chicago Police Department had led the raid, the grand jury concluded that it had been coordinated by the F.B.I. as part of Hoover’s mission to cripple the Black Panther Party — and an F.B.I. memo later revealed that the bureau had authorized a bonus payment to O’Neal.The first federal grand jury declined to indict anyone involved in the raid, and though a subsequent grand jury indicted Hanrahan and the police officers who participated in the shootings, all the charges were dismissed. In 1982, without admitting any wrongdoing, the federal government, the City of Chicago and Cook County agreed to pay $1.85 million to the families of Hampton and Clark and to survivors of the raid.Clarence M. Kelley, who succeeded Hoover as head of the F.B.I. in 1973, issued a public apology three years later for the bureau’s abuse of power in the “twilight” of Hoover’s career. “Some of those activities were clearly wrong and quite indefensible,” Kelley said. “We most certainly must never allow them to be repeated.”AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyAnatomy of a SceneWatch Lakeith Stanfield Being Interrogated in ‘Judas and the Black Messiah’The director Shaka King narrates a sequence featuring the actor opposite Jesse Plemons.The director Shaka King narrates a sequence from his film featuring Lakeith Stanfield and Jesse Plemons.CreditCredit…Glen Wilson/Warner BrosFeb. 12, 2021, 10:54 a.m. ETIn “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.A handful of questions asked during an interrogation in “Judas and the Black Messiah” are key to propelling the plot of this tense historical drama.Set in the late 1960s, the movie follows William O’Neal (Lakeith Stanfield), a young man who becomes an informant, feeding the F.B.I. intelligence about the Chicago Black Panther Party and one of its leaders, Fred Hampton (Daniel Kaluuya.) This early scene comes after O’Neal is caught using a fake F.B.I. badge to steal a car.Narrating the sequence, King says the moment is about “the danger of being apolitical.” O’Neal is asked his feelings about the assassination of the Rev. Dr. Martin Luther King Jr. and admits to being upset. But when asked about the killing of Malcolm X, he has more of an indifferent response. “We really wanted to hit home the old phrase, if you stand for nothing you’ll fall for anything,” King narrates.Read the “Judas and the Black Messiah” review.Read an interview with the director Shaka King.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more.AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyIn ‘Crime Scene,’ Joe Berlinger Investigates True-Crime ObsessionIn his latest Netflix docu-series, the director of foundational works like “Paradise Lost” turned his lens to the fans and web sleuths that are changing the stakes of true crime.“I’m described as a true-crime pioneer,” Joe Berlinger said. “I liked the pioneer part. The true crime thing makes me a little nervous.”Credit…Dina Litovsky for The New York TimesFeb. 12, 2021, 9:54 a.m. ETThis article contains mild spoilers for the Netflix series “Crime Scene: The Vanishing at the Cecil Hotel”It’s hard to find much that is redeeming in true-crime documentaries these days. They tend to showcase humanity’s worst, there’s a seemingly endless supply, and they’re generally so repetitive that it’s hard to tell one from another. On Netflix, you can watch the four-part “Night Stalker,” about the Los Angeles serial killer Richard Ramirez, and then click over to the four-episode “Crime Scene: The Vanishing at the Cecil Hotel,” in which Ramirez makes a cameo.But “Crime Scene,” directed by the true-crime veteran Joe Berlinger, has some other guest stars, and they make the enterprise a little different than most. One is the title character, the towering Cecil Hotel in downtown Los Angeles. Located in the city’s drug-and-crime-infested Skid Row area, and known for its history of horrors, the Cecil has stories to tell.So do the supporting players. One by one they bear witness to what they haven’t seen, peering out from their computer screens and offering explanations and verdicts. The police covered up the crime. The death metal singer killed her. Wait, it’s just like that one horror movie. Or maybe it’s a ghost story.They are web sleuths, and together they form a sort of uninformed Greek chorus in “Crime Scene,” which premiered on Wednesday. It covers the well-chronicled 2013 disappearance of Elisa Lam, a 21-year-old Canadian tourist. But the story ends up being more about the nature of truth and mass speculation — and about the ethics of true crime, generally — than about any particular crime.Surveillance footage from the Cecil Hotel the night of Elisa Lam’s disappearance became a source of rampant speculation and conspiracy theory among a community of self-appointed web sleuths.Credit…Netflix“The sleuths are very integral to the structure of the show because what’s interesting for me is perception,” Berlinger said in a telephone interview last week. “I wanted the viewer to really experience it the way the web sleuths did in terms of putting together information and the rabbit holes they went down.”Berlinger, who frequently works with Netflix but also does projects with other networks, has been at this for a while, since well before true crime documentaries flooded the airwaves and streaming platforms.In 1992, he and Bruce Sinofsky debuted “Brother’s Keeper,” the wrenching tale of a barely literate farmer accused of murdering his own brother. In 1996, he and Sinofsky released “Paradise Lost: The Child Murders at Robin Hood Hills,” which interrogated the circumstantial evidence that put three Arkansas teenagers in prison, accused of killing and mutilating three young children. Berlinger and Sinofsky made three “Paradise Lost” films altogether, and the teenagers, widely known as the West Memphis Three, were eventually set free.This would seem to be a far cry from “Cecil Hotel,” whose eight-year-old central mystery can be solved by anyone with an internet connection. But Berlinger sees commonalities. For one, those web sleuths.The web wasn’t what it is now in 1996. But Berlinger remembers those who went online, pre-social media, and provided important information about the West Memphis Three. “People can see that these kinds of investigations by regular people can lead to some positive outcomes,” he said.That’s not really the case in “Cecil.” The sleuths go after a death metal artist and ruin his life with false accusations (a touch of satanic panic with echoes of “Paradise Lost,” in which the prosecution uses the West Memphis Three’s taste in heavy metal to help build its case). They obsess over a piece of elevator surveillance footage, seeing proof of evidence tampering where none existed. They accept seemingly every explanation except the simplest one. In general, they get in the way.Some feel the true-crime genre gets in the way as well — of other kinds of documentary and of storytelling in general.A grand Beaux Arts establishment when it was built in 1924, the 700-room Cecil gradually declined into a hub of crime and homelessness.Credit…Netflix“Media companies have grown dependent on the genre,” said Thom Powers, the documentary programmer for the Toronto International Film Festival, in an email. (Powers is a fan of Berlinger, and has programmed his work in the past). “I worry that it’s becoming escapist entertainment that depletes resources from other stories.”“At its worst, the true-crime genre is law enforcement propaganda,” he continued. “The storytelling is so preoccupied with lurid crime details, it rarely pulls back to study larger dynamics.”Even Berlinger has reservations about the genre. His recent body of work comprises several TV docu-series about sensational crimes, including “Conversations With a Killer: The Ted Bundy Tapes,” “Unspeakable Crime: The Killing of Jessica Chambers” and “Jeffrey Epstein: Filthy Rich.” But call him a true-crime filmmaker and he bristles.“I’m described as a true-crime pioneer,” he acknowledged. “I liked the pioneer part. The true-crime thing makes me a little nervous because I think of myself more as a social justice filmmaker spending a lot of time in the crime space.”He added: “I do think there’s a lot of irresponsible true crime being done where there’s no larger social justice message or there’s not a larger commentary on society. It’s just about wallowing in the misery of somebody else’s tragedy without any larger purpose.”The Cecil has tremendous symbolic value connected to the social history and issues of its surroundings. A grand Beaux Arts establishment when it was built in 1924, the Cecil, which is no longer open, gradually declined along with its neighborhood. The area now called Skid Row developed into a hub of crime and homelessness in the ’30s, and the Cecil, a 700-room behemoth, became known for cheap residential accommodations and tawdry doings. Drugs, prostitution and suicides were common. In 1964, the body of a well-liked retired telephone operator, Goldie Osgood, was found raped, stabbed and beaten in her room. The crime was never solved.“There’s a lot of irresponsible true crime being done where there’s no larger social justice message,” Berlinger said. “It’s just about wallowing in the misery of somebody else’s tragedy.”Credit…Dina Litovsky for The New York TimesRamirez, the serial killer, was a guest; he reportedly would go there after a tiring night of killing, throwing his bloody clothes in a nearby dumpster before returning to his room. So was the prolific Austrian serial killer Jack Unterweger, who, posing as a journalist, continued his spree in Los Angeles by killing three sex workers.It’s not hard to summon a dark aura around the hotel, and many media accounts have done just that.“It’s been shown as a really dark place, with Richard Ramirez having been there and of course Elisa Lam,” said Amy Price, the hotel general manager from 2007 to 2017, in a recent phone interview. She also appears in the series. “But I thought how they presented everything was authentic and very fair.”For all that has happened at the Cecil, without Lam’s disappearance there would be no documentary, and probably very little interest in the hotel today. The web sleuths, none of whom have met her, profess their love and affection for her. They, and the series, pore over the elevator video as if it were the Dead Sea Scrolls. We watch, over and over again, as Lam punches a row of elevator buttons and squishes herself into a corner of the elevator, then exits and makes some odd hand gestures. Surely this must all mean something.Or, maybe not. And here’s where you either stop reading (assuming you haven’t already Googled the case) or continue on to the not-terribly-mystical conclusion. In the end, yes, the Cecil was a crime scene. Many times over. But it appears there was nothing criminal about the Lam case, which was, according to investigators, a sad accident.Asked how he reconciles his more high-minded ideals with the true-crime genre’s imperative to entertain, Berlinger pointed to the fact that “Cecil” tackles subjects that go beyond the corpse at its core, including cyberbullying, homelessness and mental illness. But he also knows true-crime viewers are tuning in for the more lurid details, and sometimes that gives him pause.“I do ask myself, if, God forbid, something happened to me or my family, would I want someone to tell that story?” he said in a follow-up email. “If I’m being totally honest, I would only want that if the telling of that story had a larger purpose than just ‘entertainment.’”Is Berlinger having it both ways? Perhaps. But so is any news article about the series, as the layers of meta-critique pile up. With “Cecil,” he argued, playing to that true-crime imperative is exactly why it works.“In some ways, we’re being very self-reflexive in using the conventions of true crime to seemingly tell a true-crime mystery,” Berlinger said by phone. “Then, we turn it on its head at the end.”He added: “I thought it was appropriate and interesting to choose a crime that actually isn’t a crime, with a perception that something nefarious happened but, in fact, it wasn’t a crime at all.”That’s certainly one way to tweak the true-crime genre. Just remove the crime.AdvertisementContinue reading the main story More
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The actor’s movies ‘Last Christmas’ and ‘Crazy Rich Asians’ have landed first and third in a new poll of the most streamed films over the February 14 period in 2019 and 2020.
Feb 12, 2021
AceShowbiz – Henry Golding has become the king of Valentine’s Day romantic comedies among American film fans, according to a new Fandango/Vudu study.
The actor’s films “Last Christmas” and “Crazy Rich Asians” both feature in the top three of a new poll to find the most streamed films over the Valentine’s Day period in 2019 and 2020. And “Last Christmas” picked up so many views on top U.S. pay-per-view site Vudu last year, following its release the previous November 2019, it charged into the top three at three.
“Crazy Rich Asians” is the most popular film on the site over successive Februarys, while Sandra Bullock/Ryan Reynolds movie “The Proposal” comes in second. Reese Witherspoon’s “Sweet Home Alabama” and “The Princess Bride” come in fourth and fifth.
Julia Roberts’ 1990 film “Pretty Woman” land sixth in the list, whereas Adam Sandler-starring “The Wedding Singer” secure the eight spot. Rounding up the top ten are Jason Segel’s “Forgetting Sarah Marshall” as well as Glenn Ficarra and John Requa-directed “Crazy, Stupid, Love.”.
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Golding has been a presenter on BBC’s “The Travel Show” before he made his big break in acting through “Crazy Rich Asians”. In the wake of the success, he landed a part opposite Blake Lively and Anna Kendrick in Paul Feig’s “A Simple Favor”. He teamed up once again with Feig for “Last Christmas” that paired him with Emilia Clarke.
A Malaysian-British actor/model, Golding turned 34 on February 5. Celebrating the milestone amid the COVID-19 pandemic, the husband of Liv Lo shared his positive outlook for the year ahead. “Another year around the sun… This next one is shaping up to be one of the best,” he posted on Instagram. “thank you for all your love and support for my birthday!”
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The ‘Orange Is the New Black’ actor is really not looking forward to the day when his young children are finally old enough to watch his raunchy comedy movie.
Feb 12, 2021
AceShowbiz – Jason Biggs is dreading the day his young kids finally get to see dad making love to a pie in the raunchy film that helped make him famous.
The “American Pie” actor became a household name when the comedy became a huge hit in 1999, but his kids Sid, six, and three-year-old Lazlo, are too young to see daddy’s most famous credit – and he’s glad he has a few years to prepare for that family film night.
“Me watching American Pie with my kids is probably going to take on its own little weird thing,” the star told “Live with Kelly and Ryan”.
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“Sid has heard of American Pie because he’s been with me when people have come up to me and he’s heard about it. He’s asked if he can see it and we’ve told him, ‘No, it’s rated R and you know, I have sex with a pie’… No, I didn’t tell him that… He knows it’s rated R for bad words. That’s his take. He said, ‘R for bad words, not violence’, which is very cute.”
“The pie might say it’s little violent,” Biggs added with a laugh. “The pie might have a different (view).”
Jason Biggs shared screen with the likes of Chris Klein, Natasha Lyonne, Thomas Ian Nicholas, Tara Reid, Mena Suvari, and Eugene Levy in the Paul Weitz-directed movie. He returned for the three sequels “American Pie 2” (2001), “American Wedding” (2003), and “American Reunion” (2012).
The franchise also spawned a series of direct-to-DVD spin-offs which starred a whole new cast.
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The ‘Snatched’ actress is keen to reunite with LeBron James for ‘Trainwreck 2’ while the ‘Whiplash’ star is close to joining Nicole Kidman and Javier Bardem in Aaron Sorkin’s new movie.
Feb 12, 2021
AceShowbiz – Amy Schumer and Lebron James are toying with fans’ dreams of a “Trainwreck” sequel.
The comic teamed up with the basketball superstar for the 2015 film, which marked LeBron’s movie debut, and now both are starting to talk about a follow-up.
Reposting a fan’s note on Instagram, which read, “We need another film with both of you together. Trainwreck is too darn funny,” Amy asked James, “Is this time next year good for you?”
He replied, “I think we can make that happen! Trainwreck 2???” along with a shrugging emoji.
Thrilled Schumer then gave fans of the film a big boost, writing, “Legoooooooo (sic).”
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In the film, Amy played an unlucky in love magazine writer, who falls for Bill Hader’s sports doctor. His best friend is played by LeBron.
In another news, Oscar winner J.K. Simmons and “Billions” star Nina Arianda are close to signing on to portray William Frawley and Vivian Vance in Aaron Sorkin’s new film, “Being the Ricardos”.
Actors Frawley and Vance played neighbours Fred and Ethel Mertz in “I Love Lucy”.
Nicole Kidman and Javier Bardem will tackle the roles of Lucille Ball and Desi Arnaz in the film.
The movie will follow the couple and their associates over the course of a week, as Lucy and Desi face a crisis that could end their careers and another that could end their marriage, according to Deadline.
Lucie Arnaz and Desi Arnaz Jr., Lucille and Desi’s kids, are among the film’s producers.
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