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      Shia LaBeouf Fired by Olivia Wilde From Her Movie 'Don't Worry Darling'

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      WENN

      Rumor has it, the ‘Honey Boy’ actor didn’t leave Olivia Wilde’s movie on his own accord but being let go by the actress-turned-director and replaced by Harry Styles.

      Dec 25, 2020
      AceShowbiz – Olivia Wilde allegedly fired Shia LaBeouf from her new movie “Don’t Worry Darling” and replaced him with Harry Styles, according to a new report.
      Back in September, it was announced that Shia had dropped out because of a scheduling conflict, but now Variety sources claim Olivia felt she had to let him go.
      “Though shooting had not started yet when LaBeouf departed, insiders close to the project say LaBeouf displayed poor behavior and his style clashed with the cast and crew, including Wilde, who ultimately fired him,” a statement from the trade publication reads.
      “Wilde didn’t respond to requests for comment for this story. LaBeouf’s publicist declined to comment. A representative from New Line also declined to comment on the matter.”
      A source tells the outlet, “He is not an easy guy to work with.”

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      Wilde has also spoken out in support of singer and actress FKA twigs, who recently came forward with allegations of sexual and emotional abuse against Shia, her former boyfriend.
      Meanwhile, LaBeouf’s lawyer, Shawn Holley, has revealed the actor is planning to start 2021 in an intensive treatment facility to work on his issues.
      “Shia needs help and he knows that,” Holley tells Variety. “We are actively seeking the kind of meaningful, intensive, long-term inpatient treatment that he desperately needs.”
      Olivia Wilde is not the only star kicking Shia LaBeouf out of her project.
      Sia also distanced herself from the embattled actor following FKA twigs’ lawsuit. The “Chandelier” hitmaker said she was, too, was emotionally hurt by the actor during their fling. She cut him from her movie “Music” and recruited Kate Hudson as a replacement.

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      Hugh Grant Initially Agreed With Criticisms Over Renee Zellweger's Casting as Bridget Jones

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      Miramax

      The ‘Two Weeks Notice’ actor reveals he was left unimpressed at first by the casting of an American actress to play the lead role in the British rom-com.

      Dec 25, 2020
      AceShowbiz – Hugh Grant thought it was a “stretch” for American actress to play British Bridget Jones in the film adaptations of the books at first.
      When Renee Zellweger was cast in the titular role in the movie versions of Helen Fielding’s beloved books, there was a national outcry over why a British actress hadn’t been picked for the role.
      And in a new BBC Two documentary titled “Being Bridget Jones”, Grant – who played Daniel Cleaver in the films – admitted he also had doubts about whether or not Renee would do the role justice.
      “There was a whole scandal about why isn’t this a British actress?” he said. “I didn’t know Renee Zellweger, and a Texan playing a British character, it did seem like a stretch.”

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      Renee worked hard to nail the British accent she needed to play Bridget, with Hugh adding he was “startled” at first to hear that she sounded just like Queen Elizabeth’s sister Princess Margaret.
      “She was told to kind of, well she thought she better loosen it up a bit,” Hugh said, adding that a week later Renee’s accent “was bang on.”
      Renee played Bridget in “Bridget Jones’s Diary” in 2001, “Bridget Jones: The Edge of Reason” in 2004, and “Bridget Jones’s Baby” in 2016.
      In a 2016 interview, the actress revealed she kept her British accent even when the camera was not rolling. “It’s just really lazy. I don’t want to do the work to get back into everyday,” so she explained.
      She also worked behind the scenes on the ITV breakfast show “Good Morning Britain” to perfect her portrayal as the unlucky-in-love TV producer.

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      Demi Moore Felt Like 'Guinea Pig' Filming 'Songbird' at the Start of Pandemic

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      STX Entertainment

      The ‘Charlie’s Angels: Full Throttle’ actress reveals she and her cast mates were aware that they became a ‘test case’ to find out the safe way to work on the set amid pandemic.

      Dec 25, 2020
      AceShowbiz – Demi Moore was aware, while filming “Songbird” amid the coronavirus pandemic, that she and the cast were “guinea pigs.”
      The “Ghost” actress leads the cast in director Michael Bay’s pandemic-themed romantic thriller and she admitted they were all very aware that they were the “test case” in how the movie industry can now operate because they were the first to start filming in the wake of the coronavirus crisis.
      She said, “It was the first film from what I understand, to get the green light (to start filming).”
      “So in a way I felt like we were the guinea pigs. We were the test case to see if it could work as they were slowly rolling out a new version of how we can work safely.”
      Demi – who plays Piper Griffin in the film – believes the movie offers a “cautionary tale” and depicts everyone’s “worst nightmare” amid the coronavirus crisis.
      She explained, “It’s about a pandemic in the future and I think it’s a cautionary tale. It’s the version of what happens in our worst nightmare with this virus.”

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      “It’s looking at a world that has separated between those who have and those who have not and the desperation and fear that can take over…”
      “My character is a woman, mother and a wife who has resorted to some black market dealing to survive for her family.”
      “And it’s a world where if you’re immune to the virus, which my character is, you have almost a free pass to move about where everyone else cannot.”
      When it comes to the rest of the career, the G.I. Jane star has always sought roles she felt were “provocative” or could teach her something about herself.
      She said in a recent interview, “I was definitely moved by things that were provocative. And I don’t mean just in a sexual context, but things that really pushed us to think outside the box.”
      “And in the very early days for me, I think so much of what inspired and moved me was about exploring how to love myself, how to find myself and in looking at different ways to discover the different pieces of me.”

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      ‘The Dissident’ Review: A Murder for Power

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘The Dissident’ Review: A Murder for PowerBryan Fogel’s new documentary about the killing of Jamal Khashoggi underlines the disregard for human rights when money and geopolitics are at play.Jamal Khashoggi, right, as seen in the Bryan Fogel documentary “The Dissident.”Credit…Briarcliff EntertainmentDec. 24, 2020, 1:01 p.m. ETThe DissidentDirected by Bryan FogelDocumentary, Crime, ThrillerPG-131h 59mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.A cinematic retelling of the murder of the Saudi journalist Jamal Khashoggi requires no embellishments. The raw facts are sinister and dramatic in themselves, involving a gruesome killing inside a consulate in a foreign country, an ambitious prince intolerant of dissenters and a kingdom with far-reaching financial clout. Yet Bryan Fogel’s new documentary, “The Dissident,” goes the extra mile, deploying an aggressive score, frenzied editing and C.G.I. elements to drive home the pathos of Khashoggi’s story and what it reveals about Saudi Arabia’s insidious machinery of surveillance and repression.The film begins in the present day with spy thriller-like intrigue. In a hotel in Montreal, a young man speaks ominously into his phone, saying things like “it’s all about revenge” and “if it doesn’t work the clean way, I’ll use the dirty ways.” This is Omar Abdulaziz, a 27-year-old Saudi vlogger living in exile in Canada, and he’s talking, we soon learn, about Twitter warfare.As outspoken critics of the Saudi regime, Abdulaziz and Khashoggi had become online friends in 2017, after Khashoggi fled to the United States amid a crackdown on journalists and activists. Days before Khashoggi’s murder, the two of them had started secretly collaborating on a social media campaign to fight Prince Mohammed bin Salman’s army of propaganda-spewing Twitter trolls. Khashoggi had been a royal insider for many years before turning critical of his country’s increasingly undemocratic ways; with their plan, Abdulaziz says, Khashoggi had finally become a dissident.Their collaboration — and its possible role in making Khashoggi a target — is one of the few revelations in “The Dissident,” whose array of talking heads and illustrative footage mostly adds context to previously reported facts. Khashoggi’s fiancée, Hatice Cengiz, shares the pair’s correspondences, which paint a touching portrait of Khashoggi as a man who had cherished finding companionship after a difficult separation from his family. In the most disturbing parts of the film, Turkish police and United Nations officials recount their investigations of the murder as the screen zooms into transcripts of conversations between the men who dismembered Khashoggi inside a Saudi consulate. “Will the body and the hips fit into a bag this way?” reads a highlighted line.All of this material is so chilling and effective on its own that the movie’s emphatic music and computer-generated graphics — which include a Twitter battle pictured as a showdown between 3-D flies and bees — can feel like overkill. But these flourishes serve the film’s ultimate objective: to impress acutely upon us the injustice of a world where money and geopolitics supersede human rights.The DissidentRated PG-13 for graphic descriptions of real-life violence. In Arabic, Turkish and English, with subtitles. Running time: 1 hour 59 minutes. In theaters. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      Steven Soderbergh at Odds With Movie Boss During Talks to Direct James Bond Movie

      by

      WENN

      The Oscar-winning director admits he was close to sitting behind the lens for a 007 movie but the negotiations eventually broke down because of creative differences.

      Dec 25, 2020
      AceShowbiz – Steven Soderbergh has admitted “important” creative differences stopped him directing a James Bond movie.
      The “Ocean’s” trilogy filmmaker was once in talks with Eon Productions boss Barbara Broccoli – who oversees the 007 franchise – about being at the helm of a Bond blockbuster.
      Asked about the discussions, he told the “Happy Sad Confused” podcast, “Absolutely, I love that world. We were at odds about some things that were important.”
      “We had some great conversations. It was fun to think about, but we just couldn’t… the last ten yards were, we just couldn’t do it, we couldn’t figure it out.”

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      However, Soderbergh would instead incorporate some of his 007 ideas into his other films, including 2011 action-thriller “Haywire”, which starred Gina Carano as black ops operative Mallory Kane who is betrayed by her employers and targeted for assassination.
      “Aspects of it have shown up elsewhere. I would say, there are things in Haywire, in terms of its approach to the character, and it’s not a big movie, but there’s a little bit of activity in it,” he added. “That’s a hint of the kind of attitude I was looking for.”
      And despite not getting to work on a Bond film yet, he’s still looking forward to watching Daniel Craig’s upcoming final turn as the fictional spy in “No Time to Die”, which was delayed until April 2021.
      “I hope they’re able to figure out the release of the new one,” he said.

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      Zac Efron Called Out for 'Slipping the Tongue' During 'Hairspray' Kissing Scene With Nikki Blonsky

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      New Line Cinema

      The ‘High School Musical’ alum apparently went a little too far when he was filming his kissing scene with co-star Nikki Blonsky for the 2007 musical romantic comedy.

      Dec 25, 2020
      AceShowbiz – Zac Efron was called out by “Hairspray” director Adam Shankman for “slipping the tongue” on co-star Nikki Blonsky during their big kiss.
      The former “High School Musical” star played Link Larkin in the big-screen adaptation of the hit musical, opposite Blonsky as Tracy Turnblad. After an illicit romance throughout the film, Link and Tracy finally share a kiss towards the end of the movie – but Nikki revealed on the “Women on Top” podcast that the moment nearly got them a PG-13 rating due to Zac.
      “He slipped (his tongue) on me!” Nikki laughed. “Adam Shankman, our director, called him on it. Adam was like, ‘Hey, whoa, just caught the tongue!’ And Adam was like, ‘No! No tongue!’ He’s like, ‘This is PG, there is no tongue!’ ”

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      Nikki went on to reveal that she and Zac became firm friends while shooting the film, which was released in 2007.
      “Not to make every woman and gay man jealous, but he was my best friend on the set of Hairspray,” she smiled. “Even when we weren’t filming, we were together on the weekends. (He was) constantly at my apartment and I was always at his, doing his laundry when he didn’t do it. I will toss him under the bus for not doing his laundry! And he knows it!”
      The movie also starred the likes of John Travolta, Michelle Pfeiffer, Christopher Walken, Amanda Bynes, James Marsden, Queen Latifah, and Brittany Snow.
      It went on to receive three Golden Globe nominations including Best Actress, Musical or Comedy for Nikki Blonsky and Best Supporting Actor for John Travolta. It also got a Grammy nomination for Best Soundtrack Album.

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      ‘DNA’ Review: Digging for Roots

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘DNA’ Review: Digging for RootsAfter her immigrant grandfather dies, a woman wants to reclaim her ethnicity.The actress and director Maïwenn, left, with Marine Vacth in “DNA.”Credit…Malgosia Abramowska/NetflixDec. 24, 2020, 7:00 a.m. ETDNADirected by MaïwennDrama, History1h 30mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.“DNA,” the fifth feature from the French actress and filmmaker Maïwenn, opens in clamor and closes in calm. In between is a journey taken by Neige (played by Maïwenn and inspired by her own life) as she moves away from the fractious embrace of her extravagantly maladjusted family and toward her Algerian roots.A downcast single mother, Neige becomes consumed with reclaiming her ethnicity after her grandfather, an Algerian immigrant to France, dies. As Neige’s rambunctious relatives gather to plan the funeral, the script (which Maïwenn wrote with Mathieu Demy) whips up a froth of vitriolic arguments and barbed confrontations. Old grudges and new hurts swell and subside, each sniping altercation a note in a symphony of dysfunction and deplorable behavior. (At one point, Neige’s mother, played by a blazing Fanny Ardant, roughly shoves her daughter aside as she tries to read a eulogy.)This tumult, though undeniably invigorating, soon becomes overwhelming, frustrating our ability to determine who’s who and what’s what. So when we meet Neige’s estranged father (a blessedly laid-back Alain Françon), it’s easy to understand why he has kept his distance. And when the film’s focus shrinks to Neige’s troublingly obsessive quest, isolating her in a lonely world of DNA tests and Algerian history — and a possible eating disorder — its tone becomes as wan as her undernourished reflection.Telling us virtually nothing about Neige beyond her fixation, “DNA” struggles to engage. Even so, there’s a dreamy contentment to the movie’s final moments as she wanders, bathed in golden light and Stephen Warbeck’s lovely score, a woman who has found something she hadn’t known was lost.DNANot rated. In French, with subtitles. Running time: 1 hour 30 minutes. Watch on Netflix.AdvertisementContinue reading the main story More