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    Judi Dench Needs Assistance to Learn Her Lines Due to Deteriorating Eyesight

    WENN

    Because of her declining eyesight, the ‘Blithe Spirit’ actress, 86, needs her friends to repeat her lines to her in order to help her memorize them before she’s filming a new project.

    Feb 27, 2021
    AceShowbiz – Dame Judi Dench is determined to keep acting despite her “intensely irritating” deteriorating eyesight.
    The 86-year-old actress suffers from age-related macular degeneration, which affects the middle part of a person’s vision, and she now has to enlist her friends to help her learn her lines for new projects by repeating them back to her, so she doesn’t have to keep reading from a script.
    “You find a way of just getting about and getting over the things that you find very difficult,” she said during an online event for London sight loss charity Vision Foundation.

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    “I’ve had to find another way of learning lines and things, which is having great friends of mine repeat them to me over and over and over again. So I have to learn through repetition, and I just hope that people won’t notice too much if all the lines are completely hopeless!”
    The “Cats” actress admitted she could walk past someone she knew and not recognise them, because she has to be “very close” to a person before she can identify them.
    “Finty, my daughter, goes and has her eyes checked,” she said. “It (her sight issues) is intensely irritating. But it does enable you to do one thing and that is that you have to get very close to people before you can recognise who they are.”
    “During lockdown I made a film and I was up close addressing people wearing masks during rehearsals, nothing to do with any scene I’m in. It’s kind of exquisite if you can do that and that’s the good side of it, and you have to look at that side of it.”

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    Rachel Zegler Tapped for 'Shazam!' Sequel

    Instagram/Warner Bros. Pictures

    The ‘West Side Story’ actress has been cast to play a ‘key role’ in the upcoming ‘Shazam: Fury of the Gods’, a sequel to the Zachary Levi-fronted superhero film.

    Feb 27, 2021
    AceShowbiz – Rachel Zegler has signed up for “Shazam: Fury of the Gods”.
    The 19-year-old actress will take on a “key role” in the DC motion picture, which was recently pushed back to June 2023.
    Zegler – who stars as Maria in the upcoming “West Side Story” remake – wrote on Twitter, “I am in my key role in shazam 2 era. (sic)”
    Details of the character are being kept under wraps, but the star felt “supremely blessed” from DC fans following the casting reaction.
    “dc fans, thank you for this warm welcome. i am feeling so supremely blessed, (sic)” she tweeted.

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    “Shazam: Fury of the Gods” – a follow up to 2019 superhero film “Shazam!” – was due to drop on 4 November 2022, but another DC movie, “The Flash”, has now taken its place.
    Zachary Levi is to reprise his role as the titular hero in the DC Extended Universe motion picture, which will also star Adam Brody, Jack Dylan Grazer, Marta Milans, Asher Angel, and Faithe Herman.
    Shazam – who was also known as Captain Marvel – was created by C.C. Beck and writer Bill Parker back in 1939 and first appeared in Whiz Comics #2 a year later.
    Rights to the character were obtained by DC Comics in the 1970s.
    Shazam is really a teenage boy called Billy Batson – played by Angel in the 2019 blockbuster – who can transform into an adult superhero by uttering the magic word “Shazam,” which is an acronym of the ancient world gods and historical figures: Solomon, Hercules, Atlas, Zeus, Achilles, and Mercury.

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    J.J. Abrams Working on Superman Reboot

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    The ‘Star Wars’ filmmaker is teaming up with Marvel Comics writer Ta-Nehisi Coates to develop a new take on DC’s Man of Steel played by Henry Cavill in the previous film.

    Feb 27, 2021
    AceShowbiz – Superman is getting a reboot with novelist Ta-Nehisi Coates and J.J. Abrams developing a new blockbuster.
    Coates, who also worked on Marvel hits “Captain America” and “Black Panther”, is looking forward to revamping the DC Comics superhero.
    “To be invited into the DC Extended Universe by Warner Bros., DC Films and Bad Robot is an honor,” he writes in a statement. “I look forward to meaningfully adding to the legacy of America’s most iconic mythic hero.”
    “Star Wars” and “Star Trek” visionary Abrams adds, “There is a new, powerful and moving Superman story yet to be told. We couldn’t be more thrilled to be working with the brilliant Mr. Coates to help bring that story to the big screen, and we’re beyond thankful to the team at Warner Bros. for the opportunity.”

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    There’s no casting news linked to the new film, but Henry Cavill has said that he hopes to play Superman for years.
    The Brit will be back as the Man of Steel in Zack Snyder’s upcoming “Justice League” revamp.
    Besides working on a Superman remake, J.J. Abrams is also rumored to give DC’s John Constantine a TV reboot. The filmmaker is reportedly remaking the DC Comics exorcist and occult detective for streaming service HBO Max.
    The new show, written by British author Guy Bolton, will be based in London.
    No actor has been attached to the project. Matt Ryan was the last person to play the character in NBC’s short-lived “Constantine” series, which aired for one season between 2014-15. He reprised the character for “Arrow” and “DC’s Legends of Tomorrow”.

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    Tom Holland Wears Nothing but Thong Under His Spider-Man Suit

    Sony Pictures

    The Peter Paker depicter reveals he wears nothing but a thong underneath his skintight superhero costume when he’s filming the Marvel blockbuster franchise.

    Feb 27, 2021
    AceShowbiz – Tom Holland wears a thong underneath his Spider-Man suit.
    The 24-year-old actor admits he has very little on beneath his superhero costume.
    “I wear a thong, like a jockstrap thing,” he tells GQ. “I have a thong and a mesh underlay suit and then the Spider-Man suit, made from very coarse material, goes over the top.”
    Tom, who will reprise his role as the webslinger for “Spider-Man: No Way Home”, goes on to reveal he has never been tempted to steal his own suit from the set even though there are “loads of them flying around.”

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    “I could just steal one,” he chuckles. “I should just go home in one from the set and be like, ‘Come and take it off me!’ They’d never find the hidden zips, though.”
    The upcoming “Spider-Man: Far From Home” sequel will also see the return of Zendaya Coleman and Jacob Batalon. It’s due stateside on December 21 this year.
    The plot is still kept under wrap, but Holland’s Peter Parker is expected to sport a new haircut as the actor previously revealed he refused to wear wig to hide haircut from his other movie “Uncharted”.
    “I have cool shaved sides and it’s slick at the back, and that’s not very Peter Parker,” he told Esquire. “He (Parker)’s a bit of a loser. So they put this wig on me that was just around the sides.”
    But Holland was not impressed and fought against the suggestion – and won. “For the first time in my life, I put my foot down as the leading actor and was like, ‘I’m not f**king wearing that wig. I’m going to have shorter hair and you’re going to have to deal with it!’ ” he shared.

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    Amazon Moves From Film Industry’s Margins to the Mainstream

    #masthead-section-label, #masthead-bar-one { display: none }At HomeWatch: ‘WandaVision’Travel: More SustainablyFreeze: Homemade TreatsCheck Out: Podcasters’ Favorite PodcastsAdvertisementContinue reading the main storySupported byContinue reading the main storyAmazon Moves From Film Industry’s Margins to the MainstreamWith several films competing for Golden Globes on Sunday and a number of high-priced movies coming this year, the streaming service has altered its reputation in Hollywood.“Borat Subsequent Moviefilm,” nominated for three Golden Globes, is one of several Amazon films competing on Sunday night. Credit…Amazon StudiosFeb. 26, 2021Updated 3:02 p.m. ETSacha Baron Cohen may have been going a little mad. It was August, the pandemic was raging, and his secret production had shut down. He was determined to reprise his role as Borat in a feature film designed to satirize the Trump administration ahead of the November election.But how?First he persuaded Universal Studios to allow him to shop his incomplete movie. Then he cobbled together an hour of footage. (The infamous scene with Rudolph W. Giuliani had yet to be filmed.) Hulu was interested. So was Netflix. But Amazon Studios was the one most committed to getting the movie out in time, no matter the cost.Amazon spent $80 million to acquire “Borat Subsequent Moviefilm,” a decision that incurred extra expenses because of Covid-19 protocols, test screenings in New Zealand — one of the few places in the world at the time where the company could gather a group of people in a dark movie theater — and a last-minute dash to incorporate all the gonzo footage before the film’s release on Oct. 23. (Mr. Cohen was cutting it close, still shooting three weeks before he had to deliver the movie.)“They broke every rule for us,” Mr. Cohen said in a phone interview. “There was a certain delivery schedule that they felt was necessary, and they halved that time. They realized the imperative of getting this out before the election. And they changed their procedures completely to help us do this. I’m really, really grateful.”Jennifer Salke, the head of Amazon Studios, is committed to spending upward of $100 million on a production if necessary.Credit…Rozette Rago for The New York TimesJennifer Salke, the head of Amazon Studios, is also grateful. When the Golden Globes air on Sunday, “Borat Subsequent Moviefilm” will be competing for three awards: best comedy or musical, best actor and best supporting actress (Maria Bakalova). Other Amazon acquisitions, including Regina King’s directorial debut, “One Night in Miami,” and “Sound of Metal,” starring Riz Ahmed, are also contending for prizes.Those accolades, coupled with the cultural impact “Borat” has enjoyed across the globe, have significantly altered the perception of Amazon Studios’ film division in Hollywood and among Amazon’s more than 150 million Prime subscribers. (The studio, which does not disclose viewer numbers, will say only that tens of millions of subscribers watched “Borat.”)Once a home for indie darlings such as “Manchester by the Sea” and “The Big Sick,” Amazon Prime Video is transforming itself into a place for commercial films with broad appeal that can travel internationally. It’s all part of Ms. Salke’s plan to turn Prime into a service people subscribe to for more than free shipping for their paper towels.“We had seen firsthand, when Amazon gets behind a piece of content, just how big the muscle is that they are capable of flexing,” said David Ellison, chief executive of Skydance Media and the producer of Amazon’s “Jack Ryan” series. He recently sold the films “Without Remorse” and “The Tomorrow War” to Amazon. “With ‘Borat,’ they showed they could do that with films, too.”Amazon has thrived in the last year, with profits increasing some 200 percent since the pandemic began. That success has extended to its film business. Like other streaming services, it has been able to snatch up big-budget, star-driven films that studios have been forced to shelve in response to the closing of movie theaters.Netflix, Apple, Disney+ and Hulu have all benefited from the studios’ woes, but Amazon has been one of the most aggressive in acquiring new movies.Michael B. Jordan has an overall content deal with Amazon that will allow him to explore areas like fashion, music and podcasts. Credit…Nadja Klier/Paramount PicturesIn September, Ms. Salke acquired “Without Remorse” — starring Michael B. Jordan and based on a Tom Clancy series — for $105 million. It will debut at the end of April. The next month, it paid $125 million for the rights to “Coming 2 America,” which will premiere next Friday. Eddie Murphy was initially hesitant about taking the sequel to his much-beloved film to Amazon, but Ms. Salke and others say he was reassured by the performance of “Borat.”In January, the company made its biggest bet yet, paying $200 million to acquire the Chris Pratt-led action film “The Tomorrow War,” which Paramount was set to release. It stands as Amazon’s largest financial commitment in acquiring a feature film. The company hopes to debut it on Prime Video this summer.“We don’t have a huge bench of big blockbuster movies in the works,” Ms. Salke said with a laugh. “So for us it was opportunistic to be able to lean into that.”With more players than ever joining the streaming fray (Paramount+, anyone?), the pace of delivering new content is an issue that every service worries about. Netflix threw down the gauntlet in January when it announced its 2021 strategy of delivering one new movie per week, which followed WarnerMedia’s announcement that all of Warner Bros.’s 2021 theatrical films will debut in theaters and on its HBO Max streaming service at the same time.With so much volume being offered by those two companies, along with Disney’s recent announcement that at least 80 percent of its 100 new projects will be earmarked for Disney+, the only way to compete is to go big.“It’s going to be really interesting over the next three years,” said Roeg Sutherland, one of the heads of media finance for Creative Artists Agency. “With platforms programming one new movie a week, this is fueling a competitive marketplace for high-end, independently financed films.”At the Sundance Film Festival last month, Apple paid a record $25 million for rights to the independent film “Coda.”Ms. Salke pushes back on the idea that her plans to broaden her offerings are a reaction to her competitors. Rather, she said, it’s the culmination of a strategy that began at the 2019 Sundance Film Festival, when as a newcomer to the film world she spent $46 million to acquire four films, including “Late Night” with Emma Thompson and Mindy Kaling, and the feel-good movie “Brittany Runs a Marathon.”Before joining Amazon, Ms. Salke spent her career in television, shepherding hits like “Modern Family” and “Glee” at 20th Century Fox and “This Is Us” at NBCUniversal. After her Sundance shopping spree, she was mocked by some film insiders as an out-of-touch television executive overspending to acquire niche movies.She was criticized for paying $13 million for “Late Night,” when it grossed $15.4 million at the box office. “Brittany Runs a Marathon” earned just $7 million. That commentary still seems to sting Ms. Salke, though she argues that she released the films theatrically only to appease the filmmakers. The movies’ real metric of success, she said, was how they played on the streaming service.Regina King on the set of “One Night in Miami” with Kingsley Ben-Adir. The actress turned director says she was amazed at how often she saw ads for her film while shopping on Amazon.Credit…Patti Perret/Amazon Studios, via Associated Press“Those movies all kept coming out as No. 1,” said Ms. Salke, referring to the films’ performances on Amazon Prime. “Every time we launched one, the next one would eclipse the next one. We were training our audience to know that we would have big original films that were more commercial on Prime Video. It’s a little bit of an ‘If you build it, they will come’ strategy.”But what happens to that plan once the pandemic is over and studios are no longer willing to sell their movies to streaming platforms?Amazon has some 34 films in various stages of production around the world, and Ms. Salke said the company was committed to spending upward of $100 million on a production if merited. (Amazon’s founder, Jeff Bezos, is stepping down as the company’s chief executive this year, but the studio isn’t expecting any big changes when Andy Jassy takes the reins.)The Culver City, Calif., complex is still being built, and, if anything, investment has increased. Ms. Salke points to Aaron Sorkin’s upcoming film about Lucy and Desi Arnaz, starring Nicole Kidman and Javier Bardem, as a potential hit. There’s also George Clooney’s film “The Tender Bar,” starring Ben Affleck, and an L.G.B.T.Q. romantic drama, “My Policeman,” featuring Harry Styles and Emma Corrin (“The Crown”).“The new news is that you will see us embrace some bigger projects going forward that are self-generated,” she said.In Ms. Salke’s mind, this was always the place where Amazon Film was going to land. And there is a newfound confidence to her outlook as she celebrates her third anniversary as the head of the studio. In addition to her recent acquisition spree, she has made overall content deals with Mr. Jordan and the actor and musician Donald Glover, which she says will reinforce her mission to burnish Amazon’s reputation as a talent-friendly place.With its healthy subscription base, Amazon is attracting those in Hollywood who are interested in the company’s global reach but also curious about the company’s other businesses that have the potential to expand a star’s brand beyond film and television.Mr. Jordan, for one, said his overall content deal would allow him to explore areas other studios couldn’t offer: specifically fashion, music and podcasts. His portrayal of the physical incarnation of Amazon’s Alexa during a Super Bowl ad was an example.And Ms. King got a kick out of just how pervasive Amazon’s marketing of her film was whenever she logged into the company’s e-commerce site.“When I’m on Amazon, buying doggy bags, and my film pops up at the top, that’s pretty amazing,” she said. “That’s like, wow! Every single day I am getting a text from someone who saw the movie that probably wouldn’t have seen it if it didn’t pop up in their shopping queue.”AdvertisementContinue reading the main story More

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    Julie Delpy, Science-Fiction Filmmaker? It’s True

    #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 storyJulie Delpy, Science-Fiction Filmmaker? It’s TrueBest known for romantic comedies, the creator of the cloning drama “My Zoe” refuses to be pigeonholed: “I love to mess up and not go in the direction that is expected.”Julie Delpy in Los Angeles. She wrote, directed and stars in the new film. Credit…Jake Michaels for The New York TimesFeb. 26, 2021, 11:49 a.m. ET“Sorry, sorry, sorry,” said a flustered Julie Delpy, who was a few minutes late for a video interview. “My son is doing online school, and there is always something complicated to sort out.” She paused and took a breath. “But it’s nice too, having this time together.”Motherhood, its deep pulls of love and its concomitant potential for terror, is the central subject of Delpy’s new film, “My Zoe.” It’s a tough depiction of an antagonistic divorcing couple who are struck by tragedy, but then (spoiler alert!) moves into futuristic terrain as Delpy’s character, Isabelle, a geneticist, searches for a radical solution: cloning the child she has lost with the help of a controversial fertility doctor, played by Daniel Brühl.Brühl, who has worked with Delpy previously and was also one of the film’s producers, said in a telephone interview that the questions the film raised about ethics and morality, “about what might be possible, or what is perhaps already possible,” were deeply interesting to him. His character was “driven by his scientific ambitions to hold these questionable moral positions, but also driven by a growing empathy for the despair of this one mother,” Brühl said.“My Zoe,” Glenn Kenny wrote in The New York Times, “is an unusually compelling domestic drama with sharp ears, a sharp eye, and up to a point, sharp teeth.”It’s probably not the kind of film that mainstream audiences associate with Delpy, 51, who may be best known for the Richard Linklater romantic-comedy trio “Before Sunrise,” “Before Sunset” and “Before Midnight.” In those movies, spaced nine years apart, she played Celine, a strong, flawed heroine at the center of a compelling and equally flawed romance with Jesse, played by Ethan Hawke. (She also co-wrote the films, earning two Oscar adapted-screenplay nominations alongside Linklater and Hawke.)The French-born Delpy has been acting since the age of 14, when Jean-Luc Godard cast her in “Detective,” and she has worked in European art house cinema as well as mainstream Hollywood movies. But Delpy, whose parents were actors, has always wanted to write and direct, and she has done so since the mid-1990s: “My Zoe” is her seventh film and she has a number of writing and directing projects in the works, including a television series, “On the Verge,” in production for Canal Plus and Netflix.In an hourlong interview from her Los Angeles home last week, she talked about the genesis of “My Zoe,” the ethical questions around cloning, and whether conditions for female movie directors have improved. These are edited excerpts from the conversation.Delpy with Sophia Ally as Zoe in a scene from the film.Credit…Blue Fox EntertainmentWhat made you take on a subject and a genre so different from your previous films?When I worked with Godard, he published a book of letters he had written to actors and never sent. To me, he wrote, be careful in your life because people will put you in a box. He knew I wanted to direct, not just be a pretty actress. For me it’s essential not to stay in one place, it’s just not interesting. I love to mess up and not go in the direction that is expected.The story of “My Zoe” comes from a few different places. I was witness to a terrible accident with a child who died at my school and to the grief of the parents. And then being a parent yourself, you always think about this and fear it. But I think I had the idea even before that. I remember talking to [Krzysztof] Kieslowski when we were making “Three Colors: White” and discussing the idea of fate, and whether you could change things.I have seen so many movies in which people deal with death, and the main idea is acceptance. When you think about it, loss is an ancestral burden, particularly for women, who for centuries routinely lost babies at birth or young children. Isabelle refuses that condition of loss; she rebels and tries to recreate a child who is only hers. That’s the No. 1 fear of men, and I think that’s partly why this idea upsets many people.You divide the film into three parts, and the first shows the grim, petty realities of divorce; why was it important to you to set up the story in that way?I was writing the film in the middle of a separation, and sorting out custody of our kid, and it was important to me to have the first act be all about that horrible stuff, because I wanted to show how people forget the big thing: the well-being of the child. Sometimes in films, you get the bigger picture of separation; they don’t do the minutiae of breaking up with a child [involved]. I wanted to build a story from something rooted in reality, so that when you move into the next act, it doesn’t feel like science fiction.The second part, after Zoe’s accident, is luckily less familiar to most of us but still grounded in reality, and then we move into the third part, to events that are a possibility in the near future if not now. I didn’t want to be judgmental about Isabelle’s actions, just show her point of view. I am not saying that cloning is a good thing, but I’m saying, let’s not blind ourselves: When I.V.F. was first done, people called it evil and now they don’t think twice. For me, it’s an allegory of what people are capable of doing.Daniel Brühl said that you can be “very nerdy, very precise, a real perfectionist” as a director. How did you manage that role alongside this emotionally draining part in “My Zoe”?Often I would really rather have another actress play my role, but I always do these low-budget films and it helps to have a bit of a name. It irritates people that I do everything, they think it’s megalomania. But it really isn’t, just necessity!Yes, I am a perfectionist, and this film was really hard. The actors and I talked a lot before takes, but it’s very hard to judge the quality of a scene if you are also acting in it. The main tool is the playback; you need time to look at your own performance and make sure you are giving very different colors to scenes. In this case, I was very conscious of not turning it into a melodrama. We had a low budget and limited time — not a good combination. But I am not scared of difficulty, struggling, even chaos. Perhaps that’s the one thing I have in common with Isabelle.You’ve been outspoken about the difficulties facing female filmmakers — do you think things have improved in the last few years?I am happy to say things have improved. Now I feel I’m at the same level as male directors, and probably have almost the same opportunities. I see this particularly clearly in France; America isn’t quite there yet for all the talk about feminism and racism and equality. But there has been change. When I made “Two Days in Paris,” at 36, I had to battle for a half a million dollar budget; talking to younger female filmmakers now, that’s not the case.AdvertisementContinue reading the main story More

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    ‘Tom & Jerry’ Review: Chasing the Mouse of Nostalgia

    #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‘Tom & Jerry’ Review: Chasing the Mouse of NostalgiaThis feature-length expansion of the popular cartoon is too brainless for adults, but its kid-friendly title characters are barely supporting players.The animated characters Tom, right, and Jerry navigate New York City streets in “Tom & Jerry.”Credit…Warner Bros.Feb. 26, 2021, 11:00 a.m. ETTom & Jerry: The MovieDirected by Tim StoryAnimation, Adventure, Comedy, FamilyPG1h 41mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Affectionate nostalgia can attach itself to the most inexplicable and undeserving of recipients, which is about the only explanation for the existence of “Tom & Jerry,” a new feature-length expansion of the cartoon shorts of the 1940s and 1950s (and endless television rebroadcasts thereafter). Those were simple, slapstick cat-and-mouse chase comedies; here, the characters are uneasily blended, “Who Framed Roger Rabbit”-style, into a live-action New York City, where a quick-thinking hustler (Chloë Grace Moretz) bluffs her way into a job at a swank hotel in the midst of preparations for a high-society wedding. Tom and Jerry are also guests at the property, albeit uninvited ones. Shenanigans ensue.The director Tim Story (of “Barbershop” and the execrable 2019 “Shaft” reboot) and the screenwriter Kevin Costello, reimagine Tom as a shades-wearing street musician, throw in jokes referencing Drake, T.I. and TikTok, and fill the soundtrack with classic hip-hop. It’s all flop sweat, a sad, desperate attempt to make Tom and Jerry the one thing they never were: cool.[embedded content]They also weren’t crass, which creates some tension with the demands of a contemporary “family” comedy; the picture’s low point finds an animated bulldog squatting and defecating in the middle of a crosswalk, prompting the co-star Michael Peña (poor, poor Michael Peña) to shriek, “How many burritos did you eat?” The de rigueur slapstick scenes for the title characters don’t even play, as the integration of animation and live action is so clunky that it feels like we’re watching special effects demonstrations rather than gags.Some of the performances are enjoyable. Moretz is charmingly game, Peña is funny because Peña is always funny and Rob Delaney has fun with his role as the hotel’s fussy manager. But the laughs they generate have little to do with Tom or Jerry; they’re borne of the personas and charisma of the cast.There is some value to “Tom & Jerry,” though, in that it lays bare the unacknowledged truth at the center of the entertainment industry’s undying fealty to existing intellectual property. Put simply: Just because it was on television when you were a kid, doesn’t mean it was good.Tom & Jerry: The MovieRated PG. Running time: 1 hour 41 minutes. In theaters and on HBO Max. 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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    Amanda Seyfried Fears Pregnancy Would Ruin Her Experience Filming 'Mank'

    WENN/Nicky Nelson

    The ‘Mamma Mia!’ star, who gave birth to her second child with husband Thomas Sadoski in September 2020, portrays real-life 1930s actress Marion Davies in the Herman J. Mankiewicz biopic.

    Feb 26, 2021
    AceShowbiz – Amanda Seyfried was “terrified” when she discovered she was pregnant at the start of filming “Mank”, because she dreaded the thought of dealing with morning sickness while onset.
    The “Mamma Mia!” star portrays real-life 1930s actress Marion Davies in the Herman J. Mankiewicz biopic, which chronicles his battle to complete the screenplay for Orson Welles’ “Citizen Kane”.
    However, Seyfried admits she had nothing to fear, because the excitement of working on the David Fincher passion project, opposite Gary Oldman as Mankiewicz, made her temporarily forget she was expecting.
    Recalling her initial reaction to her positive pregnancy test, Seyfried said, “I was very surprised, and I was also terrified, because the anticipation of getting to set everyday, especially when you’re waking up at 3am, which is the earliest I’ve ever gotten up for a job, knowing that I’m gonna have morning sickness, knowing how horrible I feel physiologically, was just that was a challenge. Just getting mind over matter and getting to set (was difficult).”

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    “Of course, when I was on set, everything disappeared, we’d roll the cameras and I’d forget that I was pregnant for a second,” she added. “But it’s that challenging part at the beginning of a pregnancy that I thought was really gonna ruin my experience, but it was even better because I had this little man in me.”
    [embedded content]
    Filming was completed in early February 2020 and she gave birth to a son, her second child with husband Thomas Sadoski, in September.
    Her performance in “Mank”, which was released in November, has since won her critical acclaim, as well as a Golden Globe nomination for Best Supporting Actress.

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