Month: March 2024

The Oscars are done for another year and Christopher Nolan and Cillian Murphy are newly minted Oscar winners for Oppenheimer! Overall, it was an expected and welcome result, with Oppenheimer also taking home Best Picture, while Poor Things star Emma Stone won a second Oscar, in a surprising, but well-earned result. Overall, it was the icing on the cake of a refreshingly entertaining edition of the Oscars – one of the best in years.

Right off the bat it was pretty amusing, Jimmy Kimmel made some pretty fun digs in his opening monologue, including some references to Robert Downey Jr’s checkered history (which he was happy to play along to) and Margot Robbie and Ryan Gosling’s genetic perfection (he ain’t wrong). Plus, there was a close-up of Anatomy of a Fall’s breakout dog star, Messi (who showed up despite earlier giving the award show the high hat), and a pretty funny joke from Kimmel about Killers of the Flower Moon being so long that he had his mail forwarded to the theatre when he saw it. The funniest bit of the evening is no doubt Kimmel and John Cena’s parody of the infamous streaking episode for Best Costume. Meanwhile, in a crowd-pleasing moment, Robert Downey Jr., took how a much deserved Best Supporting Actor Win for Oppenheimer. The award was so well received, even Messi the dog applauded.

Another great moment was Arnold Schwarzengger and Danny DeVito coming out to remember being Batman enemies in Batman Returns, and Batman & Robin, only to be stared down by Michael Keaton, wearing a Bruce Wayne ascot. Good stuff! Interestingly, Wes Anderson won his first-ever Oscar for The Wonderful Story of Henry Sugar, but wasn’t on hand to accept his award. Then there was Ryan Gosling nailing “I’m Just Ken”, with a little help from his co-stars and Guns N’ Roses legend Slash.

Oppenheimer took home the most awards in total, with seven wins. Poor Things won four, Zone of Interest won two, while Maestro, Killers of the Flower Moon and Past Lives all left empty-handed.

Here are all the winners:

BEST PICTURE

AMERICAN FICTION
Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers
ANATOMY OF A FALL
Marie-Ange Luciani and David Thion, Producers
BARBIE
David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers
THE HOLDOVERS
Mark Johnson, Producer
KILLERS OF THE FLOWER MOON
Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers
MAESTRO
Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers
OPPENHEIMER
Emma Thomas, Charles Roven and Christopher Nolan, Producers

PAST LIVES
David Hinojosa, Christine Vachon and Pamela Koffler, Producers
POOR THINGS
Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers
THE ZONE OF INTEREST
James Wilson, Producer

DIRECTING

ANATOMY OF A FALL
Justine Triet
KILLERS OF THE FLOWER MOON
Martin Scorsese
OPPENHEIMER
Christopher Nolan

POOR THINGS
Yorgos Lanthimos
THE ZONE OF INTEREST
Jonathan Glazer

ACTOR IN A LEADING ROLE

BRADLEY COOPER
Maestro
COLMAN DOMINGO
Rustin
PAUL GIAMATTI
The Holdovers
CILLIAN MURPHY
Oppenheimer

JEFFREY WRIGHT
American Fiction

ACTRESS IN A LEADING ROLE

ANNETTE BENING
Nyad
LILY GLADSTONE
Killers of the Flower Moon
SANDRA HÜLLER
Anatomy of a Fall
CAREY MULLIGAN
Maestro
EMMA STONE
Poor Things

ACTOR IN A SUPPORTING ROLE

STERLING K. BROWN
American Fiction
ROBERT DE NIRO
Killers of the Flower Moon
ROBERT DOWNEY JR.
Oppenheimer

RYAN GOSLING
Barbie
MARK RUFFALO
Poor Things

ACTRESS IN A SUPPORTING ROLE

EMILY BLUNT
Oppenheimer
DANIELLE BROOKS
The Color Purple
AMERICA FERRERA
Barbie
JODIE FOSTER
Nyad
DA’VINE JOY RANDOLPH
The Holdovers

WRITING (ORIGINAL SCREENPLAY)

ANATOMY OF A FALL
Screenplay – Justine Triet and Arthur Harari

THE HOLDOVERS
Written by David Hemingson
MAESTRO
Written by Bradley Cooper & Josh Singer
MAY DECEMBER
Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik
PAST LIVES
Written by Celine Song

WRITING (ADAPTED SCREENPLAY)

AMERICAN FICTION
Written for the screen by Cord Jefferson

BARBIE
Written by Greta Gerwig & Noah Baumbach
OPPENHEIMER
Written for the screen by Christopher Nolan
POOR THINGS
Screenplay by Tony McNamara
THE ZONE OF INTEREST
Written by Jonathan Glazer

VISUAL EFFECTS

THE CREATOR
Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould
GODZILLA MINUS ONE
Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima

GUARDIANS OF THE GALAXY VOL. 3
Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould
NAPOLEON
Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould

FILM EDITING

ANATOMY OF A FALL
Laurent Sénéchal
THE HOLDOVERS
Kevin Tent
KILLERS OF THE FLOWER MOON
Thelma Schoonmaker
OPPENHEIMER
Jennifer Lame

POOR THINGS
Yorgos Mavropsaridis

SOUND

THE CREATOR
Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic
MAESTRO
Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
Chris Munro, James H. Mather, Chris Burdon and Mark Taylor
OPPENHEIMER
Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell
THE ZONE OF INTEREST
Tarn Willers and Johnnie Burn

CINEMATOGRAPHY

EL CONDE
Edward Lachman
KILLERS OF THE FLOWER MOON
Rodrigo Prieto
MAESTRO
Matthew Libatique
OPPENHEIMER
Hoyte van Hoytema

POOR THINGS
Robbie Ryan

MUSIC (ORIGINAL SCORE)

AMERICAN FICTION
Laura Karpman
INDIANA JONES AND THE DIAL OF DESTINY
John Williams
KILLERS OF THE FLOWER MOON
Robbie Robertson
OPPENHEIMER
Ludwig Göransson

POOR THINGS
Jerskin Fendrix

MUSIC (ORIGINAL SONG)

THE FIRE INSIDE
from Flamin’ Hot; Music and Lyric by Diane Warren
I’M JUST KEN
from Barbie; Music and Lyric by Mark Ronson and Andrew Wyatt
IT NEVER WENT AWAY
from American Symphony; Music and Lyric by Jon Batiste and Dan Wilson
WAHZHAZHE (A SONG FOR MY PEOPLE)
from Killers of the Flower Moon; Music and Lyric by Scott George
WHAT WAS I MADE FOR?
from Barbie; Music and Lyric by Billie Eilish and Finneas O’Connell

ANIMATED FEATURE FILM

THE BOY AND THE HERON
Hayao Miyazaki and Toshio Suzuki

ELEMENTAL
Peter Sohn and Denise Ream
NIMONA
Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary
ROBOT DREAMS
Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz
SPIDER-MAN: ACROSS THE SPIDER-VERSE
Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal

INTERNATIONAL FEATURE FILM

IO CAPITANO
Italy
PERFECT DAYS
Japan
SOCIETY OF THE SNOW
Spain
THE TEACHERS’ LOUNGE
Germany
THE ZONE OF INTEREST
United Kingdom

DOCUMENTARY FEATURE FILM

BOBI WINE: THE PEOPLE’S PRESIDENT
Moses Bwayo, Christopher Sharp and John Battsek
THE ETERNAL MEMORY
Maite Alberdi
FOUR DAUGHTERS
Kaouther Ben Hania and Nadim Cheikhrouha
TO KILL A TIGER
Nisha Pahuja, Cornelia Principe and David Oppenheim
20 DAYS IN MARIUPOL
Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath

MAKEUP AND HAIRSTYLING

GOLDA
Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue
MAESTRO
Kazu Hiro, Kay Georgiou and Lori McCoy-Bell
OPPENHEIMER
Luisa Abel
POOR THINGS
Nadia Stacey, Mark Coulier and Josh Weston

SOCIETY OF THE SNOW
Ana López-Puigcerver, David Martí and Montse Ribé

PRODUCTION DESIGN

BARBIE
Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
KILLERS OF THE FLOWER MOON
Production Design: Jack Fisk; Set Decoration: Adam Willis
NAPOLEON
Production Design: Arthur Max; Set Decoration: Elli Griff
OPPENHEIMER
Production Design: Ruth De Jong; Set Decoration: Claire Kaufman
POOR THINGS
Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek

ANIMATED SHORT FILM

LETTER TO A PIG
Tal Kantor and Amit R. Gicelter
NINETY-FIVE SENSES
Jerusha Hess and Jared Hess
OUR UNIFORM
Yegane Moghaddam
PACHYDERME
Stéphanie Clément and Marc Rius
WAR IS OVER! INSPIRED BY THE MUSIC OF JOHN & YOKO
Dave Mullins and Brad Booker

LIVE ACTION SHORT FILM

THE AFTER
Misan Harriman and Nicky Bentham
INVINCIBLE
Vincent René-Lortie and Samuel Caron
KNIGHT OF FORTUNE
Lasse Lyskjær Noer and Christian Norlyk
RED, WHITE AND BLUE
Nazrin Choudhury and Sara McFarlane
THE WONDERFUL STORY OF HENRY SUGAR
Wes Anderson and Steven Rales

DOCUMENTARY SHORT FILM

THE ABCS OF BOOK BANNING
Sheila Nevins and Trish Adlesic
THE BARBER OF LITTLE ROCK
John Hoffman and Christine Turner
ISLAND IN BETWEEN
S. Leo Chiang and Jean Tsien
THE LAST REPAIR SHOP
Ben Proudfoot and Kris Bowers

NǍI NAI & WÀI PÓ
Sean Wang and Sam Davis

COSTUME DESIGN

BARBIE
Jacqueline Durran
KILLERS OF THE FLOWER MOON
Jacqueline West
NAPOLEON
Janty Yates and Dave Crossman
OPPENHEIMER
Ellen Mirojnick
POOR THINGS
Holly Waddington

The post The Oscars: Oppenheimer dominates, and Emma Stone surprises; here are the winners! appeared first on JoBlo.

New Oscar category

The time has come! The 96th annual Academy Awards are happening tonight, and we’ll be on hand following all the winners as they come in all-night long! Will this be Christopher Nolan’s year to win a Best Director Oscar? Will Cillian Murphy take Best Actor over Paul Giamatti? Stay with us all night long for all the winners and highlights from the show!

Here are all the nominees:

BEST PICTURE

AMERICAN FICTION
Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers
ANATOMY OF A FALL
Marie-Ange Luciani and David Thion, Producers
BARBIE
David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers
THE HOLDOVERS
Mark Johnson, Producer
KILLERS OF THE FLOWER MOON
Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers
MAESTRO
Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers
OPPENHEIMER
Emma Thomas, Charles Roven and Christopher Nolan, Producers
PAST LIVES
David Hinojosa, Christine Vachon and Pamela Koffler, Producers
POOR THINGS
Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers
THE ZONE OF INTEREST
James Wilson, Producer

DIRECTING

ANATOMY OF A FALL
Justine Triet
KILLERS OF THE FLOWER MOON
Martin Scorsese
OPPENHEIMER
Christopher Nolan
POOR THINGS
Yorgos Lanthimos
THE ZONE OF INTEREST
Jonathan Glazer

ACTOR IN A LEADING ROLE

BRADLEY COOPER
Maestro
COLMAN DOMINGO
Rustin
PAUL GIAMATTI
The Holdovers
CILLIAN MURPHY
Oppenheimer
JEFFREY WRIGHT
American Fiction

ACTOR IN A SUPPORTING ROLE

STERLING K. BROWN
American Fiction
ROBERT DE NIRO
Killers of the Flower Moon
ROBERT DOWNEY JR.
Oppenheimer
RYAN GOSLING
Barbie
MARK RUFFALO
Poor Things

ACTRESS IN A LEADING ROLE

ANNETTE BENING
Nyad
LILY GLADSTONE
Killers of the Flower Moon
SANDRA HÜLLER
Anatomy of a Fall
CAREY MULLIGAN
Maestro
EMMA STONE
Poor Things

ACTRESS IN A SUPPORTING ROLE

EMILY BLUNT
Oppenheimer
DANIELLE BROOKS
The Color Purple
AMERICA FERRERA
Barbie
JODIE FOSTER
Nyad
DA’VINE JOY RANDOLPH
The Holdovers

WRITING (ADAPTED SCREENPLAY)

AMERICAN FICTION
Written for the screen by Cord Jefferson
BARBIE
Written by Greta Gerwig & Noah Baumbach
OPPENHEIMER
Written for the screen by Christopher Nolan
POOR THINGS
Screenplay by Tony McNamara
THE ZONE OF INTEREST
Written by Jonathan Glazer

WRITING (ORIGINAL SCREENPLAY)

ANATOMY OF A FALL
Screenplay – Justine Triet and Arthur Harari
THE HOLDOVERS
Written by David Hemingson
MAESTRO
Written by Bradley Cooper & Josh Singer
MAY DECEMBER
Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik
PAST LIVES
Written by Celine Song

ANIMATED FEATURE FILM

THE BOY AND THE HERON
Hayao Miyazaki and Toshio Suzuki
ELEMENTAL
Peter Sohn and Denise Ream
NIMONA
Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary
ROBOT DREAMS
Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz
SPIDER-MAN: ACROSS THE SPIDER-VERSE
Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal

CINEMATOGRAPHY

EL CONDE
Edward Lachman
KILLERS OF THE FLOWER MOON
Rodrigo Prieto
MAESTRO
Matthew Libatique
OPPENHEIMER
Hoyte van Hoytema
POOR THINGS
Robbie Ryan

COSTUME DESIGN

BARBIE
Jacqueline Durran
KILLERS OF THE FLOWER MOON
Jacqueline West
NAPOLEON
Janty Yates and Dave Crossman
OPPENHEIMER
Ellen Mirojnick
POOR THINGS
Holly Waddington

INTERNATIONAL FEATURE FILM

IO CAPITANO
Italy
PERFECT DAYS
Japan
SOCIETY OF THE SNOW
Spain
THE TEACHERS’ LOUNGE
Germany
THE ZONE OF INTEREST
United Kingdom

LIVE ACTION SHORT FILM

THE AFTER
Misan Harriman and Nicky Bentham
INVINCIBLE
Vincent René-Lortie and Samuel Caron
KNIGHT OF FORTUNE
Lasse Lyskjær Noer and Christian Norlyk
RED, WHITE AND BLUE
Nazrin Choudhury and Sara McFarlane
THE WONDERFUL STORY OF HENRY SUGAR
Wes Anderson and Steven Rales

DOCUMENTARY FEATURE FILM

BOBI WINE: THE PEOPLE’S PRESIDENT
Moses Bwayo, Christopher Sharp and John Battsek
THE ETERNAL MEMORY
Maite Alberdi
FOUR DAUGHTERS
Kaouther Ben Hania and Nadim Cheikhrouha
TO KILL A TIGER
Nisha Pahuja, Cornelia Principe and David Oppenheim
20 DAYS IN MARIUPOL
Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath

DOCUMENTARY SHORT FILM

THE ABCS OF BOOK BANNING
Sheila Nevins and Trish Adlesic
THE BARBER OF LITTLE ROCK
John Hoffman and Christine Turner
ISLAND IN BETWEEN
S. Leo Chiang and Jean Tsien
THE LAST REPAIR SHOP
Ben Proudfoot and Kris Bowers
NǍI NAI & WÀI PÓ
Sean Wang and Sam Davis

FILM EDITING

ANATOMY OF A FALL
Laurent Sénéchal
THE HOLDOVERS
Kevin Tent
KILLERS OF THE FLOWER MOON
Thelma Schoonmaker
OPPENHEIMER
Jennifer Lame
POOR THINGS
Yorgos Mavropsaridis

MAKEUP AND HAIRSTYLING

GOLDA
Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue
MAESTRO
Kazu Hiro, Kay Georgiou and Lori McCoy-Bell
OPPENHEIMER
Luisa Abel
POOR THINGS
Nadia Stacey, Mark Coulier and Josh Weston
SOCIETY OF THE SNOW
Ana López-Puigcerver, David Martí and Montse Ribé

MUSIC (ORIGINAL SCORE)

AMERICAN FICTION
Laura Karpman
INDIANA JONES AND THE DIAL OF DESTINY
John Williams
KILLERS OF THE FLOWER MOON
Robbie Robertson
OPPENHEIMER
Ludwig Göransson
POOR THINGS
Jerskin Fendrix

MUSIC (ORIGINAL SONG)

THE FIRE INSIDE
from Flamin’ Hot; Music and Lyric by Diane Warren
I’M JUST KEN
from Barbie; Music and Lyric by Mark Ronson and Andrew Wyatt
IT NEVER WENT AWAY
from American Symphony; Music and Lyric by Jon Batiste and Dan Wilson
WAHZHAZHE (A SONG FOR MY PEOPLE)
from Killers of the Flower Moon; Music and Lyric by Scott George
WHAT WAS I MADE FOR?
from Barbie; Music and Lyric by Billie Eilish and Finneas O’Connell

PRODUCTION DESIGN

BARBIE
Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
KILLERS OF THE FLOWER MOON
Production Design: Jack Fisk; Set Decoration: Adam Willis
NAPOLEON
Production Design: Arthur Max; Set Decoration: Elli Griff
OPPENHEIMER
Production Design: Ruth De Jong; Set Decoration: Claire Kaufman
POOR THINGS
Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek

ANIMATED SHORT FILM

LETTER TO A PIG
Tal Kantor and Amit R. Gicelter
NINETY-FIVE SENSES
Jerusha Hess and Jared Hess
OUR UNIFORM
Yegane Moghaddam
PACHYDERME
Stéphanie Clément and Marc Rius
WAR IS OVER! INSPIRED BY THE MUSIC OF JOHN & YOKO
Dave Mullins and Brad Booker

SOUND

THE CREATOR
Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic
MAESTRO
Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
Chris Munro, James H. Mather, Chris Burdon and Mark Taylor
OPPENHEIMER
Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell
THE ZONE OF INTEREST
Tarn Willers and Johnnie Burn

VISUAL EFFECTS

THE CREATOR
Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould
GODZILLA MINUS ONE
Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima
GUARDIANS OF THE GALAXY VOL. 3
Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould
NAPOLEON
Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould

The post The Oscars: keep up with all the winners here! appeared first on JoBlo.

Tombstone

The Gunfight at the O.K. Corral lasted under one minute and took place over 140 years ago. Tombstone, which dramatizes said gunfight, was made just over 30 years ago and already has more mystery to it. We may know who killed who that October day in Arizona, but there’s still some discrepancies over who truly directed 1993’s Tombstone. One thing’s for sure: Michael Biehn knows it wasn’t Kurt Russell…despite what Kurt Russell may say.

Speaking on Michael Rosenbaum on Inside of You, Biehn – who played outlaw Johnny Ringo – tried to once again shut down the rumors that Russell was the true director of Tombstone. “I get so f’in’ tired of people asking me if Kurt Russell directed the movie…Kurt Russell did not direct the movie. Kurt Russell was responsible for getting the movie off the ground. I never would have played Johnny Ringo if it wasn’t for Kurt Russell. And I told you last time I was here, I love Kurt Russell. He’s a great, great person and a great movie star.”

So, who is the person responsible? According to the credits it’s George P. Cosmatos, who actually replaced writer Kevin Jarre. But there might not be one person who can be called director on Tombstone after all. “It was directed by kind of a committee”, Biehn continued. “[Jarre] shoots five weeks, they throw all that stuff away…And then George Cosmatos takes over…and we shoot for another month or six weeks…Everybody had a hand in it but a lot of the stuff got cut out of the movie before we got a chance to shoot it!”

Kurt Russell, it turns out, was pulling double duty all along. In addition to playing Wyatt Earp, he was doing a lot behind the scenes as well, using time the day before a shoot to work on composition and blocking. This would later be backed up by Val Kilmer (Doc Holliday), who wrote in 2017, “I watched Kurt sacrifice his own role and energy to devote himself as a storyteller, even going so far as to draw up shot lists to help our replacement director, George Cosmatos, who came in with only two days prep.” It should be noted that Kilmer doesn’t explicitly say that Russell was the director of Tombstone, but we can kind of read between the lines here…

We may never know who really deserves director credit on Tombstone, but we do know that it stands as one of the finest westerns of the ‘90s. Now, if we can just get that 4K release

The post Michael Biehn shoots down rumor Kurt Russell directed Tombstone appeared first on JoBlo.

Tombstone

The Gunfight at the O.K. Corral lasted under one minute and took place over 140 years ago. Tombstone, which dramatizes said gunfight, was made just over 30 years ago and already has more mystery to it. We may know who killed who that October day in Arizona, but there’s still some discrepancies over who truly directed 1993’s Tombstone. One thing’s for sure: Michael Biehn knows it wasn’t Kurt Russell…despite what Kurt Russell may say.

Speaking on Michael Rosenbaum on Inside of You, Biehn – who played outlaw Johnny Ringo – tried to once again shut down the rumors that Russell was the true director of Tombstone. “I get so f’in’ tired of people asking me if Kurt Russell directed the movie…Kurt Russell did not direct the movie. Kurt Russell was responsible for getting the movie off the ground. I never would have played Johnny Ringo if it wasn’t for Kurt Russell. And I told you last time I was here, I love Kurt Russell. He’s a great, great person and a great movie star.”

So, who is the person responsible? According to the credits it’s George P. Cosmatos, who actually replaced writer Kevin Jarre. But there might not be one person who can be called director on Tombstone after all. “It was directed by kind of a committee”, Biehn continued. “[Jarre] shoots five weeks, they throw all that stuff away…And then George Cosmatos takes over…and we shoot for another month or six weeks…Everybody had a hand in it but a lot of the stuff got cut out of the movie before we got a chance to shoot it!”

Kurt Russell, it turns out, was pulling double duty all along. In addition to playing Wyatt Earp, he was doing a lot behind the scenes as well, using time the day before a shoot to work on composition and blocking. This would later be backed up by Val Kilmer (Doc Holliday), who wrote in 2017, “I watched Kurt sacrifice his own role and energy to devote himself as a storyteller, even going so far as to draw up shot lists to help our replacement director, George Cosmatos, who came in with only two days prep.” It should be noted that Kilmer doesn’t explicitly say that Russell was the director of Tombstone, but we can kind of read between the lines here…

We may never know who really deserves director credit on Tombstone, but we do know that it stands as one of the finest westerns of the ‘90s. Now, if we can just get that 4K release

The post Michael Biehn shoots down rumor Kurt Russell directed Tombstone appeared first on JoBlo.

Tombstone

The Gunfight at the O.K. Corral lasted under one minute and took place over 140 years ago. Tombstone, which dramatizes said gunfight, was made just over 30 years ago and already has more mystery to it. We may know who killed who that October day in Arizona, but there’s still some discrepancies over who truly directed 1993’s Tombstone. One thing’s for sure: Michael Biehn knows it wasn’t Kurt Russell…despite what Kurt Russell may say.

Speaking on Michael Rosenbaum on Inside of You, Biehn – who played outlaw Johnny Ringo – tried to once again shut down the rumors that Russell was the true director of Tombstone. “I get so f’in’ tired of people asking me if Kurt Russell directed the movie…Kurt Russell did not direct the movie. Kurt Russell was responsible for getting the movie off the ground. I never would have played Johnny Ringo if it wasn’t for Kurt Russell. And I told you last time I was here, I love Kurt Russell. He’s a great, great person and a great movie star.”

So, who is the person responsible? According to the credits it’s George P. Cosmatos, who actually replaced writer Kevin Jarre. But there might not be one person who can be called director on Tombstone after all. “It was directed by kind of a committee”, Biehn continued. “[Jarre] shoots five weeks, they throw all that stuff away…And then George Cosmatos takes over…and we shoot for another month or six weeks…Everybody had a hand in it but a lot of the stuff got cut out of the movie before we got a chance to shoot it!”

Kurt Russell, it turns out, was pulling double duty all along. In addition to playing Wyatt Earp, he was doing a lot behind the scenes as well, using time the day before a shoot to work on composition and blocking. This would later be backed up by Val Kilmer (Doc Holliday), who wrote in 2017, “I watched Kurt sacrifice his own role and energy to devote himself as a storyteller, even going so far as to draw up shot lists to help our replacement director, George Cosmatos, who came in with only two days prep.” It should be noted that Kilmer doesn’t explicitly say that Russell was the director of Tombstone, but we can kind of read between the lines here…

We may never know who really deserves director credit on Tombstone, but we do know that it stands as one of the finest westerns of the ‘90s. Now, if we can just get that 4K release

The post Michael Bien shoots down rumor Kurt Russell directed Tombstone appeared first on JoBlo.

The Holdovers

As Paul Giamatti’s character in The Holdovers quoted, “History is not just a study of the past, it is an explanation of the present.” So what if looking at a piece of the past led to a successful present? That’s the situation The Holdoversone of the best films of last year – is finding itself in, as the script is now accused of plagiarism ahead of a potential win for Best Original Screenplay at Sunday’s Academy Awards.

According to Variety, screenwriter Simon Stephenson — who has credits on Pixar’s Luca and Paddington 2 — issued a complaint to a representative for the Writers Guild of America that The Holdovers was suspiciously close to his own Frisco, one of the films featured on The Blacklist, the annual list of best screenplays that have yet to be greenlit. As per The Blacklist, here is the official plot of Frisco: “A forty-something pediatric allergist, who specializes in the hazelnut and is facing a divorce, learns lessons in living from a wise-beyond-her-years terminally ill 15 year old patient when she crashes his weekend trip to a conference in San Francisco.” OK, so this doesn’t seem nearly as close to being in the world of The Holdovers as purported, but the supposed comparisons have been broken down in the claim:

Even this seems extremely loose, but Stephenson is confident that he has a case for plagiarism. According to an email sent from the writer to the WGA, “I can demonstrate beyond any possible doubt that the meaningful entirety of the screenplay for a film with WGA-sanctioned credits that is currently on track to win a screenwriting Oscar has been plagiarised line-by-line from a popular unproduced screenplay of mine…I’ve been a working writer for 20 years – in my native UK before I came to the US – and so I’m very aware that people can often have surprisingly similar ideas and sometimes a few elements can be ‘borrowed’ etc. This just isn’t that situation. The two screenplays are forensically identical and riddled with unique smoking guns throughout.” Despite his case and claims, it’s believed that the WGA essentially brushed off the situation as having nothing to do with the guild as Frisco was a spec script. 

Stephenson further says that The Holdovers director Alexander Payne had direct access to the Frisco script as far back as 2013 (with later connection in 2019), supported via emails. According to sources, Payne had read and liked the screenplay but wasn’t moving forward on it. 

In addition to an Oscar nomination, David Hemingson earned recognition from dozens of other organizations, including the BAFTAs, the Independent Spirit Awards and the WGA. While Anatomy of a Fall could very well take home Best Original Screenplay, no doubt this dispute will put a cloud on The Holdover’s nomination. The team of Hemingson and Payne are due to reteam for a western.

What do you think of the plagiarism case regarding The Holdovers? Give us your thoughts below.

The post The Holdovers hit with plagiarism accusations ahead of Oscars appeared first on JoBlo.

The Holdovers

As Paul Giamatti’s character in The Holdovers quoted, “History is not just a study of the past, it is an explanation of the present.” So what if looking at a piece of the past led to a successful present? That’s the situation The Holdoversone of the best films of last year – is finding itself in, as the script is now accused of plagiarism ahead of a potential win for Best Original Screenplay at Sunday’s Academy Awards.

According to Variety, screenwriter Simon Stephenson — who has credits on Pixar’s Luca and Paddington 2 — issued a complaint to a representative for the Writers Guild of America that The Holdovers was suspiciously close to his own Frisco, one of the films featured on The Blacklist, the annual list of best screenplays that have yet to be greenlit. As per The Blacklist, here is the official plot of Frisco: “A forty-something pediatric allergist, who specializes in the hazelnut and is facing a divorce, learns lessons in living from a wise-beyond-her-years terminally ill 15 year old patient when she crashes his weekend trip to a conference in San Francisco.” OK, so this doesn’t seem nearly as close to being in the world of The Holdovers as purported, but the supposed comparisons have been broken down in the claim:

Even this seems extremely loose, but Stephenson is confident that he has a case for plagiarism. According to an email sent from the writer to the WGA, “I can demonstrate beyond any possible doubt that the meaningful entirety of the screenplay for a film with WGA-sanctioned credits that is currently on track to win a screenwriting Oscar has been plagiarised line-by-line from a popular unproduced screenplay of mine…I’ve been a working writer for 20 years – in my native UK before I came to the US – and so I’m very aware that people can often have surprisingly similar ideas and sometimes a few elements can be ‘borrowed’ etc. This just isn’t that situation. The two screenplays are forensically identical and riddled with unique smoking guns throughout.” Despite his case and claims, it’s believed that the WGA essentially brushed off the situation as having nothing to do with the guild as Frisco was a spec script. 

Stephenson further says that The Holdovers director Alexander Payne had direct access to the Frisco script as far back as 2013 (with later connection in 2019), supported via emails. According to sources, Payne had read and liked the screenplay but wasn’t moving forward on it. 

In addition to an Oscar nomination, David Hemingson earned recognition from dozens of other organizations, including the BAFTAs, the Independent Spirit Awards and the WGA. While Anatomy of a Fall could very well take home Best Original Screenplay, no doubt this dispute will put a cloud on The Holdover’s nomination. The team of Hemingson and Payne are due to reteam for a western.

What do you think of the plagiarism case regarding The Holdovers? Give us your thoughts below.

The post The Holdovers hit with plagiarism accusations ahead of Oscars appeared first on JoBlo.

Weekend Box Office

Hollywood has two reasons to celebrate today, with one of them being the fact that it’s Oscar Sunday. However, the more important reason is no doubt the fact that after a sluggish start to the year, the box office is finally picking up, with the top two movies this weekend overperforming significantly. Even the most optimistic box office forecasters didn’t see Kung Fu Panda 4 opening north of $50 million (we had it pegged at $48 million), but the movie ended up rallying to a massive $58 million weekend. While that’s not much compared to the last Jack Black animated film (The Super Mario Bros. Movie), it’s worth noting that the Kung Fu Panda franchise was widely thought to have run out of gas some time ago. The last two Kung Fu Panda movies only made $47 and $41 million on their opening weekends, thus giving the franchise its biggest start since the first movie in 2008, which opened with $60.2 million. 

However, this weekend’s big news is Dune: Part Two’s amazing hold, with it posting the smallest second-weekend decline since this summer’s Barbenheimer phenomenon. Yesterday, the trades figured the film would make about $44 million this weekend, but in the end, just like last week, the movie had a stronger-than-expected Saturday. It now stands at $46 million for the second weekend, posting a 44% week-to-week decline, which is amazing for a tentpole blockbuster. Typically, if a movie like this is well-reviewed or liked, it would drop in the 50’s, while a 60-ish decline is the norm. That “A” CinemaScore rating is working wonders, with word-of-mouth on this one making a $300 million domestic finish possible. 

Meanwhile, Blumhouse’s Imaginary exceeded expectations, making $10 million for the weekend. That’s not a bad finish, given the poor reviews, although it will likely sink like a stone next weekend. In fourth place is Angel Studios’ Cabrini, which had a much better weekend than expected, with a north of $7.5 million opening. While that’s a far cry from director Alejandro Monteverde’s last film, Sound of Freedom, Cabrini didn’t have the same mainstream hook that movie did. Given that this is a period piece about the first American citizen canonized as a Saint by the Catholic Church, this is a pretty solid opening. It should play well over the upcoming Easter holiday. 

Bob Marley: One Love, which dominated the box office throughout February, made just over $4 million this weekend, with an $89 million domestic total. A $100 million finish looks like it might be in the cards for this well-liked biopic. On the other hand, the faith-based Ordinary Angels struggled to find an audience, only making $2 million for the weekend, with a $16 million domestic total. That’s low for a Christian movie with two solid stars, Hilary Swank and Alan Ritchson. 

However, of all the movies on the list, the biggest cautionary tale continues to be Sony’s Marvel flick, Madame Web, which only made $1.125 million this weekend and only has a $42 million domestic total so far. There’s no way this one manages a finish of over $45 million. This movie is so bad that even its star, Dakota Johnson, says so.

Illumination’s Migration is on the lower end of the chart, which is wrapping up its run with a $1.1 million weekend for a $125 million domestic total, which is low for this animated studio. The 9th and 10th spots were taken by specialty releases. The Chinese comedy YOLO opened in 9th place with $840,000, while the MET Opera special run of La Forza del Destino made $768,000 in the 10th spot.

Next weekend seems like it’ll be a quiet one, with the only major releases being the Kristen Stewart pulp thriller Love Lies Bleeding and the Mark Wahlberg movie Arthur the King, which has gotten a pretty mild advertising campaign despite the fact it not only stars Wahlberg but also Simu Liu and a lovable dog. Go figure. It looks possible that Dune: Part Two could even retake the top spot if Kung Fu Panda 4 has a modest hold.

Did you go see anything this weekend? Let us know in the comments!

The post Weekend Box Office: Dune 2 has the best 2nd weekend hold since Barbenheimer appeared first on JoBlo.

Hollywood has two reasons to celebrate today, with one of them being the fact that it’s Oscar Sunday. However, the more important reason is no doubt the fact that after a sluggish start to the year, the box office is finally picking up, with the top two movies this weekend overperforming significantly. Even the most optimistic box office forecasters didn’t see Kung Fu Panda 4 opening north of $50 million (we had it pegged at $48 million), but the movie ended up rallying to a massive $58 million weekend. While that’s not much compared to the last Jack Black animated film (The Super Mario Bros. Movie), it’s worth noting that the Kung Fu Panda franchise was widely thought to have run out of gas some time ago. The last two Kung Fu Panda movies only made $47 and $41 million on their opening weekends, thus giving the franchise its biggest start since the first movie in 2008, which opened with $60.2 million. 

However, this weekend’s big news is Dune: Part Two’s amazing hold, with it posting the smallest second-weekend decline since this summer’s Barbenheimer phenomenon. Yesterday, the trades figured the film would make about $44 million this weekend, but in the end, just like last week, the movie had a stronger-than-expected Saturday. It now stands at $46 million for the second weekend, posting a 44% week-to-week decline, which is amazing for a tentpole blockbuster. Typically, if a movie like this is well-reviewed or liked, it would drop in the 50’s, while a 60-ish decline is the norm. That “A” CinemaScore rating is working wonders, with word-of-mouth on this one making a $300 million domestic finish possible. 

Meanwhile, Blumhouse’s Imaginary exceeded expectations, making $10 million for the weekend. That’s not a bad finish, given the poor reviews, although it will likely sink like a stone next weekend. In fourth place is Angel Studios’ Cabrini, which had a much better weekend than expected, with a north of $7.5 million opening. While that’s a far cry from director Alejandro Monteverde’s last film, Sound of Freedom, Cabrini didn’t have the same mainstream hook that movie did. Given that this is a period piece about the first American citizen canonized as a Saint by the Catholic Church, this is a pretty solid opening. It should play well over the upcoming Easter holiday. 

Bob Marley: One Love, which dominated the box office throughout February, made just over $4 million this weekend, with an $89 million domestic total. A $100 million finish looks like it might be in the cards for this well-liked biopic. On the other hand, the faith-based Ordinary Angels struggled to find an audience, only making $2 million for the weekend, with a $16 million domestic total. That’s low for a Christian movie with two solid stars, Hilary Swank and Alan Ritchson. 

However, of all the movies on the list, the biggest cautionary tale continues to be Sony’s Marvel flick, Madame Web, which only made $1.125 million this weekend and only has a $42 million domestic total so far. There’s no way this one manages a finish of over $45 million. This movie is so bad that even its star, Dakota Johnson, says so.

Illumination’s Migration is on the lower end of the chart, which is wrapping up its run with a $1.1 million weekend for a $125 million domestic total, which is low for this animated studio. The 9th and 10th spots were taken by specialty releases. The Chinese comedy YOLO opened in 9th place with $840,000, while the MET Opera special run of La Forza del Destino made $768,000 in the 10th spot.

Next weekend seems like it’ll be a quiet one, with the only major releases being the Kristen Stewart pulp thriller Love Lies Bleeding and the Mark Wahlberg movie Arthur the King, which has gotten a pretty mild advertising campaign despite the fact it not only stars Wahlberg but also Simu Liu and a lovable dog. Go figure. It looks possible that Dune: Part Two could even retake the top spot if Kung Fu Panda 4 has a modest hold.

Did you go see anything this weekend? Let us know in the comments!

The post Weekend Box Office: Dune 2 has the best 2nd weekend hold since Barbenheimer appeared first on JoBlo.

Mario

Considering it’s Mario Day (Mar. 10, get it?), it’s no surprise that we got some news related to the series. And this is a Bowser-sized one, as Nintendo and Illumination will re-team for another movie based around the Mario franchise. Let’s-a go!

Shigeru Miyamoto, creator of Mario, announced the project today, while Illumination head Chris Meledandri said the studio “is excited to continue its partnership with Nintendo, bringing its signature mix of joy and discovery to worldwide audiences of all ages, allowing them to connect with the beloved characters and stories from one of the world’s most popular franchises.”

Details on the plot to this Mario follow-up are non-existent to the public, but Shigeru Miyamoto did say they hoped to be “broadening Mario’s world further”, also adding the film will “have a bright and fun story.” Meldandri also assured that animation would be starting soon. As for others involved, this Mario follow-up will feature the same team that brought us last year’s The Super Mario Bros. Movie: the directing team of Aaron Horvath and Michael Jelenic and screenwriter Matthew Fogel.

The Mario universe is vast so there is quite a bit to work with. We’ve already seen Mario take on Bowser and rescue Princess Peach, so it might be best to avoid that route – unless, of course, the princess is in another castle…There are also a number of other characters that were missing in the first movie that deserve to turn up in a sequel, like Wario, the Koopalings and Yoshi, who was teased at the end of the first movie.

The Super Mario Bros. Movie took in $1.36 billion worldwide, making it one of the highest-grossing films of the year. It, too, would earn three Golden Globe nominations (including in the inaugural Cinematic and Box Office Achievement category) and an Annie Award nod for Jack Black. Unfortunately for fans, it missed out on any Academy Awards recognition, although we all know Black doing “Peaches” live would have been an iconic Oscars moment.

The movie is currently slated for an April 3rd, 2026 release.

Who or what do you want to see in a Super Mario Bros. Movie sequel? Let us know below!

The post Happy Mario Day! Super Mario Bros. Movie follow-up announced appeared first on JoBlo.