Those that can’t wait for yet another Fast and Furious movie might want to pump the brakes a bit because director Louis Leterrier has announced that it won’t be pulling into theaters until 2026. That said, things will be shifting into high gear later this year as the franchise heads towards the finish line with Fast 11 (not, that’s not the title).
Speaking with Collider, Fast 11 director Leterrier teased that “It’s happening. It’s happening very, very soon. I’m able to shoot a little horror movie this summer. I’m finishing my horror movie on September 15th, and I start Fast on September 16th.” This would indicate pre-production, as he added that filming itself would start in early 2025.
Those who have been devoted to the Fast & Furious franchise will note that the intended release year for Fast 11, 2026, will be a special one. As Leterrier clarified and noted, “It’s filming early next year, and it’s coming out in 2026, which will be exactly to the day, 25 years since the first one came out.” If we were to take the director literally, that would mean that Fast 11 is due out on June 22nd, 2026…but considering that’s a Monday, we could at least reasonably expect at least June 2026.
Fast X ended with a lot on the table, so there will definitely be some loose ends to tie up in Fast 11. But there will also likely be tributes and nods throughout, with Leterrier confirming that the action will move back to Los Angeles. “It’s exactly that. That’s what we wanna do. We wanna bring it back home, and still have a great big journey to tell.” Now, let’s see if they can actually get it done on a $200 million budget…
Directors of the Fast & Furious franchise have passed around a lot. Outside of Justin Lin – who has helmed five in the series – Louis Leterrier is the only returning director, having previously taken on last year’s Fast X. That’s a lot of faith, so hopefully he can follow through and give fans the send-off their patience deserves.
Do you think Fast 11 is a good point to stop the franchise or do you want to see it gas up for more?
PLOT: When Atlanta real estate mogul Charlie Croker faces sudden bankruptcy, political and business interests collide as Charlie defends his empire from those attempting to capitalize on his fall from grace. From Showrunner/ Writer/ Executive Producer David E. Kelley, A Man in Full is based on the New York Times bestselling novel by the late Tom Wolfe.
REVIEW: Jeff Daniels has had a career that includes acclaimed performances on stage in Aaron Sorkin’s adaptation of To Kill A Mockingbird and on the big screen in dozens of dramas, as well as his iconic turn in the Dumb and Dumber films opposite Jim Carrey. To say the actor has a wide range would be an understatement. To follow up his brilliant turn in Sorkin’s HBO series The Newsroom, Daniels headlines the limited Netflix series A Man In Full, which has him channeling the most nefarious antagonist characters he has ever played. With an Atlanta drawl and a biting wit, Charlie Croker is an indelible addition to Jeff Daniels’ resume. With an equally strong supporting cast including Diane Lane, Lucy Liu, Tom Pelphrey, and more, A Man In Full is a solid series but one that not only pales in comparison to the source material but also to the performances it showcases.
Acclaimed journalist Tom Wolfe only wrote four novels in his life, including his debut, The Bonfire of the Vanities, which inspired the underwhelming film of the same name. Eleven years later, A Man In Full was published and did for the 1990s what Vanities did for the 1980s. In adapting the seven-hundred-plus page book for Netflix, David E. Kelley made some updates to keep the material relevant to modern audiences while maintaining the core narrative. The six-episode series follows Atlanta real estate mogul Charlie Croker (Jeff Daniels) as his empire collapses before his eyes. Opening with an opulent sixtieth birthday party complete with a live performance from Shania Twain (playing herself) and followed by an interesting sex scene in a stable, the series shifts to the plot by banker Harry Zane (Bill Camp) and Croker’s loan officer Raymond Peepgrass (Tom Pelphrey) to take him down. As the series progresses, we see every snide and spiteful act between the warring factions as they figuratively burn Atlanta to the ground.
The main thrust of A Man In Full is the downfall of Croker, something Jeff Daniels plays with fire and energy. Equally strong is his ex-wife, Martha Croker, played by Diane Lane. While Charlie is remarried to Serena (Sarah Jones), he maintains a strong but adversarial relationship with Martha and her close friend and business partner Joyce Newman (Lucy Liu). Of course, things cannot be as easy as a court case to rescue Charlie as his billion-dollar debt battle comes at the same time as other challenges, including the Mayor of Atlanta (William Jackson Harper), who needs help from Charlie’s legal counsel, Roger White (Aml Ameen). Roger is one of the more interesting characters in this series as he represents the other side of the unspoken racial divide in Atlanta, which has been key to Charlie Croker’s business success.
By eliminating the majority of subplots from the novel, the series was envisioned as a more straightforward narrative about the core characters. However, it still remains a showcase for Charlie Croker. Jeff Daniels owns every scene he is in, and there are so many excellent performances here, notably Tom Pelphrey, Sarah Jones, and Bill Camp, that they would have received more acclaim if not behind the massive figures of Daniels and Lane. It is also striking that one of the key events from the novel is gone, but not one; two horse erections still figure prominently in the story. Take that for what it is worth, but A Man In Full still feels like it has too much going on but never has the chance to dive deeper into the meaning of it, leaving the series with a soap opera-like superficial gloss.
David E. Kelley returns to legal drama with this series after great success with Big Little Lies and Nine Perfect Strangers, successfully adapted bestselling novels. He blends the character melodrama of those stories with his prior network hit dramas The Practice, Boston Legal, and Ally McBeal. Like Ally McBeal, the characters in A Man In Full sometimes come across as larger than life while bordering on unrealistic, but Kelley’s penchant for dialogue keeps the series firmly on one side of that line. The six episodes were split between directors Regina King (One Night In Miami) and Thomas Schlamme. Regina King knows acting, which greatly informs her work behind the camera here, balancing the large cast of characters and varied subplots. Equally, Thomas Schlamme is a longtime collaborator with Aaron Sorkin on all of his series going back to The West Wing. A Man In Full definitely has a Sorkin-lite feel, which could be a compliment or an insult.
A Man In Full is a difficult series to review because the solid performances from the cast outshine the shallow material they have to work with. Regina King and Thomas Schlamme direct the series well, pulling Atlanta into the narrative as a character, but the lack of depth to where the story goes prevents it from hitting as deeply as it could have. A Man In Full wanted to emulate the bite and strength of Succession and Yellowstone but does not have enough satire to compete with the former or embrace the soapy melodrama like the latter. Jeff Daniels is equally on par here with Brian Cox’s fiery Logan Roy, but watching this empire fall is nowhere near as much fun. As a six-episode binge, I am sure audiences will have some fun with this show which has enough sex and face-slapping to entertain casual viewers even if it has two too many horse penises on display.
While the big-screen adaptation of The Fall Guy was never expected to open to mega-blockbuster numbers, no one thought the well-reviewed Ryan Gosling movie would stumble out of the gate to this extent. Indeed, Hollywood insiders assumed this had a shot at a $40 million plus opening (we expected about $35 million). Now it looks like David Leitch’s film will only make $28.5 million over what’s widely considered the first weekend of the summer movie season. Last year, Guardians of the Galaxy Vol. 3 made $110 million in the same frame.
The Fall Guy was never expected to open anywhere near that number. Indeed, it was originally planned as a March release, only to be moved thanks to how empty the release calendar is due to the SAG/WGA strikes from last year (take a look at our Summer movie preview, and see how low wattage a summer this is likely to be). Still, given how well it was reviewed (we loved it) and the fact that stars Ryan Gosling and Emily Blunt are coming off of Barbenheimer, box office pundits expected this to overperform. Alas, it was not to be, with the huge-budget movie (at least $130 million before publicity) posting a number that suggests it won’t even get close to $100 million domestically unless it has incredible word-of-mouth.
So what happened here?
Yesterday, I put the blame on the changing habits of cinema-goers, and it should also be noted that movies are REALLY expensive to see nowadays. So, people won’t go through the expense of going to a theater unless they view them as a special event. Given how small theatrical to digital windows have gotten, I imagine a big chunk of the audience is waiting for the imminent digital release, which should be within six weeks.
So, what’s the way forward for movies? It’s hard to say, but one thing worth recognizing is the rise of limited-run engagements. In a shocking turn of events, Star Wars: Episode I – The Phantom Menace has actually beaten Challengers to take second place this weekend, with an estimated $8.1 million finish, compared to the Zendaya movie’s $7.6 million haul. The Phantom Menace is celebrating its 25th anniversary, and fans seemingly turned out in droves for the re-release. Before you say this is embarrassing for Challengers, note that the movie posted a modest 49 percent decline, now standing at a $29.4 million total. It should finish in the $45-50 million range, which is very decent for a movie that’s due to hit streaming (on Prime Video) before too long, given that it’s an Amazon-MGM production.
Meanwhile, the poorly reviewed horror flick Tarot (which our critic Tyler Nichols despised) made $6.5 million, which was good enough for fourth place. Given that Sony barely publicized the movie and the fact that it has a budget in the $8 million-ish range, it should turn a profit for the studio, even if I wouldn’t expect a Tarot 2 to hit theatres anytime soon. Godzilla X Kong: The New Empire showed amazing staying power in fifth place, with a $4.5 million weekend and a $188 million domestic total (so far). It should easily cross the $200 million mark.
A24’s Civil War continued to perform well, making $3.55 million for a $62 million total. It’s bound to wind up the studio’s second highest-grossing movie ever (after Everything Everywhere All At Once). Surprisingly, the well-liked Christian flick Unsung Hero posted a 61% decline for a $3 million weekend, suggesting it won’t be a grassroots hit in the vein of Jesus Revolution. Kung Fu Panda 4 managed to reach eighth place in the top 10, with family audiences giving this a $2.4 million weekend for a $188 million total. It looks like it will finish just shy of $200 million domestically. Radio Silence’s Abigail started to wrap up its run with a $2.3 million finish for a $22.7 million total. It seems like this fun horror flick just never found an audience. In better news, Sony’s Ghostbusters: Frozen Empire showed a lot of staying power, with it finishing ahead of Dune: Part Two in 10th place with $1.8 million for the weekend and a $109.9 million total. It hits digital retailers on Tuesday.
Next weekend will (hopefully) give the summer box office the shot in the arm it so desperately needs, with 20th Century Studios opening Kingdom of the Planet of the Apes. Will it crack $50 million? Let us know in the comments!
Bernard Hill, the English actor best remembered for playing Captain Edward Smith in Titanic and King Théoden in the Lord of the Rings trilogy, has passed away at the age of 79.
Bernard Hill’s screen career got started in the early 1970s, kicking it off working for the BBC. And it was that network that Hill would devote so much time on the small screen to. One notable work was the adaptation of I, Claudius (1976). In the early ‘80s, Hill landed a key role on the BBC series Fox before getting a lead in Boys from the Blackstuff, a standout performance that earned him a BAFTA TV Award nomination for Best Actor. He wouldn’t be nominated in that category again for more than two decades (2005’s A Very Social Secretary), although his work between on television was far from lesser, garnering roles in adaptations of the works of Shakespeare and Sophocles.
Bernard Hill has passed away at the age of 79 .
The actor who played Theoden in ‘The Lord of the Rings’ Trilogy won 11 Academy Awards throughout his acting career.
— Fellowship of Fans (@FellowshipFans) May 5, 2024
But most of us are more familiar with Bernard Hill’s film work. Undoubtedly, he is most recognizable for playing the captain of the RMS Titanic in James Cameron’s 1997 epic as the captain who heroically goes down with the ship. It was performances such as this – one which earned him a SAG nomination for the film’s ensemble – that made him a familiar face outside of his mother land. As with Titanic, Bernard Hill earned a SAG nomination for the ensembles of The Two Towers and Return of the King, winning for the latter.
Such an evident devotee Bernard Hill was to the story that he would later appear in The Titanic Chronicles, this time playing Stanley Lord, the captain of the SS Californian, the ship believed to have seen the Titanic on the fateful night.)
But these weren’t the only two real-life figures that Bernard Hill played throughout his 50-year career; he actually played John Lennon twice: once in a Liverpool production of the musical John, Paul, George, Ringo … and Bert and again in the BBC’s John Lennon: A Journey in the Life. But if there’s one other performance of Hill’s I’d recommend, it’s as the Duke of Norfolk in Wolf Hall.
What is your favorite Bernard Hill performance? Give us your choice and leave your condolences in the comments section below.
This week, we’ll help you sharpen your stellar blade, harvest XP in Final Fantasy 16, find great gear and adaptations in Another Crab’s Treasure, and more. Read on!
This week, we’ll help you sharpen your stellar blade, harvest XP in Final Fantasy 16, find great gear and adaptations in Another Crab’s Treasure, and more. Read on!
Ya know that feeling when you watch something dumb, and even though you know it’s stupid, you can’t help but laugh and enjoy yourself? The 1980s are full of comedies like that. Yeah, we know they’re dumb and not especially clever, but whatever, man, every now and then, you’re in a bad mood, and you want to turn your brain off. That’s why they made seven Police Academy movies. No one thought they were good, but we watched them anyway because they were stupid in a pleasing way.
This brings me to this rare comedy-focused episode of The Best Movie You Never Saw, about a movie I loved as a kid that doesn’t super hold up forty years later, but it is still kinda fun – Johnny Dangerously. A gangster comedy in the vein of Airplane, Johnny Dangerously is probably a movie many younger viewers wouldn’t get because it satirizes James Cagney gangster movies from the 30s and 40s. Still, if you like older movies, this one is a treat.
It stars Michael Keaton in the title role. Long before he was Batman, or even Beetlejuice, Keaton was a hotshot young comedy star. He killed in a showy supporting role in the Ron Howard movie Night Shift, which landed him the lead in the comedy classic Mr. Mom, one of the ten biggest movies of 1983. Johnny Dangerously was his follow-up, with a curious creative team behind it. The film was written by a couple of old pro-comedy writers but had a highly unusual choice for a director, Amy Heckerling. At the time, she was one of the few female directors in the business, coming off Fast Times at Ridgemont High, one of the era’s hippest films. This was part of a brief try by Hecklerling to become a comedy director for hire. Apparently, this one went fine, but she had a miserable time with Chevy Chase on her follow-up, National Lampoon’s European Vacation, which led to her opting to work only on her own projects going forward.
Back to Johnny Dangerously. Keaton is perfectly cast as a good-hearted gangster during the Depression named Johnny Kelly, aka Johnny Dangerously. He works as a gangster to pay for his mother’s never-ending series of operations and to put his kid brother through medical school. He never had to do anything particularly bloodthirsty, as he works for a good-hearted older crook, Jocko Dundee, played by Peter Boyle. When his mentor steps down, Johnny gets the reins to the syndicate but has to deal with a traitorous underling, Joe Piscopo’s Danny Vermin.
As I said, this is highly inspired by James Cagney movies, particularly The Public Enemy and The Roaring Twenties. The latter film actually figures heavily into the plot. Keaton’s Johnny is a very Cagney-esque mug, with Piscopo playing a take-off on the bad guy parts Humphrey Bogart played before he reinvented himself as a good guy. He and Piscopo seem to be wearing eyeliner, which was common for actors in black and white films in the thirties, but it’s super noticeable on colour film, which is pretty funny.
It’s an interesting piece of 80s nostalgia, with the cast very much of its time, particularly in the casting of two Taxi vets, Marilu Henner and Danny DeVito plus SNL’s Joe Piscopo. Danny DeVito wasn’t yet a household name, with him only really breaking out beyond his fame on Taxi once he did Romancing the Stone, the same year as this. Marilu Henner never quite made it onto the A-list as far as movies go, but she’s fun as Johnny’s nightclub chanteuse love interest, a tough-talking dame in the Bette Davis vein.
As for Piscopo, he’s unfairly a bit of a punchline these days, but he’s actually really funny in this. At the time, Piscopo and Eddie Murphy were pretty much the only two reasons to watch Saturday Night Live, and it likely looked like Piscopo would be a big star. Apparently, director Brian DePalma was a massive fan of this movie, which is why both Piscopo and DeVito ended up starring in his own mob comedy, Wise Guys. Piscopo has all of the movie’s funniest lines (“this is an 88 Magnum; it shoots through schools.”)
The movie wasn’t all that big of a hit in theaters, which is why some of you watching this that weren’t born in the eighties may not have heard of it. It made $17.1 million, which wasn’t bad for 1984, but had a curious home video release, where the theme song, which Weird Al Yankovic sings, was dropped in favour of a cover of the Cole Porter song, ‘Let’s Misbehave’, which also features in the film. However, the Yankovic songs has been restored on all recent releases of the movie.
Overall, this is a fun flick, and you have to give it credit with how racy it is for a PG-13 comedy. Back in 84, the rating was still brand new, and they were able to get a ton of leeway by having the movie’s bad guy, Richard Dimitri’s Moroni, being a master of the malapropism, so he’s able to say things like ‘fargin’ iceholes’ or ‘cork soakers’ without too much trouble from the MPAA. You can find Johnny Dangerously streaming on HBO Max and Cinemax but it seems out of print on DVD and never got a Blu-ray release, which is a shame.
With the release of The Fall Guy this weekend, the summer movie season is finally upon us. While it’s a thinner summer than usual due to the dual writer and actors strike bringing movies to a standstill for much of 2023, there should still be a lot of stuff worth checking out, even if the summer seems short of anything that can aspire to Barbenheimer levels of success. Yesterday, we teased some of our most anticipated horror movies, so now we’re tackling the rest of the blockbusters in our 2024 summer movie preview!
Kingdom of the Planet of the Apes (May 10)
In my opinion, there’s never been a bad Planet of the Apes movie. Going all the way back to the classic 1968 original and its four sequels, through Tim Burton’s remake and the Caesar trilogy from Fox, all of the movies have at least been interesting. With Disney now owning 20th Century Studios, the hit-strapped studio hopes for a breakout franchise starter from director Wes Ball. So far, the early buzz has been promising, with CinemaCon audiences being treated with fifteen minutes of footage that promised perhaps the most visually stunning and immersive apes movie to date. But, without Andy Serkis as Caesar, will audiences embrace this new entry into the saga? We’ll have to wait and see, but I’m cautiously optimistic.
IF (May 17)
Ryan Reynolds is generally considered one of the biggest stars in the world. But, other than Free Guy, most of his movies have been on streaming lately, and the summer movie season is set to test his box office mettle not once, but twice. IF is seen as the riskier movie, with it a big, broad family film that teams him with director John Krasinski in this story of a man helping a child connect unwanted IFs (invisible friends) with new children. It sounds a bit twee. But, with Steve Carrell, Matt Damon and a who’s who of stars voicing the CGI invisible creatures, this could be a box office bonanza.
The Garfield Movie (May 24)
However, IF has one big piece of competition for family audiences – The Garfield Movie. Many are thinking this will be one of the biggest hits of the summer, with Chris Pratt voicing everyone’s favorite fat cat. The last time he voiced an animated film, The Super Mario Bros. Movie, it was a monumental smash. Clearly, the studio financing this one is hoping lightning will strike twice.
Furiosa (May 24)
Speaking of lightning striking twice, George Miller’s long-awaited Max Max: Fury Road prequel, Furiosa, is finally set to hit theaters. It’s worth noting that Fury Road, despite being seen as one of the greatest action movies of all time, was only a modest box office hit, so those predicting blockbuster numbers for Miller’s R-rated prequel might need to think again. However, even if it doesn’t break the bank, many of us are thinking that of all the movies coming out this summer, this one has the best chance of becoming a new classic.
Bad Boys: Ride or Die (June 7th)
The fourth Bad Boys movie marks Will Smith’s first theatrically released feature since the infamous Oscar slap. It’s being seen as the test of whether or not audiences are going to be able to move past the controversy and embrace him as the big star he used to be. Certainly, Bad Boys: Ride or Die seems like a good bet, with the last Bad Boys movie being a surprise mega-hit.
Inside Out 2 (June 14)
Just like its parent studio, Pixar needs a hit. While everyone called Elemental a flop when it came out last summer, the movie still managed to eke out a respectable worldwide gross in the $500 million neighbourhood. Still, this is a far cry from the numbers Pixar used to post. Hence, all eyes are on the long-anticipated sequel, which reunites much (but not all) of the original voice cast in what’s considered Pixar’s biggest and best hope at regaining its former glory.
Horizon: An American Saga (June 28 & August 16)
Kevin Costner’s Horizon is like a unicorn in today’s risk-averse movie climate. It’s a mega-budget, multi-part Western epic and is so far removed from the kids of movies Hollywood makes nowadays the star had to largely finance the films himself. And yes, I said films because no matter how the first movie fares at the box office, WB has the sequel coming out less than two months later.
A Quiet Place: Day One (June 28)
I strongly feel this will be one of the summer’s highest-grossing movies. People love this franchise, with A Quiet Place: Part 2 managing to gross $160 million domestically despite being released during the pandemic. While director John Krasinski and star Emily Blunt are sitting this one out, the buzz on this prequel is sky-high. This depicts the initial invasion in New York City and stars Lupita Nyong’o and Stranger Things breakout Joseph Quinn.
Beverly Hills Cop: Axel F (July 3)
This is the only streaming movie I have on this list, as to me it’s the only one that has a chance of going toe-to-toe with the summer’s big blockbusters. Fans have been waiting thirty years for a proper Beverly Hills Cop 4, and the early trailers suggest this just might have been worth the wait.
Despicable Me 4 (July 3)
While that title may make more than a few of you groan, this franchise has minted money for Universal and Illumination, with audiences flocking to see Steve Carell’s Gru and his minions. Even if the franchise might have jumped the shark a few films back for some of us, I’d be shocked it this didn’t end up as one of the summer’s biggest moneymakers.
Twisters (July 19)
Universal’s putting a lot of faith into this big-budget sequel to Twisters, which boasts a newly minted megastar with lead Glen Powell, who co-stars with Fresh’s Daisy Edgar-Jones and Anthony Ramos. Minari director Lee Isaac Chung isn’t known for his blockbusters, but the early footage I saw at CinemaCon this year was epic, so this could be huge.
Deadpool and Wolverine (June 26)
That said, Twisters has a natural disaster of its own on its hands the next week, when Disney’s Deadpool and Wolverine is set to suck all the air out of the box office. If any movie on this list is a guaranteed smash, this is it. Many believe it will become the biggest summer hit and the only movie that could give last year’s duel Barbenheimer threat a run for its money. Given how dire folks expect the box office to be this season, some may well be calling the Merc With a Mouth the summer box office saviour by the time August rolls around.
Trap (August 9)
M. Night Shyamalan’s got what looks like a killer thriller hitting theaters this summer, with the early footage from Trap blowing away the audience at CinemaCon last month. The premise is awesome, with Josh Hartnett playing a suburban dad who brings his daughter to a concert, only to discover it’s all a ruse to capture a serial killer – and he IS that killer. This could be a huge comeback for Hartnett and one of the year’s sleeper hits.
Borderlands (August 9)
Eli Roth’s Borderlands has had a bit of a tortured production history. It started shooting three years ago, and Roth infamously stepped aside for reshoots last year in order to make Thanksgiving. The new trailers for this one have serious Guardians of the Galaxy vibes – so much so that you might even call it a clone. It’s also got a pretty unusual cast, with Cate Blanchett making her debut as an action hero in the lead.
Alien: Romulus (April 16th)
Will this be the summer that brings the Alien franchise back from the dead? Originally, Fede Alvarez’s Alien flick was supposed to debut on Hulu, but the runaway success of the Predator prequel, Prey, convinced Disney to give this a shot at big-screen glory. So far, the buzz is this is a gory throwback to the original movie, with hardcore R-rated action and chest-bursting xenomorphs galore.
The Crow (August 23)
And finally, will the summer end with a whimper or a bang as the controversial Crow reboot hits theatres? The reaction to the trailer has been divisive to say the least, with some (including original Crow director Alex Proyas) slamming this as “Crow Wick”. Yet, the studio (Lionsgate) seems high on it, and Bill Skarsgard showed promise as an action star in the largely unseen Boy Kills World. We’ll have to wait and see, I guess.
What summer movie are you most excited to see? Let us know in the talkbacks!
Yesterday was May the 4th, better known now as Star Wars Day, and Disney had a treat for us in the release of the latest trailer for The Acolyte. However, it’s worth noting that this is a streaming series and that it’s been quite a long time since we got the last Star Wars film (The Rise of Skywalker) on the big screen. With LucasFilm getting started on The Mandalorian and Grogu for a release in 2026, I thought it would be interesting to poll our readers as to what their favorite Star Wars movie is. While I’m pretty sure it’ll be The Empire Strikes Back, who knows? Maybe some of our younger readers will surprise us.
It’s tough to top a good cast reunion, especially after so many years. One that definitely brings back some memories is that of the kids from Mrs. Doubtfire – Mara Wilson, Matthew Lawrence and Lisa Jakub – who recently got together for a mini reunion more than 30 years after appearing in the hit comedy.
Taking to Threads, Jakub – who played oldest sister Lydia Hillard – wrote, “We had a little reunion…30 years later and my Mrs. Doubtfire family still feels like family.” She also posted on Instagram, also noting it was part of the Lawrence Brothers’ Brotherly Love Podcast: “The sisters had so much fun hanging out with the brothers. @marawilson and @matthewlawrence still feel like my siblings- even 30 years after filming Mrs Doubtfire.”
Even though Mrs. Doubtfire took in more than $120 million domestically and was one of the highest-grossing movies of 1993, it never received a sequel, so this reunion between the Hillard siblings is about the best we’ll ever get.
Of course, we will sadly never get the entire Hillard clan together for a full-blown Mrs. Doubtfire reunion, as Robin Williams passed away in 2014, leaving behind a legacy of laughs and kind gestures that will forever touch audiences’ hearts and funny bones. Fittingly, the San Francisco site of the Hillards’ home served as a makeshift memorial following news of his death.
Expectedly, the trio took time during their Mrs. Doubtfire reunion to reflect on their days working with the comedy icon. As Jakub said, “You had to be really present. We’re on set and I’m like, ‘I am so lost but, you know, we’re just going to go with it because he’s Robin and you can trust him.” Lawrence – who played Christopher Hillard – agreed, adding, “That is very true. He was one of the best at going off the book and creating his own stuff. To be in front of the camera with him was quite the experience. If you weren’t present and you weren’t ready for any kind of curveball you were going to get thrown off.” Wilson – who played youngest daughter Natalie in her movie debut – was just thankful that so many of Williams’ jokes went over her head.
Are you a fan of Mrs. Doubtfire? What are your memories of watching it when you were younger?
