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Studios v Rotten Tomatoes photo
Studios v Rotten Tomatoes

Movie studios fear bad Rotten Tomatoes scores, are trying to thwart the Tomatometer

Attaaaack of the rotten tomatoes!
Aug 02
// Hubert Vigilla
Bad reviews can potentially hurt a movie's box office in the same way that good reviews can potentially get more butts in the seats. As more and more people turn to Rotten Tomatoes to see what the critical consensus is on a m...
Netflix in debt photo
Netflix in debt

Netflix is $20 billion in debt, really shouldn't have gone to grad school

More like DEBTflix, amiright?
Aug 01
// Hubert Vigilla
Netflix remains a juggernaut in terms of movie and TV streaming, with more than 104 million subscribers worldwide and continued stock growth from investors. Yet according to an LA Times piece over the weekend, Netflix is also...
Fangoria lives... sort of photo
Fangoria lives... sort of

Fangoria issues official statement, says publication will continue in 2017

A vague and apologetic statement
Feb 13
// Hubert Vigilla
Just as our piece on Fangoria possibly folding went live, the publication released an official statement about its future. Brief, vague, and apologetic, Fangoria President and Owner Tom DeFeo said the following: I&rsquo...
Fangoria Magazine dead? photo
Fangoria Magazine dead?

Horror magazine Fangoria may be dead as a print publication, future murky

An official announcement coming soon
Feb 13
// Hubert Vigilla
In its heyday, Fangoria was the premiere horror genre publication. Started in 1979, Fangoria covered mainstream releases, cult gems, and held weekend-long fan conventions that celebrated all things horror. A lot of my love fo...

Ghostbusters photo

Ghosbusters less likely to get a sequel after loss at box office

Are you happy now, Internet?
Aug 10
// Matthew Razak
After much gnashing of teeth and unwarranted anger Ghostbusters came out and was actually quite enjoyable. It didn't really blow the box office away, however, as THR is reporting that the movie is heading for a $70 milli...
MoviePass pricing photo
MoviePass pricing

MoviePass unveils new pricing tiers, older members can sign up for them in September

Should have done this in the first place
Jul 13
// Hubert Vigilla
MoviePass changed their pricing and business model recently, and in a way that made people upset. I wrote the other day that they deserved to lose customers and goodwill over this. Yesterday, MoviePass unveiled a new tiered-p...

Unlimited Facepalms: MoviePass deserves to lose customers and goodwill

Jul 11 // Hubert Vigilla
If you go on the MoviePass website right now, they still tout $30 as the starting price for service. Anecdotally, it seems as if the service changes weren't done across the board for all users but only affected some MoviePass users. This included early adopters who may have been with the company since it started in 2011. Meanwhile, other customers who may be newer to the service may not be subject to these restrictive or expensive rate hikes and service changes. New users, for instance, may get the one movie every 24 hours version of MoviePass service rather than having to choose between the $40/$50 package and the $99 package. (Also, $99? Guys, that's a passive-aggressive $100.) Then again, I'm relatively new to the program. I've only been using MoviePass since March. Fellow Flixist writer Alec Kubas-Meyer has had MoviePass longer than I have, though as of the weekend, he had not received an email about service changes. This makes me wonder if the number of movies seen during each billing cycle played a part in who got the email of doom, but that's purely speculation at this point. Based on what I've seen online, it seems like long-term MoviePass users were given no option to grandfather their previous plan despite their loyalty to the company over the years. It was the same limited menu of options: pay more for basically less, pay more than double for additional formats, or leave. Lolo Loves Films has been especially critical about these MoviePass changes, with many of their tweets devoted to this issue. MoviePass contacted Lolo Loves Films and discussed the matter with them by phone. Sadly the representative they spoke to offered no answers about reverting to the old service, no option of older users keeping their previous service, or any other matters regarding these pricing and services changes. They simply listened, offered gentle apologies, and that was it. That's all the customer service reps can do, really, since this wasn't their decision and they're probably just as bummed out as the customers that the higher-ups have messed up the company. Even though they listened, it doesn't seem like MoviePass cares. This isn't the first time the company has implemented changes that upset customers. Ryan Scafuro, producer of the documentary Bending Steel, mentioned that he'd been a MoviePass member at the beginning, when the company allowed customers to see one movie per day without the 24-hour restriction. The 24-hour restriction started in October 2013, at which point Scafuro dropped MoviePass. "That may be a petty reason but it really annoyed me and seemed like a shady move," Scafuro explained. "Now [with the new changes] it doesn't seem worth it at all." "I was a pretty early adopter to the program (I think I signed up in 2012)," Scafuro said. "When I called customer service I expected the rep to offer me some sort of grandfather clause. He was basically like 'I can refund your subscription,' which seemed like a tactless 'f**k you' seeing that they were still in the early stages of operation." Even though MoviePass in its current (and fallen) form could potentially offer savings, there's the principle of it all. The changes have been forced on customers without their input or a dialogue, and the changes have been applied unevenly, targeting certain people rather than all of the customer base. It seems unfair because, well, it's unfair. (I think Yogi Berra said that.) Had MoviePass issued a customer survey of some kind across the board prior to implementing any changes, there'd be more goodwill from customers. There'd be a sense of choice and involvement in the service moving forward, a service that many of these customers liked. Even just a little bit of input would go a long way to easing the change. Instead, MoviePass has basically said, "Here are your choices. Now s**t or get off the pot, kiddo." There's also an issue of the limitations in the new services and the immediate psychological response to having your choices taken away from you very suddenly. I don't care about 3D movies, so paying $5 more to see only six movies a month seems like a limitation on my ability to choose. That's not a good way of maintaining customer loyalty, which is why I can't recommend the service to anyone anymore. As of this writing, MoviePass has yet to publicly respond to the criticism it's received online and from individual members about these price and service changes. On July 5th, they posted a letter to customers on their blog, which was received with overwhelming negativity. Just read them comments. I sent an email to customer service over the weekend when I canceled, though I don't expect to get a response. If there's one thing that seems clear in all this, it's that MoviePass doesn't care what you think anyway.
MoviePass facepalm photo
Roll out of service changes poorly done
As we noted yesterday, MoviePass is raising prices and changing its service plan for select customers. Prior to these changes, MoviePass allowed members to see one 2D movie at participating theaters every 24 hours for as low ...

MoviePass changes photo
MoviePass changes

MoviePass upsets customers with price increase and plan changes

Select members get screwed
Jul 10
// Hubert Vigilla
MoviePass was bound to change when Netflix co-founder Mitch Lowe became CEO in June. Founded in 2011, MoviePass allowed customers to pay as little as $30 a month to see a 2D movie every 24 hours at participating theaters. (Mo...
Warner Bros releases photo
Warner Bros releases

Sluggish Batman v Superman may lead to fewer Warner Bros releases, more franchises

More sequels, spin-offs, etc. for WB
Apr 06
// Hubert Vigilla
Even though Batman v Superman: Dawn of Justice has crossed the $700 million mark worldwide, analysts have suggested that the film could be a box office disappointment regardless. The movie's budget and marketing costs mean th...
Industry photo

Legendary is bought by China's Wanda for $3.5 billion

Prepare for a lot more China in movies
Jan 12
// Matthew Razak
It's a good time to be Legendary Entertainment. The studio is known for its genre films that started out small, but eventually led to things like the Dark Knight trilogy and Godzilla, but thanks to a spate of wise invest...
The Force Awakens photo
The Force Awakens

PSA - Star Wars: The Force Awakens reviews start hitting the internet December 16th

In case you want to stay spoiler-free
Dec 14
// Hubert Vigilla
Hey, guys. This is the week that Star Wars: The Force Awakens comes out. I know a lot of you have avoided trailers and are trying to go into the movie blind. Even though we've been reporting on Force Awakens stuff, I've simil...
Flop photo

Jem and the Holograms made no money so now it's gone

Seriously, it made no money
Nov 10
// Matthew Razak
There are flops and then there are flops. Jem and the Holograms is the latter. It didn't just flop for Universal it broke records while doing it. The movie pulled in just $1.37 million its opening weekend, and could...
Warcraft a problem movie? photo
Warcraft a problem movie?

Director Duncan Jones tweets about Warcraft being a "problem movie"

It's all in the timing
Sep 17
// Hubert Vigilla
Yesterday we reported that Universal feels Warcraft is a "problem movie." While The Hollywood Reporter didn't elaborate on what "problem movie" might mean, we speculated that it may be related to the long post-production...
Warcraft a problem movie? photo
Warcraft a problem movie?

Speculation: Universal feels Warcraft is a "problem movie"

Not bad but a problem, which may be bad
Sep 16
// Hubert Vigilla
Earlier we reported that Pacific Rim 2 has been delayed indefinitely and may not get made. This is the result of the testy relationship between Legendary Pictures and Universal, which The Hollywood Reporter has covered in a r...
Drama photo

Why that It remake isn't happening

Surprise! The studio wanted crap
Sep 03
// Matthew Razak
Cary Fukunaga may be one of the most creative directors working now. Sin Nombre is truly stunning and his work on True Detective made the first season fantastic. However, we still don't know how he'd handle a bigger...
Marvel photo

Kevin Feige now reports directly to Disney CEO

Soon to rule all of cinema
Sep 01
// Matthew Razak
I bet you thought that Kevin Feige, as the head of Marvel's movie studios, was pretty damn powerful. Well, not powerful enough. He use to report to the CEO of Marvel, Ike Perlmutter, but no more! In a big shake up Feige ...
It's a me, Mario! photo
It's a me, Mario!

Nintendo open to making movies again

Start the Hoskins4Mario petition
Aug 24
// Matthew Razak
Back in the 80s and early 90s Nintendo had quite a healthy stable of spin-off media. There were television shows based on Mario, Captain N and a whole host of other things. Then the Mario Bros. movie happened and it...
Fantastic 4 photo
Fantastic 4

Here's what went wrong behind the scenes of Fantastic 4

No one willingly makes a movie this bad
Aug 10
// Matthew Razak
If you were one of the few people to see Fantastic Four over the weekend we're sorry for you. I went to see it just to see how bad it was, but bought a ticket for Mission: Impossible just so I wouldn't fund it in an...
The Revenant: Living Hell photo
The Revenant: Living Hell

Art is Hard: Alejandro Inarritu's The Revenant $40 million over budget, production "a living hell"

Is there glory in difficult shoots?
Jul 23
// Hubert Vigilla
Earlier this week the trailer for The Revenant was released, the highly anticipated new film from Birdman director Alejandro González Iñárritu starring Leonardo DiCaprio and Tom Hardy. Set for a Christmas...

RIP The Dissolve (2013-2015)

Jul 08 // Hubert Vigilla
RIP The Dissolve photo
A great place for film writing is gone
The Dissolve was one of the best places on the internet for intelligent, funny, in-depth, and insightful film criticism and features. This morning, editor-in-chief Keith Phipps announced that The Dissolve would be shutting do...

Vertigo photo
This doesn't really affect you
Here's some big news that actually has no bearing on you at the moment. WB is shifting film's based on DC's Vertigo line of comics to sister studio New Line Cinemas. This means that the likes of the Sandman film and...

I Am Wrath photo
I Am Wrath

Saban Films picks up Travolta's I Am Wrath for NA

Rock that cut-off, Travolta
May 20
// Matthew Razak
If you're an older actor right now then you basically have to be making an action movie/revenge movie where you kick a lot of people's asses with your special skills of ass kicking. The latest to join the pack? John Travolta ...

American Sniper is the top grossing film of 2014

That's some prolific legs for any film
Mar 09
// Matthew Razak
I had a lot of problems with American Sniper as a movie about PTSD and veterans, but despite these issues it had a very good redeeming value of bringing Veteran issues to the forefront of the discussion in America. It se...
Industry Malarkey photo
Industry Malarkey

Movie theater attendance in 2014 was the lowest since 1995

But maybe we just need new metrics... or better movies
Jan 02
// Alec Kubas-Meyer
2014 is officially over. Celebration aside, this means that we can finally evaluate the year as a whole. The Hollywood Reporter has started us off right, with a breakdown of the box office numbers from the year. And... well, ...

Green Inferno on hold indefinitely

You'll have to get you Cannibal Holocaust fix elsewhere
Aug 11
// Matthew Razak
Sad news for those you like the boundary pushing of Eli Roth and the disturbing Cannibal Holocaust. His homage to that film, Green Inferno, has been put on hold indefinitely. It's not because of any controversy, surprisi...

NYAFF Review: Top Star

Jul 02 // Alec Kubas-Meyer
[embed]217958:41647:0[/embed] Top Star (톱스타)Director: Park Joong-HoonRating: NRCountry: Korea  Tae-Sik (Uhm Tae-woong) is the manager of South Korea's biggest movie star. Won-Joon (Kim Min-Jun) is your typical star: arrogant, good-lucking, and lucky with the ladies. He's not the most scrupulous guy, but then again, he's a professional liar. When it really comes down to it, he's not that bad of a guy. Even so, he is immediately positioned as the story's antagonist when he steals Tae-Sik's jokes and fake acceptance speech after winning yet another award., The tables turn once Tae-Sik takes the fall after Won-Joon gets into a drunken hit-and-run. Nobody's killed, but Tae-Sik offers himself up. In response, Won-Joon gives him a role in a major drama series. From there, Tae-Sik quickly rises to the top of the charts, surpassing Won-Joon as the "It" guy of South Korea. Cue industry infighting. It's the kind of story you'd expect from a movie star. This is the life he's lived and what he knows, and there are a lot of little scenes that take place during the production of the dramas and films that are fascinating. Seeing the sets and props and green screens and seeing how it all comes together behind the scenes is really cool. The high production values add to it, making the whole thing feel very signficiant.With a camera that sweeps and swoops and a pounding electronic soundtrack, Top Star looks and sounds great. But like the characters it portrays, the film lacks subtlety.  It takes less than 20 minutes for Tae-Sik to go from sympathetic to vile. And even before he shows his true colors, the film does a whole lot to hint at it. There's an entire character whose sole purpose is to go around and tell everyone and everything that they're "fake." "This script is fake!" "That smile is fake!" "You're not a good person." He's funny, because people who speak honestly like that are funny, but he's not typical comic relief. Nobody in the film finds him funny. In fact, pretty much everyone finds him downright obnoxious. He shows up, tells everyone they're fake, and then goes off to wherever he came from. A little levity is rarely a problem (and there's not much anywhere to be found else), but it wasn't clear how I was supposed to feel about the guy. And that's another problem with Top Star's characterization, because the characters aren't complex so much as they are unclear. Won-Joon goes back and forth between likable and not, and Tae-Shik is ostensibly the protagonist, but he's awful. Top Star also tells the story of fall from grace. But even though it's an inherently sad thing to see someone fail, you can't feel bad for the guy. I mean, he deserves everything bad that happens to him, and there's nothing really done to make him more sympathetic. The experience doesn't humble him or really make him change in any meaningful way. He apologizes to a longtime friend while he's in prison, but the words ring hollow. But the decision to have Tae-Shik as the protagonist made me think that was a mistake. Maybe I was supposed to root for Tae-Shik as he rose to power and then lament his subsequent failure. Perhaps I was supposed to overlook the fact that he was a completely useless human who stepped on everyone else to get what he wants. But how could I? I wanted him to fail. Watching his downfall felt like vindication. That makes sense for an antagonist. Not so much a protagonist. Even so, the film ends on a hopeful note, which I found both surprising and somewhat off-putting. At the Q&A session with director Park Joong-Hoon after the screening, someone commented, "It had more redemption than I would have expected from a Korean movie." The director replied that there had been a darker version but that he prefers films that make people feel happy. It was an odd thing to say, because Top Star is not a happy movie. Perhaps that's one of the things he wishes he'd changed.
Top Star Review photo
The faster they rise, the harder they fall
When one of NYAFF's programmers introduced Top Star, he said that it was surprising that this was Park Joong-hoon's directorial debut. Park has worked as an actor in the Korean film industry for 28 years, but this is his...

Book: Very Naughty Boys (HandMade Films)

Sep 24 // Hubert Vigilla
There may be no pairing as British as an ex-Beatle and Monty Python, and it's here that HandMade Films began. Unable to find money for The Life of Brian after the original backer pulled out last minute, it was the late George Harrison who put up millions of his own money to get the movie made. The reasons were simple: Harrison purportedly told Eric Idle at the time, "Well, you know, when The Beatles were breaking up, Python kept me sane, really, so I owe you one." The company's first three films -- The Life of Brian, The Long Good Friday, and Time Bandits -- distinguished HandMade as a place for independent spirit and a breath of fresh air for British cinema. Its lasting contributions to the UK film industry continue to be those three, as well as Mona Lisa, the cult classic Withnail and I, and possibly A Private Function. But there were many misfires along the way for HandMade, and one of the the most disastrous was 1986's Shanghai Surprise. The film starred Sean Penn and Madonna. Then husband and wife, the couple was on top of the celebrity world, and they seemed to look down on everyone else on the planet. While the making-of stories for HandMade's best films are fun reads, there's something extra enticing about the Shanghai Surprise chapter. (Sellers aptly names it "Shanghai Cock-Up.") It basically confirms everything I thought about Sean Penn at this early point of his career, i.e., he was an insufferable, snotty, unpleasant, arrogant prick. The late Richard Griffiths shares one especially ridiculous anecdote about Penn, ending it with a well-deserved, "So fuck Sean Penn." Throughout the book, there's a constant tussle between the various filmmakers and Harrison's business partner Denis O'Brien. O'Brien was a money man with expensive taste in living and bad taste in film. He was also a control freak. In nearly every chapter, there's mention of O'Brien trying to suggest script changes and even re-cut films in post-production against the wishes of the filmmakers. Harrison was almost entirely laissez-faire about HandMade, trusting the filmmakers to create and O'Brien to use his money wisely. [embed]216361:40693:0[/embed] Some creative friction can lead to wonderful things. Though the situation is a bit different, I remember that Gene Wilder fought Mel Brooks for the inclusion of the "Putting on the Ritz" scene in Young Frankenstein; Brooks said he was glad Wilder fought so hard for it because it was clear it was important and it's one of the most memorable scenes in the film. But at HandMade, this strife between creatives and money got so bad that Powwow Highway director Jonathan Wacks took his film home every night out of fear that O'Brien would hire a HandMade rep to seize the movie and tamper with it. Many times O'Brien wanted to remove the best bits of a picture. Gilliam puts it succinctly: "I began to feel after a while that Denis had this incredible unerring ability to go to the very core of the thing and rip its heart out. He was like some Aztec priest." Given the eventual fate of HandMade, Gilliam's assessment is right in more ways than one. The pattern of conflict and strange money matters leads to some real sadness when Sellers arrives at the fall of HandMade. Without saying too much, it's the ugly center of the money vs. the creatives conflict. The money often exploits the creatives, without regard for ethics or for friendships. There's a good reason why O'Brien is rarely painted in a positive light throughout Very Naughty Boys. It's a sour final note for a company that made careers and has created some enduring films; the book's original title seems bitterly appropriate. There are two landmark Bob Hoskins movies in HandMade's filmography: 1980's The Long Good Friday and 1986's Mona Lisa. Both are part of the The Criterion Collection, though Mona Lisa's now out of print. As Sellers points out in his postscript to Very Naughty Boys, both films are still highly regarded, The Long Good Friday in particular is ranked among the best British films of all time by both the British Film Institute and Empire. I haven't seen either, but having read about them, I now need to. [embed]216361:40694:0[/embed]
Very Naughty Boys Book photo
The unexpected rise and the ugly fall of HandMade Films
My knowledge of the British film industry is spotty at best. Beyond the requisite Hammer fandom, an admiration for classic Ealing comedies (e.g., Kind Hearts and Coronets), and adoration of the Free Cinema movement, I'm prett...


Jerry Bruckheimer and Disney hug it out and part ways

Sep 20
// Matthew Razak
For the past 20 years Disney has had a first-look option on Jerry Bruckheimer's films resulting in 27 movies, bajillions of dollars for both companies and a little franchise called Pirates of the Caribbean. Next year tha...

Steve McQueen and the mountains made out of molehills

Sep 12 // Hubert Vigilla
[embed]216471:40657:0[/embed] I think what really undermines Brown's accusation is that he understands the root of McQueen's frustration: To be fair, a lot of McQueen's behaviour is in response to processes that I wouldn't wish upon my worst enemy. People who ask questions at film festival Q&As do not, in my experience, have the widest frame of reference in terms of how films are made, and tend not to be interested in the kinds of things filmmakers are interested in, either. Add to that the questioners who are only interested in satisfying their own egos - the "this is more of a comment than a question" guys, or the people who stand up and cite fifteen examples of previous work before deigning to ask a question - plus the journalists at press conferences who must delve into the celebrity side of moviemaking to make copy, and the frustrations of McQueen and others like him become fairly relatable. We have all experienced this, whether at film festivals, author readings, comic conventions, and other kinds of public appearances. Press conferences and Q & As can be miserable, and there are bound to be some awful/dumb comments. I'll admit that I've asked dumb and/or rambling questions in the past, which is why I rarely pipe up these days unless I've got something succinct. The most awkward Q & A incident I can remember was at a midnight screening of David Lynch's Wild at Heart in LA. Grace Zabriskie was in attendance. A guy asked her what it was like to put lipstick all over her face. He had unknowingly mistaken Zabriskie for Diane Ladd. The rest of the audience simultaneously winced in embarrassment. I can't even remember the response anymore, only the sudden drop in the theater's barometric pressure. Sure, McQueen makes faces at some of the questions, but 1) maybe he's just got an expressive face and 2) good for him. I'm actually surprised more people don't make funny faces at bad questions. That takes a lot of restraint. Here are two from the TIFF press conference that seem especially dumb: "Why didn't [12 Years a Slave] go to Cannes or Venice before Toronto?" "Did [Brad Pitt] consider other roles [in 12 Years a Slave]?" (i.e., did Brad Pitt consider playing Michael Fassbender's part or Benedict Cumberbatch's part) McQueen's response to the Cannes/Venice question is that the film wasn't done at the time. That's all you can really say. Cannes is held in May, Toronto is held in September, and maybe Venice's slate was full before McQueen was finished. Duh. Now, to be fair, the film premiered at Telluride in late August rather than at Cannes, but having consulted several calendars, my research has found that August is still a month that comes after May but is relatively close to September. McQueen's response to the second question was that Pitt's role wasn't Pitt's to consider. This is a polite way of saying what I'm thinking: "Why the f**k would that decision be up to Brad Pitt? Steve McQueen's the director of the f**king movie." The worst thing about those two questions is that they are boring and of no interest to anyone. They aren't even cool inside-baseball kinds of questions, they're just plain uninteresting. McQueen also has some quizzical looks on his face as he addresses the broad introductory question about race and a later question about how being British may have affected his approach to depicting slavery in America. What I noticed in McQueen's responses was his reluctance to address complicated issues in sound bite form. He doesn't understand what conversation the film would inspire about race that isn't already happening, and he similarly doesn't want to view slavery along strict national or nationalistic lines. He's a thoughtful filmmaker, and he's probably wrestled with these ideas himself for some time and possibly finds the answers irreducible to something pat. Press conferences, by contrast, are about the reduction of complex ideas into simple, quotable lines; and we're not talking aphorisms but quaint pull quotes. That might be a bigger issue about the way people react during Q & As and press conferences. These things can feel so artificial, and sometimes it's hard to suffer fools gladly or answer the same questions over and over again. Even one-on-one interviews can be wearying for people, and at their worst they can feel like really bad dates. That's why good interviews read or sound like actual conversations rather than just some collection of regurgitated material that can be found in a press kit. There's a sense that the participants are alive and engaged. To some extent it's the filmmaker's job to promote his or her own film, but just because a filmmaker seems slightly peeved over a few questions is no justification for thinking that the filmmaker is a dick. I remember at the NYFF press conference for Holy Motors last year, director Leos Carax seemed like he didn't want to be there. He doesn't really like doing press, but that doesn't make him a dick. It makes him a filmmaker who doesn't like doing press. Brown tries to expand his piece into discussion about the way a director's personality may affect your perception of their work. That's a whole other conversation and one that's worth having (we did it on Flixist a while ago), but the fact that it stems from something so small seems odd to me. Steve McQueen is not doing press conferences to win friends and influence people. He's doing it to talk about the film he believes in. (You'll note that before the end of the TIFF press conference for 12 Years a Slave, it's McQueen who asks the moderator if an additional question can be asked.) He's not playing the "I'm going to make people like me" game because the game is childish and McQueen is an adult. There's nothing dickish about that. In fact, he's pretty personable in sections of the TIFF press conference, and you can see more of that personable side in other videos, at other Q & As, and other interviews. But if we accept Brown's premise that Steve McQueen is being a dick, let me be the first to say that the world sure could use more dicks like Steve McQueen.
Steve McQueen Not a Dick photo
Matt Brown is overreacting when he accuses the 12 Years a Slave director of being a dick
Yesterday over at Twitch, columnist Matt Brown published a piece about how he thinks filmmaker Steve McQueen is a dick. According to Brown, the director responsible for Shame and Hunger has been abrasive at press conferences ...


Legendary Pictures and Warner Bros. split

Jun 25
// Logan Otremba
Legendary Pictures and Warner Bros. have finally parted ways with one another. This isn't some cheesy romantic break-up between two studios, their contract with each other finally came to an end. Talks about renegotiating hav...

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