Entertainment News Boom

November 17, 2019 11:30AM PT Despite her leading role, Constance Wu has never seen “Hustlers” and, spoiler alert, it’s very unlikely that she will. Wu explained why she doesn’t want to watch the film to Mindy Kaling (“Late Night”) during a conversation for “Variety Studio: Actors on Actors.” “This is crazy,” Kaling said in the

Disney and 20th Century Fox’s “Ford v Ferrari” sped ahead of fellow new release, Sony’s “Charlie’s Angels,” at the international box office. Director James Mangold’s racing drama collected $21.4 million from 41 foreign markets, representing 67% of its overseas rollout. “Ford v Ferrari” also kicked off with $31 million in North America, bringing its global

Constance Wu (“Hustlers”) and Mindy Kaling (“Late Night”) discussed the importance of women directors during a conversation for “Variety Studio: Actors on Actors.” Kaling began the interview by acknowledging how having female directors on “Hustlers” and “Late Night” benefited the films. “[‘Hustlers’ director Lorene Scafaria] doesn’t come from a place of, ‘Oh, let’s humanize this

Mindy Kaling (“Late Night”) and Constance Wu (“Hustlers”) sat down for a chat for “Variety Studio: Actors on Actors.” For more, click here. Mindy Kaling hit big screens this year with “Late Night,” a film that played off her winsome ambition. As an aspirant writer lending a new attitude to an aging show, Kaling reinforced

“Ford v Ferrari” left its box office competitors in the dust as the historical sports drama from Disney and 20th Century Fox sped its way to $31 million in North America. Directed by James Mangold and starring Christian Bale and Matt Damon, “Ford v Ferrari” debuted ahead of expectations thanks to strong word-of-mouth from moviegoers.

In Edward Norton’s “Motherless Brooklyn,” the ‘50s-set New York noir detective story he produced, directed, wrote and stars in, politics are never far from the surface. But they’re not the obvious parallels to any racist autocrats from New York of modern times, but instead focus on more timeless politics – the way disabled people and

LOS CABOS  —  “The Twentieth Century,” Matthew Rankin’s crazed retelling of Canadian history, won the main Los Cabos Competition this Saturday, beating out a prestige lineup of some of the most notable festival standouts of the year. The win at Los Cabos, whose competition is focused on movies from the U.S., Mexico and Canada, adds

“Joker” cinematographer Lawrence Sher’s bid, along with director Todd Phillips, to try something “perhaps even a bit artful” won big Saturday in Torun, Poland as he took the top prize at the EnergaCamerimage Intl. Film Festival. The Golden Frog for cinematography, along with the audience prize, went to his work filming Joaquin Phoenix in the

A Netflix requirement that cinematographers capture films in HDR, or high dynamic range, has taken many by surprise, filmmakers say, but those at the 27th EnergaCamerimage festival in Poland seem increasingly accepting of the change. DP Roberto Schaefer, whose “Red Sea Diving Resort” screened at the cinematography fest in the historic city of Torun, said

TORUN, Poland – In his latest work, “The Valley of the Gods,” director Lech Majewski explores the ancient mythology of a downtrodden people and the absurd wealth of the world’s richest man in a surreal vision of modern America. The film screened at the EnergaCamerimage Intl. Film Festival as part of special showcase honoring Majewski,

TORUN, Poland – “The Naked King,” a documentary chronicling parallel revolutions in Poland and Iran, has proven a timely work at a time when mass demonstrations are sweeping the globe. Directed by Andreas Hoessli and produced by Peter Zwierko, who also served as cinematographer on the film, “The Naked King” examines the 1979 revolution in

TORUN, Poland – While Gideon Raff’s Netflix thriller “The Red Sea Diving Resort” shot largely in South Africa and Namibia, the project was a welcomed opportunity for cinematographer Roberto Schaefer due to his own memorable travels through Ethiopia. The film, which screened in the EnergaCamerimage Intl. Film Festival’s Contemporary World Cinema section, is loosely based

Czech filmmaker Vojtech Jasny, director of “All My Good Countrymen,” which won the best director prize at Cannes in 1969, has died. He was 93. According to the Associated Press, Slovacke divadlo, a theatre he frequently visited, said that Jasny died Friday, and a family representative confirmed his death to the CTK news agency. Jasny

What do you get when you toss together Christmas cheer, Christmas kitsch, a fish-out-of-the-North-Pole setup swiped from “Elf,” and a plot that turns on whether Kris Kringle’s daughter, played as a perky naïf by Anna Kendrick, has what it takes to step into her dad’s snow boots? You get a plastic icicle like “Noelle,” a

When grocery store shoppers snag a copy of Weekly World News (the rag responsible for the refuses-to-die “Bat Child” hoax), they know they’re getting fake news. But when they pick up the National Enquirer, it’s a far more ambiguous prospect. Enquirer headlines are deliberately provocative, shouting details of the private lives of real people —

Before Cynthia Erivo went on to become a Tony and Grammy winner, she nearly gave up singing to be a spinal surgeon. In her “Variety Studio: Actors on Actors” conversation with Alfre Woodard, the “Harriet” star said she had been singing since she was toddler. Her mother noticed she’d hum while eating her food when

Cynthia Erivo (“Harriet”) and Alfre Woodard (“Clemency”) sat down for a chat for “Variety Studio: Actors on Actors.” For more, click here. Cynthia Erivo and Alfre Woodard are at the forefront of this year’s awards conversation for two prestige films directed by black women. In Chinonye Chukwu’s “Clemency,” a movie that won the Sundance Grand

Hair and make-up artist Lizzie Yianni-Georgiou sums up “Rocketman” as the story “of a great icon who hits rock bottom. You see the great things happen and he hits rock bottom. By the end, he’s pulled himself together and he’s still standing.” For the viewer, it’s a rollercoaster ride of emotion, but as Yianni-Georgiou says,

Christian Bale and Matt Damon’s racing drama “Ford v Ferrari” is set to win the weekend box office by a long shot with an esimated $29 million from 3,528 domestic locations. Elizabeth Banks’ “Charlie’s Angels” reboot could land in a distant second in its debut weekend with about $8.2 million, but the second frame of