Movies & Cinema
Tupac Bio
Category: Movies & Cinema
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Today is the 20th anniversary of the death of Tupac Shakur. Considering his life is the subject of the upcoming biopic All Eyez on Me, the filmmakers decided to release the second teaser for the film early Tuesday morning. Demetrius Shipp Jr. takes on the role of the iconic rapper, who is seen throughout the trailer in various stages of his life. The dramatic clip takes on everything from Tupac's incarceration to his political activism to him being called out by Vice President Dan Quayle. Although it clocks in at under two minutes long, the trailer gives a pretty solid overview of what the movie is going to look like and is sure to get fans even more hyped about the film.


Shipp talked about his role in the movie with XXL back in March and noted how honored he was to be playing the iconic rapper. "I have to say that I'm a very passionate person, a person that’s very driven on integrity and my beliefs," he said. "I believe there's definitely a similarity there. Just getting into the character, I fell in love with who he was. It was common things that were brought together with me and him, our childhood. It was a crazy thing to be able to do it." 

Other stars in the film include Jamal Woolard as The Notorious B.I.G., Grace Gibson as Faith Evans, Danai Gurira as Afeni Shakur, Kat Graham as Jada Pinkett-Smith, and Stefon Washington as Puff Daddy. The Benny Boom-directed All Eyez on Me still does not have a firm release date according to a rep of the film. Until it comes, you can check out the new trailer in the video above.

What to expect from Cinema in September
Category: Movies & Cinema


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Andre the Giant biopic planned
Category: Movies & Cinema
Tags: Andre the GIant biopic film movie

Andre The Giant in The Princess Bride

He's probably still best known to film fans for his role as Fezzik in 1987 fantasy comedy classic The Princess Bride, but Andre the Giant Roussimoff lived a fascinating tough life outside of that film part. Now a team including his daughter, Robin Christensen-Roussimoff, is putting together a biopic of the man.

Producers Scott Steindorff and Dylan Russell have hatched a deal with Christensen-Roussimoff and Lion Forge Comics to base the film on authorised graphic novel biography Andre The Giant: Closer To Heaven, which hit shelves last year, written by Brandon Easton and illustrated by Denis Medri. It chronicled his life from working on the family farm in France to his rise as part of the World Wrestling Federation, which itself was helped by his burgeoning celebrity. But his size and stature came with a price. "Andre the Giant rode the wave of the rise of wrestling in America, while suffering from the painful health condition of gigantism – there’s an Elephant Man story here,” Steindorff tells Variety.

“I’m really excited to watch this story come to life on the big screen,” Robin Christensen-Roussimoff adds. “It’s been a labour of love for everyone involved, and we’re really looking forward to making it available to a larger audience.” Roussimoff died in 1993.

The next step will be to find a writing and directing team and, crucially, someone who can portray Roussimoff.

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Ridley Scott boards Western thriller Wraiths Of The Broken Land
Category: Movies & Cinema
Tags: Ridley Scott Film S. Craig Zahler

Ridley Scott

His most recent film saw him spending time on another cinematic planet thanks to The Martian. For a potential new project, Ridley Scott is looking to return soundly to Earth, setting up an adaptation of S. Craig Zahler's Western novel Wraiths Of The Broken Land.

And it'll provide a reunion for some of Team Martian, with 20th Century Fox also securing the services of writer Drew Goddard and producer Simon Kinberg.

Wraiths, is a violent story set near the Mexican border as the 20th Century began. It sees a group of men form up and traverse the badlands in the hunt for their captive sisters. They're willing to do anything they deem necessary, putting aside morals and ethics in their mission, and sanity starts to collapse. It certainly sounds like something the man who made Bone Tomahawk would have written...

Of course, this one will have to compete with the various possible movies competing for Scott's typically busy schedule, but Deadline's report makes it sound like he's making this a priority, particularly given the people involved. The director is currently shooting Alien: Covenant, which will arrive on August 4 next year. Goddard, developed Daredevil for TV, is returning to the Marvel TV base to oversee Netflix's The Defenders, which unites the devil of Hell's Kitchen, Jessica Jones, Luke Cage and Iron Fist.

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Oscar Isaac confirmed for political thriller A Foreigner
Category: Movies & Cinema
Tags: Oscar Isaac film thriller

Oscar Isaac

UPDATE: Isaac is now officially starring in the flm, with Gomez-Rejon confirmed to direct. It'll likely shoot once Isaac has finished his Star Wars duties for the year and reunited with Alex Garland for Annihilation.

Though he’ll be soaring across our screens next month in Star Wars: The Force Awakens, the man behind Resistance pilot Poe Dameron is aiming to keep his feet planted on the ground for a future role. Oscar Isaac is considering the lead in political thriller A Foreigner.

This particular film has been bubbling away on the development stove for a while now – at one point, Matt Damon was pondering making it his directorial debut. Now, though, Me And Earl And The Dying Girl director Alfonso Gomez-Rejon is in talks for the job after dropping out of Collateral Beauty.

If he does take the role, Isaac would star in the story of a murdered Guatemalan man who, knowing that he might be killed, had set up a way to distribute videos of his killers so as to take down the corruption that had seen people similarly slaughtered before him. It’s a true story, adapted by Argo's Chris Terrio from David Grann’s New Yorker article A Murder Foretold. When it might shoot with Isaac in the lead is a little up in the air at the moment, as he’s going to be busy back in the galaxy far, far away for some of this year. For now, Isaac is the big villain in X-Men: Apocalypse, which lands on May 19.

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Ratings: HBO’s ‘Game of Thrones’ Tops Week in Demo, Off to Best Start Ever
Category: Movies & Cinema
Tags: Game of Thorne HBO RATINGS
game of thrones recap season 6

An NBA playoff game on Saturday night helped push ABC past its rivals for a rare weekly victory in the key young-adults demo during a frame when two very different dramas — HBO’s “Game of Thrones” and Fox’s “Empire” — were the clear leaders in same-day ratings.

“Game of Thrones,” holding up very well in its third week of the season, averaged a 3.7 rating in adults 18-49, according to Nielsen, while drawing 7.28 million viewers overall. Even though HBO is in about one third the number of homes as the broadcasters, “Thrones” ranked No. 1 among all primetime programs for the week in the demo, matching the previous week’s score and up two tenths over the comparable episode of last year.


game of thrones recap season 6 episode 3 jon snow alive

‘Game of Thrones’ Recap: ‘Oathbreaker’ Reveals the Consequences of Blind Faith

After seeing its April 24 premiere come in a little bit below last year’s opener, tune-in for the second and third episodes of “Game of Thrones” has exceeded those for the corresponding telecasts of last year. As a result, the three-week “live plus same-day” average tune-in for the regular-timeslot telecast of “Game of Thrones” stood at a series-record 7.504 million viewers — up 5% from last year (7.171 million) and a big 15% jump over two years ago (6.513 million).  Through three weeks of its first season in 2011, it was drawing just 2.287 million.

And in the 18-49 demo, one that doesn’t mean all that much to HBO as a premium cable network but is a key measuring stick for the TV industry, “Game of Thrones” is now pacing ahead of last year (3.8 to 3.7) and also at a record-setting level.

HBO has yet to divulge any multi-platform or cume viewing numbers for the current season of “Game of Thrones,” but it’s likely that the show will stack up even better to previous years by this measure as more and more viewing is done outside of the traditional premiere-telecast window. The premiere, for example, broke records for HBO’s standalone streaming service HBO Now.

Elsewhere last week, Fox’s “Empire” (3.6 rating/12 share in adults 18-49, 9.39 million viewers overall) was down a tick from last week but remained the leader among all ad-supported programs for the frame in 18-49 as well as adults 18-34 (3.2 vs. a 3.1 for “Game of Thrones”). It will finish as the No. 1 broadcast entertainment series for the season in 18-49.

CBS’ “The Big Bang Theory” fell to third in 18-49 as it had the misfortune of airing its penultimate episode of the season on Cinco De Mayo. With viewing among young adults down 10% week to week, TV’s top comedy hit a season low in 18-49 (3.0) but still out-rated the No. 2 Thursday program (ABC’s “Grey’s Anatomy”) by 50%.

Elsewhere, CBS said goodbye to “The Good Wife” on Sunday (1.3/4 in 18-49, 10.62 million viewers overall), with the acclaimed legal drama rising 30% week to week in 18-49 and drawing its largest overall audience since November 2014.

ABC, which edged out CBS for the week’s lead in 18-49, was led by Wednesday’s “Modern Family” (2.2/8 in 18-49, 7.42 million viewers overall), though it matched a season low. The Alphabet’s Thursday lineup, led by “Grey’s Anatomy,” finished a tick behind leader CBS in 18-49 but ended up moving ahead of the Eye in Nielsen’s “live plus-3” ratings.

CBS, which led all networks in total viewers last week, claimed seven of the week’s top shows by this measure, including the top three: “NCIS” (14.86 million), “The Big Bang Theory” (13.22) and “NCIS: New Orleans” (12.56 million). With a little over two weeks to go in the season, CBS led the network race in total viewers, 25-54 and adults 18-49 (2.30 to 2.16 over runner-up NBC).

It was another week full of NBA Playoff games that took a bite out of viewing for entertainment programs. The top-rated primetime game for the week was Monday’s Oklahoma City-San Antonio contest on TNT (2.3 rating/7 share in adults 18-49, 5.20 million viewers overall), while ABC dominated lighter-watched Saturday with Game 3 of the Golden State-Portland series (2.0/8 in 18-49, 5.85 million viewers overall).

NBC had a big sports day on Saturday, starting with its early-evening coverage of horse racing’s Kentucky Derby, which averaged 15.5 million viewers. It was followed by the NHL playoff game between the Pittsburgh Penguins and Washington Capitals (4.16 million), which became the second most-watched hockey game (excluding Stanley Cup Finals) in the last 23 years.

TNT dominated the week among cable networks in all key categories. Fox News Channel ran second to TNT in total viewers (2.24 million vs. 2.62 million), and moved up to No. 1 on a total-day basis (1.21 million).


(Live plus same-day for May 9-15, 2016)

Adults 18-49 rating
1.  Game of Thrones* (HBO), 3.7
2.  Empire (Fox), 3.6
3.  The Big Bang Theory (CBS), 3.0
4.  NBA Playoffs-Monday: Oklahoma City-San Antonio (TNT), 2.3
5.  Modern Family (ABC), 2.2
6.  The Voice-Monday (NBC), 2.1
6.  Survivor (CBS), 2.1
8.  Grey’s Anatomy (ABC), 2.0
8.  NBA Playoffs-Saturday: Golden State-Portland (ABC), 2.0
8.  NBA Playoffs-Sunday: San Antonio-Oklahoma City (TNT), 2.0
8.  Fear the Walking Dead (AMC), 2.0
12.  The Goldbergs (ABC), 1.93
13.  NCIS (CBS), 1.88
14.  Dancing With the Stars (ABC), 1.79
14.  NCIS: New Orleans (CBS), 1.79
16.  Criminal Minds (CBS), 1.78
17.  The Middle (ABC), 1.73
18.  The Voice-Tuesday (NBC), 1.65
19.  2 Broke Girls (CBS), 1.59
19.  Black-ish (ABC), 1.59

Total Viewers (in millions)
1.  NCIS (CBS), 14.85
2.  The Big Bang Theory (CBS), 13.22
3.  NCIS: New Orleans (CBS), 12.56
4.  Dancing With the Stars (ABC), 11.81
5.  The Good Wife (CBS), 10.62
6.  Blue Bloods (CBS), 10.10
7.  Madam Secretary (CBS), 9.99
8.  The Voice-Monday (NBC), 9.97
9.  Survivor (CBS), 9.48
10.  Empire (Fox), 9.39
11.  60 Minutes (CBS), 9.20
12.  Criminal Minds (CBS), 8.84
13.  The Voice-Tuesday (NBC), 8.60
14.  Hawaii Five-0 (CBS), 8.56
15.  NCIS: Los Angeles (CBS), 8.10
16.  The Odd Couple (CBS), 8.07
17.  Mom (CBS), 7.92
18.  Chicago Fire (NBC), 7.79
19.  Grey’s Anatomy (ABC), 7.66
20.  Chicago Med (NBC), 7.62

Source: Nielsen

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Category: Movies & Cinema
Tags: deadpool movie trailor

We’ve all watched an Honest Trailer from Screen Junkies: The company pokes fun at popular movies, pointing out all the flaws and general WTF-ness within a given film.

But their latest for Deadpool stands above the rest, because Wade Wilson/Deadpool (Ryan Reynolds) himself actually joins in. After listening to the the usual riffs about plot holes and the like, Deadpool curses out the narrator and gives him hell in true Deadpool fashion.

Watch the hilarious video below.

Hollywood: A Town Divided When It Comes to Race
Category: Movies & Cinema

Hollywood: A Town Divided When It Comes to Race  

POSTED 8:20 PM, FEBRUARY 26, 2016, BY KENNEDY RYAN                                                                                 

Hollywood is a city where truth is fluid.

Biographical movies that take liberties with the truth are utilizing “creative license.” Why not? Hollywood is the land of reinvention, where you can be whomever you want to be.

It’s all about make-believe.

For some observers, that includes the illusion of inclusion when it comes to diversity.

“2013 was the year of black film, with ’12 Years a Slave’ and all those acclaimed films that year, and in 2014, it went right back to business as usual,” said Darnell Hunt, director of the Ralph J. Bunche Center for African American Studies at UCLA. “(The slave rebellion film) ‘Birth of a Nation’ was the hot film at Sundance this year, but who knows what the rest of the (black) films in 2016 will be like?”

They’ll certainly be a topic of conversation. Thanks to #OscarsSoWhite, plenty of people are talking about diversity and the Academy Awards this year.

The hashtag debuted with the Oscar nominations in 2015 and reappeared in January after not a single person of color was nominated for any of the acting awards. Coupled with high-profile issues like the shootings of unarmed black men by police, it yet again provided fodder for discussions about race in Hollywood.

An American problem

But the issue of the entertainment industry and race goes well beyond nominations. For that matter, it’s well beyond just black/white issues.

Lack of diversity, and the struggle for minorities to find equal opportunities and recognition, are very real national issues. Hollywood is just a microcosm.

Americans have been in love with the movies and television since each burst on the scene. Both have provided escapism and something for Americans to aspire to. But as the nation’s population has grown more diverse, the industry has been slow to catch up.

“The movie industry continues to ignore audiences of color, to its own detriment, given the box office success of movies that do feature diverse casts,” Roxane Gay wrote in a New York Times opinion piece headlined “The Oscars and Hollywood’s Race Problem.” “It continues to ignore the simple fact that people of color want to see their lives reflected in the movies they watch. Representation is not a lot to ask.”

Those who are being represented tend to look like studio heads.

“The film industry still functions as a straight, White, boy’s club,” according to a recent study from the Annenberg School for Communication and Journalism at the University of Southern California. The study examined more than 11,000 speaking characters, 10,000 people working behind the scenes and 414 stories produced by 10 companies in movies, TV and digital platforms.

“Over 50% of stories featured no Asian speaking characters, and 22% featured no Black or African American characters,” it said. “The complete absence of individuals from these backgrounds is a symptom of a diversity strategy that relies on tokenistic inclusion rather than integration.”

The color of money

For Hunt, whose center produces a diversity report each year and studies issues of race and Hollywood, the industry is overlooking another color: green.

“It’s pretty clear when you look at the data that people of color are the majority of the film audience,” Hunt said. “They are buying most of the tickets and even for the bigger films. At some point, the industry is going to have to realize that unless these films are catering to the market, we are leaving money on the table.”

Hunt’s 2016 report (PDF) found that films with relatively diverse casts — half white, half non-white among principal actors — enjoyed the highest median global box office receipts and the highest median return on investment.

In Hollywood, money and merit are two very different things. Being a blockbuster at the box office does not often translate to awards-season accolades, much to the disappointment of fans. Just ask devotees of the latest “Star Wars” film, which did gangbusters at the box office but was not nominated for best picture at the Oscars.

‘Star Wars: The Force Awakens’ makes $1 billion in a record 12 days

Oscar-winning actress Helen Mirren told the UK’s Channel 4 news that it was “unfair to attack the academy” about the lack of diverse nominees this year.

“The issue we need to be looking at is what happens to the film before it gets to the Oscars,” she said. “What kind of films are made. And the way in which they are cast. And the scripts. And go all the way back to the writing of the scripts. It’s those things that are much more influential ultimately than who stands with an Oscar.”

That type of reasoning may not be comforting to the artists of color who have tales to tell of what it means to be “other” in Hollywood.

“(In a mid-1990s) meeting, I was determined the lead (for a film) would be a black woman, and I remember the executive saying, ‘Why does she have to be black?’ And me saying, ‘She doesn’t have to be; I want her to be black. Why would you not consider it?’ ” John Ridley, screenwriter for “12 Years A Slave,” told The New York Times. “It was stunning that they were so comfortable (saying that) to a person of color. That was the most painful, that casual disregard for my experience.”

Actor Ben Stein has a different view.

Writing for “The American Spectator,” Stein said, “The TV screen and the movie screen are overflowing with black actors, especially these days in commercials, but also in movies. The black actor in the recent ‘Star Wars’ had no important role to play except to be black in a blockbuster film.

“Why don’t the nominees look like America? What does that even mean?” Stein wrote in the conservative publication. “The point is to recognize talent, not demographics. There weren’t many Hispanic or Asian actors listed either. The demand that mere population be recognized instead of talent would be more apropos for locating fast food restaurants than recognizing acting talent.”

Stein is right about Hispanic and Asian actors. Neither group has been represented with an acting Oscar in more than 50 years.

In a recent Instagram post, “Jane the Virgin” star Gina Rodriguez implored the Latino community to show Hollywood their buying power.

“There are 55 million Latinos in this country and although we all come from various backgrounds our unity can make a movie explode at the box office or a tv show soar to the highest viewers possible,” she wrote. “The better these projects do financially, the more money they will spend on putting Latinos In blockbuster films, as leads in tv shows etc.”

Looking overseas

“Real Time” host Bill Maher has a more pointed view. He blames it on Asian countries and the film industry’s international marketing.

“The dirty little secret is, most movies are made now with an eye to the foreign market, and Asians really are racist,” Maher said during his show.

Writing for Salon, author Paula Young Lee responded that “Maher is playing in half-truths.”

“In 2014, China was the world’s fastest growing movie market, and is expected to overtake the U.S. by 2020.”

She continued, “But as an explanation for #OscarsSoWhite, Maher’s blame game is so laughable that even a blogger posting on conservative Alan B. West’s eponymous website thought it mixed apples with oranges. Usefully, however, it’s symptomatic of the kind of quip-bait that deflects responsibility onto handy targets rather than taking a good hard look at the mirror.”

Gil Robertson, president and co-creator of the African American Film Critics Association, also questions Maher’s statement.

“The ‘Fast & the Furious’ franchise is one of the industry’s most successful, and we haven’t seen any attempts to duplicate that,” he said. “(The movie) is the personification of the spirit of multiculturalism and the willingness to cast diversely. If there was a true willingness to see diversity, that would happen.”

Robertson said he believes that while the bigger issue is the studio system, the #OscarsSoWhite conversation is valuable, as it is moving some to action, be it filmmakers of color intent on making their own way or those who want to keep the dialogue going beyond awards season.

Mogul Russell Simmons even organized — in 10 days — the first All Def Movie Awards, hosted by Chris Rock’s comedian brother Tony Rock, to celebrate diversity in film. The ceremony is set to air on Fuse Network, opposite the Oscars.

Robertson applauds the academy’s new diversity plan, which has the goal of doubling the number of women and diverse members by 2020. And there is an increased focus on executives such as Channing Dungey, an African-American woman who was recently named president of entertainment for ABC.

It remains to be seen whether Hollywood is ready to embrace the change or if it will once again be business as usual.

Ice Cube Wants to Open His Own Movie Studio, Says Hollywood Isn’t ‘Cool Enough’
Category: Movies & Cinema
Tags: Movie Studio Ice Cube

Ice Cube Wants to Open His Own Movie Studio, Says Hollywood Isn’t ‘Cool Enough’
February 26, 2016   


Ice Cube’s transition from rapper to movie exec has been nothing short of incredible — and now he says he’s ready to run his own studio because Hollywood ‘ain’t cool enough yet’.

He made the revelation in a lengthy interview with The Hollywood Reporter. When asked if he ‘liked’ Hollywood, he responded ‘No,’ then elaborated:

It ain’t cool enough yet. I mean, it’s still got gatekeepers. It’s got gatekeepers everywhere. Cool people still have a hard time showing what they got in Hollywood.  And I’ve been fighting my whole career to show a different side and prove naysayers — not prove them wrong, because I don’t think you should get your energy from negative people, like, “He don’t believe in me so I’m doing it. That’s the wrong approach. You should just do it ’cause you feel like you the shit and you can do it. [LAUGHTER] Not “He don’t believe in me.  Now I’m doing it.” No. So I just wanted to show, you could make great movies out here.  You don’t have to spend $200 million or $100 million to make a great movie. And people can make money, have fun, enjoy it. Show a different side of life. But there’s not enough Ice Cubes out there. There’s not enough Ice Cubes getting a chance to do their thing.  And hopefully my example will break down more doors.

Ice later added,

I’m ready to run a studio. I’m ready to green light movies, and be in it to win it, you know? It’s close. It’ll happen.

If anyone can bring some much-needed ‘cool’ to Hollywood, it’s Ice Cube.

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