The world was shocked when gymnast Simone Biles withdrew from numerous events during the Tokyo 2020 Summer Olympics — especially considering the fact that she was the clear front-runner for several gold medals. However, at the same time, Biles was struggling with her mental health. Rather than push herself to the brink, she decided to withdraw from the competition. Four years later, Biles has unfinished business, and upcoming doc series Simone Biles Rising offers an intimate look at the story behind it all.
Directed by Katie Walsh with executive producers Gotham Chopra, Ameeth Sankaran, Giselle Parets, and Janey Miller with Religion of Sports (McGregor Forever) in association with the Olympics Channel, the four-episode series chronicles Biles’ preparations to resume her position at the top.
Part 1 of Simone Biles Rising will premiere in July ahead of the start of the Paris 2024 Olympic Games, so be sure to tune in...
Directed by Katie Walsh with executive producers Gotham Chopra, Ameeth Sankaran, Giselle Parets, and Janey Miller with Religion of Sports (McGregor Forever) in association with the Olympics Channel, the four-episode series chronicles Biles’ preparations to resume her position at the top.
Part 1 of Simone Biles Rising will premiere in July ahead of the start of the Paris 2024 Olympic Games, so be sure to tune in...
- 5/22/2024
- by Roxanne Fequiere
- Tudum - Netflix
2023 Sundance Film Festival: Early highlights include ‘Fairyland,’ ‘Magazine Dreams,’ ‘Past Lives’ …
The first week of the Sundance Film Festival is drawing mixed-to-positive reactions, but several performers have garnered unanimous praise. Jonathan Majors made a big splash in Elijah Bynum’s “Magazine Dreams.” He stars as Killian Maddox, an obsessive bodybuilder who takes care of his Vietnam vet grandfather (Harrison Page) and pursues a relationship with a store clerk (Hayley Bennett) while trying to become a celebrity. The film, which is being compared to Martin Scorsese’s “Taxi Driver,” looked noteworthy heading into the festival and is reportedly just as intense as early buzz had promised. Even critics who have expressed skepticism regarding the film’s third act are in awe of Majors’ committed work.
Kate Erbland of IndieWire writes, “As mistakes and missteps and pain continues to pile on to Killian, Majors turns an already wonderfully empathetic and deeply touching performance into something much more brutal, something explosive, something truly shocking.
Kate Erbland of IndieWire writes, “As mistakes and missteps and pain continues to pile on to Killian, Majors turns an already wonderfully empathetic and deeply touching performance into something much more brutal, something explosive, something truly shocking.
- 1/29/2023
- by Ronald Meyer
- Gold Derby
Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones they made in between.
Today, we discuss one of the most intriguing actors of his generation: Val Kilmer! To tackle such an enigma, we bring in the legendary Katie Walsh! A must-follow on Twitter, a co-host of the insatiably-entertaining Miami Nice Podcast, and an accomplished writer. The B-Sides featured today are: Kill Me Again, At First Sight, The Salton Sea, and Mindhunters.
We discuss how Kilmer was a prodigy––the youngest student admitted into Juilliard’s drama department––before his Broadway debut in the (ultimately) star-studded Slab Boys. There’s talk of his well-documented penchant to be difficult on set, as well as those who defended him and his abilities.
We confront Dan’s deep admiration for the poorly-aged The Salton Sea,...
Today, we discuss one of the most intriguing actors of his generation: Val Kilmer! To tackle such an enigma, we bring in the legendary Katie Walsh! A must-follow on Twitter, a co-host of the insatiably-entertaining Miami Nice Podcast, and an accomplished writer. The B-Sides featured today are: Kill Me Again, At First Sight, The Salton Sea, and Mindhunters.
We discuss how Kilmer was a prodigy––the youngest student admitted into Juilliard’s drama department––before his Broadway debut in the (ultimately) star-studded Slab Boys. There’s talk of his well-documented penchant to be difficult on set, as well as those who defended him and his abilities.
We confront Dan’s deep admiration for the poorly-aged The Salton Sea,...
- 6/3/2022
- by Dan Mecca
- The Film Stage
Sony Pictures Classics has acquired the North American rights to “One Fine Morning,” the latest film from French director Mia Hansen-Løve and starring Léa Seydoux, following its premiere last week at the Cannes Film Festival.
SPC also acquired the rights to distribute the film in Latin America and Middle East territories as part of the deal.
“One Fine Morning” played in the Director’s Fortnight section of Cannes and is Hansen-Løve’s return to the French language after last year’s “Bergman Island,” which played in competition at Cannes in 2021 and was distributed by IFC Films.
Also Read:
‘Corsage’ With Vicky Krieps Acquired by IFC Films Out of Cannes
The new film follows Sandra (Seydoux), a young mother who raises her daughter alone and pays regular visits to her sick father. While she and her family fight tooth and nail to get him the care he requires, Sandra reconnects with Clément,...
SPC also acquired the rights to distribute the film in Latin America and Middle East territories as part of the deal.
“One Fine Morning” played in the Director’s Fortnight section of Cannes and is Hansen-Løve’s return to the French language after last year’s “Bergman Island,” which played in competition at Cannes in 2021 and was distributed by IFC Films.
Also Read:
‘Corsage’ With Vicky Krieps Acquired by IFC Films Out of Cannes
The new film follows Sandra (Seydoux), a young mother who raises her daughter alone and pays regular visits to her sick father. While she and her family fight tooth and nail to get him the care he requires, Sandra reconnects with Clément,...
- 5/23/2022
- by Brian Welk
- The Wrap
It’s Peter Parker’s world, we’re just living in it.
After a brief hiatus to let another movie sell a few tickets, “Spider-Man: No Way Home” has unseated “Scream” and reclaimed the top spot on domestic box office charts. Now in its sixth weekend of release, Sony’s comic book sequel added another $14.1 million from 3,705 North American venues this weekend, enough for first place.
It’s rare for any film to secure the No. 1 slot in its sixth outing, though “Spider-Man: No Way Home” didn’t have much in the way of competition. In fact, you would be forgiven if you’d never even heard of this weekend’s two new nationwide releases — Universal’s faith-based romantic drama “Redeeming Love” and the Gravitas Ventures fantasy adventure “The King’s Daughter,” which was filmed eight years ago (and not in a Richard Linklater/ “Boyhood” way). Neither film managed to make...
After a brief hiatus to let another movie sell a few tickets, “Spider-Man: No Way Home” has unseated “Scream” and reclaimed the top spot on domestic box office charts. Now in its sixth weekend of release, Sony’s comic book sequel added another $14.1 million from 3,705 North American venues this weekend, enough for first place.
It’s rare for any film to secure the No. 1 slot in its sixth outing, though “Spider-Man: No Way Home” didn’t have much in the way of competition. In fact, you would be forgiven if you’d never even heard of this weekend’s two new nationwide releases — Universal’s faith-based romantic drama “Redeeming Love” and the Gravitas Ventures fantasy adventure “The King’s Daughter,” which was filmed eight years ago (and not in a Richard Linklater/ “Boyhood” way). Neither film managed to make...
- 1/23/2022
- by Rebecca Rubin
- Variety Film + TV
Marvel’s friendly neighborhood Spider-Man is swinging to the rescue.
Tom Holland’s newest web-slinging adventure “Spider-Man: No Way Home” hits theaters on Friday and is poised to generate $150 million in its box office debut — a heroic feat even by pre-covid standards. The film’s distributor Sony Pictures modestly predicts a three-day tally closer to $130 million, which would still rank as a huge win. But given pent-up demand and record pre-sales, some box office prognosticators are more bullish. They believe an opening weekend near $175 million could be within reach.
At the very least, “Spider-Man: No Way Home” looks to be the first pandemic-era movie to cross $100 million in a single weekend, an achievement that felt more like a distant dream this time last year. Only one film, Sony’s comic book sequel “Venom: Let There Be Carnage,” has come close to hitting that benchmark, with initial revenues at a still-impressive $90 million domestically.
Tom Holland’s newest web-slinging adventure “Spider-Man: No Way Home” hits theaters on Friday and is poised to generate $150 million in its box office debut — a heroic feat even by pre-covid standards. The film’s distributor Sony Pictures modestly predicts a three-day tally closer to $130 million, which would still rank as a huge win. But given pent-up demand and record pre-sales, some box office prognosticators are more bullish. They believe an opening weekend near $175 million could be within reach.
At the very least, “Spider-Man: No Way Home” looks to be the first pandemic-era movie to cross $100 million in a single weekend, an achievement that felt more like a distant dream this time last year. Only one film, Sony’s comic book sequel “Venom: Let There Be Carnage,” has come close to hitting that benchmark, with initial revenues at a still-impressive $90 million domestically.
- 12/14/2021
- by Rebecca Rubin
- Variety Film + TV
Kristen Stewart’s clear path to the Oscars 2022 Best Actress award hit a speed bump this week as the first reactions to Ridley Scott’s star-studded “House of Gucci” put Lady Gaga immediately in the awards conversation.
“There’s a true standout performance here from Lady Gaga, funny and fearless and — crucially, in a movie prone to losing the thread — completely commanding,” Vanity Fair awards writer David Canfield wrote in his analysis of the film, reviews for which are embargoed until November 23 — just one day before its theatrical release. “She centers, even grounds the movie while having a grand time doing so. Accordingly, she’s firmly in the conversation for a second best-actress nomination, but how far she can go largely depends on the movie around her.”
Based on the book by Sara Gay Forden and directed by legendary filmmaker Ridley Scott, “House of Gucci” is a decades-spanning story about...
“There’s a true standout performance here from Lady Gaga, funny and fearless and — crucially, in a movie prone to losing the thread — completely commanding,” Vanity Fair awards writer David Canfield wrote in his analysis of the film, reviews for which are embargoed until November 23 — just one day before its theatrical release. “She centers, even grounds the movie while having a grand time doing so. Accordingly, she’s firmly in the conversation for a second best-actress nomination, but how far she can go largely depends on the movie around her.”
Based on the book by Sara Gay Forden and directed by legendary filmmaker Ridley Scott, “House of Gucci” is a decades-spanning story about...
- 11/10/2021
- by Christopher Rosen
- Gold Derby
With the majors eagerly seeking franchises rather than films, their executives might now pay some attention to a courtly Texan who lives in Paris. For 25 years, Wes Anderson has quietly but systematically built his unlikely and fragile franchise around 10 movies that filmgoers profess to enjoy but not understand. His latest, The French Dispatch, opened last week to a $5.5 million box office gross in Week 1, thus suggesting that “art movies” somehow can survive even amid the challenges of 2021.
The French Dispatch is a French movie (it’s not) based on a story (actually three) described by The New York Times as “a love letter to journalism,” which isn’t about journalism at all. But then other Anderson films like Bottle Rocket weren’t about rockets nor was Moonrise Kingdom about a kingdom nor Isle of Dogs that much about dogs.
Anderson’s gift lies in his ability each year to generate...
The French Dispatch is a French movie (it’s not) based on a story (actually three) described by The New York Times as “a love letter to journalism,” which isn’t about journalism at all. But then other Anderson films like Bottle Rocket weren’t about rockets nor was Moonrise Kingdom about a kingdom nor Isle of Dogs that much about dogs.
Anderson’s gift lies in his ability each year to generate...
- 11/4/2021
- by Peter Bart
- Deadline Film + TV
Long-delayed and highly anticipated among his fans, Edgar Wright’s first narrative film since “Baby Driver” has finally arrived in theaters. “Last Night in Soho” is Wright’s love letter to Hammer horror, the films of Brian De Palma, and the 1960s music scene — while also serving as a dark cautionary tale about looking back at the past with a hazy and uncritical nostalgia. “You cannot change what’s happened,” Wright said in an interview with the New York Times this week. “You can only deal with it in the future.”
Starring breakout actresses Thomasin McKenzie and Anya Taylor-Joy, as well as legendary British performers Terrence Stamp and the late Diana Rigg in her final role, “Last Night in Soho” focuses on a young woman in present-day London (McKenzie) who forms an unusual psychological bond with a 1960s singer (Taylor-Joy). As with “Baby Driver,” Wright’s biggest box office success...
Starring breakout actresses Thomasin McKenzie and Anya Taylor-Joy, as well as legendary British performers Terrence Stamp and the late Diana Rigg in her final role, “Last Night in Soho” focuses on a young woman in present-day London (McKenzie) who forms an unusual psychological bond with a 1960s singer (Taylor-Joy). As with “Baby Driver,” Wright’s biggest box office success...
- 10/29/2021
- by Christopher Rosen
- Gold Derby
Edgar Wright’s psychological thriller “Last Night in Soho” and the Guillermo del Toro-produced supernatural horror film “Antlers” will close out a surprisingly strong October at the domestic box office.
The spookiest month of the year isn’t always booming when it comes to box office ticket sales. But in pandemic times, as big-budgeted movies are regularly delayed and rescheduled to keep up with changing consumer habits, the season that celebrates all things Halloween and pumpkin spice has been busier than most. Already, October has generated $546 million in overall box office receipts, according to Comscore. In the next few days, it should surpass July ($583 million) to become the biggest revenue-generating month of the year.
“October has become a rockstar of a month,” says Paul Dergarabedian, a senior media analyst with Comscore, who referred to the milestone as “a most unusual outcome.”
Historically it’s summer, not fall, that brings...
The spookiest month of the year isn’t always booming when it comes to box office ticket sales. But in pandemic times, as big-budgeted movies are regularly delayed and rescheduled to keep up with changing consumer habits, the season that celebrates all things Halloween and pumpkin spice has been busier than most. Already, October has generated $546 million in overall box office receipts, according to Comscore. In the next few days, it should surpass July ($583 million) to become the biggest revenue-generating month of the year.
“October has become a rockstar of a month,” says Paul Dergarabedian, a senior media analyst with Comscore, who referred to the milestone as “a most unusual outcome.”
Historically it’s summer, not fall, that brings...
- 10/27/2021
- by Rebecca Rubin
- Variety Film + TV
Two years ago, Jodie Comer won an Emmy for her intoxicating portrayal of the villainous antiheroine Villanelle in BBC America’s “Killing Eve”. She beat out the likes of not only past Emmy champs Viola Davis and Laura Linney, but also her own co-star Sandra Oh, who many predicted would triumph over the English newcomer.
Comer could go from Emmy glory to Oscar recognition this year with her acclaimed starring role in Ridley Scott’s medieval epic “The Last Duel.” She portrays Marguerite de Carrouges, a fiercely defiant woman who sacrifices her own life for the sake of truth. She attempts to bring justice upon a charming but untrustworthy squire, Jacques le Gris (Adam Driver), whom she accuses of brutally assaulting her within the confines of her own chamber while her husband, Jean de Carrouges (Matt Damon) was selfishly away in Paris.
While the film’s first two chapters place...
Comer could go from Emmy glory to Oscar recognition this year with her acclaimed starring role in Ridley Scott’s medieval epic “The Last Duel.” She portrays Marguerite de Carrouges, a fiercely defiant woman who sacrifices her own life for the sake of truth. She attempts to bring justice upon a charming but untrustworthy squire, Jacques le Gris (Adam Driver), whom she accuses of brutally assaulting her within the confines of her own chamber while her husband, Jean de Carrouges (Matt Damon) was selfishly away in Paris.
While the film’s first two chapters place...
- 10/25/2021
- by Nick Bisa
- Gold Derby
It’s been more than 40 years since the Ivory Coast first won an Oscar for Best International Feature — then known as Best Foreign Language Film. Could the African nation win again for the critically acclaimed film “Night of the Kings”?
SEEKaouther Ben Hania (‘The Man Who Sold His Skin’) on her Tunisian International Feature Oscar contender: ‘This is not a classic refugee story’ [Exclusive Video Interview]
“Night of the Kings” is only the third film submitted to the Oscars from the nation, though their success rate is pretty good given their infrequent entries. They won the award for the anti-war satire “Black and White in Color” (1976), the directorial debut of French filmmaker Jean-Jacques Annaud, who went on to direct one other Oscar nominee, but representing France, “Betty Blue” (1986).
Ivory Coast didn’t submit another film for consideration for almost four decades. For 2015 they entered “Run” by director Philippe Lacôte. That film also dealt with unrest in the country,...
SEEKaouther Ben Hania (‘The Man Who Sold His Skin’) on her Tunisian International Feature Oscar contender: ‘This is not a classic refugee story’ [Exclusive Video Interview]
“Night of the Kings” is only the third film submitted to the Oscars from the nation, though their success rate is pretty good given their infrequent entries. They won the award for the anti-war satire “Black and White in Color” (1976), the directorial debut of French filmmaker Jean-Jacques Annaud, who went on to direct one other Oscar nominee, but representing France, “Betty Blue” (1986).
Ivory Coast didn’t submit another film for consideration for almost four decades. For 2015 they entered “Run” by director Philippe Lacôte. That film also dealt with unrest in the country,...
- 3/3/2021
- by Daniel Montgomery
- Gold Derby
From filming under strict Covid safety protocols last summer to selling the film to Netflix in a blockbuster deal worth a reported $30 million, Sam Levinson’s journey with “Malcolm & Marie” has never stopped making headlines. The relationship drama, starring Zendaya and John David Washington, is now proving to be one of the most critically divisive titles in the awards race. Several criticisms have been lobbied at Levinson since the film started screening last month, from his actors’ age gap to his decision to write a film about two Black characters. The writer-director has been confronting these criticisms head-on in recent interviews with Esquire UK and The Independent.
When it comes to the 12-year age gap between Zendaya and Washington, Levinson told The Independent he understands why that might be a cause for concern, as age gaps are “something that historically happen a lot in films with older male actors...
When it comes to the 12-year age gap between Zendaya and Washington, Levinson told The Independent he understands why that might be a cause for concern, as age gaps are “something that historically happen a lot in films with older male actors...
- 2/6/2021
- by Zack Sharf
- Indiewire
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