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Tag: leonardo dicaprio

  • Michael Mann’s ‘Heat 2’ Has Found Its Cast. And It Is Great for the Film Bros

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    The news that a Heat 2 was in the works delighted fans of Michael Mann’s original film. But then came the important question: What would a story for Heat 2 look like? Luckily, there’s a book for that!

    The novel, written by Mann and Meg Gardiner, is both a prequel and a sequel to the original film. Now though, the new film is starting to feel a lot more real with some pretty exciting casting. We don’t yet know how the novel will play into the film but we do know that both Leonardo DiCaprio and, reportedly, Christian Bale will join the Mann picture.

    Bale was speaking with journalist Jake Hamilton for the film The Bride when he gave some exciting information to Hamilton. “I’ll be back in Chicago soon for Heat 2!” Bale also spoke with Chalice Williams for Black Girl Nerds and hinted at his role in Heat 2. When he saw the posters she had hanging up on the wall behind her, he said “You know what’ll go great up there? Heat 2!”

    The original film is described as follows: “Master criminal Neil McCauley (Robert De Niro) is trying to control the rogue actions of one of his men, while also planning one last big heist before retiring. Meanwhile, Lieutenant Hanna (Al Pacino) attempts to track down McCauley as he deals with the chaos in his own life, including the infidelity of his wife (Diane Venora) and the mental health of his stepdaughter (Natalie Portman). McCauley and Hanna discover a mutual respect, even as they try to thwart each other’s plans.”

    We don’t yet know who DiCaprio and Bale would play respectively but there have also been rumors that Stephen Graham, of Adolescence fame, would play Neil McCauley in this new film.

    It feels great having Christian Bale back in the fold

    DiCaprio has been consistently working for most his life, with him releasing roughly one film a year for the last few years. Bale, on the other hand, takes a bit longer between projects. As someone who loves Bale’s work as I do, it is nice to see him working on projects more regularly now.

    With the release of The Bride and the release of Madden later this year, Bale is back in a way we haven’t seen in a while. For most of the 2000s and into the 2010s, Bale had multiple movies out a year. But in the last 6 years, the amount of films he’s been working on has shifted. The last release was Pale Blue Eyes on Netflix.

    So for someone like me, who grew up in the age of Christian Bale films, it is exciting to see him “back” and arguably better than ever.

    (featured image: MGM)

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    Rachel Leishman

    Editor in Chief

    Rachel Leishman (She/Her) is the Editor in Chief of the Mary Sue. She’s been a writer professionally since 2016 but was always obsessed with movies and television and writing about them growing up. A lover of Spider-Man and Wanda Maximoff’s biggest defender, she has interests in all things nerdy and a cat named Benjamin Wyatt the cat. If you want to talk classic rock music or all things Harrison Ford, she’s your girl but her interests span far and wide. Yes, she knows she looks like Florence Pugh. She has multiple podcasts, normally has opinions on any bit of pop culture, and can tell you can actors entire filmography off the top of her head. Her current obsession is Glen Powell’s dog, Brisket.

    Her work at the Mary Sue often includes Star Wars, Marvel, DC, movie reviews, and interviews.

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    Rachel Leishman

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  • All the Most Exciting Fashion on the 2026 BAFTAs Red Carpet

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    Gracie Abrams and Paul Mescal. Getty Images for BAFTA

    After three awards shows, all in Los Angeles, Hollywood’s A-list is heading across the pond. Yes, it’s time for the BAFTAs, the annual ceremony that honors the best in British and international cinema. Presented by the British Academy of Film and Television Arts, the BAFTAs are once again taking place at Royal Festival Hall in London’s Southbank Centre tonight, Feb. 22, but with a new host. This year, Alan Cumming is taking over duties from David Tennant, who hosted the ceremony for the past two years.

    Paul Thomas Anderson’s One Battle After Another netted the most nominations at 14, followed by Ryan Coogler’s Sinners with 13 and Chloé Zhao’s Hamnet and Josh Safdie’s Marty Supreme, tied with 11 nods each. Leonardo DiCaprio, Timothée Chalamet and Michael B. Jordan are all up for Best Actor, while Kate Hudson, Jessie Buckley and Emma Stone are among the stars nominated for Best Actress. Along with the celeb-studded roster of nominees, the slate of presenters is equally impressive, including Aaron Pierre, Aimee Lou Wood, Alicia Vikander, Alia Bhatt, Bryan Cranston, Cillian Murphy, David Jonsson, Delroy Lindo, Emily Watson, Erin Doherty, Ethan Hawke, Gillian Anderson, Glenn Close, Hannah Waddingham, Karen Gillan, Kate Hudson, Kathryn Hahn, Kerry Washington, Little Simz, Maggie Gyllenhaal, Mia McKenna-Bruce, Michael B. Jordan, Miles Caton, Milly Alcock, Minnie Driver, Monica Bellucci, Noah Jupe, Olivia Cooke, Patrick Dempsey, Regé-Jean Page, Riz Ahmed, Sadie Sink, Stellan Skarsgård, Stormzy and Warwick Davis.

    But before the best and brightest in film head into Royal Festival Hall, they’ll walk the always-glamorous BAFTAs red carpet in their most dazzling sartorial ensembles. Last year’s red carpet did not disappoint, with highlights including Cynthia Erivo in Louis Vuitton, Mikey Madison in Prada, Monica Barbaro in Armani Privé and Lupita Nyong’o in Chanel—all custom, of course. So let’s get ready for the 2026 iteration—below, see all the best and most exciting fashion moments from this year’s BAFTAs red carpet.

    The Prince And Princess Of Wales Attend The 2026 EE BAFTA Film AwardsThe Prince And Princess Of Wales Attend The 2026 EE BAFTA Film Awards
    Catherine, Princess of Wales and William, Prince of Wales. BAFTA via Getty Images

    Kate Middleton and Prince William

    Princess of Wales in Gucci 

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Alicia Vikander. Corbis via Getty Images

    Alicia Vikander

    in Louis Vuitton

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    Timothée Chalamet. Mike Marsland/WireImage

    Timothée Chalamet

    in Givenchy 

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    Kathryn Hahn. Getty Images for BAFTA

    Kathryn Hahn

    in Lanvin 

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    Carey Mulligan. Mike Marsland/WireImage

    Carey Mulligan

    in Prada

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    Milly Alcock. Variety via Getty Images

    Milly Alcock

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Erin Doherty. FilmMagic

    Erin Doherty

    in Louis Vuitton

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Aimee Lou Wood. FilmMagic

    Aimee Lou Wood

    in Emilia Wickstead 

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    Tilda Swinton. Getty Images for BAFTA

    Tilda Swinton

    in Chanel 

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    Archie Madekwe. Getty Images

    Archie Madekwe

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Renate Reinsve. Getty Images

    Renate Reinsve

    in Louis Vuitton 

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    Cillian Murphy. Mike Marsland/WireImage

    Cillian Murphy

    in Ferragamo

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Harry Melling. Getty Images

    Harry Melling

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Freya Allan. Getty Images for BAFTA

    Freya Allan

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Little Simz. Getty Images for BAFTA

    Little Simz

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    Noah Jupe and Sadie Sink. WireImage

    Noah Jupe and Sadie Sink

    Sink in Prada

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Maggie Gyllenhaal. WireImage

    Maggie Gyllenhaal

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Glenn Close. FilmMagic

    Glenn Close

    in Erdem 

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Teyana Taylor. FilmMagic

    Teyana Taylor

    in Burberry 

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Patrick Dempsey and Talula Fyfe Dempsey. Getty Images for BAFTA

    Patrick Dempsey and Talula Fyfe Dempsey

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Maya Rudolph. Getty Images for BAFTA

    Maya Rudolph

    in Chanel 

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Ruth E. Carter. Getty Images for BAFTA

    Ruth E. Carter

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Jenna Coleman. Getty Images

    Jenna Coleman

    in Armani Privé

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Minnie Driver. Getty Images for BAFTA

    Minnie Driver

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Emma Stone. Corbis via Getty Images

    Emma Stone

    in Louis Vuitton

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Monica Bellucci. Getty Images

    Monica Bellucci

    in Stella McCartney 

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Kerry Washington. FilmMagic

    Kerry Washington

    in Prada

    2026 EE BAFTA Film Awards - Arrivals2026 EE BAFTA Film Awards - Arrivals
    Chase Infiniti. Getty Images

    Chase Infiniti

    in Louis Vuitton

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Jessie Ware. Getty Images for BAFTA

    Jessie Ware

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Maura Higgins. Getty Images for BAFTA

    Maura Higgins

    in Andrea Brocca

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    Ejae. Getty Images

    Ejae

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Tom Blyth. Getty Images for BAFTA

    Tom Blyth

    in Saint Laurent 

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Michael B. Jordan. Getty Images for BAFTA

    Michael B. Jordan

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    Jesse Plemons and Kirsten Dunst. FilmMagic

    Jesse Plemons and Kirsten Dunst

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Chloé Zhao. Getty Images for BAFTA

    Chloé Zhao

    in Gabriela Hearst 

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Joe Alwyn. Getty Images for BAFTA

    Joe Alwyn

    2026 EE BAFTA Film Awards - VIP Arrivals2026 EE BAFTA Film Awards - VIP Arrivals
    Rege-Jean Page. Max Cisotti/Dave Benett/Getty Im

    Rege-Jean Page

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Kate Hudson. Getty Images for BAFTA

    Kate Hudson

    in Prada

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    Leonardo DiCaprio. Getty Images

    Leonardo DiCaprio

    in Dior 

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    Gracie Abrams and Paul Mescal. Getty Images for BAFTA

    Gracie Abrams and Paul Mescal

    Abrams in Chanel

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    Olivia Cooke. Getty Images

    Olivia Cooke

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Stormzy. Getty Images for BAFTA

    Stormzy

    in Gucci

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Rose Byrne and Bobby Cannavale. Getty Images for BAFTA

    Rose Byrne and Bobby Cannavale

    Byrne in Miu Miu 

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    Harry Lawtey. WireImage

    Harry Lawtey

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Gillian Anderson. Getty Images for BAFTA

    Gillian Anderson

    in Roksanda 

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    Odessa A’zion. FilmMagic

    Odessa A’zion

    in Dior 

    EE BAFTA Film Awards 2026 - ArrivalsEE BAFTA Film Awards 2026 - Arrivals
    Jessie Buckley. Getty Images for BAFTA

    Jessie Buckley

    in Chanel 

    All the Most Exciting Fashion on the 2026 BAFTAs Red Carpet

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    Morgan Halberg

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  • Milano Cortina Olympics 2026 Opening Ceremony Brings Mariah Carey, JD Vance, and Vittoria Ceretti to Same Elaborate Fever Dream

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    Unlike the rain-drenched Paris Olympics opening ceremony, the 2026 Milano Cortina Olympics have remained snowy, but clear and, as the NBC anchors put it, “quintessentially Italian.” Pops of color flooded the stage as dancers performed to Gioachino Rossini’s “William Tell Overture.” An actor in a black strapless gown dodged paparazzi flashbulbs while paying musical tribute to La Dolce Vita (1960), Federico Fellini’s landmark film. Then, three tubes of paint (colored blue, red, and yellow) came down from the sky and landed on the spiral-shaped stage, unfurling around dancers dressed in matching colors. The sequence nodded towards Milan’s La Scala opera house, as well as the sculptures of Antonio Canova, including Cupid and Psyche. Perhaps the most eye-catching element, though, was the appearance of three dancers wearing bobble heads to resemble famed opera composers Puccini, Rossini, and Verdi.

    MILAN, ITALY – FEBRUARY 06: Laura Pausini performs the national anthem during the opening ceremony of the Milano Cortina 2026 Winter Olympics at San Siro Stadium on February 06, 2026 in Milan, Italy. (Photo by Maja Hitij/Getty Images)Maja Hitij/Getty Images

    Dressed in a glittering creation by Fausto Puglisi, creative director of Roberto Cavalli since 2020, Mariah Carey sang “Volare (Nel Blu, Dipinto Di Blu),” an Italian song by Domenico Modugno that topped the Billboard Hot 100 in 1958 for multiple weeks. Adorned in a platinum and diamond necklace, earrings and bracelet set by Levuma, the Grammy Award–winner also performed “Nothing Is Impossible,” a song she released last year, hitting a high note that elicited cheers from the audience of 60,000.

    Image may contain Mariah Carey Leisure Activities Music Musical Instrument Musician Performer Person and Singing

    Mariah Carey performs during the opening ceremony of the Milano Cortina 2026 Winter Olympics at San Siro Stadium in Milan, Italy.Elsa/Getty Images

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    Savannah Walsh

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  • Chase Infiniti Names 1 Iconic Leonardo DiCaprio Movie She Saw Recently

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    Chase Infiniti may be sharing the screen with Leonardo DiCaprio in her latest film, but even she admits she hadn’t seen one of his most famous movies until fairly recently. The One Battle After Another star opened up about her early conversations with DiCaprio, the surprising gap in her movie-watching history, and why one of his other films has always meant more to her.

    Chase Infiniti reveals which Leonardo DiCaprio movie she didn’t see until recently

    While talking with PEOPLE, Chase Infiniti revealed a surprising confession that she didn’t watch Titanic until just last year. The iconic 1997 Leo DiCaprio classic somehow slipped past her for decades. Speaking ahead of the AARP Movies for Grownups Awards on January 10, 2026, she laughed it off, saying, “Do you know what’s crazy? I didn’t watch Titanic until last year. I had not seen it.”

    Instead, the DiCaprio movie that really stuck with her while growing up was Catch Me If You Can. The 2002 Steven Spielberg film, where Leo plays real-life con man Frank Abagnale Jr. opposite Tom Hanks, was her go-to. “That’s the Leo film for me, she said, adding that she watched it when she was younger and still absolutely loves it.

    That mutual love for Catch Me If You Can even helped break the ice between Chase Infiniti and Leonardo DiCaprio on set. While filming One Battle After Another, the movie became one of their first real conversations.

    Infiniti plays Willa, the daughter of revolutionaries played by DiCaprio and Teyana Taylor in the Paul Thomas Anderson-directed film. She shared that conversing about the movie and even its stage musical version came up naturally while they were working together.

    Infiniti also opened up about going through a long audition process that stretched nearly five to six months. She first sent in a self-tape while she was busy shooting her screen debut in Apple TV+’s Presumed Innocent.

    Walking into meetings with DiCaprio and director Paul Thomas Anderson could’ve been nerve-racking. In a sit-down with Today Infiniti said both were “so kind,” adding that she’s “so grateful for the entire experience.”

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    Rishabh Shandilya

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  • Chelsea Handler Pays Tribute To Rob Reiner, Goes After David Zaslav & Shouts Out ‘Heated Rivalry’ In Critics Choice Opening Monologue

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    After multiple successful hosting stints at the Critics Choice Awards, comedian Chelsea Handler took the stage at Barker Hangar for the fourth time — paying tribute to the late Rob Reiner, not holding back on shots at Warner Bros. Discovery CEO David Zaslav and Leonardo DiCaprio and even shouting out breakout Crave Canada hit Heated Rivalry.

    Sinners is the story of brothers who start this really fun place for entertainment and then vampires show up, suck the life out of everybody and burn it all to the ground. Fun fact: The original name of the main vampire was David Zaslav,” she quipped, as the camera panned to star Michael B. Jordan, who could be seen ruefully shaking his head at the joke.

    Touting the period drama’s near-$368 million worldwide box office gross, Handler called out a piece from our sister publication, which readers and celebrities alike slammed for minimizing the critically acclaimed film’s financial performance. “White Hollywood was so shook after seeing the box office numbers, Variety ran the headline: ‘Do box office numbers really matter?’”

    In another biz-related joke, Handler went after the C-suite in general: “Seth Rogen is here tonight. Years of playing stoners, slackers and underachievers who do next to nothing all day prepared Seth for his latest role of someone who does even less — a studio head.”

    The comic also went after One Battle After Another star DiCaprio, who just last night missed an appearance at the Palm Springs Film Festival (where he was set to accept a Desert Palm Achievement Award), due to travel restrictions. The Oscar winner was vacationing on a yacht off the coast of St. Barts at the time. “It was just like the Titanic but worse because Jeff Bezos was there,” Handler said.

    Showering praise on the year’s original series, Handler gave a warm shoutout to one of most dominant shows in the zeitgeist: “You guys made amazing, original shows that everyone couldn’t stop talking about — until that gay hockey show from Canada came along,” she said. “Shoutout to Heated Rivalry; everyone loves it: Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”

    In more TV-related material, Handler said: “The cast of Landman is here. Spoiler alert: In a recent episode, Billy Bob Thornton went full frontal. Taylor Sheridan said it was nice to have a dick on set that wasn’t Kevin Costner.”

    Closing out her opener, after Handler highlighted Jay Kelly‘s Adam Sandler as “the nicest guy in Hollywood,” she launched into a sweet remembrance of Rob Reiner and Michele Singer Reiner, who were found dead mid-December after being allegedly stabbed by their son Nick Reiner.

    “Actually, you’re the second nicest guy in Hollywood, because everyone in this room knows that the nicest guy in Hollywood was Rob Reiner,” she began. “Anyone who ever spent time with Rob Reiner knows that the minute you met him, he felt like an old friend. When you were in a conversation with him, he was present, he was focused and he was funny, and he would ask you tons of questions, whether you were discussing politics or film or the latest beauty trends — he was all in. After I sent him a text thanking him for dinner a few months ago, he texted me back and said, ‘We had so much fun with you last night. Thanks for explaining so much about plastic surgery. It was very edifying.’”

    She concluded, “Rob and Michele were tireless in their efforts to so many important causes, all stemming from one basic idea: decency and that we should all look out for each other. I think we can all agree that we definitely need more of that. So, let’s use tonight as a reminder of that decency and as a reminder of everything Rob and Michele represented and fought so hard for.”

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    Natalie Oganesyan

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  • ‘One Battle After Another’ Gets December Streaming Date On HBO Max

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    Paul Thomas Anderson‘s One Battle After Another, the Leonardo DiCaprio-starring Warner Bros pic that has been leading the charge this awards season since hitting theaters in late September, will debut exclusively on HBO Max on Friday, December 19.

    The Warner Bros streaming sibling revealed the news Monday about the streaming date, which comes a day before the pic premieres on the HBO linear channel. HBO Max will also stream an ASL version.

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    The pic, a mash of crime and political action thriller and dark comedy, centers on DiCaprio’s washed-up revolutionary Bob, who exists in a state of stoned paranoia and survives off-grid with his spirited, self-reliant daughter Willa (Chase Infiniti). When his evil nemesis (Sean Penn) resurfaces after 16 years and Willa goes missing, Bob scrambles to find her, battling the consequences of his past.

    Benicio Del Toro, Regina Hall and Teyana Taylor also star.

    The pic, which opened September 26 and has surpassed $200 million at the global box office, has already been named Best Picture by the New York and Los Angeles critics groups and the National Board of Review and won the Best Feature honor at the Gotham Awards. It is up for 14 Critics Choice Awards and leads all films with nine nominations for the Golden Globes.

    One Battle After Another is produced by Adam Somner, Sara Murphy and Anderson, with Will Weiske executive producing.

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    Patrick Hipes

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  • The Rise of Cinema’s Sad, Searching Stoner Dad

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    Perfidia left Bob and Willa 16 years earlier, and DiCaprio’s character hasn’t fully recovered from the blow. “He’s not only getting older but also increasingly cranky and closed off,” Anderson said in a press release for the film. “It’s those mundane battles of daily life that are wearing on him. No one, not even Bob, can outrun what’s inevitable. Now he is trying to be a good father and watch his daughter, Willa, and the next generation come up. But they’re not doing it like he did.” DiCaprio said that Bob’s journey in the film, then, centers on reclaiming his sense of purpose in an evolving social landscape. “It’s about trying to be fearless in an age where we are riddled with fear and constantly silenced, but coming out of our shells…. He’s been somebody that’s been isolated, suspicious, and paranoid, and he’s pushed into a set of circumstances where he needs to be fearless.”

    He’s not the only Man of a Certain Age grappling with modern masculinity and his place in a politically fraught climate. Also sporting a tiny, greasy bun and some oversized eyewear is Balls, Bradley Cooper’s character in Is This Thing On? (out December 19). Cooper and Will Arnett, who plays the film’s leading man, Alex, star as frazzled fathers navigating middle age with the help of cannabis. Both plaid-clad men have stoned epiphanies about their respective marriages (to Andra Day and Laura Dern) and professional lives—Cooper’s character is a struggling actor, while Arnett’s is a wannabe stand-up comedian. “This movie is not a midlife crisis—it’s a midlife catharsis,” Cooper, who directed the film, told Vanity Fair. “Sometimes you realize you’re coasting and you’ve lost your rudder and your North Star in life, and that takes a toll on whoever is in your orbit.”

    Bradley Cooper, Will Arnett and Andra Day in Is This Thing On?Everett Collection.

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    Savannah Walsh

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  • Leonardo DiCaprio, Paul Thomas Anderson Explain Why They Had to Pause Production on ‘One Battle After Another’

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    The One Battle After Another boys thrilled London fans Wednesday night at an exclusive in-conversation event at BFI Southbank.

    Paul Thomas Anderson and his star, Leonardo DiCaprio (aka Bob Ferguson), were hosted by Scottish presenter Edith Bowman to talk about the wild reaction to their action thriller — the Warner Bros. feature has so far grossed over $200 million — and dive into how it was made. Among other topics, Anderson touched on how important it was finding Chase Infiniti in the search for Willa, and gushed about DiCaprio’s acting choices.

    “The reaction has been incredible from people,” began the Titanic and Wolf of Wall Street star. “Not just from my friends and family, but people coming up to me and interacting with me about what the film meant to them. I don’t know. It’s been a really special moment making this film and seeing people’s feelings about what it meant to them.”

    One moment in particular that had the audience chuckling was when Anderson revealed that production was paused to wait for their sensei, Benicio del Toro. “We had to call a time-out because Benicio had to go off and do Wes Anderson’s [The Phoenician Scheme],” said the Boogie Nights and Phantom Thread director. “So we really had a decision to make there. Normally, in normal situations, you go, ‘Oh, shit, we lost Benicio.’ But we really said there’s no possible way we can do this without him. We’ll do something that we’re going to have to figure out how to do financially and creatively.”

    “We took a break shooting for two-and-a-half months, and picked back up again. And luckily, we were able to make that work, because everybody on the crew said, ‘Oh yeah, let’s wait for Benicio,” said Anderson. “I can’t imagine not waiting for Benicio.”

    The anecdote came up when the filmmaker was asked what had changed that meant he finally felt it was the right time to make this movie. “Chase, first of all,” he also said. “Leo aging into the part, honestly. Me aging into being able to tell the story properly, being a father and having children…. [And] just confidence to tell the story.”

    The men took turns gushing about the film’s female leads, including Teyana Taylor, whom Anderson described as “a stick of dynamite” but also “a real softy.” When they got onto antagonist Lockjaw, portrayed by Sean Penn, DiCaprio chimed in: “He really brought elements to it that a lot of other actors…wouldn’t have made that choice.”

    “We talked a lot about who Lockjaw was going to be,” said DiCaprio. “And then when Paul decided on Sean, what was so amazing to see it up on film — because I hadn’t seen a lot of it, I was off doing my own stuff — was the fragility that he brought to what would otherwise be an obvious choice [from] maybe some other actors to make him purely menacing.”

    DiCaprio continued about Penn’s interpretation of Lockjaw: “I just thought he was so incredibly pathetic and almost sympathetic at times. Sitting there, looking at his desk [and he’s] gone on this whole journey, and you have this generic IKEA desk, this window view of— is it Dallas? I don’t know. Sitting there and looking in that moment going, ‘I’ve arrived,’ as if he’s in the Shangri-La…. How pathetic he was.”

    Anderson concurred: “It’s a testament to Sean that from time to time, there would be weird subsets of the crew that would say: ‘I hate to admit this, but I’m Team Lockjaw!’”

    After discussing the brilliance of Jonny Greenwood’s score, Anderson and DiCaprio were also asked by Bowman about the film’s thrilling car chase on the iconic, hilly stretch of desert road. “I remember seeing those roads, and I was awestruck,” said DiCaprio. “They made it feels like you’re on a roller coaster ride. I think Regina [King] put it best, she said, ‘I’ve never been more tense in a car chase scene with three cars chasing each other down a straight road,’” he laughed. “It was money.”

    Anderson said, while a nightmare to film on, the road itself is a testament to “getting in the car and driving around looking for locations, rather than just looking at a book.” He added: “That stuff’s usually been shot before, and what you’re crossing your fingers’s will happen is something like coming across that river of hills. My imagination isn’t good enough to come up with something like that,” he said. “I would [have] just put everybody on flat roads and think, ‘Well, we’re gonna have to have a car chase.’ But you kind of hit the ceiling and it requires getting out into the world.”

    One Battle After Another is already generating intense awards buzz, with Anderson and DiCaprio among the frontrunners on The Hollywood Reporter‘s Oscars predictions via the Feinberg Forecast here.

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    Lily Ford

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  • Box Office Meltdown: ‘Regretting You’ Tops Worst Halloween Weekend in 31 Years With $8.1 Million

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    Paramount and Constantin Films’ romance-drama Regretting You — the second Colleen Hoover book adaptation to hit the big screen after It Ends With Us — is proclaiming itself the victor of this year’s Halloween box office contest.

    According to Sunday estimates from David Ellison’s new regime, Regretting You placed No. 1 with $8.1 million from 3,245 cinemas in its sophomore outing.

    Or did it? Universal is likewise estimating a first-place finish for Blumhouse’s Black Phone 2 with $8 million from 3,425 cinemas. Most rival studios also show the horror sequel, now in its third weekend, coming in ahead of Regretting You).

    But Paramount has good reason to be bullish. Last weekend, Regretting You did switch positions with Black Phone and place No. 2 when final numbers came in, with Regretting You beating the Blumhouse pic by a safe margin. Monday will determine the correct order of the Oct. 31-Nov. 2 frame and whether Paramount was being too aggressive in the hunt for a good headline.

    Generally in such situations, a studio in Universal’s position would call the contest a tie, but in this case, no one complained, considering overall ticket sales for the weekend came in at $49.8 million — the worst showing of the year to date.

    But that’s not the most frightening fact — it was the lowest-grossing Halloween weekend in 31 years, according to Comscore. This excludes 2020, when the COVID-19 crisis forced theater closures for months.

    The last time Halloween weekend revenue came in lower was in 1993, when combined ticket sales reached $49.2 million, and that’s not adjusted for inflation, according to Comscore chief box office analyst Paul Dergarabedian.

    “While this was a truly scary weekend for the industry, a confluence of factors created an imperfect marketplace storm wherein Halloween festivities along with one of the biggest sporting events on the planet [the World Series] dominated the zeitgeist over the weekend and thus had the effect of taking the spotlight off the movie theater experience,” says Dergarabedian, adding studios and cinemas should be commended for doing what they could up the holes.

    This year’s Halloween weekend meltdown — which follows the worst October in 27 years — is due to the lack of a big commercial title on the marquee, such as 2024’s Venom: The Last Dance. This year, exhibitors had to rely on an eclectic batch of holdovers; rereleases, including Back to the Future; and the expansion of Focus Features’ awards darling and specialty offering Bugonia.

    Halloween is alway a tough holiday for Hollywood and cinema owners, especially when the actual day falls on a Friday, as it did this year. Regretting You took a major hit that day since its target audience — younger females — were otherwise occupied. On Saturday, sales spiked 200 percent.

    Domestically, Regretting You has earned $27.5 million in its first 10 days. Overseas, it earned another $8.2 million from 56 markets for a foreign tally of $23.3 million and $50.8 million globally.

    Black Phone 2, a major win for Blumhouse, sailed past the $104 million mark over the weekend after finishing Sunday with a domestic tally of $61.5 million and $43.3 million internationally, including a weekend haul of $7.3 million.

    As expected, the acclaimed Japanese manga pic Chainsaw Man – the Movie: Reze Arc fell off steeply in its second weekend of play at the domestic box office, declining 67 percent to $6 million for a 10-day domestic tally of $30.8 and a dazzling $139 million globally. Sony’s Crunchyroll division is handling Chainsaw Man in the U.S. and a number of foreign markets, excluding Japan. Its share of the total gross is $87.4 million.

    Bugonia, from Focus Features, placed No. 4 with $4.8 million as it expanded into 2,043 theaters after first launching earlier this month in select theaters. That is the widest break ever for a film directed by Yorgos Lanthimos, whose credits include Poor Things and The Favourite. Emma Stone (Poor Things) and Jesse Plemons lead the high-profile cast. Overseas, the specialty film earned $4.4 million from 47 markets for a foreign total of $5.3 million and $11.1 million globally.

    Disney provided a moment of levity when reporting grosses for the 40th anniversary rerelease of Back to the Future, saying it earned $4.7 million from 2,290 theaters in its “2,105th” week for a cume of $221.7 million (that isn’t adjusted for inflation). The classic pic placed an impressive No. 5 domestically and even beat Bruce Springsteen biographical drama and awards hopeful Springsteen: Deliver Me From Nowhere.

    Also from Disney, Deliver Me had to settle for No. 6 after falling off a steep 57 percent to $3.8 million from 3,460 theaters for a domestic total of $16.3 million. Overseas, it took in another $4 million from 40 material markets for a foreign tally of $14.3 million and $30.6 million globally. The filmmakers and Disney are hopeful the pic will have staying power because of its subject matter, originality and solid audience scores.

    In addition to Back to the Future and perennial Halloween favorite Rocky Picture Horror Show, other rereleases included screenings of all five Twilight movies timed to the 20th anniversary of Stephenie Meyer’s seminal first novel in the romance-vampire series. Fathom and Lionsgate partnered in bringing the movie adaptation of the books back to the big screen for five days, beginning Oct. 29 and concluding Nov. 2. Roughly 1,500 theaters participated and played a different film each night. Ticket sales through Sunday are an estimated $3.5 million, including $1.5 million for the Oct. 29 showing of the first film. (Because of the way it rolled out, the rerelease did not make the weekend top 10 chart).

    Paul Thomas Anderson‘s awards frontrunner and Leonardo DiCaprio starrer One Battle After Another, however, did remain in the top 10 chart in North America in its sixth outing, earning $1.2 million from 954 runs for a domestic total of $67.8 million. And defying the naysayers, it is approaching the $200 million mark globally after finishing Sunday with a foreign share of $123 million. It is far and away the filmmaker’s top-grossing film; his previous best was 2007’s There Will Be Blood ($77.2 million), unadjusted. And 2024’s Licorice Pizza, topped at at $37 million, which was considered a success for an indie title. (Granted, One Battle sports a far bigger budget but nevertheless is hanging in there, unlike a number of awards players.)

    Elsewhere, another special event pic trying to fill the gap mentioned by Dergarabedian was Depeche Mode: M, a concert pic from Sony Music Vision and Trafalgar that grossed $1.1 million domestically and $4.7 million overseas for a total of $5.7 million from more than 2,600 cinemas across 70 countries after opening midweek (Imax screens ponied up 29 percent of all ticket sales). Conceived and directed by Mexican filmmaker Fernando Frías, the concert pic celebrates the band’s global influence while also delving into the profound connection between death, music, mortality and Mexican tradition the band captured during their 2023 Memento Mori tour

    Nov. 2, 12 p.m.: Updated with revised estimates.
    Nov.2, 4:15 p.m.: Updated with additional foreign estimates.

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    Pamela McClintock

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  • Poker’s NBA-and-Mafia betting scandal echoes movie games, and cheats, from ‘Ocean’s’ to ‘Rounders’

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    LOS ANGELES (AP) — The stakes. The famous faces. The posh private rooms. The clever cheating schemes.

    The federal indictment of a big-money poker ring involving NBA figures on Thursday, in which unsuspecting rich players were allegedly enticed to join then cheated of their money, echoed decades of movies and television, and not just because of the alleged Mafia involvement.

    Fictional and actual poker have long been in sort of a pop-cultural feedback loop. When authorities described the supposed circumstances of the games, they might’ve evoked a run of screen moments from recent decades.

    Poker in ‘Ocean’s Eleven,’ ‘Molly’s Game’ and ‘The Sopranos’

    A 2004 episode of “ The Sopranos ” showed a very similar mix of celebrities and mobsters in a New York game whose players included Van Halen singer David Lee Roth and football Hall-of-Famer Lawrence Taylor, both playing themselves.

    In 2001’s “Ocean’s Eleven,” George Clooney finds his old heist buddy Brad Pitt running a poker game for “Teen Beat” cover boys including Topher Grace and Joshua Jackson, also playing themselves. Clooney spontaneously teams with Pitt to con them. And the plot of the 2007 sequel “Ocean’s Thirteen” centers on the high-tech rigging of casino games.

    Asked about the relevance of the films to the NBA scandal, which came soon after a story out of Paris that could’ve come straight out of “Ocean’s Twelve,” Clooney told The Associated Press with a laugh that “we get blamed for everything now.”

    “‘Cause we also got compared to the Louvre heist. Which, I think, you gotta CGI me into that basket coming out of the Louvre,” Clooney said Thursday night at the Los Angeles premiere of his new film, “Jay Kelly.” He was referring to thieves using a basket lift to steal priceless Napoleonic jewels from the museum.

    2017’s “Molly’s Game,” and the real-life memoir from Molly Bloom that it was based on, could almost serve as manuals for how to build a poker game’s allure for desirable “fish” in the same ways and with the same terminology that the organizers indicted Thursday allegedly used.

    The draw of Bloom’s games at hip Los Angeles club The Viper Room were not NBA players, but Hollywood players like Leonardo DiCaprio, Tobey Maguire and “The Hangover” director Todd Phillips. (None of them were accused of any wrongdoing.)

    In the movie written and directed by Aaron Sorkin, Bloom, played by Jessica Chastain, describes the way a famous actor acts as an attractor for other players, the same way officials said Thursday that NBA “face cards” did for the newly indicted organizers.

    The unnamed actor, played by Michael Cera, was at least partly based on the “Spider-Man” star Maguire.

    “People wanted to say they played with him,” Chastain says. “The same way they wanted to say they rode on Air Force One. My job security was gonna depend on bringing him his fish.”

    In her book, Bloom described the allure for the players she drew.

    “The formula of keeping pros out, inviting in celebrities and other interesting and important people, and even the mystique of playing in the private room of the Viper Room added up to one of the most coveted invitations in town,” she writes, later adding that “I just needed to continue feeding it new, rich blood; and to be strategic about how to fill those ten precious seats.”

    Bloom would get caught up in a broad 2013 nationwide crackdown on high-stakes private poker games, probably the highest profile poker bust in years before this week. She got a year’s probation, a $1,000 fine, and community service.

    There were no accusations of rigging at her game, but that didn’t make it legal.

    The legality of private-space poker games has been disputed for decades and widely varies among U.S. states. But in general, they tend to bring attention and prosecution when the host is profiting the way that a casino would.

    A brief history of movies making poker cool

    Poker — and cheating at it — has run through movies, especially Westerns, from their silent beginnings.

    Prominent poker scenes feature in 1944’s “Tall in the Saddle” with John Wayne and 1950’s “The Gunfighter” with Gregory Peck.

    “The Cincinnati Kid” in 1965 was dedicated entirely to poker — with Steve McQueen bringing his unmatched cool to the title character.

    A pair of movies co-starring Robert Redford and Paul Newman really raised the game’s profile, though.

    In the opening scene of 1969’s “Butch Cassidy and the Sundance Kid,’ a hyper-cool Redford is playing poker and refuses to leave until another player takes back a cheating accusation.

    In 1973’s Best Picture Oscar winner “The Sting,” 1930s con-men Newman and Redford seek revenge against a big fish and run a series of increasingly bold gambling scams that could’ve come from Thursday’s indictments. Newman out-cheats the man at poker to set him up for the big con, a phony radio horse race.

    The 1980s saw a dip in screen poker, with the subject largely relegated to the TV “Gambler” movies, starring Kenny Rogers, based on his hit song.

    But the end of the decade brought a poker boomlet from the increased legalization of commercial games.

    Then, at possibly the perfect moment, came “Rounders.” The 1998 Matt Damon film did for Texas Hold ’em what “Sideways” did for pinot noir and “Pitch Perfect” did for a cappella: it took an old and popular phenomenon and made them widespread crazes.

    Soon after came explosive growth in online poker, whose players often sought out big face-to-face games. And the development of cameras that showed players’ cards — very similar to the tech allegedly used to cheat players, according to the new indictments — made poker a TV spectator sport.

    The “Ocean’s” films and the general mystique they brought piled on too.

    Clooney, talking about the broader set of busts Thursday that included alleged gambling on basketball itself, pointed out that his Cincinnati Reds were the beneficiaries of sport’s most infamous gambling scandal, the 1919 “Black Sox” and the fixing of the World Series, “so I have great guilt for that.”

    “But you know there — we’ve never had a moment in our history that we didn’t have some dumb scandal or something crazy,” he said. “I feel very bad for the gambling scandal ’cause this was on the night that, you know, we had some amazing basketball happen.”

    —-

    Associated Press writer Leslie Ambriz contributed to this report.

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  • In ‘Mr. Scorsese,’ fitting a filmmaking titan into the frame

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    NEW YORK (AP) — The first time the filmmaker Rebecca Miller met Martin Scorsese was on the set of 2002’s “Gangs of New York.” Miller’s husband, Daniel Day-Lewis, was starring in it. There, Miller found an anxious Scorsese on the precipice of the film’s enormous fight scene, shot on a sprawling set.

    “He seemed like a young man, hoping that he had chosen the right way to shoot a massive scene,” Miller recalls. “I was stunned by how youthful and alive he was.”

    That remains much the same throughout Miller’s expansive and stirring documentary portrait of the endlessly energetic and singularly essential filmmaker. In “Mr. Scorsese,” which premieres Friday on Apple TV, Miller captures the life and career of Scorsese, whose films have made one of the greatest sustained arguments for the power of cinema.

    “We talk about 32 films, which is a lot of films. But there are yet more films,” Miller says, referencing Scorsese’s projects to come. “It’s a life that overspills its own bounds. You think you’ve got it, and then it’s more and more and more.”

    Scorsese’s life has long had a mythic arc: The asthmatic kid from Little Italy who grew up watching old movies on television and went on to make some of the defining New York films. That’s a part of “Mr. Scorsese,” too, but Miller’s film, culled from 20 hours of interviews with Scorsese over five years, is a more intimate, reflective and often funny conversation about the compulsions that drove him and the abiding questions — of morality, faith and filmmaking — that have guided him.

    “Who are we? What are we, I should say?” Scorsese says in the opening moments of the series. “Are we intrinsically good or evil?”

    “This is the struggle,” he adds. “I struggle with it all the time.”

    Miller began interviewing Scorsese during the pandemic. He was then beginning to make “Killers of the Flower Moon.” Their first meetings were outside. Miller first pitched the idea to Scorsese as a multifaceted portrait. Then, she imagined a two-hour documentary. Later, by necessity, it turned into a five-hour series. It still feels too short.

    “I explained I wanted to take a cubist approach, with different shafts of light on him from all different perspectives — collaborators, family,” Miller says. “Within a very short amount of time, he sort of began talking as if we were doing it. I was a bit confused, thinking, ‘Is this a job interview or a planning situation?’”

    Scorsese’s own documentaries have often been some of the most insightful windows into him. In one of his earliest films, “Italianamerican” (1974), he interviewed his parents. His surveys of cinema, including 1995’s “A Personal Journey With Martin Scorsese Through American Movies” and 1999’s “My Voyage to Italy,” have been especially revealing of the inspirations that formed him. Scorsese has never penned a memoir, but these movies come close.

    While the bulk of “Mr. Scorsese” are the director’s own film-to-film recollections, a wealth of other personalities color in the portrait. That includes collaborators like editor Thelma Schoonmaker, Paul Schrader, Robert De Niro, Leonardo DiCaprio and Day-Lewis. It also includes Scorsese’s children, his ex-wives and his old Little Italy pals. One, Salvatore “Sally Gaga” Uricola for the first time is revealed as the model for De Niro’s troublemaking, mailbox-blowing-up Johnny Boy in “Mean Streets.”

    “Cinema consumed him at such an early age and it never left him,” DiCaprio says in the film. “There will never be anyone like him again,” says Steven Spielberg.

    It can be easy to think of Scorsese, perhaps the most revered living filmmaker, as an inevitability, that of course he gets to make the films he wants. But “Mr. Scorsese” is a reminder how often that wasn’t the case and how frequently Scorsese found himself on the outside of Hollywood, whether due to box-office disappointment, a clash of style or the perceived danger in controversial subjects (“Taxi Driver,” “The Last Temptation of Christ”) he was drawn to.

    “He was fighting for every single film,” Miller says. “Cutting this whole thing was like riding a bucking bronco. You’re up and you’re down, you’re dead, then alive.”

    Film executives today, an especially risk-averse lot, could learn some lessons from “Mr. Scorsese” in what a difference they can make for a personal filmmaker. As discussed in the film, in the late ’70s, producer Irwin Winkler refused to do “Rocky II” with United Artists unless they also made “Raging Bull.”

    For Miller, whose films include “The Ballad of Jack and Rose” and “Maggie’s Plan,” being around Scorsese was an education. She found his films began to infect “Mr. Scorsese.” The cutting of the documentary took on the style of his film’s editing. “In proximity to these film,” she says, “you start to breathe the air.”

    Nearness to Scorsese also inevitably means movie recommendations. Lots of them. One that stood out for Miller was “The Insect Woman,” Japanese filmmaker Shōhei Imamura’s 1963 drama about three generations of women.

    “He’s still doing it,” Miller says. “He’s still sending me movies.”

    “Mr. Scorsese” recently debuted at the New York Film Festival, where Miller’s son, Ronan Day-Lewis made his directorial debut with “Anemone,” a film that marked her husband’s return from retirement. At the “Mr. Scorsese” premiere, a packed audience at Lincoln Center’s Alice Tully Hall came to enthusiastically revel in, and pay tribute to its subject.

    “You hear all those people laughing with him or suddenly bursting into applause when they see Thelma Schoonmaker or at the end of the ‘Last Waltz’ sequence,” Miller says. “There was a sense of such palpable enthusiasm and love. My husband said something I thought was very beautiful: It reminded everyone of how much they love him.”

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  • Drugs, Divorce, and Directors Jail: Martin Scorsese Unpacks His Darkest Chapters in New Documentary

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    One of the most surprising realities of Martin Scorsese’s success is just how often he was on the brink of losing it. The 82-year-old auteur’s setbacks occupy as much real estate as his victories do in Mr. Scorsese, a five-part docuseries covering his film career, now streaming on Apple TV.

    Directed by Rebecca Miller, daughter of playwright Arthur Miller and wife of Daniel Day-Lewis (who starred in Scorsese’s The Age of Innocence and Gangs of New York), Mr. Scorsese follows the director from his rough-and-tumble adolescence in New York’s Little Italy neighborhood to his making of the 10-time Oscar-nominated Killers of the Flower Moon (2023)—touching on every set in between. Scorsese discusses his oeuvre in great detail—with assists from family, friends, and former collaborators such as Day-Lewis, Francesca Scorsese, Robert De Niro, Leonardo DiCaprio, Mick Jagger, Steven Spielberg, Jodie Foster, and Cate Blanchett, as well as Casino’s Sharon Stone and The Wolf of Wall Street’s Margot Robbie, both of whom speak candidly about working on their respective male-dominated Scorsese projects.

    After exploring the Mob violence he grew up near on film, Scorsese was often reduced to his gangster dramas (Mean Streets, Goodfellas), but nearly as much of the filmmaker’s work is rooted in his Catholic religion (The Last Temptation of Christ, Silence). Even Scorsese’s otherwise secular titles ponder questions like, “Who are we? What are we, I should say, as human beings?” as he says in the series’ opening. “Are we intrinsically good or evil?… This is the struggle. And I struggle with it all the time.”

    That dichotomy is reflected in some of Scorsese’s darker chapters, which range from a drug addiction during the 1970s to four divorces before his marriage to his current wife, Helen Morris, in 1999. “The problem is that you enjoy the sin!” Scorsese says in the series. “That’s the problem I’ve always had! I enjoy it. When I was bad, I enjoyed a lot of it.” Ahead, some of the most revealing moments from Mr. Scorsese.

    Scorsese credits his childhood asthma with facilitating his love of cinema.

    “As far back as I can remember, I always wanted to be a gangster,” Ray Liotta’s character memorably declares at the end of Goodfellas’ opening scene. But Scorsese himself actually pursued the priesthood before his love of movies took root. He grew up first in Corona, Queens, then in New York City’s Lower East Side after witnessing an altercation between his father, Charles, a Garment District worker, and their landlord. “There was an axe involved. I remember seeing an axe,” Scorsese says in the doc, without elaborating much further. “Violence was imminent all the time.”

    When not braving the mean streets or finding refuge in the Catholic Church, an asthmatic Scorsese often visited air-conditioned movie theaters and engaged in people-watching from his apartment window. In the series, Scorsese even credits that particular vantage point with instilling his love of high-angle shots in movies.
    “Marty’s life depended upon going to movies,” says Goodfellas and Casino screenwriter Nicholas Pileggi. “That’s where he could breathe.” Or as Spike Lee more colorfully puts it: “Thank God for asthma!”

    Scorsese fantasized about destroying the rough cut of Taxi Driver after it received an X rating.

    After helming the Roger Corman–produced exploitation film Boxcar Bertha (1972), his first De Niro gangster epic, Mean Streets (1973), and Ellen Burstyn’s Oscar-winning turn in Alice Doesn’t Live Here Anymore (1974), Scorsese had his major industry breakthrough with Taxi Driver in 1976—which had a fraught journey to the screen.

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    Savannah Walsh

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  • Hollywood Honors Diane Keaton: “Incredible and Indelible”

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    The world was stunned Saturday at the news that Diane Keaton—the iconic actor known for Annie Hall, Something’s Gotta Give, the Godfather trilogy, and many other films—had died. Keaton, who was 79, reportedly passed on Saturday, October, 11, after what’s said to have been a recent health crisis. Within hours, Hollywood luminaries began to share remembrances of Keaton, noting her distinctive style, artistic acumen, and kindness.

    Many of those tributes were posted to social media. In an Instagram post, Bette Midler, who starred in the 1996 film The First Wives Club alongside Diane Keaton, wrote “She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star. What you saw was who she was…oh, la, lala!” Kate Hudson, whose mother, Goldie Hawn, was also in that film, shared a clip from the movie, writing “We love you so much Diane.”

    Hawn herself wrote “How do we say goodbye? What words can come to mind when your heart is broken? You never liked praise, so humble, but now you can’t tell me to ‘shut up’ honey. There was, and will be, no one like you.”

    “We agreed to grow old together, and one day, maybe live together with all our girlfriends,” Hawn continued. “Well, we never got to live together, but we did grow older together. Who knows… maybe in the next life. Shine your fairy dust up there, girlfriend. I’m going to miss the hell out of you.”

    Goldie Hawn, Diane Keaton, and Bette Midler at the premiere of “The First Wives Club.”

    Vince Bucci/Getty Images

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    Eve Batey

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  • Box Office: ‘Tron’ Hits the Skids With $33.5M Opening, ‘Roofman’ No. 2 at $8M

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    Disney’s reboot Tron: Ares malfunctioned badly in its box office debut, coming in well behind expectations with a domestic opening of $33.5 million from 4,000 theaters. Unless it can solve its problem quickly, it will once and for all end hopes of rebooting a storied, yet troubled, sci-fi franchise that began more than four decades ago when the first film became a cult classic.

    Overseas — where the sci-fi genre is an even harder sell — Ares also disappointed with a debut of $27 million for a global start of $60.5 million. It unfurled everywhere except for China, where it opens next weekend.

    Heading into the weekend, the big-budget event pic had been tracking to open to $40 million to $45 million domestically (at one point, $50 million was even a possibility) against a hefty net production budget of $180 million after tens of millions in tax breaks and production incentives.

    The Tron film franchise has always been challenged, resulting in terms of long gaps between installments. It took 33 years for the sequel, Tron: Legacy, to hit the big screen. Debuting in 2015, Legacy opened to $44 million domestically on its way to earning $409.9 million globally, not adjusted for inflation. Ares was in development for a decade, but former Disney exec Sean Bailey refused to give up and shepherded the project when serving as head of Disney’s live-action studio.

    Disney insiders were well aware that Tron: Ares might encounter trouble in its box office debut. The hope now is that solid audience scores can make up for decidedly mixed reviews. Its current critics’ score on Rotten Tomatoes is 57 percent, while the audience ranking is much better at 87 percent. And it got four out of five stars on PostTrak. Also, it has little competition coming up and will retain Imax, Dolby Cinema and other premium large-format screens, which combined accounted for an unheard of 67 percent of opening weekend earnings.

    Norwegian Disney vet Joachim Rønning directs the third film, which stars Jared Leto as the eponymous program, Ares, Greta Lee as Eve Kim, CEO of ENCOM, the tech corporation at the center of the series since the start, and Evan Peters as baddie Julian Dillinger.

    Another new major studio offering this weekend is Miramax and Paramount’s romantic crime-caper comedy Roofman, starring Channing Tatum and Kirsten Dunst. Derek Cianfrance directed the pic, which co-stars LaKeith Stanfield, Juno Temple and Peter Dinklage.

    Roofman came in on the low end of expectations with an estimated $8 million from 3,362 theaters, but who is counting when the film’s net production budget is a modest $19 million (tracking had it debuting at $8 million to $10 million). Miramax produced and financed the film, which hoped to serve as counter-programming for females not interested in Tron or the myriad of male-skewing films dominating the marquee. So far, however, more males than females are showing up to see the film, even if by a slim margin.

    Unlike Tron, Roofman boasts strong reviews, although moviegoer reaction is relatively similar. Roofman‘s Rotten Tomatoes critics’ score is 85 percent, while the audience score is 84 percent. Both films received a B+ from polling service CinemaScore, as well as four out of five stars on PostTrak.

    Based on a true story, Roofman follows the adventures of an Army veteran and struggling father who turns to robbing McDonald’s restaurants by cutting holes in their roofs, earning him the nickname Roofman. After escaping prison, he secretly lives inside a Toys “R” Us for six months, surviving undetected while planning his next move, but his double life begins to unravel when he falls in love.

    Another new nationwide offering is Soul of Fire, from Sony’s faith-based Affirm label. The movie opened to $3 million from 1,730 locations for a sixth-place finish. The good news: the movie reportedly cost a net $3 million to produce and earned an A CinemaScore. It is doing best in America’s heartland and the South.

    At the specialty box office, A24 launched its Rose Byrne-starrer If I Had Legs I’d Kick You in four theaters for an estimated per-location north of $27,000, the best of the weekend.

    Amazon MGM Studios is also going the platform route with Luca Guadagnino’s specialty psychological thriller After the Hunt, starring Julia Roberts. It’s paying off so far; the #MeToo movie opened in six theaters for a promising per-location average of $25,745. The awards contender, which also stars Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg and Chloë Sevigny, made the rounds at the fall film festivals and is about a sexual assault accusation that tears apart Yale’s philosophy department.

    The score for After the Hunt is from Trent Reznor and Atticus Ross, who are on double duty, having also done the score for Tron: Ares (in the latter, they are credited by their band’s name, Nine Inch Nails).

    Among holdovers, Paul Thomas Anderson‘s One Battle After Another, starring Leonardo DiCaprio, came in third with an estimated weekend gross of $6.7 from 3,127 sites, a drop of 39 percent. Some box office pundits are stumped that the high-profile awards contender from Warner Bros. isn’t holding in stronger after earning a coveted A+ CinemaScore, but the film’s fate is far from being decided (it is only in its third outing). Overseas, it took in another $15 million for a global tally of $83.5 million and $138 million globally.

    New Line and Warner Bros.’ The Conjuring: Last Rites achieved a major milestone in screaming past the $300 million mark internationally. In North America, it rounded out the top five with $3 million from 2,334 cinemas for a domestic tally of $233.4 million and a profit-popping $473 million.

    Japanese manga blockbuster Demon Slayer: Kimetsu no Yaiba Infinity Castle also notched a major milestone this weekend in passing up Crouching Tiger, Hidden Dragon to become the top-grossing international film of all time at the domestic box office with a cume of $128.6 million, not adjusted for inflation (it came in seventh for the frame with $3 million from 1,834 sites. Sony’s Crunchyroll is handling the blockbuster both domestically and in numerous foreign territories outside of Japan; its share of the film’s global total of $648 million is $336 million.)

    Dwayne Johnson-starrer The Smashing Machine appeared to collapse in its second weekend after getting snubbed by audiences, despite solid reviews. The A24 pic dropped nearly 70 percent to $1.7 million from 3,321 theaters for a paltry 10-day domestic total of $9.8 million and an eighth-place finish. The movie, which kicked off its awards campaign with a splashy world premiere at the Venice Film Festival, marks Johnson’s first foray into Oscar territory. The Benny Safdie-directed pic cost $50 million to produce before marketing, a high price tag for an indie pic, although Johnson himself took a far lower fee than he usually commands.

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    Pamela McClintock

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  • Leonardo DiCaprio on the Surprising ‘Star Wars’ Influences in His New Film

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    Walking out of director Paul Thomas Anderson’s latest masterpiece, One Battle After Another, you’ll be thinking about a lot of things. Its story of a father and daughter. Its many parallels to modern society. The filmmaking, the humor, and more. One thing you definitely won’t be thinking about, however, is a galaxy far, far away, but the film’s star, Leonardo DiCaprio, disagrees.

    In two new interviews, the Oscar-winning star of Titanic, The Revenant, and Inception discussed Star Wars in relation to One Battle After Another. The first was chatting with USA Today, where he went deep about his character’s costume. Bob is a former revolutionary bomb expert stoner who is forced out of his comfort zone to find and save his daughter. For the majority of the film, he wears a long, red robe, which DiCaprio says he saw as almost a superhero cape. Then, he also wears a set of wraparound cataract-protecting sunglasses, which he chose for a very specific reason.

    “There’s the weird Star Wars theme to this movie,” DiCaprio said. “I had this vision of these wraparound optical glasses like Boba Fett. Those are the ones I had to choose.”

    What does he mean by “the weird Star Wars theme,” though? He discussed that on the Big Picture podcast.

    “There’s so much intricate thought put in and layering to what is essentially a sort of action film about a father trying to get back to his daughter. I compared it to Star Wars in a lot of ways,” he said on the podcast. “You have the bounty hunters. You have Princess Leia. You have Yoda. You have Darth Vader, but it’s saturated in [the] real world. The world that we live in right now. It’s holding a mirror up to society. And the fact that [Anderson] started thinking about this 20 years ago. The fact that it’s so incredibly topical to the world and the struggles that we’re dealing with now in society. The fact that no one seems to be listening to one another. That there’s extremism on both sides, and the conviction that all these characters believe in their ideology. That they feel that they’re right. And to me, you can see films that have a lot of thought put into them.”

    Because, much like One Battle After Another, Star Wars isn’t just about Luke, Han, and Leia. It’s about much more. And yes, you can say that about seemingly every other movie, but One Battle After Another is definitely about a group of rebels fighting against an oppressive government and then subsequently going on an adventure to save a woman they care about who was captured, all while being hunted by an unstoppable evil, who has his own soldiers. There’s even a sort of Death Star trench action scene at the end. Sort of.

    Now, do we 100% agree with DiCaprio here? Not really. The parallels are loose, at best. But it’s undoubtedly fun how he’s trying to equate this unique, original story of love, fear, hope, and heroism to another popular movie about the same thing. Plus, there’s always those Boba Fett sunglasses.

    One Battle After Another, which co-stars Star Wars: The Last Jedi‘s Benicio del Toro, is now in theaters.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Germain Lussier

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  • How Press-Shy Stars Are Finding Their Voice in Hollywood During the Podcast Era

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    Celebrities are the “hot ones,” but they’re giving the cold shoulder to traditional media, at least in podcast form.

    In the shifting landscape of Hollywood publicity, a curious paradox has emerged: the most press-averse celebrities are suddenly embracing the very medium that demands the most intimate conversation. The traditional press junket, with its rowdy hotel suites and rotating carousel of journalists armed with the same five questions, is giving way to podcasters.

    Stars like Leonardo DiCaprio, who has spent decades perfecting the art of strategic media avoidance, recently settled into the surprisingly comfortable confines of Travis Kelce and Jason Kelce’s “New Heights” podcast to discuss “One Battle After Another,” his $130 million Warner Bros. epic that struggled to find its footing at the box office this past weekend. For a full hour, the notoriously private actor shared anecdotes that would have been unthinkable in a traditional press setting, including the revelation that his childhood agent once suggested he rebrand himself as “Lenny Williams” because “Leonardo DiCaprio” was deemed “too ethnic.”

    Similarly, and earlier this year, Joaquin Phoenix, who has made his disdain for conventional press obligations abundantly clear, made his podcast debut on Theo Von’s show to promote Ari Aster’s “Eddington” — another hefty-budget gamble that failed to ignite opening weekend audiences. Phoenix’s appearance felt less like a promotional obligation and more like a genuine conversation, a stark contrast to his expressed hatred of “TV stuff.”

    This migration to podcasts represents a significant media evolution and a strategic pivot toward demographics that studios desperately need to recapture. The young male audiences that populate the listener bases of these celebrity-hosted shows are the same moviegoers who have been steadily abandoning theaters. It’s a pattern that extends far beyond Hollywood — politicians and business figures have similarly embraced long-form podcast appearances, with figures like Joe Rogan playing increasingly influential roles in shaping public discourse and, arguably, electoral outcomes.

    Yet this new landscape comes with its own complications. While podcasts offer the promise of more authentic conversation, they rarely deliver the journalistic rigor that traditional media aspires to maintain.

    These aren’t adversarial interviews designed to challenge or probe; they’re largely collaborative exercises where celebrity guests are invited to be charming versions of themselves without significant pushback.

    The appeal for notoriously private stars becomes clearer when considered against the backdrop of traditional celebrity media obligations. Beyoncé hasn’t granted a conventional interview in over a decade, not since releasing her self-titled album in 2013. Since then, her rare media appearances have been entirely on her terms — personal essays submitted to magazines or carefully curated profiles where her silence speaks louder than words.

    “F1” star Brad Pitt once articulated the fundamental tension: “There’s this whole other entity that you get sucked into. You have to go and sell your wares. It’s something I never made my peace with.”

    This reluctance stands in stark contrast to performers who view publicity as integral to their craft. Jamie Lee Curtis has become legendary for her promotional enthusiasm, with many crediting her tireless advocacy as instrumental in “Everything Everywhere All at Once” securing seven Oscar wins, including her own supporting actress victory. It helped Pamela Anderson with her campaign last year for “The Last Showgirl” and had a great opening weekend for the sequel “Freakier Friday.”

    “I wish I had 10 Jamie Lee Curtis’s on every one of my films and titles,” an awards strategist tells Variety. “It would make my job, and yours, infinitely easier and even more enjoyable. There’s nothing like someone who gets it and is positive about it.”

    But Curtis represents an increasingly rare breed in an industry where privacy has become both more precious and more impossible to maintain. As social media continues to erode the boundaries between public and private personas, the podcast format offers something unprecedented: the illusion of intimacy without the adversarial undertones of traditional journalism.

    That doesn’t mean these big podcasters aren’t good at what they do. Sean Evans has built a recognizable brand with spicy talk series “Hot Ones,” and is constantly praised for his insightful and thought-provoking questions.

    The success of celebrity podcast appearances like DiCaprio’s says that audiences are hungry for authentic connection with stars, even as those same stars become increasingly wary of traditional media exposure. It’s a delicate balance that speaks to larger questions about celebrity, privacy, and the evolving relationship between performers and their audiences.

    I think we’d like to see a world with both, right?

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    Clayton Davis

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  • Chase Infiniti Says Regina Hall Is the ‘Central Force’ of ‘One Battle After Another’ and Teyana Taylor Made Perfidia ‘Even More Colorful’

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    Chase Infiniti is living the dream she never fully believed would come true.

    The 24-year-old Indianapolis native makes her feature debut in Paul Thomas Anderson’s “One Battle After Another,” stepping into the role of Willa Ferguson, a teenager caught between family legacy and personal identity when a group of ex-revolutionaries reunite to rescue her after an enemy resurfaces 16 years later.

    “It’s half Paul and half me,” Infiniti says of Willa’s character. “Half of her comes from his writing, and the other half I brought from my own life and experiences.”

    Infiniti’s path to Anderson’s sprawling militia epic wasn’t straightforward. Raised in Indianapolis, she studied musical theater at Columbia College in Chicago. Despite her passion, she didn’t land many roles in college productions, instead finding opportunities in summer stock and community theaters. “I never thought this would happen. I would’ve been happy with even one line in a movie,” she says, recalling her early dreams.

    Infiniti introduces herself to Hollywood, and the rest of the cinema loving world on the season 12 premiere of the Variety Awards Circuit Podcast. Listen below.

    Her name, a mash-up of Nicole Kidman’s Chase Meridian from “Batman Forever” and Pixar’s “Toy Story,” feels oddly prophetic for an actor now stepping into Hollywood’s spotlight.

    Chase Infiniti in “One Battle After Another”

    ©Warner Bros/Courtesy Everett Collection

    In “One Battle After Another,” Willa is no stock teenager. With a purple belt in martial arts and a razor-sharp sense of agency, she emerges as one of Anderson’s most compelling young protagonists. “She’s assertive, but not pretentious. She’s hopeful. I think she represents the possibility of a better future,” Infiniti explains.

    Infiniti prepared for the role by traveling with Anderson and Leonardo DiCaprio (who plays her father) to Eureka, Calif. “Meeting people in that town helped me lock Willa in. I noticed how communities interacted, and that grounded her for me.”

    Infiniti shares the screen with DiCaprio, Regina Hall, Teyana Taylor and two-time Oscar winner Sean Penn. A key sequence with Penn, in which Willa undergoes a tense DNA test, became a lesson in restraint and reactive acting. “It felt like sparring,” she describes. “He’s intimidating, but Paul [Thomas Anderson] encouraged us to lean into that raw, natural reaction. It was exhilarating.”

    Infiniti is particularly effusive in her admiration for both Hall and Taylor during our sitdown. Speaking about Taylor’s performance, she said she was “so amazing” in bringing the character of Perfidia to life, making her “even more colorful” than what appeared on the page.

    When it came to Hall, Infiniti emphasized how much strength and subtlety she brought to the role of Deandra. “Deandra is a quiet character in a sense, but she’s not quiet,” she asserts. “She really is the most central force of strength that’s in the film, and she does a fantastic job of almost honing in every character and being a mother to Willa — a mother that she never got to have.”

    Despite the starry company, Infiniti admits she’s still adjusting. “Half of me thought I could be here, half of me thought I couldn’t. I had no industry connections, no on-camera work before this. Paul literally hired me without seeing my first job,” she says. “Now I’m on this press tour and it’s surreal.”

    Infiniti’s real-life parents, meanwhile, are taking it all in. “My mom cries every time she sees the trailer. There’s a shot of Lockjaw holding Willa’s baby picture and she always says, ‘That’s my baby.’”

    Though she’s only just arrived, Infiniti is already dreaming of future roles. She’d love to work with Greta Gerwig or Steven Spielberg — and she’s vocal about her passion for movie musicals. “If they ever adapt ‘Natasha, Pierre & The Great Comet of 1812’ into a film, I don’t even need to book it. I just want to be seen for Natasha,” she declares.

    As for advice to her younger self, Infiniti borrows wisdom passed down to her: “You have nothing to prove, but everything to show.”

    ©Warner Bros/Courtesy Everett Collection

    Rapid Fire Questions with Chase Infiniti

    Favorite Paul Thomas Anderson film (other than “One Battle After Another”)?
    “Boogie Nights.”

    Favorite Leonardo DiCaprio performance?
    “Catch Me If You Can.”

    Favorite Benicio del Toro movie?
    “The Usual Suspects.”

    Favorite horror film?
    “Get Out.” (though she admits she’s a self-described “scaredy cat.”)

    Movie that makes you cry every time?
    “Toy Story 3.”

    Funniest movie of all time?
    “One Battle After Another.” (“It’s an action comedy!” she laughs.)

    Director you’d most like to work with next?
    “Steven Spielberg, Greta Gerwig, or the Daniels. Honestly, anyone who wants to see me.”

    Also featured on this episode is Dwayne Johnson, star and producer of Benny Safdie’s dramatic biopic “The Smashing Machine.”

    Variety’s “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, “Awards Circuit” features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts.

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    Clayton Davis

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  • 40 Titanic Memes That Are Sure Make to Waves….

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    I have to admit, I’m a bit obsessed with the Titanic. I can’t explain what it is about the ship, but this is quite literally my Roman Empire. I think about it regularly, and I think about it often.

    It’s a fascinating tragedy and I can’t seem to get it out of my head.

    Luckily there are an infinite amount of Titanic memes. Whether you’re into making fun of dead billionaires, or Leo DiCaprio’s preference for younger women, we’ve got you covered.

    Ahoy!

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    Zach

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  • Leonardo DiCaprio’s First Agent Told Him to Change His Name to “Lenny Williams”

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    There is a parallel universe where the star of Titanic is named “Lenny Williams.” As luck would have it, Leonardo DiCaprio remained Leonardo DiCaprio instead.

    He told the story on Travis and Jason Kelce’s New Heights podcast. “I finally got an agent. They said, ‘Your name is too ethnic.’ I go, ‘What do you mean? It’s Leonardo DiCaprio?’ They go, ‘No, too ethnic.’” The agent said that if DiCaprio didn’t change his name, “They’ll never hire you.”

    The agent’s response was imaginative: turn Leonardo’s middle name, Wilhelm, into “Williams,” and tack on a “Lenny” in front of it. Lenny Williams was ready for Hollywood. But Leo’s father, George DiCaprio, of Italian and German descent, wasn’t having it. “My saw his photo, ripped it up, and he said, ‘Over my dead body,’” DiCaprio said.

    He was joined on the podcast by his One Battle After Another co-star Benicio Del Toro, who received the same “advice” early in his career. “They wanted to call me Benny Dell,” said the The Usual Suspects actor, now 58. At that point Jason Kelce joked, “This podcast would not be the same with Lenny Williams and Benny Dell.”

    DiCaprio recalled other episodes from his early days as well. “There were these acting agents that that would line you up like cattle,” he said. “It was like yes, yes, no—and they look at me, no, and then a yes, yes, yes.” Today, he thinks it had to do with his look at the time. “I was a breakdancer. I’d breakdance for like money on the streets sometimes, with the step haircut.”

    “I remember saying to my dad, this is horrible,” DiCaprio added. “I went back and they did it again.”

    In the end, getting a few doors closed in his face didn’t keep him from becoming one of the world’s most respected actors. As Jason Kelce pointed out: “This is a holy shit for those agents. Those agents are probably now like, ‘What the fuck were we thinking?’”

    DiCaprio’s career started early. He landed his first TV commercial, for Matchbox toy cars, at age 14. In the early 1990s, his roles in the sitcom Growing Pains and the film This Boy’s Life made him a rising star. Looks like he didn’t need to become Lenny Williams after all.

    Originally published in Vanity Fair Italy.

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    Monica Coviello

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  • Reviews For The Easily Distracted: One Battle After Another

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    Title: One Battle After Another

    Describe This Movie In One Simpsons Quote:

    LISA: What do you think, Thomas Pynchon?
    PYNCHON: These wings are V-licious!

    Brief Plot Synopsis: Always remember your code phrases.

    Rating Using Random Objects Relevant To The Film: 4.5 Gil Scott-Herons out of 5.

    Tagline: “Some search for battle, others are born into it…”

    Better Tagline: “Maybe it’s … Pyncholine.”

    Not So Brief Plot Synopsis: Bob (Leonard DiCaprio) and Perfidia (Teyana Taylor) are revolutionary lovers, working with their fellow members of the French 75 (not the cocktail) to free immigrant detainees and blow up government/right-wing headquarters. Perfidia isn’t mother material, however, and bails on Bob and their infant daughter Willa. Fast forward 16 years, and Bob and Willa (Chase Infiniti) are living an uneasy under-the-radar life. That changes when a figure from the past, the fanatical Col. Lockjaw (Sean Penn), has a sudden personal interest in their family.

    “Critical” Analysis: Paul Thomas Anderson doesn’t much like making movies set in the 21st century. Aside from 2002’s Punch Drunk Love (which really shouldn’t count, since the subplot adapts an event that took place in 1999) and two set contemporaneously with their release (Hard Eight, Magnolia) both came out way back in the 1900s.

    That trend ends in a big way with One Battle After Another, which seizes fiercely upon current events to depict an America bent to the breaking point by fear and hatred, but still possessing the capacity to change. That representation is personified in DiCaprio’s Bob, whose post-revolutionary years have been taken up with substance abuse, nostalgia, and neglectful parenting. It isn’t until Willa disappears that he’s forced into action.

    It’s only recently that DiCaprio has loosened up with his roles (winning an Oscar will do that), but Bob isn’t even as half-assed effective as OUATIH’s Rick Dalton with a flamethrower. His initial efforts to track down Willa (and a charger for his 1G phone) are only occasionally effective because of assistance from fellow subversives working stealthily in the community. He is, not to beat around the bush, a goof.

    Chief among these is Sergio (Benicio Del Toro), Willa’s sensei and an organizer of Borrego Springs’ version of the Underground Railroad. Del Toro is delightfully laconic, and his Zen idiosyncrasies are a nice counterpoint to the freakier performances of DiCaprio and Penn.

    Because there’s little in the way of subtlety here. Anderson is on record as wanting to make a movie of Thomas Pynchon’s Vineland, having already loosely adapted the author’s V. for The Master and, more faithfully, Inherent Vice to great effect in 2015. And if anything, the director is even more on the nose here in bringing Pynchon’s balance of conspiracy and chaos.

    click to enlarge

    Never mess with a man in a robe (with a gun).

    For example, the white supremacist cabal behind America’s pumped-up crusade against — not just immigrants, but all people of color — is as sinister as it is ridiculous. Their focus on “native born” allies and strict policy against interracial relations, which directly leads to “Bedford Forrest (look him up) Medal of Honor” winner Lockjaw’s actions. Meanwhile the revolutionaries, while certainly on the side of the angels, are only marginally more competent.

    That said, Anderson isn’t trying to make friends. The powers that be are nakedly racist and the opening scenes, showcasing Perfidia’s (full name Perfidia Beverly Hills) rampages and command of the screen, might as well come with screen prompts for the audience to yell, “Fuck yeah!”

    One Battle After Another is as audacious as it is funny. And it *is* funny. Penn’s post-Spicoli output hasn’t exactly been light-hearted, but his Lockjaw — with his Simple Jack haircut — is marvelously twitchy, from his opening credits boner (don’t ask) to his not at all ignominious, uh, finale. Del Toro effortlessly commands every scene he’s in, while Taylor is as intimidating as she is formidable.

    But it’s Infiniti who’s a real discovery, helping turn Bob into something wholly alien to DiCaprio; a father figure. As much as OBAA is a breakneck adventure, barely letting up for its almost 3-hour running time (the climactic car chase is somehow not overindulgent), it’s also a study in fatherhood and nontraditional families. It seems a revolution takes a village, too. And One Battle After Another is PTA’s best since Inherent Vice.

    One Battle After Another is in theaters today.

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    Pete Vonder Haar

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