Kevin Spacey just got fired from Ridley Scott’s new movie, a month before its release

Ridley Scott will completely remove Kevin Spacey from his upcoming biopic thriller All the Money in the World — with fewer than two months to go until the movie’s scheduled December 22 release.

According to Deadline, which first reported the news, Christopher Plummer will replace Spacey in the film’s most prominent supporting role. Scott’s drastic choice to cut Spacey from the movie will put it at risk of missing its December 22 release date, thus jeopardizing its Oscar eligibility.

The news follows a wave of sexual assault allegations made against Spacey by more than a dozen people, including multiple accusations of assault on underage victims.

Based on a true story, All the Money in the World details the harrowing 1973 kidnapping of J. Paul Getty’s 16-year-old grandson, J. Paul Getty III (Charlie Plummer, no relation), and Getty’s refusal to comply with the kidnappers’ demands. Spacey was set to play the elder Getty, and the decision to reshoot his role entirely, especially so close to the film’s release date, is extremely unprecedented.

The decision to cut Spacey from the film indicates how drastically Hollywood is reacting to the allegations against the actor

Though there have been other historical instances where an actor has been replaced during a film’s production, recasting a role or conducting extensive reshoots after a film has wrapped is rare, and usually only happens to this extent in the case of an unexpected death — for example, Paul Walker’s brothers standing in for reshoots of Furious 7 after his death.

That Scott and the All the Money in the World’s producers are willing to go to such lengths to essentially erase Spacey’s presence from the film speaks to how seriously Hollywood is taking the allegations of sexual assault that have been levied against him — or at least how desperate many people in the entertainment industry are to distance themselves from a man whose behavior was allegedly a longstanding open secret.

The decision comes after the film’s production studio, TriStar, abandoned what would have been an aggressive marketing and awards season campaign built around Spacey’s performance. The studio additionally pulled the film from what would have been an Oscar-bait slot at the American Film Institute’s November film festival. Regarding that decision, TriStar issued a statement, noting, “All the Money in the World is a superb film … But given the current allegations surrounding one of its actors and out of respect for those impacted, it would be inappropriate to celebrate at a gala at this difficult time.”

All the Money in the World features an ensemble cast including Michelle Williams and Mark Wahlberg. According to Deadline, the decision to replace Spacey and reshoot all of his scenes was “unanimous” among the film’s cast and crew.

Vox has reached out to Spacey’s representatives for comment.

Source:-VOX

Money ‘taken from Cambodian child’ in casting game for Angelina Jolie movie

‘Srey Moch [above, with Jolie] was the only child that stared at the money for a very, very long time,’ the US star, who directed First They Killed My Father, told Vanity Fair. Photograph: Roland Neveu/Netflix

A casting technique used in Angelina Jolie’s new film involved giving money to, then taking it away from an impoverished Cambodian child – who was awarded the part when she became “overwhelmed with emotion”.

Jolie, who is a goodwill ambassador for the UN Refugee Agency (UNHCR), recounted the method in an interview with Vanity Fair. Her made-for-Netflix film First They Killed My Father, tells the story of life under the regime of Cambodian dictator Pol Pot. According to the article, Jolie looked in “orphanages, circuses and slum schools” for children “who had experienced hardship” to audition for the role of Loung Ung, from whose memoir the film is adapted.

Evgenia Peretz, the article’s author, wrote that the casting directors then “set up a game, disturbing in its realism: they put money on the table and asked the child to think of something she needed the money for, and then [for the child] to snatch it away. The director would pretend to catch the child, and the child would have to come up with a lie.”

“Srey Moch [the girl ultimately chosen for the part] was the only child that stared at the money for a very, very long time,” Jolie told Peretz. “When she was forced to give it back, she became overwhelmed with emotion. All these different things came flooding back.”

“When she was asked later what the money was for, she said her grandfather had died, and they didn’t have enough money for a nice funeral,” Jolie added.

In the interview Jolie also revealed that she was diagnosed last year with Bell’s palsy, which causes temporary paralysis of the facial muscles. Jolie credits acupuncture for helping her to recover from the condition, which had caused one side of her face to droop. “Sometimes women in families put themselves last, until it manifests itself in their own health,” she said of the illness.

Jolie also discussed the surgery she underwent after learning that she had a gene mutation that increases her risk of developing breast and ovarian cancer. In 2013 the actor underwent a double mastectomy and reconstructive surgery and later wrote about the experience for the New York Times. She has since had her ovaries removed, a decision she says she made after blood tests indicated she might have cancer. When Jolie learnt that she didn’t have cancer, she says, “I dropped to my knees. I went into the actual [ovarian] surgery happy as they come. I was skipping. Because at that point it was just preventative,” she said.

First They Killed My Father will be shown at the Toronto international film festival, and is expected to be released later this year.

[“Source-theguardian”]

Munna Michael Movie Review

Munna Michael Review {2.5/5}: Tiger fans will have a field day with his breakdancing

CRITIC’S RATING: 2.5/5
AVG READERS’ RATING: 2.7/5

REVIEW THIS MOVIE
CAST:Tiger Shroff, Nawazuddin Siddiqui, Nidhhi Agerwal, Ronit Roy
DIRECTION:Sabbir Khan
GENRE:Action
DURATION:2 hours 20 minutes
SHOW TIMINGS IN YOUR CITY
FacebookTwittergPlusLinkedinPinterestMailCommentsPrintAA
  • CRITIC’S REVIEW
MUNNA MICHAEL STORY : Munna (Tiger) is an orphan brought up by an ageing chorus dancer Michael (Ronit) in a Mumbai chawl. The boy grows up idolising Michael Jackson. To realise his dream of grooving like the King of Pop, he even agrees to tutor a hoodlum, Mahindar Fauji(Nawazuddin). Their bromance turns ugly when both end up falling in love with Deepika aka Dolly (Nidhhi).

MUNNA MICHAEL REVIEW : With Tiger around, filmmakers normally do not bother finding a script. Instead they just coast along joining the dots of a routine story with neatly-choreographed songs and fights at regular intervals. You can almost record screen proceedings with your stopwatch because after every 15 minutes, there is a–song, fight, song, fight and some more blah.

Tiger has in the past made films like Heropanti, Baaghi work at the box-office with just his agility and sincerity. So director Sabbir Khan, whose third outing this is with the star-cub, continues providing formula for the intellectually challenged. But Tiger fans will have a field day with his breakdancing.

In what seems like an encore of his previous work, Tiger dances like a dream and breaks bones with the grace of a ballerina. You can only tell that this is a different film only because he mouths a different dialogue here. It goes, “Munna jhagda nahi karta, munna sirf pithta hai.”

How cleverly original that is! But, grant it to this star-son. He continuously pulls out weapons from his arsenal–back-flip, midair Van Damme-split and kick, glide, moonwalk or a just bare-body shot—forcing his audience into submission, even though there’s no semblance of anything coherent showing on screen.

When the fidgeting reaches a frustrating point, you’re introduced to the land-grabbing, gun-toting goon, Mahindar, who hires Tiger to teach him some mean moves on the floor. Furthermore, this Don with a Rajasthani dialect explains that the reason he needs to correct his two left-feet condition is because he’s madly-in-love with Dolly, a dream-dancer from Meerut.

Debutant Nidhhi, who is the bone of contention here, is overconfident and underwhelming by turn. She wears a neat shape on her but then again, it is Tiger’s chiseled frame that draws more whistles than the newbie’s.

Nawaz continues to be a revelation in each film. Here he adds a new dimension to his terribly mean, horribly funny routine, making you chuckle.

Well, if you’re in the mood to get rid of the monsoon blues with the foot-tapping ding dang, ding dang ditty, you should get introduced to Munna Michael; he’s not making breaking any new ground, but his moves are certainly infectious.

[“Source-timesofindia”]

Sachin: A Billion Dreams Movie Review: It Coasts Along on the Strength of Nostalgia, Familiarity

Image result for Sachin: A Billion Dreams Movie Review: It Coasts Along on the Strength of Nostalgia, FamiliarityIt’s a tricky thing reviewing a film that celebrates the life and career of one of the most loved sportsmen this country has produced. Because fans tend to have trouble making a distinction between the film and the man. Which means any criticism of the film, any attempt on your part to point out its shortcomings will inevitably be misread as criticism of its famous subject.

Told you it wasn’t easy being a critic!

Sachin: A Billion Dreams faithfully chronicles every major milestone in the career of cricketing god Sachin Tendulkar, from his debut at 16 in international cricket to his retirement from the sport four years ago. It’s a journey that’s been obsessively followed and documented, hence not a lot of this is stuff you haven’t seen before. Then there is the matter of Sachin’s reluctance to address the controversies you’re interested in.

The film acknowledges that there were tensions in the dressing room when Sachin replaced Mohammed Azharuddin as captain, but the master blaster himself reveals no details. On the prickly issue of the match-fixing scandal, he expresses disappointment and shock but refrains from any constructive discussion on the incident. It’s only in the case of Greg Chappell that Sachin commits to anything by way of a firm response, describing the former coach’s style as “divide and rule”, and squarely blaming him for the team’s poor performance in the 2007 World Cup.

He’s more expressive when it comes to sharing his own vulnerabilities and failures. His rough patch on the field, his debilitating injuries and their impact on his game, and of course his ill-fated stints as captain. Emotion runs strong when he speaks about his father’s passing, and about his continuing efforts to live his life in the way that his father recommended.

The film’s real treasure is the footage of Sachin Tendulkar in his private moments: holding his baby daughter Sara for the first time, holidays with the family, hanging out with his friends, training with his son Arjun. It is unguarded moments like these, many accompanied by revealing interviews of family and friends that help piece together the jigsaw puzzle that is Sachin, the man behind the legend.

Like his wife Anjali recounting the time after their marriage that he made it clear that only one of them could work. Or his telling her, quite firmly, that he wouldn’t change the baby’s diapers. Another unexpected revelation comes from a childhood friend who names the Bappi Lahiri track that is Sachin’s comfort music.

Director James Erskine’s patchwork quilt of significant moments from Sachin’s life includes a recreation of his childhood years with a cast of competent actors. This he melds with both incredible home videos and news footage from a storied career. Sachin’s achievements are placed in the context of India’s own modern history, and his rise and rise as one of the greatest icons of our time.

No matter how many times we’ve seen the clip, it’s impossible not to cheer at India’s 2011 World Cup Win, or choke up while watching Sachin deliver that heartfelt retirement speech at Wankhede. Sure there’s a lot more this film could’ve been, but it coasts along on the strength of nostalgia, familiarity, and our collective love for a man who’s name we turned into a chant.

I’m going with three out of five. Prepare for major gooseflesh.

Rating: 3 / 5

What’s your reaction to Sachin: A Billion Dreams

Write your review of Sachin: A Billion Dreams

[“Source-ndtv”]