Movie News
Margot Robbie's portrayal of Sharon Tate in "Once Upon a Time in Hollywood" is so spot-on it's surreal ... according to someone who would know -- Sharon's sister. Debra Tate tells TMZ ... after attending the premiere of Quentin Tarantino's 9th film Monday, she can officially say Margot nailed it. She tells us Robbie's portrayal actually made her feel like she was visiting her sister, and her only complaint is the visit was too short -- the movie left her wanting more. Ironic, since the flick is 2 hours and 45 minutes. In fact ... she says she'd absolutely love for Margot to play Sharon in a biopic about her sister's whole life. Of course, Debra's rave review comes after months of trepidation over how her late sister would be played on the big screen. We broke the story ... she actually met with Tarantino and voiced her concerns to him, and he assured her he and Margot would do Sharon right. Debra tells us ... "I wasn't disappointed." She says the famed director did everything he promised her he would do, and she adds ... "It's the first time ever that I haven't been lied to or tricked or not given any consideration whatsoever" about how Sharon is portrayed. As for the movie as a whole, Debra says it's vintage Quentin, and she was impressed by the immense detail and accurate portrayal of 1969 Los Angeles ... right down to the music on the radio. She says it was like a time machine. Debra also says it never felt exploitative of the Manson Family victims, and she actually hopes the film will remind people of the grisly crimes they committed and how some members could still get parole ... something she fights against to this day. You can see the flick for yourself soon ... it comes out everywhere Friday. (TMZ)
The gang's all back in Zombieland: Double Tap trailer. It has been a decade since we saw Jesse Eisenberg's Columbus, Emma Stone's Wichita, Woody Harrelson's Tallahassee, and Abigail Breslin's Little Rock battling the undead in 2009's horror-comedy hit Zombieland. So, maybe it shouldn't be a surprise that the just-released trailer for sequel Zombieland: Double Tap (out Oct. 18) reveals that the four post-apocalyptic survivors have ascended several rungs up the property ladder. "We find our heroes from the last movie ten years later, as they're just moving into the White House," says filmmaker Ruben Fleischer, who directed both the 2009 film and this follow-up. "Tallahassee has a saying, 'Go big, or go home.' They kind of took it to heart and went for kind of the biggest and best home they could find." Columbus, Wichita, Tallahassee, and Little Rock aren't the only folks who have upgraded. "In the 10 years since the first movie, zombies have evolved into different types of zombies," says Fleischer. "The one that's causing the big threat are the T-800 zombies, that are stronger, faster, harder to kill." The trailer introduces a clutch of new -- breathing -- characters including a "bad-ass zombie killer" called Nevada (Rosario Dawson), a young woman named Madison (Zoey Deutsch) who has survived by living in the freezer of a Pinkberry, and a musician with the sobriquet of Berkeley (Avan Jogia). We also see a pair of oddly familiar-looking gentlemen portrayed by Luke Wilson and Thomas Middleditch. "We kind of called them 'doppelg*ngers,'" says Fleischer. "Actually, I'm going to leave to the audience who goes to the movie. I don't want to spoil it too much. I'll just say it's perhaps one of my favorite parts of the whole film. You're gonna have to go see the movie to see what's going on. (Entertainment Weekly)
After being dubbed a more "difficult diva" than Jennifer Lopez or Cardi B by those on the set of their stripper movie "Hustlers," actress Constance Wu is proving her prima donna proclivities by insisting she gets top billing on the new movie. Fresh from her "Fresh Off the Boat" renewal drama, reps for the "Crazy Rich Asians" star's new film have contacted multiple media outlets to ensure Wu is listed as the headliner for "Hustlers," above co-stars Lopez -- who also produced the film -- and Cardi B, Page Six has learned. The film, based on the real story of savvy strippers out for revenge on their Wall Street clients, also stars Julia Stiles, Lili Reinhart and Lizzo. Wu famously caused a commotion when she tweeted, "Fucking hell ... Ugh. Fuck" upon the renewal of her ABC comedy "Boat" in May. A fan replied the re-up was "great news," but Wu wailed, "No it's not." After her ungracious outburst, Wu explained, "I was temporarily upset ... bc its renewal meant I had to give up another project I was really passionate about ... In general, I've always sought artistic challenge over comfort and ease." Then, on the NYC set of Hustlers this spring, Wu made enemies anew with her diva demands. One on-set source told Page Six that Wu was "a pain in the fucking ass. She just won't agree to do anything ... It's like a cliche. She is very talented -- but all signs are pointing to a difficult diva." Another insider added, "She's a total piece of work. She thinks it's OK to treat people badly and say out loud whatever comes to her." To make a sticky situation stinky, Wu even let her pet bunny poop all over the Chelsea penthouse rented for her by the "Hustlers" production. While "Hustlers" premieres in September, select publications have been walloped with a warning from the studio that Wu must be named first in the press as the film's biggest star. A source said Lopez and her production partners signed off on Wu's top billing "a long time ago," adding, "Constance is in the unique position of being a part of projects that are breaking through Asian-American representation in Hollywood." Wu's rep didn't comment (but is likely saying under her breath, "Fucking hell ... Ugh. Fuck"). (Page Six)
Venice Film Festival: Just 2 Female Directors in Competition Lineup. Venice still hasn't got the #MeToo memo. The Venice Film Festival still has a long way to go on possible gender parity. Of the 21 films unveiled Thursday that will make up the competition lineup for 2019 Venice Film Festival, just two -- or less than 10 percent -- were directed by women: The Perfect Candidate from BAFTA-nominated Saudi filmmaker Haifaa Al-Mansour (Wadjda) and Babyteeth, the feature debut of Australian TV director Shannon Murphy (Sisters). The figure represents double the female representation seen in Venice's 2017 and 2018 competition lineups, each of which had only a single title directed by a woman. But it still seems paltry, particularly after Venice's boisterous festival director Alberto Barbera last year bowed to pressure to sign the so-called 5050 by 2020 gender parity protocol, which commits the festival to release statistics on submissions and be more transparent about its selection board's gender make-up. The 5050 by 2020 pledge, however, does not require Venice to agree to gender quotas -- Barbera has said he would quit if a quota were imposed on the world's oldest film fest, arguing competition titles must be selected on the basis of quality, not gender representation. On that front, Barbera can point to several high-profile (male-directed) titles this year. From opener The Truth from Cannes 2018 winner Hirokazu Kore-eda (The Shoplifters) to James Gray's space epic Ad Astra starring Brad Pitt, Ad Astra, James Gray to Todd Phillips' dark comic book adaptation Joker, Venice 2019 is looking like another banner year. The inclusion, however, of J'accuse, from director Roman Polanski, is certain to spark controversy, and not just among #MeToo activists. The Polish director of The Piano and Chinatown remains a fugitive from U.S. justice in a decades-old sexual assault case involving an underage girl. In recent years, Venice has had the worst record when it comes to female representation in its competition lineup, averaging just one movie from a women director per year (in a field of between 18 and 22 titles). Though it has been better. In each of the 2012, 2011, and 2009 events, the festival hosted four competition titles directed by women. The progress for female filmmakers in Venice this year echoes that seen at the Cannes Film Festival, where four women directors appeared in competition -- Mati Diop with Atlantique, Jessica Hausner with Little Joe, Justine Triet with Sibyl and Celine Sciamma with Portrait of a Lady on Fire. Four out of 21 competition titles -- a mere 19 percent -- might not sound like much, but female directors got their due at the awards ceremony, with three of the four female-directed films taking home prizes, with Little Joe star Emily Beecham winning Cannes' best actress honor, Atlantique taking the grand jury prize and Portrait of a Lady on Fire winning the best screenplay honor. But Venice and Cannes lag behind some of their prominent festival competitors 46 percent of competition films at Sundance this year were directed by women, and 40 percent of Berlin's 2019 competition lineup was from female directors. (Hollywood Reporter)
The gang's all back in Zombieland: Double Tap trailer. It has been a decade since we saw Jesse Eisenberg's Columbus, Emma Stone's Wichita, Woody Harrelson's Tallahassee, and Abigail Breslin's Little Rock battling the undead in 2009's horror-comedy hit Zombieland. So, maybe it shouldn't be a surprise that the just-released trailer for sequel Zombieland: Double Tap (out Oct. 18) reveals that the four post-apocalyptic survivors have ascended several rungs up the property ladder. "We find our heroes from the last movie ten years later, as they're just moving into the White House," says filmmaker Ruben Fleischer, who directed both the 2009 film and this follow-up. "Tallahassee has a saying, 'Go big, or go home.' They kind of took it to heart and went for kind of the biggest and best home they could find." Columbus, Wichita, Tallahassee, and Little Rock aren't the only folks who have upgraded. "In the 10 years since the first movie, zombies have evolved into different types of zombies," says Fleischer. "The one that's causing the big threat are the T-800 zombies, that are stronger, faster, harder to kill." The trailer introduces a clutch of new -- breathing -- characters including a "bad-ass zombie killer" called Nevada (Rosario Dawson), a young woman named Madison (Zoey Deutsch) who has survived by living in the freezer of a Pinkberry, and a musician with the sobriquet of Berkeley (Avan Jogia). We also see a pair of oddly familiar-looking gentlemen portrayed by Luke Wilson and Thomas Middleditch. "We kind of called them 'doppelg*ngers,'" says Fleischer. "Actually, I'm going to leave to the audience who goes to the movie. I don't want to spoil it too much. I'll just say it's perhaps one of my favorite parts of the whole film. You're gonna have to go see the movie to see what's going on. (Entertainment Weekly)
After being dubbed a more "difficult diva" than Jennifer Lopez or Cardi B by those on the set of their stripper movie "Hustlers," actress Constance Wu is proving her prima donna proclivities by insisting she gets top billing on the new movie. Fresh from her "Fresh Off the Boat" renewal drama, reps for the "Crazy Rich Asians" star's new film have contacted multiple media outlets to ensure Wu is listed as the headliner for "Hustlers," above co-stars Lopez -- who also produced the film -- and Cardi B, Page Six has learned. The film, based on the real story of savvy strippers out for revenge on their Wall Street clients, also stars Julia Stiles, Lili Reinhart and Lizzo. Wu famously caused a commotion when she tweeted, "Fucking hell ... Ugh. Fuck" upon the renewal of her ABC comedy "Boat" in May. A fan replied the re-up was "great news," but Wu wailed, "No it's not." After her ungracious outburst, Wu explained, "I was temporarily upset ... bc its renewal meant I had to give up another project I was really passionate about ... In general, I've always sought artistic challenge over comfort and ease." Then, on the NYC set of Hustlers this spring, Wu made enemies anew with her diva demands. One on-set source told Page Six that Wu was "a pain in the fucking ass. She just won't agree to do anything ... It's like a cliche. She is very talented -- but all signs are pointing to a difficult diva." Another insider added, "She's a total piece of work. She thinks it's OK to treat people badly and say out loud whatever comes to her." To make a sticky situation stinky, Wu even let her pet bunny poop all over the Chelsea penthouse rented for her by the "Hustlers" production. While "Hustlers" premieres in September, select publications have been walloped with a warning from the studio that Wu must be named first in the press as the film's biggest star. A source said Lopez and her production partners signed off on Wu's top billing "a long time ago," adding, "Constance is in the unique position of being a part of projects that are breaking through Asian-American representation in Hollywood." Wu's rep didn't comment (but is likely saying under her breath, "Fucking hell ... Ugh. Fuck"). (Page Six)
Venice Film Festival: Just 2 Female Directors in Competition Lineup. Venice still hasn't got the #MeToo memo. The Venice Film Festival still has a long way to go on possible gender parity. Of the 21 films unveiled Thursday that will make up the competition lineup for 2019 Venice Film Festival, just two -- or less than 10 percent -- were directed by women: The Perfect Candidate from BAFTA-nominated Saudi filmmaker Haifaa Al-Mansour (Wadjda) and Babyteeth, the feature debut of Australian TV director Shannon Murphy (Sisters). The figure represents double the female representation seen in Venice's 2017 and 2018 competition lineups, each of which had only a single title directed by a woman. But it still seems paltry, particularly after Venice's boisterous festival director Alberto Barbera last year bowed to pressure to sign the so-called 5050 by 2020 gender parity protocol, which commits the festival to release statistics on submissions and be more transparent about its selection board's gender make-up. The 5050 by 2020 pledge, however, does not require Venice to agree to gender quotas -- Barbera has said he would quit if a quota were imposed on the world's oldest film fest, arguing competition titles must be selected on the basis of quality, not gender representation. On that front, Barbera can point to several high-profile (male-directed) titles this year. From opener The Truth from Cannes 2018 winner Hirokazu Kore-eda (The Shoplifters) to James Gray's space epic Ad Astra starring Brad Pitt, Ad Astra, James Gray to Todd Phillips' dark comic book adaptation Joker, Venice 2019 is looking like another banner year. The inclusion, however, of J'accuse, from director Roman Polanski, is certain to spark controversy, and not just among #MeToo activists. The Polish director of The Piano and Chinatown remains a fugitive from U.S. justice in a decades-old sexual assault case involving an underage girl. In recent years, Venice has had the worst record when it comes to female representation in its competition lineup, averaging just one movie from a women director per year (in a field of between 18 and 22 titles). Though it has been better. In each of the 2012, 2011, and 2009 events, the festival hosted four competition titles directed by women. The progress for female filmmakers in Venice this year echoes that seen at the Cannes Film Festival, where four women directors appeared in competition -- Mati Diop with Atlantique, Jessica Hausner with Little Joe, Justine Triet with Sibyl and Celine Sciamma with Portrait of a Lady on Fire. Four out of 21 competition titles -- a mere 19 percent -- might not sound like much, but female directors got their due at the awards ceremony, with three of the four female-directed films taking home prizes, with Little Joe star Emily Beecham winning Cannes' best actress honor, Atlantique taking the grand jury prize and Portrait of a Lady on Fire winning the best screenplay honor. But Venice and Cannes lag behind some of their prominent festival competitors 46 percent of competition films at Sundance this year were directed by women, and 40 percent of Berlin's 2019 competition lineup was from female directors. (Hollywood Reporter)
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