Hugh Jackman retuned to new film days after father’s passing

Hugh Jackman surprised fans at the Hamptons International Film Festival when the “X-Men” star showed up unannounced for a Q&A following a screening of his latest movie, “The Son.”

A source told us the making of the movie — about a man struggling to care for his teen son — “was incredibly difficult for Jackman as his own father, Christopher John Jackman, tragically passed at 84 during [the film’s] shooting.”

The source added, “Jackman returned to set just three days following his loss, and he mentioned during his sit-down with Hamptons artistic director David Nugent that he could ‘feel his father’s presence’ with him during filming as he and writer-director Florian Zeller shot some of the project’s most emotionally complex scenes that speak to both the rewards and challenges of parenthood.”

Hugh Jackman made a surprise appearance at the Hampton International Film Festival.
Getty Images for Hamptons Intern

Jackman, 54, said from the stage of one particularly emotional scene in the film, “I find it hard to watch that scene because I could feel him in the room.”

The project also stars Anthony Hopkins, Laura Dern and Vanessa Kirby

Jackman’s dad died last year on Father’s Day in their native Australia. The movie star posted a moving tribute on Instagram saying, “In the early hours of Father’s Day (AU), my Dad peacefully passed away… And whilst there is deep sadness, I am filled with such gratitude and love. My Dad was, in a word, extraordinary. He devoted his life to his family, his work and his faith. I pray he is now at peace with God.”

The Hamptons festival runs through October 16. Alec Baldwin, Chelsea Clinton, “Home Alone” director Chris Columbus and fashion designer Donna Karan have also appeared at the Long Island event this year.

As “X-Men” hero Wolverine, Jackman will star in the third “Deadpool” movie with Ryan Reynolds, it was announced by Reynolds last month.

In a video clip teasing the upcoming Marvel project, Reynolds asked, “Hey, Hugh, you want to play Wolverine one more time?” “Yeah, for sure,” Jackman nonchalantly replied in the background.

Reynolds and Jackman are friends off-screen as well. Reynolds posted on Instagram when Jackman announced his father’s death, “I was lucky to have met him,” with a heart emoji.

Jackman’s new movie, “The Son,” opens November 11 in NYC and LA.
©Sony Pictures/Courtesy Everett

Jackman’s upcoming projects also include a biblical role as Paul the Apostle in a project being produced by Matt Damon and Ben Affleck, as well as Baz Luhrmann’s series for Hulu, “Faraway Downs,” based on the Jackman and Nicole Kidman movie, “Australia.”

Jackman told Oprah Winfrey of his dad in 2006: “To this day, I am the least materialistic person I know, because my father didn’t raise me to just go out and buy this or that car.”

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Director says Nicolas Cage was never paid for the film that won him an Oscar

It turns out a shiny new Oscar is the only thing Nicolas Cage gained after working on the 1995 film “Leaving Las Vegas.”

Despite emerging victorious in the Best Actor category, Cage — real name Nicolas Coppola — actually didn’t get paid for being the lead actor in the film.

Appearing on The Hollywood Reporter’s It Happened in Hollywood podcast, “Leaving Las Vegas” writer-director Mike Figgis revealed that he, as well as Cage, didn’t see so much as a cent hit their bank accounts after the film.

“Nicolas and I never got paid,” Figgis said.

Figgis claims he was due $100,000 for his directing fee, which he never received.

“They said the film never went into profit,” he said of the now-defunct Lumiere Pictures, which financed the $4 million film.

Nicholas Cage said the only thing he was awarded for after working on the film “Leaving Las Vegas” was the Oscar.
Corbis via Getty Images

The film, adapted from the 1990 John O’Brien novel of the same name, follows Cage’s character Ben Sanderson, a Los Angeles screenwriter who moves to Las Vegas and endures a grueling battle with alcoholism

It raked in $32 million globally, according to Box Office Mojo. The film was nominated for four Academy Awards, including best director, best-adapted screenplay, best actress for Elisabeth Shue, and best actor for Cage, which he won.

Figgis isn’t dwelling over the lack of compensation over 27 years later.

Mike Figgis claims he was due $100,000 for his directing fee, which he never received.
Tullio M. Puglia

“Whatever,” he said. “I mean, my career then took off again, and the next film I did, I got really well paid. And within a year (Nic) was earning $20 million a film, so that was quite good.”

The film served as a monumental turning point in Cage’s career, soon after which he landed roles in “The Rock,” “Con Air,” and “National Treasure.”

He soon became the highest-paid actor in Hollywood, but it wasn’t long before the fun was over, and he was left owing a whopping $14 million to the IRS, and millions more to other creditors, according to a March profile in GQ.

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Billy Eichner blames straight people for ‘Bros’ flopping

Billy Eichner thinks straight people are to blame for his gay rom-com flopping at the box office over its opening weekend.

The comedian, who co-wrote, executive-produced and stars in “Bros,” penned a lengthy Twitter thread on Sunday in response to the film making only $4.8 million in the US and Canada, approximately 40 percent less than expected.

“Even with glowing reviews, great Rotten Tomatoes scores, an A CinemaScore etc, straight people, especially in certain parts of the country, just didn’t show up for Bros. And that’s disappointing but it is what it is,” Eichner, 44, wrote, adding, “That’s just the world we live in, unfortunately.”

Urging moviegoers to see “Bros,” which has been marketed as the first film featuring an entirely LGBTQIA+ cast to get a wide release, the “Billy on the Street” star quipped, “Everyone who ISN’T a homophobic weirdo should go see BROS tonight! You will have a blast! And it *is* special and uniquely powerful to see this particular story on a big screen, esp for queer folks who don’t get this opportunity often. I love this movie so much. GO BROS!!!”

Billy Eichner reacted to his movie “Bros” flopping at the box office over its opening weekend.
©Universal/Courtesy Everett Col

“Bros,” which had a $22 million production budget, landed in fourth place at the box office, trailing behind “Smile” ($22 million), “Don’t Worry Darling” ($7.3 million) and “The Woman King” ($7 million).

Despite its disappointing debut, Eichner insisted audiences are loving the flick, which also stars Luke Macfarlane, Ts Madison and Monica Raymund.

“Last night I snuck in and sat in the back of a sold out theater playing ‘Bros’ in LA,” he began the same Twitter thread.

“The audience howled with laughter start to finish, burst into applause at the end and some were wiping away tears as they walked out. It was truly magical. Really. I am VERY proud of this movie.”

The movie opened at $4.8 million with a budget of $22 million.
WireImage

The “Parks and Recreation” alum previously joked to Page Six that he was “f–king” his hunky co-star Macfarlane, 42, in real life and that the sex was “amazing.”

“We spent a lot of time together, and we still like each other … we’re not dating,” he said at the New York City premiere of the Nicholas Stoller-helmed film.

“It’s very ‘Don’t Worry Darling,’” he quipped, referencing director Olivia Wilde’s relationship with her movie’s star Harry Styles, whom she met on the set of their psychological thriller.



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Will Smith’s post-Oscars film ‘Emancipation’ earns applause

Will Smith is getting back on his feet, months after his infamous Oscars slap.

While the 54-year-old actor has been mostly been staying out of the limelight since he smacked presenter Chris Rock at the ceremony earlier this year, he has a new project in the works that’s already creating buzz.

Smith’s first post-Oscars film, titled “Emancipation,” had a special screening hosted by the NAACP during the Congressional Black Caucus Foundation’s 51st Annual Legislative Conference on Oct. 1.

The drama stars Smith as a runway slave named Peter who found asylum in Louisiana and winds up joining the Union Army.

The film earned early praise at the event, with the “King Richard” star making an appearance.

“Throughout my career, I’ve turned down many films that were set in slavery,” Smith noted at the screening, via the Hollywood Reporter. “I never wanted to show us like that. And then this picture came along. And this is not a film about slavery. This is a film about freedom. This is a film about resilience. This is a film about faith.”

Smith was banned from attending the Oscars for the next 10 years after he smacked Chris Rock at this year’s show.
WireImage

“This is a film about the heart of a man — what could be called the first viral image,” the father of three added.

An 1863 photo of the enslaved man with scars on his back from being heavily whipped “became one of the most widely circulated images of slavery of its time,” History.com reported. Called “The Scourged Back” or “Whipped Peter,” was used in campaigns by abolitionists in efforts to end slavery.

Will Smith slapped comedian Chris Rock over a joke about his wife Jada Pinkett Smith at the Oscars in March 2022.
Getty Images

“Cameras had just been created, and the image of ‘Whipped Peter’ went around the world,” Smith noted. “It was a rallying cry against slavery, and this was a story that exploded and blossomed in my heart that I wanted to be able to deliver to you in a way that only Antoine Fuqua could deliver.”

“Emancipation” was screened on Oct. 1 and the event was hosted by the NAACP.
NAACP

NAACP President and CEO Derrick Johnson praised the film in a tweet after the event.

“I had the pleasure of watching the film #Emancipation and can’t begin to tell how powerful this is for OUR community and OUR history,” Johnson said. “It’s a story of adversity, of resilience, of love, and of triumph. Thank you Antoine Fuqua and Will Smith for sharing your gifts! #ThisIsPower.”

While the Apple TV project has no release date as of yet, it is expected to premiere in 2023.



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Louise Fletcher, Oscar-winning ‘Cuckoo’s Nest’ actor, dead at 88

Louise Fletcher, a late-blooming star whose riveting performance as the cruel and calculating Nurse Ratched in “One Flew Over the Cuckoo’s Nest” set a new standard for screen villains and won her an Academy Award, has died at age 88.

Fletcher died in her sleep surrounded by family at her home in Montdurausse, France, her agent David Shaul told The Associated Press on Friday. No cause was given.

After putting her career on hold for years to raise her children, Fletcher was in her early 40s and little known when chosen for the role opposite Jack Nicholson in the 1975 film by director Milos Forman, who had admired her work the year before in director Robert Altman’s “Thieves Like Us.” At the time, she didn’t know that many other prominent stars, including Anne Bancroft, Ellen Burstyn and Angela Lansbury, had turned it down.

“I was the last person cast,” she recalled in a 2004 interview. “It wasn’t until we were halfway through shooting that I realized the part had been offered to other actresses who didn’t want to appear so horrible on the screen.”

Fletcher was given a second chance in acting when cast as Nurse Ratched at age 40.
Corbis via Getty Images

“One Flew Over the Cuckoo’s Nest” went on to become the first film since 1934′s “It Happened One Night” to win best picture, best director, best actor, best actress and best screenplay.

Clutching her Oscar at the 1976 ceremony, Fletcher told the audience, “It looks as though you all hated me.”

She then addressed her deaf parents in Birmingham, Alabama, talking and using sign language: “I want to thank you for teaching me to have a dream. You are seeing my dream come true.”

A moment of silence was followed by thunderous applause.

Later that night, Forman made the wry comment to Fletcher and her co-star, Jack Nicholson: “Now we all will make tremendous flops.”

It took months for Fletcher to realize, other actresses didn’t want to play the “horrible” Nurse Ratched.
AP

In the short run, at least, he was right.

Forman next directed “Hair,” the movie version of the hit Broadway musical that failed to capture the appeal of the stage version. Nicholson directed and starred in “Goin’ South,” generally regarded as one of his worst films. Fletcher signed on for “Exorcist II: The Heretic,” a misconceived sequel to the landmark original.

Far more than her male peers, Fletcher was hampered by her age in finding major roles in Hollywood. Still, she worked continuously for most of the rest of her life. Her post-“Cuckoo’s Nest” films included “Mama Dracula,” “Dead Kids” and “The Boy Who Could Fly.”

She was nominated for Emmys for her guest roles on the TV series “Joan of Arcadia” and “Picket Fences,” and had a recurring role as Bajoran religious leader Kai Winn Adami in “Star Trek: Deep Space Nine.” She played the mother of musical duo Carpenters in 1989′s “The Karen Carpenter Story.”

Fletcher’s career was also hampered by her height. At 5-feet-10, she would often be dismissed from an audition immediately because she was taller than her leading man.

Along with starring alongside Jack Nicholson, Fletcher guest-starred in several TV show’s where she was nominated for Emmy’s.
Corbis via Getty Images

Fletcher had moved to Los Angeles to launch her acting career soon after graduating from North Carolina State University.

Working as a doctor’s receptionist by day and studying at night with noted actor and teacher Jeff Corey, she began getting one-day jobs on such TV series as “Wagon Train,” “77 Sunset Strip” and “The Untouchables.”

Fletcher married producer Jerry Bick in the early 1960s and gave birth to two sons in quick succession. She decided to put her career on hold to be a stay-at-home mother and didn’t work for 11 years.

“I made the choice to stop working, but I didn’t see it as a choice,” she said in the 2004 interview. “I felt compelled to stay at home.”

She divorced Bick in 1977 and he died in 2004.

In “Cuckoo’s Nest,” based on the novel Ken Kesey wrote while taking part in an experimental LSD program, Nicholson’s character, R.P. McMurphy, is a swaggering, small-time criminal who feigns insanity to get transferred from prison to a mental institution where he won’t have to work so hard.

During her Oscar acceptance speech, she spoke to her parents using sign language.
AP

Once institutionalized, McMurphy discovers his mental ward is run by Fletcher’s cold, imposing Nurse Mildred Ratched, who keeps her patients tightly under her thumb. As the two clash, McMurphy all but takes over the ward with his bravado, leading to stiff punishment from Ratched and the institution, where she restores order.

The character was so memorable she would become the basis for a Netflix series, “Ratched,” 45 years later.

Estelle Louise Fletcher was born the second of four children on July 22, 1934, in Birmingham. Her mother was born deaf and her father was a traveling Episcopal minister who lost his hearing when struck by lightning at age 4.

“It was like having parents who are immigrants who don’t speak your language,” she said in 1982.

The Fletcher children were helped by their aunt, with whom they lived in Bryant, Texas, for a year. She taught them reading, writing and speaking, as well as how to sing and dance.

It was those latter studies that convinced Fletcher she wanted to act. She was further inspired, she once said, when she saw the movie “Lady in the Dark” with Ginger Rogers.

That and other films, Fletcher said, taught her “your dream could become real life if you wanted it bad enough.”

“I knew from the movies,” she would say, “that I wouldn’t have to stay in Birmingham and be like everyone else.”

Fletcher’s death was first reported by Deadline.

She is survived by her two sons, John and Andrew Bick.

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Spielberg’s latest is the best of the year

The best movie of the year so far is Steven Spielberg’s extraordinary “The Fabelmans.”

It’s gripping, visually mesmeric, boasts an exceptional, grounded script by Tony Kushner and is acted to the hilt. A no-holds-barred Michelle Williams skyrockets to the front of the Oscar race with an unforgettable performance. 

Spielberg’s deeply personal project, which had its world premiere Saturday night at the Toronto International Film Festival, has been shrouded in secrecy for months. About all we knew going in was that the movie is based on the famed director’s own life, and stars Williams, Paul Dano and Seth Rogen. 


movie review

Running time: 151 minutes. Rated PG-13 (some strong language, thematic elements, brief violence and drug use.)

But “The Fabelmans” is so much richer and less predictable than any run-of-the-mill, point-A-to-point-B biopic, even though we know that the ending is, well, “Jaws.”

There is a palpable feeling throughout that unlike the director’s recent, capable films like “West Side Story” or “The Post,” Spielberg needed to make this one. That he’s had this idea and these raw feelings lying dormant for decades. That otherwise he might explode. 

The thrilling result of his behind-the-camera therapy is some of the director’s finest work in years, and a movie that feels, for the first time in forever, like a bona fide Spielberg film. 

The searing image of a gobsmacked little boy projecting an early short film onto his hand is one I won’t soon forget. 

Dad Burt (Paul Dano) and mom Mitzi (Michelle Williams) take young Sammy (Mateo Zoryon Francis-DeFord) to his first movie.
Universal Pictures

That little screen stand-in for Spielberg is lSammy Fabelman (Mateo Zoryon Francis-DeFord), whose mom Mitzi (Williams) and dad Burt (Dano) take to his first movie, Cecil B. DeMille’s “The Greatest Show On Earth.” Floored, Sammy recreates the film’s crash scene with his own train set at his New Jersey house and mom encourages him to film it — unleashing an obsession with Hollywood and movie-making.

This is not a narcissistic film, though. As the title would suggest, the story is very much about the whole family. The Fabelmans move around for quiet Burt’s job as a computer programmer, and first they head to Arizona. They are joined, somewhat strangely, by Burt’s best friend Benny (Rogen). 

Despite the childhood difficulty of changing cities, the desert dust and rocks gives now-teenage Sammy (Gabriel LaBelle) a playground to shoot ambitious Westerns and battle scenes. 

There’s a battle raging at home, too. Mitzi feels restless and out-of-place, and while making one of his short films, Sammy sees something disturbing in the editing room that changes his life. It reminded me, sans murder, of Brian DePalma’s “Blow Out.” 

Sammy films the seniors at his California high school.
Paps4Real / BENS / BACKGRID

What’s striking about Spielberg’s memory movie is that, unlike say Eugene O’Neill’s “Long Day’s Journey Into Night,” everybody is treated with such warmth and compassion. The director empathizes with all of his character. The only villain, per se, is an anti-Semitic high school classmate of Sammy’s later on in California. (All the coming-of-age, John Hughes-y business is a scream.)

LaBelle, who’s mostly played small roles till now, is a stunning find with a big future. He so tenderly embodies this quirky introvert who channels his angst into his art, until it boils over. Spielberg is known for the very real performances he can wrestle out of young people. So, you can imagine the magic he can do with a version of his teen self.

There is also an uproarious cameo appearance from Judd Hirsch as visiting Uncle Boris, who over the course of an evening, teaches Sammy the sacrifices he’ll need to make to score a life in showbiz. He’s hysterical.

The other quick hello that will have folks talking is David Lynch. I won’t say what he does. But holy moly. Twitter will tell ya soon enough.

But the movie belongs to Williams, who brings the same “what will she do next?!” energy that set fire to the screen in “Manchester By The Sea” and “Fosse/Verdon.” Hers is a great big performance in a movie that, while simple, is undoubtedly stylized. Williams turns domestic struggles into something grand and universal. 

It’s been in-Vogue lately for directors to make self-reflective movies. Alfonso Cuaron had “Roma,” Kenneth Branagh made “Belfast” and Alejandro Inarritu just premiered his “Bardo” in Venice. Yet it’s Spielberg’s that has hit me the hardest.

How profound to say that the road to killer sharks, alien house guests, T-Rexes and World War II epics begins and ends with mom and dad.

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