As Alan Gordon Partridge – legendary sports reporter, chat show host, regional disc jockey, and broadcaster – returns to the BBC following a 25-year absence, for a One Show-style current affair programme called This Time. To celebrate Alan “bouncing back,” we’re taking a look atRead More »
In perhaps the most horrifying moment in "Three Billboards Outside Ebbing, Missouri," Sam Rockwell's brutish cop casually beats the pulp out of a local advertising impresario before tossing him through a second-story window.
Director Tamra Davis dropped by Yahoo Studios to commemorate the film's birthday on Facebook Live and insisted that it had been an extremely professional, extremely sober film production.
Lest you think filmmaking is all sunshine and lollipops, here are 10 reminders that showbusiness is an ugly business, and the family films which you hold dear to your heart were actually the cause of more than a little psychological scarring… ‘The Railway Children’ – The girl’s age was hushed up Casting producers on the 1970 children’s adventure 'The Railway Children’ liked actress Sally Thomsett’s audition for 11-year-old Phyllis so much, they were willing to overlook one fairly significant point – that she was actually 20 years old. Thomsett was three years old than her on-screen big sister, Jenny Agutter, but was treated like a child by crew members, who gave her sweeties for good behaviour. For starters, shooting on the movie very nearly led to tragedy, when Kym Karath, the actress playing Gretl, fell out of a boat and almost drowned – she couldn’t swim and Julie Andrews was unable to fetch her as planned. Andrews was disliked by co-star Christopher Plummer, who likened her presence to “being hit over the head with a big Valentine’s Day card every day”.
It’s one of the strange things about making a movie: you can create entire worlds inside a computer and have winged dragons facing off against giant fire-breathing robots, but you can’t show someone dialling a real phone number on screen. Ever since the 1950s, when you see someone dial or recite a phone number, chances are it’ll start with the numbers 555.
When it comes to Christmas movies, you’d have to be a hard-hearted creature not to have just the faintest whiff of affection for Jon Favreau’s ‘Elf’. - 25 things you might not know about The Hobbit - 2014’s best movie star photobombs - 13 mind-blowing Christmas movie facts Alongside veterans like James Caan, Bob Newhart and Ed Asner (and with a breakout role for Zooey Deschanel), Buddy’s love of Christmas is thoroughly infectious.
When director Beeban Kidron thinks back on her 1995 film To Wong Foo, Thanks for Everything, Julie Newmar, the first thing that comes to mind is her memory of wolf-whistling at Patrick Swayze and Wesley Snipes as they walked down a Nebraska road, dressed in skirts and high heels. Indeed, one could say that everything about To Wong Foo, which premiered 20 years ago this month, represented a “really interesting gender moment” in Hollywood. At a time when the AIDS crisis still loomed large and homophobia was the cultural default, a heartwarming, Steven Spielberg-produced comedy about gay drag queens opened as the No. 1 movie in America.