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An 800-page draft of “Charlie Wilson’s War,” the late George
Crile’s real-life tale of three unlikely heroes who helped topple the
Soviet empire, languished in his desk drawer for years.
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“THE real fear of roller-coaster rides is the fear of no control,”
observes a character in New Line Cinema’s “Final Destination 3.”
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“The Atherton Tablelands” doesn’t roll off the tongue.
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DOGS ran the show on the set of “Eight Below.”
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Steven Spielberg calls his latest movie, “Munich,” a prayer for peace.
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MARC SHMUGER Vice chairman, Universal Pictures The boom that masked some of our underlying problems and convinced
us of our own genius came to an end.
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“Brokeback Mountain” seems to have everything going for it: great
reviews, a remarkable opening weekend and dominance in the first wave
of the Hollywood awards season, underscored Tuesday by seven Golden
Globe nominations, the most of any film.
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In these polarized times, there’s at least one thing upon which
liberals and conservatives can agree: The political potential of film.
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While shooting the Israeli film “Ushpizin,” Gidi Dar’s critically
acclaimed fable about the power of faith, filmmakers adhered strictly
to the rules of Orthodox Judaism, vetting the story with rabbis and
declining to shoot on the Sabbath.
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