Disney holds monthly meetings to determine what content in its archive needs to have a warning added.
The meetings are held virtually and are “very raw” according to one attendee.
“We’ve had some very raw conversations on those Zooms,” African American Film Critics Association President Gil Robertson told the Hollywood Reporter. As part of Disney’s Stories Matter initiative’s advisory council, Robertson and his colleagues watch films believed to possibly be problematic and then tell Disney their reaction.
“They want to make up for any offensive messaging they may have been a part of,” Robertson told the publication. “It feels sincere, and it’s also good business.”
In November 2019, when Disney launched its Disney+ streaming service, the company added content warnings ahead of its animated classics “Dumbo” (1941), “The Jungle Book” (1967) and “Aladdin” (1992) to warn audiences that the movies “may contain outdated cultural depictions.”
The iconic films “Aristocats” (1970), “Peter Pan” (1953) and “Swiss Family Robinson” (1960) also feature the warning ahead of the film.
The highly controversial “Song of the South” (1946) is not available on the streaming service.
Most recently, “The Muppet Show” had warning disclaimers placed prior to each episode, warning viewers that the show features “stereotypes” and “mistreatment of people or cultures.”
“Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together,” the disclaimer says, adding “Disney is committed to creating stories with inspirational and aspirational themes that reflect the rich diversity of the human experience around the globe.”
The disclaimers are not a signal that the films have been canceled, Ben Mankiewicz, a host on classic TV network TCM, told the Reporter.
“Nobody’s canceling these movies,” he said. “Our job is not to get up and say, ‘Here’s a movie that you should feel guilty about for liking.’ But to pretend that the racism in it is not painful and acute? No. I do not want to shy away from that. This was inevitable. And welcomed. And overdue.”
Borat is hanging up his iconic gray suit for good.
On Sunday, Sacha Baron Cohen, 49, told Golden Globes viewers that last year’s “Borat Subsequent Moviefilm,” the long anticipated follow-up to 2006’s “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan,” would be his last with the beloved character.
“The gray suit is locked up and not coming out again,” Cohen said during a question-and-answer session during the virtual awards ceremony, which saw three nominations — and two wins — for the Borat sequel.
Now we know for sure who’s gonna win the Oscar for Best Picture, right? The mist of obscurity has finally lifted, right? Place yer bets, right? Sorry, guys, it’s not that clear-cut.
Although the overpraised “Nomadland” won the 2021 Golden Globe for best dramatic film Sunday night, history tells us that director Chloé Zhao’s film is not a sure thing for the Best Picture Oscar on April 25.
Meanwhile, just two Golden Globe best comedy or musical victors have taken the top Oscar in the past decade: “Green Book” and “The Artist.” So, the odds aren’t the greatest, even if the film starring Frances McDormand has long been seen as a juggernaut since it premiered at the Venice and Toronto Film Festivals. Other voters are starting to get tired of it.
While I’ll give this loony bunch of international reporters some credit for maturing in who they’ve nominated the last few years — despite some moronic omissions — the 90-strong group still is not an accurate representation of the nearly 9,000 members of the Academy of Motion Picture Arts and Sciences. The Oscars are voted on by real actors, directors, screenwriters and producers.
Who can really trust a drunk Italian journalist?
While “Nomadland” was a perfectly sensible choice for the top prize Sunday, the mysterious group still had its fair share of loco picks.
One of the worst examples: Giving an award to Rosamund Pike for the dismal “I Care a Lot” — which will not get a single Oscar nod — instead of the revelatory Maria Bakalova from “Borat Subsequent Moviefilm.” Nobody predicted that. As Borat would say, “Not very nice.”
For the small-screen comedies, “Schitt’s Creek” was still the darling, taking home statues for best comedy TV series and actress (Catherine O’Hara).
The best decision the Globes made, movie-wise, was awarding the wonderful late actor Chadwick Boseman for his work in Netflix’s adaptation of August Wilson’s “Ma Rainey’s Black Bottom.” It’s an unforgettable performance. Tell your boss you’re overstretched, and watch it today.
The second best decision the Globes made all night was not awarding Kate Hudson with the best actress – comedy or musical award for her role in the offensive “Music.” One very upset person took issue with my well-documented opinion on this issue.
“Okay, girl,” an Instagram user commented on a photo of Hudson. “What did you do to the New York Post writer Johnny Oleksinski?? Did you break his heart or something?? I hope you get the globe!!”
Readers, I assure you: I would never be mad that Kate stood me up at Momofuku on our first date. I am a very serious journalist. I’m not bitter at all.
Social media is in a tizzy over new details about the hotly anticipated “Cruella,” Disney’s latest live action adaptation of the animated classic “101 Dalmatians,” mostly thanks to Emma Stone’s fierce transformation as the nefarious fashionista with a penchant for spotted dogs.
“Hello, Cruel World,” said Disney, in a tweet announcing that a trailer for “Cruella” will drop tomorrow. A new poster for the film features a close-up of sultry Stone, 32, in black-and-white, in a style reminiscent of Madonna’s glam-punk days or rock opera icon Dr. Frank-N-Furter of “Rocky Horror Picture Show.”
In a promotional image from 2019 for the film, which will tell Cruella’s backstory and be set in the 1970s, Stone is dressed to kill in leather, leashes and with the character’s iconic black-and-white mane — and fans have been begging for more ever since.
The moment also provided some fans with an opportunity to praise Glenn Close, who thousands of fans on Twitter agree was “actually perfect” as Cruella in the 1996 live-action remake of the original 1961 cartoon film.
Others had pointers for Disney ahead of the trailer release.
“If the Cruella trailer doesn’t feature a children’s choir singing a haunting, slowed-down cover version of a certain Baha Men song, what are we even doing here?,” suggested Stephen Douglass, a sports writer whose hilarious suggestion has seen support nearly 6,000 others on Twitter in just an hour since Disney made its announcement.
The crime comedy, due out in May, was helmed by “I, Tonya” director Craig Gillespie and also stars Emma Thompson and Paul Walter Hauser (“I, Tonya”) in as-yet-named roles. It follows the story of young fashion designer Estella de Vil and as her obsession for dog furs takes hold — earning her the nickname Cruella nickname.
The sale was finalized on January 6, 2020 in a bargain and sale deed, according to New York property records.
While it is unknown exactly how much the home sold for, it is estimated DeVito, 76, paid upwards of at least $2 million. DeVito’s reps didn’t respond to The Post’s requests for comment.
The previous owner purchased the property for $2,200,000 in 2016. And prices in the area have only increased.
Newly constructed in 2014, the four-story brownstone is made up of four bedrooms and five bathrooms. The structure was originally built on a 1,291-square-foot lot.
Each room boasts 11-feet-high ceilings. It also features an expansive living area and formal dining room, as well as a brand-new chef’s kitchen, with custom white cabinetry and marble countertops.
The large master suite includes a spacious walk-in closet and a windowed Carrara marble master bath and opens up to one of the two private roof decks.
The second roof deck showcases glorious Manhattan views from 1 World Trade Center to the Chrysler Building.
The Brooklyn pad is beautifully situated in the Clinton Hill neighborhood, near local eateries, cafes and bars.
DeVito’s estranged wife, actress Rhea Perlman, was also listed on the transfer deed.
The two separated in October 2012, after 30 years of marriage and over 40 years together. But they reconciled again in 2013. They separated for a second time in March 2017, but remain on amicable terms.
A new big-screen adaptation of L. Frank Baum’s children’s classic “The Wonderful Wizard of Oz” is headed our way like a cyclone, according to a Deadline report. The film from New Line will be directed by Nicole Kassell of HBO’s popular “Watchmen.”
Here’s an idea for her: Drive down to Ace Hardware, buy a jackhammer and rip up the Yellow Brick Road so nobody can ever access it again. Just like we did with “Peter Pan” and “Alice in Wonderland,” the world has reached critical mass with Dorothy and Toto.
The dreamy land of Oz and its characters have been plundered over and over again since Baum’s book was first published in 1900 and, yes, society has fond memories of exactly three riffs: 1939’s “The Wizard of Oz” (“Somewhere Over the Rainbow!” “The Wiz” (“Ease on Down the Road!”) and “Wicked” (“Defying Gravity!”).
The rest of them — and there is a boatload — bring to mind another catchy tune: “If I only had a brain!”
That’s because 99% of Oz adaptations are mindless gunk.
The first notable stinker after Victor Fleming’s Technicolor classic was a low-budget 1969 film called “The Wonderful Land of Oz,” based on Baum’s second novel “The Marvelous Land of Oz.” It is said to be faithful to its source, and is considered by some to be one of the worst movies ever made.
The film’s origins were, appropriately for the late ’60s, in porn. Well, “nudie” flicks — a titillating genre that petered out in the ’70s and, while not displaying full sex, featured plenty of naked women. Suffice it to say, nobody left the theater raving about the dialogue.
In the two years before Barry Mahon directed “The Wonderful Land of Oz,” he helmed such high-class indulgences as “Forbidden Flesh,” “Instant Orgy,” “The Warm, Warm Bed,” “Sex Club International” and “Run Swinger Run!” He thought the genre was getting too smutty — really — so he transitioned to family fare. And what a transition it was.
His first go-round is a disturbing descent into misery and tastelessness that is barely watchable today. Mahon cast his son Channy as Tipp, a little boy who runs away to Emerald City and finds himself in the middle of a creepy palace coup. There are no stars, the setting appears to jump from shabby cabin to shabbier cabin and many of Tipp’s compatriots, including something called the Wogglebug, look like nightmarish insects. It’s on YouTube. Watch it if you want. I’m not your doctor.
Less than 20 years later, Disney sank its fangs into the Baum brand, too. In 1985’s “Return to Oz,” Dorothy (Fairuza Balk making her debut) lands with a thud back in Kansas six months after her stint in Oz. The annoying girl can’t stop rattling on about flying monkeys and a tin man, however, so a reasonable Auntie Em thinks she’s lost her marbles. Shock therapy, it is! Not so shockingly, the movie made just $11.1 million at the box office against a $28 million budget.
Then in 2013, that model of restraint James Franco wanted a piece of the action. He starred in a prequel (ugh) to the 1939 film called “Oz the Great and Powerful,” which Post critic Lou Lumenick hailed as “long-threatened!” It tries to explain how a Kansas huckster becomes a powerful leader, and why everybody is terrified of the Wicked Witch. It did not help matters that a decade earlier, the Broadway musical “Wicked” did a much better job of that. The aforementioned hag was played by Mila Kunis, who won an MTV Movie Award. A feather in her pointy hat.
The flops, they keep on coming.
That’s because the most famous book, “The Wonderful Wizard of Oz,” has been in the public domain since 1956, so anybody can take a crack at it. Kassell and New Line’s prime advantage is that the 1939 film, which had original elements such as the ruby slippers, is in the Warner Bros. library. She can borrow whatever iconic elements she likes.
From the sound of it, though, this is going to be like every other film that gloats about how it will expose a classic to a new generation: a soon-to-be-forgotten dud. The dismal “Annie” with Cameron Diaz arrogantly tired to do that. So did “Charlie and the Chocolate Factory” with Johnny Depp.
I’ll tell you right now, if I have to watch a ginger Billie Eilish sing “Somewhere Over the Rainbow” in this thing, I’m changing professions. That’s a dare.
The animated film “Cryptozoo” begins with a nude hippie grabbing a rock and violently bashing in the head of a unicorn, who just impaled her boyfriend. This should have raised a red flag.
But I kept watching — and wincing — for another 90 obnoxious minutes.
Director Dash Shaw’s movie, which premiered Friday in the Sundance Film Festival, imagines a world in which mythological creatures coexist with modern humans. It’s like Narnia, only instead of Christian allegory, we get a lot of “f–k”s, warped sex scenes, brutal deaths and the clarity of a blindfold.
Called cryptids, the beasts are often sold by sleazeballs on the black market for big bucks, and our heroine, Lauren Gray (voiced by Lake Bell), is determined to stop the evildoers.
In an early scene, Lauren tiptoes over an orgy in a lodge to chat with a pervert centaur who has connections to this illicit trade. (You should know by now if this is the movie for you.) Determined to protect the cryptids, Lauren sets off to the exotic land of Orlando, Florida.
A particularly endangered cryptid is the Bakku, a Japanese storybook creature that looks like a handheld vacuum cleaner and is said to feast on our nightmares. America seeks to weaponize it.
“The US government wants to harness the power of the Bakku to wipe out the dreams of the counterculture,” we learn. Sounds good to me!
One such drug-fueled fantasy comes from the aforementioned impaled boyfriend at the film’s start: “Oh babe, I had the coolest dream last night,” he says. “We were in Washington, DC, like, thousands of people. We were storming the Capitol. The pigs were there guarding it, but we broke through. And we started a whole new perfect society where everyone was equal. It was a sweet trip.”
It’s a challenge to rally behind anybody here. Lauren and Co., including an old activist-scientist named Joan (Grace Zabriskie) and a gorgon (think Medusa), race to recover the Bakku before it’s too late, but their journey is monotonous.
“Cryptozoo” is, from start to finish, a pothead’s pastime. It’s a less-funny Adult Swim cartoon that drags on far too long for the little emotional investment it cultivates. The voice acting, no matter how urgent or high-energy the scene, is creepily breathy, like a couple of guys in hemp shirts staring at clouds.
The hand-drawn animation, however, is sporadically cool. That style is rare to see in the age of Pixar; even the famed Japanese Studio Ghibli’s latest film is CGI. The colors here distinctly pop and the sequences are cleverly imagined and visually appealing.
It’s just that I’d rather they were hanging on my wall.
Running time: 127 minutes. Rated R (violent/disturbing images, language and full nudity) In select theaters and on HBO Max.
The No. 1 rule for any detective story: The mystery cannot be boring.
Shove in all the moral and ethical quandaries and Oscar winners you want, but without a satisfying maze for us to work through, your movie will be a forgettable pile of police jargon and brooding underscore. The latest example is Denzel Washington’s anemic drama, “The Little Things,” which is less gripping than some anthills.
“The Little Things” is not, as its cute title would suggest, about a Vermont woman who sells tchotchkes. It is, like a preponderance of entertainment these days, the story of a serial killer who preys on Los Angeles women in 1990.
Washington plays Joe Deacon, a police officer in Kern County, California, who drives down to the big city one day to pick up a piece of evidence, but is unexpectedly enlisted by whippersnapper Sheriff Jim Baxter (Rami Malek) to help find the ruthless unknown murderer.
“We haven’t been under this much scrutiny since the Night Stalker!” exclaims one frustrated cop. The department has no leads, and the community is fed up and scared. Enter: Deacon, a less-fun Sherlock Holmes type who notices details that most other detectives miss.
“The little things are important, Jimmy,” Deacon says. “It’s the little things that get you caught.”
Deacon isn’t some unlikely suburban genius; he used to be top dog with the LAPD years earlier, but left after he cracked under the pressure during a case. There are hazy flashbacks to that violent night throughout.
Washington is at his best when challenged — check out his brilliant, transformative performance as a frumpy lawyer in “Roman J. Israel, Esq.” — but Deacon’s dogged pursuit is a stalk in the park for him. The actor certainly endured no sleepless nights worrying whether he could master the role of a hardened authority figure with a dark past. He has countless times before.
In this slow ferry ride of a film, Joe and Jim pursue just one lead: Albert Sparma, a shifty electronics store employee played by Jared Leto. I’d add that Albert is a stringy-haired creep, but that’s just our Jared. The character has a Hannibal Lecter quality in that his speech is serpentine and he knows an eerie amount about the detectives. “I’m a bit of a crime buff,” Albert says. But there is no depth or texture to the part — only weirdness.
Malek, for a change, acts like a normal human being. No computer hacker awkwardness, French prisoner twitching or Freddie Mercury flamboyance — just a stripped-down, capable lead performance.
It would be nice if some of the little things in writer-director John Lee Hancock’s movie had been enlarged. Who cares that there’s beer in the fridge or who drank the milk? Unremarkable moments last for what feels like hours. If the movie feels like it’s going nowhere, that’s because it is. The climactic scene drops Malek and Leto in a nondescript lot of dirt and metal fences, and a should-be shocking twist summons memories of Moe and Larry.
The final moment — all 10 seconds of it — is cool, and I suspect that Hancock built his entire movie around it. Well, that and an indictment of self-shielding cop culture. But a couple of grand, intriguing ideas does not a movie make.