The 57th edition of the festival announced that the mob drama, which hails from Netflix, will hold its world premiere on Friday, September 27 at Lincoln Center’s Alice Tully Hall.
Much like it did with last year’s acclaimed “Roma,” Netflix will release the high-profile, big-budget “Irishman” in select theaters before debuting it on its streaming service.
Based on Charles Brandt’s nonfiction book “I Heard You Paint Houses,” the film tells the story of Frank Sheeran, who admitted to killing 25 men for the mob, including his friend, the Teamsters boss Jimmy Hoffa.
De Niro plays Sheeran, Pacino is Hoffa, and Pesci portrays Pennsylvania mob boss Russell Bufalino (who allegedly ordered the hit).
In a statement, Scorsese said, “It’s an incredible honor that ‘The Irishman’ has been selected as the Opening Night of the New York Film Festival. I greatly admire the bold and visionary selections that the festival presents to audiences year after year. The festival is critical to bringing awareness to cinema from around the world. I am grateful to have the opportunity to premiere my new picture in New York alongside my wonderful cast and crew.”
Illumination is small but mighty. The animation studio, which was started in 2008 by Chris Meledandri, the former head of 20th Century Fox Animation and Blue Sky Studios, makes animated features that routinely over-perform (“Minions” made more than $1 billion worldwide). What makes this even more impressive is how cheaply Illumination produces their movies; they cost a fraction of what similar movies at Disney or Pixar do. Their latest film, “The Secret Life of Pets 2,” opens this weekend (we didn’t get to screen it before publishing this post), which is set to continue their string of box office smashes. And in honor of this accomplishment, we’re ranking all of their previous films.
9. ‘Hop’ (2011)
Universal
“Hop” is many things: loud, annoying, and only partially animated. It stars Russell Brand as the son of the Easter Bunny, who wants to follow his dreams of being a professional drummer, leaving all of his holiday-related duties by the wayside. Snooze. What makes this even more bizarre is that Illumination didn’t even provide the animation, with the visual effects work instead provided by the now defunct Rhythm & Hues. This discrepancy is even weirder considering that the Easter chicks were a clear attempt to replicate that minions magic. Illumination’s first attempt at a holiday classic was more like an exaggerated face plant.
8. ‘Minions’ (2015)
Universal
No.
7. ‘Despicable Me 2’ (2013)
Universal
“Despicable Me” was a mostly delightful surprise, so it was quickly turned into a franchise and much of that initial magic (along with the surprise) disappeared just as quickly. Beset by production woes, including the last-minute exit of Al Pacino, who had already voiced most of his lines as the villain but left due to unforeseen “creative differences.” (Benjamin Bratt, who replaced him, had to sync up his recordings to the animation that had already been done for Pacino’s line-readings), “Despicable Me 2 ” comes off as limp and uninspired.
6. ‘Dr. Seuss’ The Grinch’ (2019)
Universal
Illumination returned to the world of Theodor Geisel for this mystifying retread of “How the Grinch Stole Christmas” (simplified as just “The Grinch”). There are a number of head-scratching decisions that went into “The Grinch,” most notably hiring Benedict Cumberbatch but having him do a stiff American accent instead of his velvety British purr. (Also by saddling him with a motivational backstory that mostly involves him being hungry.) Other baffling choices include having Pharrell deliver awkward narration and having wiseacre rapper Tyler the Creator cover the iconic theme song. It might not be as painfully bad as the live action Jim Carrey version (the extremely Danny Elfman-y score by Danny Elfman helps) but it’s close.
5. ‘Despicable Me 3’ (2017)
Universal
While not a total reinvention of the wheel, this is a serviceable sequel that benefits from its weird obsession with 1980s pop culture and a genuinely deranged performance by “South Park” mastermind Trey Parker as a former whiz kid turned super-villain. But other than that, it’s same old, same old in the “Despicable Me” product factory, with a bunch of minions running around and some semi-inspired set pieces. “Despicable Me 3” gets points for trying to up the scale in a meaningful, sophisticated way but doesn’t quite understand that bigger isn’t necessarily better.
4. ‘The Lorax’ (2012)
Universal
One of the more underrated Illumination entries (and one of the least successful), the company’s very first Dr. Seuss adaptation is one of their best. Adding a fair amount of dimensionality (as well as up-to-the-minute environmental commentary), “The Lorax” features a bunch of winning performances (most notably Danny DeVito as The Lorax) and some faithful, Seussian design work, and packages it in a way that doesn’t feel cloying or confrontational. Instead, it’s a peaceful fable about the dangers of mistreating the earth, packaged and produced for maximum enjoyment.
3. ‘The Secret Life of Pets’ (2016)
Universal
The first “Secret Life of Pets” is a cute, funny, charming movie that becomes somewhat lessened when you realize that the plot (cooked up by a bunch of Illumination regulars) so closely resembles the first “Toy Story” that Pixar should have sued. Somewhat tarnished by its lead vocal performance (by a since-replaced Louis CK), the movie is certainly energetic and somehow overcomes its own stylistic limitations (Illumination productions occasionally look as cheap as they are). Major points should be added for Kevin Hart’s portrayal of a tiny white rabbit.
2. ‘Despicable Me’ (2010)
Universal
This is it. The movie that started it all. (Illumination didn’t even own the animation studio yet.) A mixture of Charles Addams-style black humor and gags straight out of a 007 film, “Despicable Me” introduced the world to vaguely Eastern European bad guy Gru (Steve Carell) and, much to society’s detriment, his gaggle of yellow, androgynous underlings the minions. Sadly, the imagination and heart that made the original film such an unexpected treat would wear thin in subsequent installments, but with the right creative team it could potentially be restored. Just, please, enough with the minions.
1. ‘Sing’ (2016)
Universal
Unequivocally the greatest Illumination accomplishment, this low-key classic features a bunch of anthropomorphic animals as they audition for a big time talent show. (The fact that they are animals has almost no bearing on the story but the animators occasionally have fun with the conceit.) Illumination productions often default to juvenile gags (like the Grinch always wearing tight white underwear) or saccharine sentimentality (something that even threatened the original “Despicable Me”), but “Sing” is carefully modulated, offering humor that never feels too childish and genuine, relatable emotions (Reese Witherspoon is an overworked pig mom, Taron Egerton is a gorilla with daddy issues, etc). Part of what makes “Sing” such a blast is that it comes from a singular point-of-view, writer-director Garth Jennings, one half of the brilliant music video directing team Hammer & Tongs, who understands both how to handle the characters and the accompanying visual flourishes. For once, knowing that an Illumination sequel (again handled by Jennings) is on the way is something to be met with excitement, not dread.
The movie stars Leonardo DiCaprio, Brad Pitt, Margot Robbie, and Al Pacino. Much like “Pulp Fiction,” “Once Upon a Time in Hollywood” weaves together a tapestry of stories. It’s set in Los Angeles during the summer of 1969, when Charles Manson and his devotees murdered actress Sharon Tate (Robbie) and others.
DiCaprio plays Rick Dalton, the washed-up star of a Western TV series who’s trying to carve out a new niche for himself in the industry, while Pitt plays his friend and stunt double Cliff Booth. And they have famous next-door neighbors: Sharon and director Roman Polanski.
The film reunites Tarantino with his “Django Unchained” star DiCaprio and his “Inglorious Basterds” star Pitt. There’s even a wink at the latter movie, when DiCaprio’s Rick Dalton is filming a scene where he burns Nazi officers alive.
Tarantino recently penned an open letter pleading with Cannes attendees not to spoil the film.
“Once Upon a Time in Hollywood” opens in theaters July 26.
It’s now been 40 years since Francis Ford Coppola gave us one of the greatest and most mind-bending war movies of all time. “Apocalypse Now” has lost none of its power over the decades. So strap on your helmet and head up-river to learn some interesting trivia about the background and infamously troubled production of “Apocalypse Now.”
1. Writer John Milius listened exclusively to music by The Doors and Richard Wagner while he worked on the screenplay. Milius said he believed The Doors to be “the music of war,” a fact which greatly upset the members of the band.
2. The majority of the dialogue had to be re-recorded during post-production, as the jungle environments and heavy background noise made much of the original dialogue impossible to use.
3. Coppola originally offered the role of Captain Willard to “The Godfather” star Al Pacino. Pacino declined, telling Coppola he had no interest in spending months shooting in a swamp.
Paramount Pictures
4. Pacino was also one of several actors Coppola considered as a potential replacement for Marlon Brando, who repeatedly threatened to quit.
5.Harvey Keitel was originally cast as Willard and was fired after two weeks of filming. At least one shot of Keitel’s Willard made it into the final version of the film.
6.Martin Sheen largely improvised the scene where Willard has a meltdown in his hotel room. Sheen was heavily intoxicated and actually cut his hand when he punched the mirror.
United Artists
7. Sheen’s brother Joe Estevez plays an essential but uncredited role in the movie. Estevez served as a stand-in for his brother while Sheen was recuperating from a heart attack, and also provided the voice-over work for a large portion of Captain Willard’s narration.
8. Coppola opted to frame Colonel Kurtz in shadow for most of his scenes, mainly to hide the fact that Brando arrived on-set extremely overweight.
United Artists
9. The friction between Brando and Coppola became so great that Assistant Director Jerry Ziesmer eventually took over filming for Brando’s scenes.
10.Harrison Ford specifically chose his character’s name, “G. Lucas,” in tribute to “Star Wars” and “American Graffiti” director George Lucas. Lucas was once slated to direct “Apocalypse Now” himself, which he envisioned as a faux-documentary.
11. The film’s famously disaster-ridden production is chronicled in the 1991 documentary “Hearts of Darkness: A Filmmaker’s Apocalypse.” The production went so far over budget that Coppola was forced to mortgage his house and winery in order to finish filming.
Triton Pictures
12. Widespread drug abuse was another major problem during filming. Dennis Hopper reportedly caused a teenage Laurence Fishburne to become addicted to heroin.
13. Because the film includes no opening title card or credits, Coppola needed to include the shot of the graffiti tag “Our Motto: Apocalypse Now” in order to ensure the film could be copyrighted.
United Artists
14. The American Humane Association slammed the film with an “Unacceptable” rating after it was discovered the scene where the water buffalo is slaughtered was actually real.
15. Coppola repeatedly struggled with his vision for the ending of the movie. Originally, the screenplay ended with Kurtz convincing Willard to join him and both men dying in a military airstrike, but Coppola opted for a less depressing finale.
United Artists
16. There are several alternate versions of the film in existence. 2001’s “Apocalypse Now Redux” adds 49 minutes of deleted footage, including the lengthy sequence where Willard and his crew encounter the French plantation owners. A bootleg workprint cut includes even more deleted footage, such as a death scene for Hopper’s character.
17. 2019 will see the release of “Apocalypse Now: The Final Cut,” a 4K restoration that cuts roughly 20 minutes of footage that was added to “Redux.”
There’s Brad Pitt chilling outside a trailer on a studio lot (he plays cowboy star Leonardo DiCaprio‘s stuntman in this movie set in 1969 Hollywood), Leo in action the set as a western star and on set with QT himself. And swinging wth a chorus of sweater-clad girls on the wholesome-looking TV show “Hullaballoo” (that obviously inspired “Hairspray.”)
Also, Margot Robbie as actress Sharon Tate strolling down what looks like Hollywood Blvd. And Brad shaking hands with Al Pacino at classic Hollywood restaurant Musso & Frank’s (Which is a real restaurant you can visit next time you’re in Tinseltown.)
Al Pacino is apparently ready to try something new.
The longtime movie star is reportedly close to reaching a deal to take on his first role as a series regular. He is in negotiations to star in an upcoming Amazon series called “The Hunt,” Deadline reports. He’d play a Nazi hunter who belongs to a larger group that takes justice into its own hands.
Logan Lerman has also been cast in the series, which is set in 1977, and his character, Jonah Heidelbaum, finds the group after his grandmother’s murder. The members are hunting down Nazis who moved to the United States and took on new identities. Pacino’s character becomes Jonah’s mentor.
Pacino has, of course, had a long career in film, but he has never been a regular on a TV series. Although his television work has been limited, it has garnered accolades. He received an Emmy and a Golden Globe for his role in the HBO miniseries “Angels in America” as well as another Emmy for the made-for-TV biopic “You Don’t Know Jack.”
“The Hunt” is set for 10 episodes after a straight-to-series order in May. It is based on an original idea and also takes inspiration in real-life events. The series comes from creator David Weil. He is writing the series, as well as executive producing and co-showrunning alongside Nikki Toscano. Jordan Peele and Win Rosenfeld of Monkey Paw Productions are also excecutive producing, alongside Sonar Entertainment’s Tom Lesinski and Jenna Santoianni. Monkeypaw and Sonar are producing.
So far, a premiere date for “The Hunt” has not been announced.
With the amount of running 52-year-old star Warren Beatty had to do in “Dick Tracy,” Madonna wasn’t the only one breathless.
If the dad joke didn’t clue you in already, the “Can’t Wait!” crew (with special guest Drew Taylor) took a long, hard look at 1990 technicolor detective classic “Dick Tracy,” with special emphasis on the movie’s proclivity for disguising respected, well-known actors in bizarrely literal makeup. Other topics discussed include Beatty’s little-seen 2008 Dick Tracy TCM special, the movie’s very solid twist, and the surprising amount of detail and thought that went into “Dick Tracy’s” production and art design. Oh yeah, and the fact that it’s a Disney movie.
Tune in next time, when we discuss Tim’s pick, another 1990 cinematic fever dream: “Gremlins 2: The New Batch.”
Have thoughts/feelings/feedback about the podcast? Have a movie you really, really want us to watch and talk about? Hit us up on Facebook, Twitter, or Instagram with the hashtag #CANTWAIT.
CAN’T WAIT! A Movie Lover’s Podcast by Moviefone celebrates Hollywood’s guiltiest pleasures by taking a fresh look at critically ignored movies and giving them a second chance at life. Join Moviefone editors Tim Hayne, Rachel Horner, Phil Pirrello, and Tony Maccio as they extol the virtues and expose the failings (with love!) of nostalgic movies.
Marlon Brando, who passed away in 2004, was there in spirit: A framed photo of him in his Oscar-winning role as Vito Corleone hung behind the assembled actors. There was also a bust of a horse’s head, but, apparently, no cannolis.
Among the topics discussed:
How Brando and Duvall mooned everyone during the wedding scene. Coppola reminded the two actors, “There are women and children present, Bobby!” And the kicker: A women then approached Duvall, saying, “Mr. Duvall, you are fine, but my god, did you see the balls on that Brando?!?”
Pacino and Keaton — both primarily known as theater actors at the time — were so nervous about working on a film set, they got drunk together after the wedding scene. Pacino recalled, “We got so loaded after that wedding sequence… The whole thing had sort of a surreal feel to it. So we got back and started drinking: ‘Where do we go from here? We’re done, it’s over! This is the worst film ever made!’” Gladly, he was dead wrong. (The two dated on and off up through “The Godfather, Part III.”)
Pacino initially wasn’t interested in playing Michael Corleone. “It”s not a good role,” he remembers thinking. “Sonny [the hothead older brother who was played by James Caan] is the part I can play!” The studio famously didn’t want him to play Michael either and made him keep screen testing even after he had the part.
Lenny Montana, the former wrestler who played hitman Luca Brasi, was very likely “the real deal.” Coppola recalled asking Montana if he would be able to convincingly play the scene where Brasi sits on his bed, loads his gun with bullets and spins the chamber. The actor replied, “Are you kiddin’ me?” Hackford asked if Lenny was, “the real deal.” Coppola responded with a broad, silent shrug that got the biggest laugh of the evening.
With the amount of running 52-year-old star 
So you couldn’t make it to the Tribeca Film Fest for “