Jaafar Jackson as Michael Jackson in ‘Michael’. Photo Credit: Courtesy of Lionsgate.
Preview:
‘Michael’ has set records for biopic movies on its first weekend.
It topped the domestic box office with $97 million.
Elsewhere, new releases struggled.
It may have arrived laden with controversies about re-shoots and didn’t exactly strike a chord with critics, but audiences have certainly embraced ‘Michael’, the biopic of troubled music superstar Michael Jackson.The film, directed by Antoine Fuqua, has kicked off its run at the box office as an instant success, earning $97 million for first place.
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The movie’s ticket sales rank as the best start of all time for a biopic, smashing the record set by 2015’s ‘Straight Outta Compton’ ($60 million). And they tower above 2018’s ‘Bohemian Rhapsody’, which opened to $51 million. Can it match the latter’s huge run, though? That’s a bigger question. Still, with $217 million globally in one weekend, it’s a solid start.
What else happened at the box office this weekend?
(L to R) Luigi (Charlie Day), Mario (Chris Pratt), Yoshi (Donald Glover) and Princess Peach (Anya Taylor-Joy) in Nintendo and Illumination’s ‘The Super Mario Galaxy Movie’, directed by Aaron Horvath and Michael Jelenic.
Previous champion ‘The Super Mario Galaxy Movie’ was pushed down to second place after three weekends in the No. 1 spot. Universal’s animated sequel added $21.2 million, boosting revenues to $384 million domestically and more than $800 million globally.
‘Project Hail Mary’, meanwhile, was third with $13.2 million, a remarkable tally for a film in its sixth weekend of release. So far, the space epic has generated a mighty $305 million in North America and $613 million worldwide.
What about other new releases?
(L to R) Michaela Coel and Anne Hathaway in ‘Mother Mary’. Photo: A24.
Besides ‘Michael,’ other new releases fared less well. A24’s thriller ‘Mother Mary’, starring Anne Hathaway as a pop star on the eve of a comeback, earned $1.3 million.
And ‘Lorne’, a documentary about ‘Saturday Night Live’ boss Lorne Michaels, struggled to break out with $70,000 from 248 theaters. The film has collected $426,000 while playing in limited release.
Jaafar Jackson as Michael Jackson in ‘Michael’. Photo Credit: Bruce Talamon.
‘Michael’ producer Graham King and director Antoine Fuqua.
Moviefone recently had the pleasure of speaking with director Antoine Fuqua and producer Graham King about their work on ‘Michael’, developing the project, finding the right actor for the role, working with Jaafar Jackson, what moments from Michael’s life they wanted to focus on, which moments they wish they could have included or spent more time on, creating the costumes, and if Fuqua kept any mementos from the production.
You can read the full interview below or click on the video player above to watch our interviews.
(L to R) Jaafar Jackson as Michael Jackson and Director Antoine Fuqua on the set of ‘Michael’. Photo Credit: Glen Wilson/Lionsgate.
Moviefone: To begin with, Antoine, what was your first reaction to reading John Logan’s screenplay and why you personally wanted to tell Michael’s story on the big screen?
Antoine Fuqua: My first reaction was that it’s a solid screenplay about Michael Jackson. My second reaction was, “Who’s going to play Michael Jackson?” When I met with Graham, he introduced me to Jaafar, and the rest is history as far as that goes. But, yeah, it’s daunting when you read a Michael Jackson script by John Logan. It’s a great script and then we had to find Michael and Jaafar was no question the right choice.
MF: Graham, to that point, I understand that you discovered Jaafar and recommended him to Antoine. At what point did you realize he was the right choice?
Graham King: Over lunch. I had a lunch with Jaafar. I know the family well and I’ve known (his father) Jermaine since 1981. I met with Jaafar and during that lunch, I kept asking him if he was auditioning, because he was channeling Michael. It was very eerie and weird. He kept saying, “I don’t want to be an actor. I’ve got no interest in acting.” I kept saying, “Just be honest with me.” Because obviously I’ve produced a few movies, and you know what it is when you sit down with an actor who wants a job, and I kept thinking it’s reverse psychology. “No, I don’t want to act.” But he really didn’t. Two weeks after that lunch, I said, “If you’re up for it, let’s go through some training and bootcamp.” Kind of like what I put Rami Malek through to play Freddie Mercury, but at a much different level. In fact, the first time he spent a month with Rich + Tone, who were Michael’s choreographers, and they said, “We’re not sure. We’re not confident that he can get these dance moves down.” He called me that night and he said, “Give me some time and then come and see. I’ll show you what I’ve got.” I think it was about a month later, we both went to Hayvenhurst, to the house that he was staying in, which is Michael’s house in Encino. He just blew us away with his dance moves. I mean, he got it down. The only thing he asked for in that month was, he kept saying, “I want mirrors. Just get me long, tall mirrors and let me do my thing.” I mean, look at that performance now. It’s incredible.
Jaafar Jackson as Michael Jackson in ‘Michael’. Photo Credit: Glen Wilson.
MF: Antoine, can you talk about the first time you did a screen test with Jaafar? Was that when you realized you found your Michael?
AF: Yeah, it was. We did a screen test with Jaafar, and he came out as Michael. It was my first time seeing him in person as Michael, and I was kind of blown away just on his whole presence. That got me right away. Then we put him in front of the camera and started filming him doing different things. He would sing a little bit and dance a little bit. Then me and Graham were sitting there, and we asked Jaafar a question. I can’t remember what it was, but he answered it as if he was Michael and tears started flowing around the room. Our cinematographer was crying. I looked back, he had tears in his eyes. We were all trying to hide it, but he really answered in such an honest, pure way. He’s never acted in his life. I just thought, “This guy’s special.” That was the moment for me. It was just off the cuff. He didn’t know it was coming. I wanted to see if he was in the moment. Was he just here in makeup or was he in the moment? I threw something at him, and he just paused, and he thought about it, and he answered. It was just so beautiful, elegant, honest, and pure. I was like, “This Jaafar is special.”
MF: Graham, why did you want to focus on this specific time in Michael’s life, and how do you think your experience producing ‘Bohemian Rhapsody’ prepared you to make this movie?
GK: I guess I’ve made a career out of taking these iconic artists or people like Muhammad Ali, Howard Hughes, and Freddie Mercury, obviously, and showing the world a side that they’ve never seen before and humanizing them, these iconic people. I think it’s such a challenge to find that three act structure to make it an entertaining film and not a documentary. You kind of have fun with it. I have fun with it. Of course, there is also the music side, having the rights to Queen’s catalog and now Michael’s catalog, and really digging into the songs we’re going to use and the time periods of the movie. I was at Dodger Stadium in 1984 at the ‘Victory Tour’ when Michael quit. It was the most amazing organic third act drama and conflict moment you could ask for. You couldn’t ask for it any better. A writer couldn’t write it any better than that. I remember talking to Michael’s brothers about it, “Did you know that he was going to do this?” They were like, “No, we had no idea, and we kind of thought he was playing at the time. We didn’t know he was serious.” So that was sitting with John Logan and Antoine and saying, “Let’s head for that moment and make that the pinnacle point of the storytelling and put Joe at the side of the stage,” because he’s going to tell Joe, and he does it in front of 50,000 people at Dodger Stadium.
Jaafar Jackson as Michael Jackson in ‘Michael’. Photo Credit: Glen Wilson.
MF: Antoine, can you talk about recreating iconic moments in Michael’s life like the making of the ‘Thriller’ video and his performance at the Motown 25th Anniversary show and was there any one moment that you wish you had more time to explore?
AF: I mean, everything. Right? Because being a director, you never have enough time. But it’s the quiet moments you got to get just right. It’s really the quiet moments. The bigger moments we know, the performances, and we knew what we needed to do. It was the more quiet, intimate moments that you hope you capture the spirit of Michael in each moment. What’s interesting with Jaafar is that we would try different things to find the right tone, and the right frequency. Again, Jaafar’s never acted before, but he was so good that I would forget. We’d go to Jaafar, try something, and he would nail it. Then we would realize, “This guy has never acted before in his life, and we’re throwing these things at him.” He would come through with flying colors every single time. I don’t remember him missing too many beats at all. But making the bigger moments was magical. Because of the authenticity of the film, it lives in all the real places like Hayvenhurst, we had where he recorded ‘Off the Wall’, where he shot the ‘Thriller’ video, and the Pasadena Civic Auditorium where Motown 25 took place, all real places. You get chills whenever you go to those kinds of places and remember those moments. The idea that we had the opportunity to recreate it and do that was a little of an out of body experience at times. It’s a big responsibility to get it just right. So, Graham and I, we really would study what it was and look at what we’re doing and compare it. Because we knew Michael’s audience, they’re going to do that, every little move. So, it was daunting, but exciting and magical. When we shot the ‘Thriller’ video, we had a full moon every night, which was amazing. I’ve never seen a crew more excited about a scene. When I got dropped off on the set, the grips and everybody had on wolf masks, and they were dancing around to ‘Thriller’. It was like this big event. It was like a movie within itself. So, that to me was a special day.
MF: Graham, is there any moment from Michael’s life during this period that you wanted to put in the film but just couldn’t because of time?
GK: Certainly, the ‘Dancing Machine’ era, when Michael was, I think, 16 or 17, around that era. We thought about putting that in. But when you’re making a film, you’ve got to have a certain running time and you can’t tell every story you want to tell, so you’ve got to make sacrifices. That cut from young Michael at the county fair to Michael at the window with Quincy Jones, I think that time cut worked well for our story as opposed to stopping in different times like the ‘Dancing Machine’ era.
Jaafar Jackson as Michael Jackson in ‘Michael’. Photo Credit: Courtesy of Lionsgate.
MF: Finally, Antoine, can you talk about working with your costume designer Marci Rodgers to recreate all of Michael’s famous outfits for the film, and did you keep a sequenced glove for yourself as a memento?
AF: I got the producer sitting here, I’m not going to tell. No, I didn’t keep anything. I wish I could. I mean, Marci did a great job, but we had a great crew and a great team. They really did their homework, and she did her homework. She would design these jackets, like when he’s holding the Grammys, and the jacket was about 15 pounds. It had all the jewels and everything. I thought, “Did it have to feel this heavy for Jaafar?” It was authentic though. Those were the real Grammys. Those were Michael’s Grammys he’s holding. I mean, the whole crew, they really cared so much about getting it right, every little detail.
‘Michael’ opens in theaters on April 24th.
What is the plot of ‘Michael’?
Discover the story of Michael Jackson (Jaafar Jackson), one of the most influential artists the world has ever known, and his life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of the Jackson Five, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world, highlighting both his life off-stage and some of the most iconic performances from his early solo career.
The groundbreaking 1992 comedy ‘Wayne’s World,’ which was based on the popular Saturday Night Live sketch and released a Limited-Edition Blu-ray Steelbook on February 1st, celebrates its 30th anniversary this month.
Moviefone recently had the pleasure of speaking with director Penelope Spheeris about the 30th anniversary of ‘Wayne’s World.’ She discussed how her previous work prepared her to direct the movie, working with Mike Myers and Dana Carvey, the iconic “Bohemian Rhapsody” scene, Alice Cooper’s special request, casting the late great Meat Loaf, and more.
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You can read the full interview below or watch a video of the interview above.
Moviefone: As a filmmaker, what is it like for you to see that ‘Wayne’s World’ is still as beloved and relevant today as it was when it was first released 30 years ago?
Penelope Spheeris: It’s actually kind of indescribable how it feels. I wish I had good words to describe how I feel that 30 years later people care about the movie and love the movie as much as they do. I feel really, really lucky for that. And really grateful that I was there at the right time, in the right place and with the right people. But honestly, I don’t like to wallow in the glory of anything, but it’s just astonishing that people still care about this movie.
MF: You can you take us back 30 years and talk about how you became the director of ‘Wayne’s World?’
PS: My agent sent me the script and said, “They’re looking for a director for this Saturday Night Live skit, and it’s over at Paramount”. I was like, “You mean I might be able to get my foot in the studio door? That would be cool.” So, I read the script and then I had to go to five different meetings. Then I had to meet with Mike, and then I had to jump through a hoop and balance a beach ball on my nose, and crawl on my belly like a reptile.
I had to do all those things. A lot of times it was like, “Man, this is like a lot of cross examination to get the gig.” A couple of times I remember walking off the lot thinking, “You know what? I don’t care. I can’t handle this”. Then I kept going back and I’m sure glad I did.
MF: Considering your history working with comedians like Richard Pryor and Albert Brooks, and your work directing the ‘Decline of Western Civilization’ documentaries, it seems like you were uniquely qualified to direct ‘Wayne’s World,’ because you already had experience with both comedy and rock ‘n roll.
How did your past experience as a producer and documentary filmmaker prepare you to direct this movie?
PS: Well, that’s a brilliant observation. Even I haven’t thought of that. Thank you. I was prepared comically, and I was prepared musically. I guess it’s just some cosmic coming together of the right things at the right time. I had no idea that I was going to be involved with a movie that has lasted this long and people love so much. None of us thought, “Oh, well, we’re going to make this big hip movie and get rich and famous. And everybody will be dressing up their babies like Wayne and Garth for 30 years.” None of us thought that.
We just thought, “Geez, we could make this little movie, and maybe we’ll get it in a few theaters, and maybe I’ll get another gig in Hollywood.” So, I always tell people, young filmmakers, it’s like stop with the rich and famous already, just go do the work. That’s what we were doing back then.
MF: Since they created the characters on television, I would imagine Mike Myers and Dana Carvey came to set knowing exactly who Wayne and Garth are, which is something that doesn’t always happen with actors when you are making a movie.
What was that like for you directing them and getting the performances that you needed for the film?
PS: It was a total luck out, and good pleasure. I’ll be honest with you, because as a director, if you have two leads coming in with characters that they don’t know, you got a big job cut out for you, and you got to know those characters yourself. Mike and Dana already knew them.
So, I didn’t have to go crazy trying to say, “Stay in character, stay on track. That’s not what your character would say.” I didn’t have to do any of that, they knew exactly what they would do, and wear, and say. So that made it easier to be honest with you. I don’t look at it like, “Oh, I’m the director, you got to do what I say.” They knew, and I trusted them. I had to.
MF: The movie will forever be connected to the band Queen, and vice versa, because of the iconic “Bohemian Rhapsody” sequence. Can you talk about the process of shooting that scene?
PS: Well, I mean, when we shot it, and we didn’t think, “Oh, people are going to be looking at this and loving it for so many decades.” We didn’t think that. I knew that it would be a good title sequence, because I had shot a similar scene in the movie I did called ‘Dudes,’ where Flea and John Cryer were banging their heads in a Volkswagen driving across the desert.
So, I knew that that was a fun thing to be doing. But yeah, Mike had written “Bohemian Rhapsody” into the first draft. So, as much as people might want to give me credit for picking the song, I did not pick the song, it was Mike. I chose to shoot it the way I did, but he is the one that was smart enough to pick that song. What can I tell you, James Corden owes me a couple bucks!
MF: Is it true that the studio fought you on the song choice and didn’t want you to use ‘Bohemian Rhapsody?”
PS: No! Thank you for asking it because I’d like to set the record straight. The studio never challenged us on the use of the song. (Producer) Lorne Michaels never wanted to have Guns N’ Roses in the movie. I never wanted to have Guns N’ Roses in the movie, because they had just bailed out on me when I did the ‘The Metal Years.’
So, I definitely wouldn’t want to license their song if they crapped out on me at the last minute when I did ‘The Metal Years’. So, this whole thing about somebody wanting to use Guns N’ Roses is not true. I just want to put that on the table, and they could fight me to the death on that one because I know.
MF: But there was an issue with Alice Cooper only wanting to play a new song and not one of his classics in the movie, is that true?
PS: That’s very smart of you, and here’s the thing. Having worked with bands forever, most of them don’t want to do their old music, they want to promote their new music. I understand that, because they want to be themselves, and they want to do their new material. I couldn’t argue with Alice, because there was no time to argue. It was like, “Okay, we got to shoot this scene at the amphitheater, it’s booked, and it costs a lot of money. So, let’s get the band over there and set up the stage, and do it”.
I wasn’t in love with the song at the time. It’s a goofy title. But Alice is a prince, and we threw three pages of dialogue at him, on the day he came in. He didn’t even have a night to look at it. To this day even he says that he can’t believe he remembered all that dialogue. We had to write these signs, we had to write prompter signs. We had people writing on them, so he could remember the lines. But he did it, and he looked perfectly natural doing it.
MF: Finally, you cast Meat Loaf in the movie, who unfortunately just passed. What are your memories of working with Meat Loaf?
PS: It’s very tragic, of course, that Meat Loaf has gone, and very unexpected. He was way too young to go. He and I were very, very good friends during the 1980’s when we would party at the Rainbow Bar, The Roxy, and Whiskey a Go Go. I have very fond memories of hanging out with him. And if anybody doesn’t mind, I’ll take the credit for casting him in that sweet role.
The ‘Wayne’s World’ Limited-Edition Blu-ray Steelbook was released on February 1st.
Variety reports that Fletcher will take over the franchise from Guy Ritchie, who directed 2009’s “Sherlock Holmes” and its follow-up 2011’s “Sherlock Holmes: A Game of Shadows.”
A third movie has always been planned, but was put on hold due to star Robert Downey Jr.’s busy schedule in various Marvel movies.
Jude Law is also expected to reprise his role as Watson.
Fletcher famously took over directing “Bohemian Rhapsody” after Bryan Singer left the project mid-production (though he did not receive credit as a director due to DGA rules). His most recent film, the Elton John biopic “Rocketman,” opened in May.
“Sherlock Holmes 3” is slated to hit theaters December 21, 2021.
Hollywood clearly loves its musical biopics. These movies are real crowd-pleasers, combining some of our favorite songs with a satisfying story about artists achieving fame and fortune, hitting rock bottom and bouncing back for the sake of the music. Recent releases like “Bohemian Rhapsody” and “Rocketman” prove that the rock biopic is as popular as ever. But Hollywood still has a lot of rock stars to get to. Here are 13 more rock icons (including both solo musicians and bands) that still need a good biopic.
Syd Barrett
Harvest
While a general Pink Floyd biopic would be great, we’re especially keen on seeing a movie devoted to the tragic life of original frontman Syd Barrett. The film could focus on the band’s original rise to prominence in the psychedelic era and the struggles Barrett faced as drug abuse exacerbated his mental problems. We’d love to see the film take a crack at replicating Barrett’s live renditions of early Floyd hits like “Interstellar Overdrive.”
David Bowie
RCA
David Bowie was among the most unique voices in rock — a true artist who helped popularize the glam rock genre even as he constantly reinvented himself with every new album. Bowie as legions of fans, but how many of them truly have a sense of the man behind iconic characters like Aladdin Sane, Ziggy Stardust and the Thin White Duke?
Eric Clapton
Reprise
Eric Clapton is one of the true titans of rock, giving us countless hits and even managing to be inducted into the Rock and Roll Hall of Fame three separate times. His career has certainly taken many interesting twists and turns. The sad backstory behind his hit song “Tears in Heaven” alone may be a great foundation for a biopic.
Kurt Cobain
DGC
Kurt Cobain will probably always be one of the most fascinating figures in rock. He lived out the quintessential rock star life — achieving massive fame, battling addiction and psychological problems and ultimately flaming out long before his time. The trick is to chronicle his life in a respectful way that doesn’t glamorize or fall victim to the usual tropes. Cobain himself would have hated that more than anyone.
Fleetwood Mac
Warner Bros.
As a group, Fleetwood Mac is responsible for some of the most popular rock albums ever created. But the story behind those albums is almost as fascinating as the music itself. This is a band notorious for behind-the-scenes drama and romantic intrigue. Maybe the time has finally come to explore that drama in the form of a biopic.
Michael Jackson
Epic
Michael Jackson truly earned the title “The King of Pop,” with charisma and dance moves every bit as impressive as his voice. Unfortunately, he was also a very damaged individual, and allegations of sexual abuse continue to swirl even years after his death. Any MJ biopic faces the difficult task of both finding someone to portray an inimitable icon and acknowledging the more unsavory aspects of his life. We’d love to see someone try, though.
Janis Joplin
Columbia
Janis Joplin is a prime biopic candidate for all sorts of reasons. She’s one of the figureheads of the late ’60s rock movement, as well as being one of the first female rock stars ever. She’s also a part of the tragic “27 Club” – artists who died long before their time at the young age of 27. There’s surely a fascinating story to be told about her life and legacy.
Madonna
Sire
As the undisputed Queen of Pop, one of the biggest superstars of the ’80s and the best-selling female recording artist in history, it pretty much goes without saying that Madonna deserves a biopic. She’s led a very interesting life and courted more than her share of controversy. The only question is how to narrow down that life into manageable movie.
Prince
Warner Bros.
Prince Rogers Nelson was a fascinating study in contrasts. He was one of the greatest guitar players in the world and a truly electrifying stage presence, yet he also took great pains to keep his personal life (including his chronic medical issues) behind closed doors. The result being that, like David Bowie, few fans have a good sense of who Prince truly was off the stage. A good biopic could fix that.
The Rolling Stones
Decca
The Rolling Stones have been one of the few constant fixtures on the ever-changing rock scene. They made their reputation during the British Invasion of the 1960’s, and they’ve kept churning out hits in the decades the followed. Members like Mick Jagger and Keith Richards rank among the most colorful and controversial figures in the industry. This is one band that could easily support an entire series of biopics.
Bruce Springsteen
Columbia
Bruce Springsteen appeals to wide swaths of music fans thanks to his strong musicianship and poetic songwriting. His life may not be as marked by controversy as many of his rock star peers, but we still think he’s prime candidate for the biopic treatment. How did he earn his reputation as “The Boss,” and what inspired him to create some of the most enduring works of American music?
Stevie Wonder
Tamia
Stevie Wonder‘s life and career practically call out for a biopic. He was a true child prodigy, establishing his career at the tender age of 11 despite being born blind. In the decades since, Wonder has become one of the biggest stars in the world, raked in countless awards and won over generations with his incredible talent and stage presence. He’s perfect for a feel-good rock biopic.
Frank Zappa
Zappa Records
There was no one else quite like Frank Zappa. This rock star always followed his own muse, creating genre-defying works that might not have always been commercially successful, but won him the admiration of musicians and music lovers the world over. He was also superhumanly prolific, crafting no fewer than 60 albums before his death at 52. That impressive career deserves a biopic.
Is it true that a sequel to “Bohemian Rhapsody” is “being heavily discussed in the Queen family”?
That’s what Queen music video director Rudi Dolezal told Page Six, adding, “I’m sure [Queen’s manager Jim Beach] plans a sequel that starts with Live Aid.”
While that might make sense from a financial standpoint — the movie has so earned about $869.5 million — there appears to be no truth to this rumor.
A publicist for producer Graham King, who spent years bringing “Bohemian Rhapsody” to the big screen, told Slashfilm talks of a sequel are not true.
So we don’t have to wonder how a Queen biopic without Freddie Mercury (or Rami Malek, who won an Oscar for playing the flamboyant showman), would go.
Enjoy the resurgence of the band’s music (just about every commercial on TV seems to be set to “Don’t Stop Me Now” or “I Want It All”), but don’t expect a second film.
The Golden Globe-winning biopic about the rise of Freddie Mercury and Queen is a frontrunner to win Rami Malek an Oscar trophy for Best Actor. Malek has earned well-deserved praise for his searing performance as the brilliant, eccentric, often troubled lead singer who tragically died in 1991 due to complications from AIDS. And of course, the movie features the band’s incredible music, including their biggest hits.
The movie arrives on 4K Ultra HD, Blu-ray and DVD on February 12 (and is already available on Digital HD). Bonus features include making-of featurettes and the complete Live Aid performance.
The hilarious and now ubiquitous Tiffany Haddish stars as recent parolee Tanya who reconnects with her successful VP sister, Danica (Tika Sumpter). But when Tanya suspects Danica’s new online boyfriend is catfishing her, she’s ready to help — even if it means blowing up her sister’s life.
The movie arrives on Blu-ray and DVD on February 12 (and is already available on Digital HD). Bonus features include deleted and extended scenes, a gag reel, and nine featurettes.
Willem Dafoe earned an Oscar nomination for portraying the brilliant, troubled artist Vincent Van Gogh. Director Julian Schnabel’s movie is not a meticulous biopic, but rather a collection of scenes drawn from the Van Gogh’s letters, rumors and heresay, and even just plain invented stories.
The movie arrives on Blu-ray and DVD on February 12 (and is already available on Digital HD). Bonus features include making-of featurettes.
Hugh Jackman transforms into Senator Gary Hart, the ill-fated Democratic presidential candidate in the 1988 election. Director Jason Reitman chronicles his rise and harsh fall after reports of an extramarital affair.
The movie arrives on Blu-ray, DVD, and Digital HD on February 12. Bonus features include three deleted scenes.
‘All That Heaven Allows’ (February 12): Douglas Sirk’s romantic drama pairs a wealthy widow (Jane Wyman) and her handsomer younger gardener (Rock Hudson), to the shock of her neighbors and country club friends. Criterion’s release includes a new 2K remaster and several bonus features.
‘The Group’ (February 12): Sidney Lumet’s 1966 ensemble satire (which includes Candice Bergen in her film debut) revolves around eight women graduates of an all-female college who face the inevitable pressures to surrender their independence to the men in their lives.
Girls rule, boys drool in this delightful dramedy set in the politically-turbulent English court of Queen Anne (Olivia Colman). The imperious and impetuous royal’s relationship with advisor/lover Sarah Churchill, Duchess of Marlborough (Rachel Weisz) is turned upside down by the arrival of Sarah’s wily cousin, Abigail (Emma Stone). All three actresses were nominated for Oscars. Now available on Digital HD.
The Oscar-nominated Japanese film is a meditation on what truly makes a family. It follows a group of poor outsiders who rely on petty thievery to survive. When they find a wandering young girl, they take her in, but a series of events threatens their family unit. Now available on Digital HD and DVD.
Rupert Everett wrote, directed, and stars in this biopic that chronicles the heartbreaking last days of Oscar Wilde, as the celebrated writer recollects his life with his usual wit and irony. Now available on Digital HD, Blu-ray, and DVD.
NEW ON NETFLIX
‘Dating Around’ (February 14)
Netflix’s first dating series premieres just in time for Valentine’s Day. Each of the six episodes follows one single person who goes on five first dates with complete strangers. Awkward! As one dater tells a suitor, “I hope you’re not a serial killer.”
‘The Umbrella Academy’ (February 15)
In this comic book adaptation, seven unusual children are adopted in 1989 by Sir Reginald Hargreeves, a billionaire industrialist, who creates The Umbrella Academy and prepares them to save the world. His plans didn’t quite work, and now, the six surviving members reunite to solve a mystery around Hargreeves’ death
Director Bryan Singer is facing new allegations of having sex with underage boys.
Singer, who was infamously fired as director of “Bohemian Rhapsody” in the middle of production, has been accused by four more men of having sex with them when they were underage.
The exposé published in The Atlantic includes more than 50 sources who spoke to journalists during a yearlong investigation.
“The accusations against Singer cover a spectrum,” The Atlantic story says. “Some of the alleged victims say they were seduced by the director while underage; others say they were raped. The victims we interviewed told us these experiences left them psychologically damaged, with substance-abuse problems, depression and PTSD.”
Two different individuals allege they had sex with Singer when they were just ages 17 and 15. Both told The Atlantic that Singer knew they were under 18, the age of consent in California.
Singer has had a successful career, directing hits like “The Usual Suspects” and four of the “X-Men” movies. However, last year, he was let go from “Bohemian Rhapsody” with just a few weeks left of filming, reportedly because he was late or absent from set frequently and also clashed with star Rami Malek.
A few days after Singer was fired, he was the target of a lawsuit accusing him of raping the then-17-year-old Cesar Sanchez-Guzman in 2003. Singer has denied the allegations.
Dexter Fletcher replaced Singer for the final part of production on “Bohemian Rhapsody,” though Singer still has the directing credit. The movie went on to become a sensation, earning more than $800 million at the box office (and still counting). It also received five Oscar nominations this week, including Best Picture.
Singer has responded to the Atlantic article, calling it a “homophobic smear piece”:
The biopic about the rise of Freddie Mercury and Queen has already won a Golden Globe for Best Drama Film and Best Actor for Rami Malek. And Oscar trophies could come next. Malek has earned well-deserved praise for his searing performance as the brilliant, eccentric, often troubled lead singer who tragically died in 1991 due to complications from AIDS. And of course, the movie features the band’s incredible music, including their biggest hits. Available on Digital HD.
Claire Foy takes over the role of computer hacker Lisbeth Salandar, the striking character created by novelist Stieg Larsson in his “Dragon Tattoo” series. The convoluted plot finds Lisbeth stealing a nuclear missile program, with enemies hot on her trail. Available on Digital HD.
Watch an exclusive clip from the Blu-Ray release below:
This riveting, criminally underwatched heist film comes from award-winning director Steve McQueen (“12 Years a Slave”) and boasts an all-star cast led by Viola Davis. When four thieves are killed during a robbery attempt, their widows are forced to fulfill the debts they owe. Filled with twists, turns, and stunning performances, this tale does more than entertain — there’s some excellent social commentary woven in, too. Available on Digital HD.
Watch why Glenn Close has been nominated for a billion awards for this movie and others, and why she might finally (finally!) win an Oscar for her nuanced performance in a story about the compromises, secrets, and betrayals one makes in a long marriage. Available on Digital HD.
The latest animated adaptation of the classic holiday tale has Benedict Cumberbatch voicing the famous curmudgeon who hates Christmas. Available on Digital HD.
Ryan Gosling stars as Neil Armstrong in this intense drama about NASA’s attempts to land a man on the moon. The special effects give you the hair-raising feel of being in a space craft, while the excellent cast (including the fiery Claire Foy as Armstrong’s wife) vividly portray the tension, fear, and hope of the astronauts, scientists, and families involved.
The movie arrives on 4K Ultra HD, Blu-ray and DVD on January 22 (and is already available on Digital HD). Bonus features include deleted scenes, Gosling’s tour of spacecraft, and a featurette on astronaut training.
This stirring coming-of-age drama tackles race and police brutality, but from the viewpoint of a teen girl (Amandla Stenberg) who bounces between her predominantly black neighborhood and her prestigious private school. When she witnesses a shooting, she must find her voice and stand up for what’s right.
The movie arrives on 4K Ultra HD, Blu-ray and DVD on January 22 (and is already available on Digital HD). Bonus features include extended scenes, audio commentary, and featurettes including “Starting a Conversation.”
’10 to Midnight’: A special collector’s edition of the underrated Charles Bronson thriller has a 4K remaster and bonus cast interviews.
‘4 Months, 3 Weeks and 2 Days’: Criterion’s edition of the Romanian New Wave classic has a 4K restoration and bonus features like deleted scenes.
‘Mikey and Nicky’: The Elaine May gangster movie that was lost to time has been restored with new features by the Criterion Collection.
‘Chicken Run’: The Aardman animated classic comes to Blu-ray for the first time.
‘Dirty Rotten Scoundrels’: The Frank Oz-directed con man comedy has a new 2K remaster and interview with screenwriter Dale Launer.
‘Waterworld’: This limited edition features a three-hour long documentary and the much ballyhooed extended European “Ulysses” cut.
NEW ON NETFLIX
‘Black Earth Rising’ (January 25)
This genocide drama, a co-production with BBC, stars John Goodman and Michaela Coel, whose lives are upended when an African militia leader is put on trial at the International Criminal Court.
‘Unbreakable Kimmy Schmidt’ Season 4B (January 25)
The eternally optimistic Kimmy has risen from the ashes (and underground captivity) to make a new life for herself. In these final seven episodes of the series, she’ll also try to change the world for the next generation.
‘Celebrity Big Brother’ Season 2 Premiere, CBS (January 21, 8 p.m.)
The all-“star” cast includes Olympian Ryan Lochte, actor Joey Lawrence, momager Dina Lohan, and former White House communications director Anthony Scaramucci.
‘The Magicians’ Season 4 Premiere, Syfy (January 23, 9 p.m.)
The main characters have new identities and their memories have been wiped, but how long can they live magic-free lives?
‘Broad City’ Season 5 Premiere, Comedy Central (January 24, 10 p.m.)
Abi and Ilana’s wacky adventures come to an end, hopefully with a a bang and a whimper.
‘Rent,’ Fox (January 27, 8 p.m.)
The Tony Award-winning musical gets a live production, starring Kiersey Clemons, Brandon Victor Dixon, Jordan Fisher, and Vanessa Hudgens.
