Ben Stiller & Christine Taylor Separate After 17 Years of Marriage

'Manus x Machina: Fashion In An Age Of Technology' Costume Institute GalaGuys, raise an orange mocha frappuccino to one of our favorite Hollywood couples, Ben Stiller and Christine Taylor, who just announced they are splitting up after almost exactly 17 years of marriage.

The couple shared a joint statement to Entertainment Tonight:

“With tremendous love and respect for each other, and the 18 years we spent together as a couple, we have made the decision to separate. Our priority will continue to be raising our children as devoted parents and the closest of friends. We kindly ask that the media respect our privacy at this time.”

Ben Stiller, 51, and Christine Taylor, 45, were married in May 2000 in Hawaii and have two children, Ella, 15, and Quinlin, 11.

They met in 1999 filming the TV pilot “Heat Vision and Jack,” and went on to appear in several movies and TV series together, including the two “Zoolander” movies, “Tropic Thunder,” “Arrested Development,” and “Dodgeball.”

According to TMZ, their last public outing as a couple was at a Broadway opening last month in New York.

Since they have yet to officially file for divorce, we can hope that this break just shows them they want to give it another try. It has happened before! Either way, best to the both of them.

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Review: ‘Pirates of the Caribbean: Dead Men Tell No Tales’ Stalls in Stagnant Waters

Pirates of the Caribbean: Dead Men Tell No Tales

As far as swashbuckling adventures on the high seas go, Pirates of the Caribbean: Dead Men Tell No Tales – what a mouthful – is running on stagnant tides. It’s amazing to think a film series based off of an amusement park ride would get to its fifth entry in the first place, a much wilder notion being that that fifth time out of the gate may actually offer up something new and inventive. That isn’t to be the case, though, and this latest outing featuring the eccentric Captain Jack Sparrow, still played by Johnny Depp and all of his crazy mannerisms, offers nothing special beyond the typical excitement to which we’ve been privy many times before. Dead Men Tell No Tales attempts to reenergize the Pirates franchise with fresh blood and a younger cast, but, without any creativity to back it up, it all ends up treading the same blockbuster waters. ›››

Continue reading Review: ‘Pirates of the Caribbean: Dead Men Tell No Tales’ Stalls in Stagnant Waters

Zac Efron Explains What It Tastes Like to Kiss The Rock

World Premiere of 'Baywatch'Can you smell how The Rock is kissing? Apparently it’s “awesome,” and has a specific kind of flavor.

“Baywatch” star Zac Efron was on “The Late Late Show With James Corden” last night, along with “Pirates of the Caribbean” star Orlando Bloom and “Silicon Valley” star Zach Woods. Efron and Dwayne “The Rock” Johnson lock lips underwater in “Baywatch,” and The Rock superfan James Corden demanded every single detail of their makeout session.

Corden told Efron he was “unbelievably envious,” asking, “What does The Rock taste like?” Efron didn’t really know how to answer, but he tried:

“To be completely honest, like, kissing a dude is weird at first, but he tasted kind of like a Winterfresh commercial. Or like cherry ChapStick. It was crazy. It was like, ‘What? He’s good at that, too? Jeez, man.’ He’s just the best at everything. It was an awesome kiss, and one off the bucket list for me, for sure.”

Corden couldn’t stop interrupting Efron, and eventually added his own wish: “I can safely say, I would give up everything in my life for one open-mouth kiss with The Rock.” Hmmm. His wife and kids may not appreciate that, but we all need goals.

Watch the clip:

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Robert Pattinson & Adam Sandler Have the Early Oscar Buzz After Cannes (Yes, Them)

'Good Time' Red Carpet Arrivals - The 70th Annual Cannes Film FestivalIt’s time to question everything, because two of the least expected actors are earning top buzz at the 2017 Cannes Film Festival.

Adam Sandler and Robert Pattinson have wowed fans and critics in their respective films. The former “Twilight” heartthrob has viewers raving over his leading role in the crime thriller “Good Time,” with Sandler earning awards buzz for the family comedy “The Meyerowitz Stories.”

According to USA Today, after Sandler’s film premiered Sunday night at Cannes, “it was met with rapturous reviews and a four-minute standing ovation,” with critics surprised to find themselves considering the comic for an Oscar. (Hey, he was pretty good in “Punch-Drunk Love,” too.)

In Celebration Of Cannes - 70 Years Of A Film FestivalHere are some early reactions to both actors having breakthrough moments at this point in their careers:

I can’t believe I’m living in a world where both Adam Sandler & Robert Pattinson could potentially be in the Best Actor conversation

— Matt Neglia (@NextBestPicture) May 25, 2017

What a time to be alive when the two biggest contenders for Cannes Best Actor are Adam Sandler and Robert Pattinson. #Cannes2017

— AFK Sinemada (@afksinemada) May 25, 2017

Feed about to go ballistic, because Robert Pattinson could easily win Best Actor here. He’s absolutely great in GOOD TIME

— Tim Robey (@trim_obey) May 25, 2017

Because it’s 2017 and everything is bonkers, good money for best actor at #Cannes2017 now on Adam Sandler or Robert Pattinson

— Deborah Cole (@doberah) May 25, 2017

Good Time : Robert Pattinson for best actor at #Cannes2017 there’s no competition.

— James Healey (@SwedishLincoln) May 25, 2017

@SwedishLincoln adam sandler maybe

— Natalia13586 (@NextStation92) May 25, 2017

@NextStation92 Adam Sandler was sooooooo good but I don’t think he’ll win. Be very happy if him or Pattinson win.

— James Healey (@SwedishLincoln) May 25, 2017

@SwedishLincoln I didn’t see their movies but I heard Adam and Robert were great. In your opinion, who should win?

— Natalia13586 (@NextStation92) May 25, 2017

@NextStation92 That’s such a tough call because they’re two totally different performances. Comedic performances are huge for me so I think I prefer Adam

— James Healey (@SwedishLincoln) May 25, 2017

@NextStation92 But I would say Robert is objectively better. But again, both are incredible.

— James Healey (@SwedishLincoln) May 25, 2017

The 2017 Cannes winners will be announced this weekend. And then we wait, to see if either actor will still be riding the buzz when the Oscars are awarded in early 2018.

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The ‘Spider-Man’ Poster Is ‘a New Level of Bad,’ So Fans ‘Fixed’ It

Underoos deserved a better poster than the one Marvel gave him, so “Spider-Man: Homecoming” fans stepped in to save the day — by pointing out everything wrong with it. Internet heroes in action!

We’re all excited to see Tom Holland‘s teen Peter Parker this July, and the “Homecoming” trailers have been fantastic. And then there’s that new poster. Some fans loved it, but many others mocked it as bad fan art, shredding it harder than any supervillain.

when you remember that you’re supposed to make the new spiderman poster and start it an hour before it’s due

— chris (@garflyf) May 24, 2017

The actual legit Spiderman Homecoming poster looks like a ripoff Bali DVD cover

— Jess Wheeler (@wheelswordsmith) May 25, 2017

I just singlehandedly saved the spiderman poster

— jodds (@MYOWNlMAGE) May 24, 2017

Hey Steve, which is the Spiderman poster file you want sent to print, is it SpideyFinal or SpideyRoughLayoutDONOTSEND.psd?

— HappyToast ★ (@IamHappyToast) May 24, 2017

i fixed the Spiderman poster

— WLFGRL (@NotUnclever) May 25, 2017

Like… look how much more life the Logan movie poster has VS the Spiderman one.

— Andrew ★ Stew-Art (@Viruul) May 24, 2017

can somebody tell me why the Spiderman: Homecoming poster looks fanmade

— Dorothy Lydia (@DorothyLydia_) May 24, 2017

In light of the garbage new spiderman poster let’s toss some appreciation to DC for their poster game

— Jared (@jaredsletterbox) May 24, 2017

why does the latest spiderman homecoming poster looks like the force awakens poster?

— alex (@poedamnrn) May 24, 2017

This is way too busy and why so much Iron Man on a Spiderman poster

— WonderWoman June 2nd (@BlckBolex) May 24, 2017

New official Spiderman movie poster… A concentrate of bad taste in only one picture :

— Tohad (@sylvainsarrailh) May 24, 2017

The latest spiderman poster aint that bad, I kinda did the same thing XD

— BossLogic (@Bosslogic) May 25, 2017

This is a Spiderman poster you would see in Deviantart but with that Devinartart logo at the middle.

— Cap☆ (@CaptainGalxy) May 24, 2017

Not a fan of photoshop movie posters & have been critical of the newer SW films posters but that Spiderman poster. That’s a new level of bad

— Andy Peachey (@Andy_peachey) May 24, 2017

Could they just get Drew Struzan to do the Spiderman Homecoming poster? If you’re gonna do floating heads, do it right.

— tenpoundpixel (@tenpoundpixel) May 24, 2017

New Spiderman poster is horrible.

— Josh (@fanartexhibit) May 24, 2017

Ok, ok. But it’s just a poster. The movie will still be amazing. Right?

“Spider-Man: Homecoming” opens July 7.

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Gal Gadot and Lynda Carter Look Amazing at the ‘Wonder Woman’ Premiere

Gal Gadot and Lynda CarterOriginal Wonder Woman Lynda Carter joined new Amazon warrior Gal Gadot at the “Wonder Woman” premiere at the Pantages Theatre in Hollywood on Thursday and both looked ah-ma-zing.

Carter (can you believe she’s now 65?!) played the superhero on TV from 1975-1979. She posted on Facebook before the premiere, saying, “So excited to be attending the premiere of the new ‘Wonder Woman’ movie, directed by my friend, Patty Jenkins, and starring the beautiful Gal Gadot. I can’t wait to see that beloved character on the big screen where she belongs. I know it will be great!”

After the movie, she gushed, “What a wonderful movie!! Gal Gadot is fabulous as Wonder Woman. Bravo Patty Jenkins. I had so much fun at the premiere. In theaters, June 2!!”

Carter told MSN, “Yes, I am the bearer of the torch and I’m passing it forward!” She added (for the benefit of any old-school fans who are dubious about the reboot), “I really want you all to embrace this. It’s just another way to look at Wonder Woman.”

Gal Gadot and Lynda Carter

That ‘Love Actually’ Sequel is Now Online!

If you live in the U.K., you already got a chance to see the follow-up to “Love Actually,” but if not, the 15-minute short is now online!

The sequel (of sorts) to the 2003 Christmas classic lets us know what all (or nearly all) of the characters have been up to.

Among the highlights: Laura Linney‘s character has finally found happiness — with McDreamy!

Thomas Brodie-Sangster (who played the boy who chases down his crush at the airport) is now 27!

Hugh Grant‘s Prime Minister is still dancing — and is forced to admit at a press conference that he fell down the stairs dancing to Drake’s “Hotline Bling.”

And yes, there’s more of Andrew Lincoln, Keira Knightley and those cue cards. And since we find out Lincoln’s lovelorn character married one of his dream girls, why he is still showing up at Keira’s door?

You can watch the entire video on the NBC site or on Facebook.

It was made to support Red Nose Day, an annual charity supporting children.

[Via Collider, USA Today]

Oscar Isaac: Carrie Fisher Slapped Me 27 Times in ‘The Last Jedi’

Oscar Isaac had a scene with Carrie Fisher in “Star Wars: The Last Jedi” he’ll never forget — because she slapped him 27 times!

Stopping by “The Late Show with Stephen Colbert” last night (which also happened to be the 40th anniversary of “Star Wars”), Isaac shared this anecdote.

“A large amount of the stuff I got to do was with Carrie, which was amazing,” Isaac told Colbert. “I remember the first day of shooting was a scene with Carrie … I remember it was a scene where I come up and talk with her, and she is very upset with me and slaps me. And Rian Johnson, the director, kept doing it over and over. I think it ended up being 27 takes of Carrie just leaning in [to slap me] and every time she did a different spot on my face.

He remembered the late icon, saying, “She was, by far, one of the quickest-witted, funniest, most down-to-earth, real human beings, I ever had the opportunity of working with. She does amazing work in this. It was definitely a heartbreaker [to lose her].”

He also recalled seeing his first “Star Wars” film at age 4: “Return of the Jedi” (although he’s unclear about what year it came out. It was 1983, Oscar!). The most memorable moment: When Darth Vader’s helmet is briefly off and we see that he’s just “an old, bald, fat dude.”

The actor also mentioned that he tried to keep his “Force Awakens” script after the film was finished, and that Disney lawyers finally had to ask for it back! Fortunately, after the film opened, he got a very fancy of the version of the script sent to him, “this leather-bound thing with my name on it.” Nice!

Full US Trailer for ‘The Hitman’s Bodyguard’ with Jackson & Reynolds

The Hitman's Bodyguard Trailer

“You won’t last one hour without me!” Lionsgate has debuted the second official US trailer for the summer comedy The Hitman’s Bodyguard, about the world’s best bodyguard assigned to protect a hitman who has been killing his clients all along. This wacky action comedy stars Ryan Reynolds as the world’s top bodyguard who is hired to protect a hit man who must testify at the International Court of Justice. Samuel L. Jackson plays the notorious hit man, and they must get over their differences in order to make it to the trial on time. Also starring Gary Oldman, Salma Hayek, Elodie Yung, Joaquim de Almeida, and Sam Hazeldine. This full trailer finally spends time setting up the story and features lots of new footage that we haven’t seen at all yet, and it still looks hilarious. Tons of action packed into this preview and I’m in. ›››

Continue reading Full US Trailer for ‘The Hitman’s Bodyguard’ with Jackson & Reynolds

Director David Michôd on Why Netflix’s ‘War Machine’ Could Never Be Made at a Studio

Brad PittThe best movie being released this week (and indeed one of the best movies released so far this year) isn’t coming to your local multiplex. It’s Netflix’s “War Machine,” directed by Australian auteur David Michôd and starring Brad Pitt, one of the biggest movie stars in the world. It’s an abrasive, pitch-black comedy set during America’s conflict in Afghanistan and might be the most wicked, funniest, and wackiest wartime satire since Stanley Kubrick‘s “Dr. Strangelove.” (Yes, it’s really that good.)

“War Machine” is based on Michael Hastings’s posthumously published nonfiction book “The Operators,” which itself was based on Hastings’s own Rolling Stone report on the bumbling (and, because of the article, ultimately disgraced) General McChrystal. In Pitt’s hands though, McChrystal, now General Glen McMahon, becomes something heightened and larger-than-life. It would be easy to call his performance (and the rest of the movie) surreal if it didn’t feel so utterly realistic. It’s the war that is perverse and weird not this movie, necessarily. And the movie, which fluctuates between maddeningly complex and broadly goofy, is a high-wire act that pulls off its death-defying feat marvelously. It’s hilarious, odd and moving. You have to stream it.

I got a chance to speak with Michôd about translating actual events for cinematic comedy, whether or not he could have actually made the movie at a traditional studio, and where he got the idea for the last-minute cameo from Russell Crowe.

Moviefone: When did you make the decision to eschew a direct adaptation of the material?

David Michôd: Michael Hastings’s book came to me at an unusual and serendipitous moment. I had already been thinking for quite a while about making a film set in or near Iraq or Afghanistan. And had concentrated most of my thinking on a movie about the brutality of battle. So when Michael’s book came to me, I instantly saw a much bigger and weirder movie. I suddenly realized there was a movie there to be made about the entire machine and focusing principally on that strange detachment of the executive level of the military and the brutality of that battlefield.

And, at some point, in the process of outlining the movie, I realized that what I wanted to do was not just make a movie about the insanity of war but I wanted to make the movie feel insane. I wanted to create a kind of sharp and pronounced tonal schism between that upper executive level and the boots on the ground in order to make that distinction more pronounced. And from there it became quite simple, to play the generals like a screwball delusional comedy and play the boots on the ground for real.

What’s so fascinating about this story is the scope of this movie is so huge, but then it’ll focus on the general and his wife on a date or the soldiers on patrol. Was that part of the approach, too, opening it up and shrinking it down?

I think so. You know, one of the things that allowed me to go from looking for a movie set in a modern war theater to finding it in Michael’s book was finding the human affirms of it. Because I can think endlessly about the cinematic execution of war — the dirt and the dust and the blood and the chaos — but it’s not until you find your very specific human way into the story that an actual movie presents itself. So that was definitely what I found when I read Michael’s book and see these characters and I saw something that was really quite large but in a way it grew out of those very specific intimate moments that you describe.

Can you talk about developing the character with Brad? I saw that he cited Kiefer Sutherland’s character from “Monsters vs. Aliens” as inspiration.

[Laughs] Yeah. When we made the decision to let this thing play as tonally schizophrenic and to play that upper executive level of the military as screwball comedy, to let the schism be felt in a really pronounced way was to let Brad off the leash. And, in answer to the question How big are we going here? the answer was, I don’t know, how big have you got? So long as it’s rooted in something true, in vanity and ambition and hubris. Our aim was to play that character as if he were a World War II anachronism walking around in 21st Century military fatigues.

In terms of inspiration, did you look at any of those classic screwball comedies?

It’s interesting, I tend not to let myself get bogged down in other films. I’m never unaware of the fact that to make any movie is to build on what’s come before. So long as I’ve watched my movies and studied my cinema in my life, I feel like it would be counter to the larger mission to run the risk of making a facsimile of something that had come before. The great aspiration is to make something that feels unusual. The most glorious cinema experiences that I’ve had are the ones that leave me feeling like I’ve seen something that I’ve never seen before. Whether or not I’ve succeeded in that endeavor on this one remains to be seen, but it is always the aspiration.

Can you talk about working with Netflix? I read that their only real requirement was shooting digitally so they could have a 4K video file.

My experience was the same. The only stipulation I got during the whole process was, You can’t shoot on film, you have to shoot 4K. And I get it. One of the things I like about Netflix is their grand ambition. They’re future proofing. They’re making films that will live on their platform forever. I like their chutzpah.

Do you think you could have gotten away with this movie in a typical studio setting?

No. We liked the idea of going to Netflix and dropping a rock in the pond, so to speak. We could sniff from the outset that this movie was just going to freak the traditional studios out. It’s complex and it’s politically complicated and it’s tonally mental. And it couldn’t be made cheaply. So we just knew straight away that we could hump our asses around town to the usual places or we could just jump into bed with the new kids in town and go crazy.

This movie looks expensive. It’s one of the rare comedies that isn’t totally over-lit and blown out.

This was, in some ways, the most visually challenging movie I’ve made in some ways. Given its tonal schizophrenia, I had to work out which of its two tones would determine its look. So I guess where it landed was I wanted to shoot it elegantly and in a muscular way, to not let it have a look. We never pushed the look too hard. Working with Darius [Wolski, cinematographer] was great. I shot my first two films on film and this was my first proper digital experience, which allowed me to shoot with multiple cameras, which I loved. And one of Darius’s great skills is he can light a room in the morning to shoot in all directions without too much fussing and tweaking in between set-ups. You can have three cameras in a dinner scene and pretty much stick them anywhere without having to make too many adjustments to light.

Can you talk a little bit about getting Russell Crowe for that cameo at the very end?

You know, I changed the names of the characters from the ones in the book because I didn’t want the movie to feel like it was about one guy in particular, one real-life individual. To me, the movie was about a much larger machine and a system that just keeps turning despite its failure. So it was very important to me that you get a sense that the events of this movie weren’t some strange aberration, that you were watching a kind of endless conga line of fevered egos following each other into the abyss. So I needed whoever that last person was to carry the chaos of what’s to come in an instantly recognizable 15 seconds.

So you said, “Crowe. Bring him in”?


War Machine” is available to stream on Netflix today.