“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.
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. ›››
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.
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.)
Here 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
Original 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.”
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?
“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!
“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. ›››
The 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.