A new documentary from Hulu seeks to capture the legacy of the Los Angeles Lakers.
The streamer today dropped the first teaser trailer for Legacy: The True Story of the LA Lakers, from director and executive producer Antoine Fuqua. This teaser offers insight from Shaquille O’Neal, Kareem Abdul-Jabbar, Magic Johnson, Rob Lowe, and others about the rise of the Lakers. No premiere date has been set.
The ten-part docuseries is executive produced by Lakers CEO and controlling owner, Jeanie Buss. It was in development well before the March premiere of HBO’s Winning Time: The Rise of the Lakers Dynasty, which has taken hits for, among other things, depicting Jerry West as a foul-mouthed and moody man. In a column, Kareem Abdul-Jabbar wrote “Jerry Buss is egomaniac entrepreneur, Jerry West is crazed coach, Magic Johnson is sexual simpleton, I’m pompous prick. They are caricatures, not characters.”
Here is the...
The streamer today dropped the first teaser trailer for Legacy: The True Story of the LA Lakers, from director and executive producer Antoine Fuqua. This teaser offers insight from Shaquille O’Neal, Kareem Abdul-Jabbar, Magic Johnson, Rob Lowe, and others about the rise of the Lakers. No premiere date has been set.
The ten-part docuseries is executive produced by Lakers CEO and controlling owner, Jeanie Buss. It was in development well before the March premiere of HBO’s Winning Time: The Rise of the Lakers Dynasty, which has taken hits for, among other things, depicting Jerry West as a foul-mouthed and moody man. In a column, Kareem Abdul-Jabbar wrote “Jerry Buss is egomaniac entrepreneur, Jerry West is crazed coach, Magic Johnson is sexual simpleton, I’m pompous prick. They are caricatures, not characters.”
Here is the...
- 6/21/2022
- by Lynette Rice
- Deadline Film + TV
Magic Johnson, Shaquille O’Neal and Kareem Abdul Jabbar are sharing their stories of being part of the Lakers dynasty in the new teaser for Hulu’s “Legacy: The True Story of the LA Lakers,” which dropped Monday.
Hailing from director and executive producer Antoine Fuqua, the new series aims to capture the rise and success of one of the most dominant and iconic franchises in professional sports by featuring exclusive access to the Buss family and revealing interviews with players, coaches and front office executives.
When charismatic real estate tycoon Dr. Jerry Buss purchased the Lakes in a risky and complex business deal, he faced a legion of doubters. But Buss pioneered the business of basketball by kicking off the “Showtime” era in 1979. He raised the price of floor seats, introduced dancers and a live band, opened an exclusive private club inside the arena and cultivated famous fans in Hollywood.
Hailing from director and executive producer Antoine Fuqua, the new series aims to capture the rise and success of one of the most dominant and iconic franchises in professional sports by featuring exclusive access to the Buss family and revealing interviews with players, coaches and front office executives.
When charismatic real estate tycoon Dr. Jerry Buss purchased the Lakes in a risky and complex business deal, he faced a legion of doubters. But Buss pioneered the business of basketball by kicking off the “Showtime” era in 1979. He raised the price of floor seats, introduced dancers and a live band, opened an exclusive private club inside the arena and cultivated famous fans in Hollywood.
- 6/21/2022
- by Brandon Katz
- The Wrap
Nine-episode series chronicles the last four decades of the NBA franchise
Hulu has picked up a nine-episode docuseries about the Los Angeles Lakers from Lakers CEO and controlling owner Jeanie Buss and director Antoine Fuqua, the streamer announced Monday.
The project, which will feature interviews with dozens of current and former players and coaches, will detail the last four decades of the NBA franchise, beginning with Jerry Buss’ acquisition of the team in 1979. Per Hulu, the docuseries will “offer a fresh and revealing look inside the legendary ‘Showtime’ era that saw the team win five NBA titles and turned the Forum into Hollywood’s hottest ticket throughout the 1980s,” in addition to covering the “high-stakes drama off the court and incredible successes of the Kobe Bryant and Shaquille O’Neal-led championship teams, as well as the cultural impact of the Lakers franchise and rebirth of the team, culminating with the...
Hulu has picked up a nine-episode docuseries about the Los Angeles Lakers from Lakers CEO and controlling owner Jeanie Buss and director Antoine Fuqua, the streamer announced Monday.
The project, which will feature interviews with dozens of current and former players and coaches, will detail the last four decades of the NBA franchise, beginning with Jerry Buss’ acquisition of the team in 1979. Per Hulu, the docuseries will “offer a fresh and revealing look inside the legendary ‘Showtime’ era that saw the team win five NBA titles and turned the Forum into Hollywood’s hottest ticket throughout the 1980s,” in addition to covering the “high-stakes drama off the court and incredible successes of the Kobe Bryant and Shaquille O’Neal-led championship teams, as well as the cultural impact of the Lakers franchise and rebirth of the team, culminating with the...
- 5/10/2021
- by Reid Nakamura
- The Wrap
Hulu has ordered a nine-part docuseries chronicling the history of the storied Los Angeles Lakers franchise. The project, which joins the Hulu Originals lineup, comes from Lakers’ CEO and controlling owner Jeanie Buss; Emmy-winning director Antoine Fuqua, in association with Fuqua Films; Haven Entertainment; and Los Angeles Media Fund.
The series details the past four decades of the Lakers and featured interviews from more than 35 people within the organization, including the Buss family; legendary coaches Pat Riley and Phil Jackson; and NBA Hall of Famers Magic Johnson, Shaquille O’Neal and team captain Kareem Abdul-Jabbar, among numerous other current and former players. Also featured are interviews with a range of high-profile fans and a trove of archival footage featuring never-before-seen interviews with the Lakers’ late owner, Jerry Buss.
Buss and Fuqua will executive produce the series alongside Haven Entertainment’s Kevin Mann, Michael Mann and Brendan Bragg; Los Angeles Media Fund...
The series details the past four decades of the Lakers and featured interviews from more than 35 people within the organization, including the Buss family; legendary coaches Pat Riley and Phil Jackson; and NBA Hall of Famers Magic Johnson, Shaquille O’Neal and team captain Kareem Abdul-Jabbar, among numerous other current and former players. Also featured are interviews with a range of high-profile fans and a trove of archival footage featuring never-before-seen interviews with the Lakers’ late owner, Jerry Buss.
Buss and Fuqua will executive produce the series alongside Haven Entertainment’s Kevin Mann, Michael Mann and Brendan Bragg; Los Angeles Media Fund...
- 5/10/2021
- by Denise Petski
- Deadline Film + TV
Hulu has landed an upcoming nine-part original docuseries chronicling the history of the Los Angeles Lakers.
The series, which will debut in 2022, will follow the last four decades of the Lakers franchise and feature interviews with legendary players and coaches including Magic Johnson, Shaquille O’Neal, Kareem Abdul-Jabbar, Phil Jackson and Pat Riley. It will also feature archival footage and never-before-seen interviews with the late Lakers owner, Jerry Buss.
Starting from Jerry Buss’ acquisition of the Lakers in 1979, the docuseries will chronicle the team’s championship-winning “Showtime” era, the incredible successes of Kobe Bryant and O’Neal and the rebirth of the team, now led by LeBron James and Anthony Davis.
The project is from Lakers CEO and controlling owner Jeanie Buss, director Antoine Fuqua with Fuqua Films, Haven Entertainment and Los Angeles Media Fund. Buss and Fuqua executive produce alongside Kevin Mann, Michael Mann, Brendan Bragg, Jeffrey Soros, Simon Horsman,...
The series, which will debut in 2022, will follow the last four decades of the Lakers franchise and feature interviews with legendary players and coaches including Magic Johnson, Shaquille O’Neal, Kareem Abdul-Jabbar, Phil Jackson and Pat Riley. It will also feature archival footage and never-before-seen interviews with the late Lakers owner, Jerry Buss.
Starting from Jerry Buss’ acquisition of the Lakers in 1979, the docuseries will chronicle the team’s championship-winning “Showtime” era, the incredible successes of Kobe Bryant and O’Neal and the rebirth of the team, now led by LeBron James and Anthony Davis.
The project is from Lakers CEO and controlling owner Jeanie Buss, director Antoine Fuqua with Fuqua Films, Haven Entertainment and Los Angeles Media Fund. Buss and Fuqua executive produce alongside Kevin Mann, Michael Mann, Brendan Bragg, Jeffrey Soros, Simon Horsman,...
- 5/10/2021
- by Haley Bosselman and Ethan Shanfeld
- Variety Film + TV
Michele Farinola is no stranger to producing music documentaries: Her credits include “Foo Fighters: Back And Forth,” “George Harrison: Living In The Material World,” and most recently, “Linda Ronstadt: The Sound Of My Voice,” which is up for best music film at the Grammy Awards Sunday night.
Farinola says she’s drawn to telling stories of legendary performers whose stories connect to today and to the audience’s own experiences. With Ronstadt, she felt this story of a woman who stayed true to herself as she made a name for herself in the ’60s was a story that could resonate with audiences. Together with producing partner James Keach, and directors Rob Epstein and Jeffrey Friedman, Farinola made the documentary in conjunction with CNN Films.
Beyond its Grammy nomination, the film was nominated for three Critics Choice awards in 2019, and ultimately picked up two wins there, for Most Compelling Living Subject...
Farinola says she’s drawn to telling stories of legendary performers whose stories connect to today and to the audience’s own experiences. With Ronstadt, she felt this story of a woman who stayed true to herself as she made a name for herself in the ’60s was a story that could resonate with audiences. Together with producing partner James Keach, and directors Rob Epstein and Jeffrey Friedman, Farinola made the documentary in conjunction with CNN Films.
Beyond its Grammy nomination, the film was nominated for three Critics Choice awards in 2019, and ultimately picked up two wins there, for Most Compelling Living Subject...
- 3/14/2021
- by Jazz Tangcay
- Variety Film + TV
“Parasite” and “Jojo Rabbit” have won the top feature film trophies at the 70th Annual Ace Eddie Awards at the Beverly Hilton Hotel.
Jinmo Yang won the dramatic feature category for “Parasite” over “Ford v Ferrari,” “Joker,” “The Irishman,” and “Marriage Story.” The victory marks the first time in Ace Eddie Awards history that a foreign language film has won the top prize.
Tom Eagles took the trophy for best edited comedy feature film for “Jojo Rabbit,” which won over “Dolemite Is My Name,” “The Farewell,” “Knives Out” and “Once Upon a Time in Hollywood.”
“Jojo Rabbit” and “Parasite” are nominated for the Academy Award for Best Editing along with “Ford v Ferrari,” “Joker” and “The Irishman.”
Ace President Stephen Rivkin presided over the evening’s festivities with actress D’Arcy Carden, star of NBC’s “The Good Place,” serving as the evening’s host.
“Toy Story 4” (edited by Axel Geddes...
Jinmo Yang won the dramatic feature category for “Parasite” over “Ford v Ferrari,” “Joker,” “The Irishman,” and “Marriage Story.” The victory marks the first time in Ace Eddie Awards history that a foreign language film has won the top prize.
Tom Eagles took the trophy for best edited comedy feature film for “Jojo Rabbit,” which won over “Dolemite Is My Name,” “The Farewell,” “Knives Out” and “Once Upon a Time in Hollywood.”
“Jojo Rabbit” and “Parasite” are nominated for the Academy Award for Best Editing along with “Ford v Ferrari,” “Joker” and “The Irishman.”
Ace President Stephen Rivkin presided over the evening’s festivities with actress D’Arcy Carden, star of NBC’s “The Good Place,” serving as the evening’s host.
“Toy Story 4” (edited by Axel Geddes...
- 1/18/2020
- by Dave McNary and Jazz Tangcay
- Variety Film + TV
“Parasite” and “Jojo Rabbit” have won the top feature-film awards at the American Cinema Editors’ 70th Annual Ace Eddie Awards, which were handed out on Friday night in Beverly Hills.
Both winners are nominated for the film-editing Oscar, along with “Ford v Ferrari,” “The Irishman” and “Joker.” Although those three films are more typical editing winners, “Parasite” beat them all in the Best Edited Feature Film (Drama) category, while “Jojo Rabbit” topped “Once Upon a Time … in Hollywood” for Best Edited Feature Film (Comedy).
The win for “Parasite” was only the second Ace Eddie win in history for a non-English film. In 2007, “Babel” tied with “The Departed” for the award.
Also Read: Antonio Banderas Believes the Oscars Are Finally 'Becoming a Worldwide Award'
Over the last 10 years, six of the Ace Eddie winners for dramatic film have gone on to win the Oscar for Best Film Editing, but only two have won Best Picture.
Both winners are nominated for the film-editing Oscar, along with “Ford v Ferrari,” “The Irishman” and “Joker.” Although those three films are more typical editing winners, “Parasite” beat them all in the Best Edited Feature Film (Drama) category, while “Jojo Rabbit” topped “Once Upon a Time … in Hollywood” for Best Edited Feature Film (Comedy).
The win for “Parasite” was only the second Ace Eddie win in history for a non-English film. In 2007, “Babel” tied with “The Departed” for the award.
Also Read: Antonio Banderas Believes the Oscars Are Finally 'Becoming a Worldwide Award'
Over the last 10 years, six of the Ace Eddie winners for dramatic film have gone on to win the Oscar for Best Film Editing, but only two have won Best Picture.
- 1/18/2020
- by Steve Pond
- The Wrap
The winners for the 2020 American Cinema Editors Awards were announced Friday, January 17 at the Beverly Hilton Hotel in Los Angeles. These are the 70th annual edition of the Ace Eddie Awards, which honor the best in feature film and television editing for the 2019 calendar year. Four Oscar nominees for Best Film Editing contend for the guild’s drama prize with the fifth recognized over on the comedy side (“Jojo Rabbit”). Scroll down to see the complete list of Ace Eddie winners, which are marked in gold.
SEE2020 Ace Eddie Awards preview: Which Oscar nominee for Best Film Editing will win here first?
The Eddies have an excellent track record for predicting the ultimate Oscar winner for Best Film Editing, with 22 of the last 29 matching up including last year’s champion “Bohemian Rhapsody.” In addition, since the guild split their top award into two prizes in 2000, eight of their 20 winners went...
SEE2020 Ace Eddie Awards preview: Which Oscar nominee for Best Film Editing will win here first?
The Eddies have an excellent track record for predicting the ultimate Oscar winner for Best Film Editing, with 22 of the last 29 matching up including last year’s champion “Bohemian Rhapsody.” In addition, since the guild split their top award into two prizes in 2000, eight of their 20 winners went...
- 1/18/2020
- by Marcus James Dixon
- Gold Derby
The influential Ace Eddie Awards nominees for editing include the prestige dramas “Ford v Ferrari, ” “The Irishman,” “Joker,” “Marriage Story,” and “Parasite,” Left out was Sam Mendes’ late-breaking bold, single-cut “1917” from Oscar-winner Lee Smith (“Dunkirk”), which does not bode well for an Academy Award nomination. Best Picture contender “Once Upon a Time in Hollywood” made the cut as a comedy nominee along with “Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” and “Knives Out.”
This makes for a competitive Oscar race, with three-time Academy Award-winner Thelma Schoonmaker as the frontrunner for “The Irishman,” Martin Scorsese’s deeply personal, character-driven, non-linear ode to mob life, complicated by Ilm’s experimental VFX de-aging of Robert De Niro, Al Pacino, and Joe Pesci. “Once Upon a Time in Hollywood,” Quentin Tarantino’s complex love letter to Tinseltown, should earn a nomination for Fred Raskin; Todd Phillips’ bending of reality and fantasy around...
This makes for a competitive Oscar race, with three-time Academy Award-winner Thelma Schoonmaker as the frontrunner for “The Irishman,” Martin Scorsese’s deeply personal, character-driven, non-linear ode to mob life, complicated by Ilm’s experimental VFX de-aging of Robert De Niro, Al Pacino, and Joe Pesci. “Once Upon a Time in Hollywood,” Quentin Tarantino’s complex love letter to Tinseltown, should earn a nomination for Fred Raskin; Todd Phillips’ bending of reality and fantasy around...
- 12/11/2019
- by Bill Desowitz and Libby Hill
- Indiewire
The American Cinema Editors nominations for the Eddie Awards announced on Wednesday (December 11) include our Oscar frontrunner for Best Film Editing, “The Irishman,” along with three of the other four films we’re predicting to reap bids in that race: “Ford v Ferrari,” “Once Upon a Time in Hollywood” and “Parasite.” While the WWI epic “1917,” which is made to look like one continuous shot, was snubbed by the guild we expect it to be the fifth Academy Awards contender.
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. “Ford v Ferrari,” “The Irishman” and “Parasite” contend here in the drama race, which is rounded out by “Joker” and “Marriage Story.” Facing off against “Once Upon a Time in Hollywood” on the comedy side are “Dolemite is My Name,” “The Farewell,” “Jojo Rabbit” and “Knives Out.”
In 1992, the Eddies went from three to five nominees...
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. “Ford v Ferrari,” “The Irishman” and “Parasite” contend here in the drama race, which is rounded out by “Joker” and “Marriage Story.” Facing off against “Once Upon a Time in Hollywood” on the comedy side are “Dolemite is My Name,” “The Farewell,” “Jojo Rabbit” and “Knives Out.”
In 1992, the Eddies went from three to five nominees...
- 12/11/2019
- by Paul Sheehan
- Gold Derby
The American Cinema Editors has nominated “Ford v Ferrari,” “Joker,” “The Irishman,” “Marriage Story” and “Parasite” for its Ace Eddie top feature film drama award.
“Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” “Knives Out” and “Once Upon a Time in Hollywood” received nominations in the feature comedy category. Nominated animated films include “Frozen 2,” “I Lost My Body” and “Toy Story 4.”
For the first time in Ace’s 70-year history, three foreign language films are among the nominees — “The Farewell,” which is partly in Mandarin, French animated film “I Lost My Body” and Korean-language “Parasite.”
On the television side, the spy thriller “Killing Eve” scored Ace nominations for Dan Crinnion for the “Desperate Times” episode and the “Smell Ya Later” episode for Al Morrow.
Winners will be revealed during Ace’s annual black-tie awards ceremony on Jan. 17 at the Beverly Hilton Hotel and will be presided over by Ace president Stephen Rivkin.
“Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” “Knives Out” and “Once Upon a Time in Hollywood” received nominations in the feature comedy category. Nominated animated films include “Frozen 2,” “I Lost My Body” and “Toy Story 4.”
For the first time in Ace’s 70-year history, three foreign language films are among the nominees — “The Farewell,” which is partly in Mandarin, French animated film “I Lost My Body” and Korean-language “Parasite.”
On the television side, the spy thriller “Killing Eve” scored Ace nominations for Dan Crinnion for the “Desperate Times” episode and the “Smell Ya Later” episode for Al Morrow.
Winners will be revealed during Ace’s annual black-tie awards ceremony on Jan. 17 at the Beverly Hilton Hotel and will be presided over by Ace president Stephen Rivkin.
- 12/11/2019
- by Dave McNary
- Variety Film + TV
American Cinema Editors has spliced together its nominations for the 70th annual Ace Eddie Awards, which recognize outstanding editing in 11 categories of film, television and documentaries. The honorary society will dole out its hardware during the January 17 ceremony at the Beverly Hilton.
Final balloting opens December 16 and closes January 6. Check out the list below.
For the first time, three foreign-language films are among the Eddie Awards nominees — The Farewell, I Lost My Body and Parasite — despite there not being a specific category for films predominantly in a foreign language.
Last year’s big winner on the feature side was Bohemian Rhapsody, which went on to score the Oscar for John Ottman.
Here are the nominees for the 70th annual Ace Eddie Awards:
Best Edited Feature Film (Drama)
Ford v Ferrari
Michael McCusker, Ace & Andrew Buckland
The Irishman
Thelma Schoonmaker, Ace
Joker
Jeff Groth
Marriage Story
Jennifer Lame, Ace
Parasite
Jinmo Yang...
Final balloting opens December 16 and closes January 6. Check out the list below.
For the first time, three foreign-language films are among the Eddie Awards nominees — The Farewell, I Lost My Body and Parasite — despite there not being a specific category for films predominantly in a foreign language.
Last year’s big winner on the feature side was Bohemian Rhapsody, which went on to score the Oscar for John Ottman.
Here are the nominees for the 70th annual Ace Eddie Awards:
Best Edited Feature Film (Drama)
Ford v Ferrari
Michael McCusker, Ace & Andrew Buckland
The Irishman
Thelma Schoonmaker, Ace
Joker
Jeff Groth
Marriage Story
Jennifer Lame, Ace
Parasite
Jinmo Yang...
- 12/11/2019
- by Erik Pedersen
- Deadline Film + TV
“Ford v Ferrari,” “The Irishman,” “Joker,” “Marriage Story” and “Parasite” have been nominated in the dramatic-film category at the American Cinema Editors’ Ace Eddie Awards, which honor the best in film editing.
In the comedy category, the nominees were “Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” “Knives Out” and “Once Upon a Time … in Hollywood.”
The most notable omission was “1917,” which contains dozens of cuts but was designed to look as if it was filmed in one continuous, unbroken shot.
Also Read: Golden Globes 2020: The Complete List of Nominees
In recent years, more than 90 percent of the Oscar nominees in the Best Film Editing category have first been recognized by the American Cinema Editors. The majority of Oscar nominees have come from the Ace Eddie dramatic category – though for the last two years, the Academy has taken three nominees from the Ace Eddies’ comedy category and only two from the drama category.
In the comedy category, the nominees were “Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” “Knives Out” and “Once Upon a Time … in Hollywood.”
The most notable omission was “1917,” which contains dozens of cuts but was designed to look as if it was filmed in one continuous, unbroken shot.
Also Read: Golden Globes 2020: The Complete List of Nominees
In recent years, more than 90 percent of the Oscar nominees in the Best Film Editing category have first been recognized by the American Cinema Editors. The majority of Oscar nominees have come from the Ace Eddie dramatic category – though for the last two years, the Academy has taken three nominees from the Ace Eddies’ comedy category and only two from the drama category.
- 12/11/2019
- by Steve Pond
- The Wrap
Awards ceremony takes place in Los Angeles on January 17, 2020.
Parasite, The Farewell and I Lost My Body have earned nominations from the America Cinema Editors (Ace), marking the first time three foreign-language films have garnered nods in the group’s 70-year history.
Bong Joon Ho’s South Korean dark comedy Parasite is nominated in the best edited feature film (drama) category, while Us-Chinese The Farewell is in best edited feature film (comedy), and France’s I Lost My Body is in best edited animated feature film.
The Ace awards ceremony will take place in Los Angeles on January 17, 2020. Final ballots...
Parasite, The Farewell and I Lost My Body have earned nominations from the America Cinema Editors (Ace), marking the first time three foreign-language films have garnered nods in the group’s 70-year history.
Bong Joon Ho’s South Korean dark comedy Parasite is nominated in the best edited feature film (drama) category, while Us-Chinese The Farewell is in best edited feature film (comedy), and France’s I Lost My Body is in best edited animated feature film.
The Ace awards ceremony will take place in Los Angeles on January 17, 2020. Final ballots...
- 12/11/2019
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
There have been countless Muhammad Ali documentaries, and many of them are acclaimed tributes to one of the most remarkable Americans of the modern age. “When We Were Kings,” an invigorating examination of Ali’s 1974 “Rumble in the Jungle” fight against George Foreman, won the Academy Award for Best Documentary in 1996. Filmmaker Clare Lewin’s 2014’s “I Am Ali” was nominated for a NAACP Image Award for Outstanding Documentary.
But HBO’s “What’s My Name: Muhammad Ali” is the first documentary told by a fellow professional athlete and cultural icon. LeBron James is an executive producer and, much like his subject, he’s an easy argument for the greatest to ever play his sport, as well as a philanthropist and an activist. James is also 34, around the same age Ali was when he started talking about retiring from boxing, although he didn’t officially step out of the ring...
But HBO’s “What’s My Name: Muhammad Ali” is the first documentary told by a fellow professional athlete and cultural icon. LeBron James is an executive producer and, much like his subject, he’s an easy argument for the greatest to ever play his sport, as well as a philanthropist and an activist. James is also 34, around the same age Ali was when he started talking about retiring from boxing, although he didn’t officially step out of the ring...
- 4/29/2019
- by Ann Donahue
- Indiewire
Muhammad Ali’s bark was as formidable as his bite, and “What’s My Name: Muhammad Ali” pays tribute to both, allowing the three-time heavyweight champ to narrate his own story via a combination of audio and video archival material. Directed by Antoine Fuqua, this 165-minute documentary uses copious interview soundbites to highlight the pugilist’s unparalleled gift of gab — and, consequently, the way it served as his means of defiant self-definition. Debuting on HBO in two parts (after premiering at this year’s Tribeca Film Festival), it’s a celebration that, if not quite definitive, proves a stirring work of nonfiction assembly.
Comprised of old photos and film, TV, and radio clips, Fuqua’s project (executive-produced by LeBron James) does its best to approximate an autobiographical authorship, allowing “the greatest” to be his own storyteller. That approach, along with a narrative focus that remains almost exclusively on his public...
Comprised of old photos and film, TV, and radio clips, Fuqua’s project (executive-produced by LeBron James) does its best to approximate an autobiographical authorship, allowing “the greatest” to be his own storyteller. That approach, along with a narrative focus that remains almost exclusively on his public...
- 4/29/2019
- by Nick Schager
- Variety Film + TV
We tend to look for patterns, trends and whatnot with our annual predictions. In Dito Montiel’s case, it would appear that he shows up at the fest with odd numbered films in his filmography. Sundance embraced the filmmaker-musician-author with open arms back on 2006 with the double Sundance winner totally engrossing dramatic book to film translation of A Guide to Recognizing Your Saints. His third film, The Son of No One (which is sandwiched by Fighting (’09) and 2013′s Empire State) received the closing night honors of the fest back in 2011. For Boulevard (film number five), Montiel reteams with his longtime editor Jake Pushinsky and landed Park Chan-wook’s cinematographer Chung-hoon Chung. Shot in Nashville, Robin Williams toplines the drama which wrapped in mid July. Feast your eyes on our exclusive first look below.
Gist: Written by Douglas Soesbe, Nolan Mark (Robin Williams) is a devoted husband in a marriage of...
Gist: Written by Douglas Soesbe, Nolan Mark (Robin Williams) is a devoted husband in a marriage of...
- 11/18/2013
- by Eric Lavallee
- IONCINEMA.com
DVD Playhouse—March 2012
By Allen Gardner
J. Edgar (Warner Bros.) Director Clint Eastwood provides a rock-solid, albeit rather flat portrait of polarizing FBI Director J. Edgar Hoover, covering his life from late teens to his death. Leonardo DiCaprio does an impressive turn as Hoover, never crossing the line into caricature, and creating a Hoover that is all too human, making for an all the more unsettling look at absolute power run amuck. Where the film stumbles is the love story at its core: Hoover’s relationship with longtime aide Clyde Tolson (Armie Hammer). In the hands of an openly-gay director like Gus Van Sant, this could have been a heartbreaking, tender story of forbidden (unrequited?) love, but Eastwood seems to tiptoe around their romance, with far too much delicacy and deference. The film works well when recreating the famous crimes and investigations which Hoover made his name on (the Lindbergh kidnapping,...
By Allen Gardner
J. Edgar (Warner Bros.) Director Clint Eastwood provides a rock-solid, albeit rather flat portrait of polarizing FBI Director J. Edgar Hoover, covering his life from late teens to his death. Leonardo DiCaprio does an impressive turn as Hoover, never crossing the line into caricature, and creating a Hoover that is all too human, making for an all the more unsettling look at absolute power run amuck. Where the film stumbles is the love story at its core: Hoover’s relationship with longtime aide Clyde Tolson (Armie Hammer). In the hands of an openly-gay director like Gus Van Sant, this could have been a heartbreaking, tender story of forbidden (unrequited?) love, but Eastwood seems to tiptoe around their romance, with far too much delicacy and deference. The film works well when recreating the famous crimes and investigations which Hoover made his name on (the Lindbergh kidnapping,...
- 3/7/2012
- by The Hollywood Interview.com
- The Hollywood Interview
Chicago – With the right role and the right director, Channing Tatum manages to convince me that he is in fact a decent actor. He’s delivered enough solid work to illustrate that he’s more than just empty eye candy (in other words, he’s no Taylor Lautner). So why does Tatum continue to forge collaborations with Dito Montiel, a director who has a knack for making him look like an amateur?
There’s nothing remotely compelling or magnetic about Tatum’s work in “The Son of No One,” a star-studded dud that marks the third directorial effort of Montiel. After his hyper-stylized debut effort, “A Guide to Recognizing Your Saints,” and forgettable sports drama, “Fighting,” Montiel has hit a new low with this dull and predictable crime drama. The level of misused talent in the ensemble is as staggering as it is depressing.
DVD Rating: 1.5/5.0
Corrupt cops are a...
There’s nothing remotely compelling or magnetic about Tatum’s work in “The Son of No One,” a star-studded dud that marks the third directorial effort of Montiel. After his hyper-stylized debut effort, “A Guide to Recognizing Your Saints,” and forgettable sports drama, “Fighting,” Montiel has hit a new low with this dull and predictable crime drama. The level of misused talent in the ensemble is as staggering as it is depressing.
DVD Rating: 1.5/5.0
Corrupt cops are a...
- 3/1/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The Movie Pool meets The Son of No One Blu-ray!
The Set-up
A dedicated cop (Channing Tatum) returns to his childhood neighborhood in the Queens projects, only to be confronted with a dark secret from his past. Tracy Morgan, Katie Holmes, Ray Liotta, Juliette Binoche, and Al Pacino co-star.
The Delivery
In the interest of full disclosure, I must admit that I do not like actor Channing Tatum. I think he mumbles through his performances and relies on his looks rather than real acting talent. As the lead in the crime thriller The Son of No One, Tatum manages not to be as annoying as usual, although he does sport a Howard Hughes mustache and relies on a strong supporting cast to carry the dramatic load. Unfortunately, not even Ray Liotta, Katie Holmes, and Al Pacino can save this film from a mediocre script.
As I watched the film, I...
The Set-up
A dedicated cop (Channing Tatum) returns to his childhood neighborhood in the Queens projects, only to be confronted with a dark secret from his past. Tracy Morgan, Katie Holmes, Ray Liotta, Juliette Binoche, and Al Pacino co-star.
The Delivery
In the interest of full disclosure, I must admit that I do not like actor Channing Tatum. I think he mumbles through his performances and relies on his looks rather than real acting talent. As the lead in the crime thriller The Son of No One, Tatum manages not to be as annoying as usual, although he does sport a Howard Hughes mustache and relies on a strong supporting cast to carry the dramatic load. Unfortunately, not even Ray Liotta, Katie Holmes, and Al Pacino can save this film from a mediocre script.
As I watched the film, I...
- 2/21/2012
- by medina.victor@sbcglobal.net (Victor Medina)
- Cinelinx
Blu-ray & DVD Release Date: Feb. 21, 2012
Price: DVD $26.98, Blu-ray $29.99, Blu-ray/DVD Combo $34.99
Studio: Anchor Bay
Channing Tatum is a New York cop in The Son of No One.
The cop crime thriller The Son of No One boasts a helluva cast, including such actors as Channing Tatum (The Eagle), Juliette Binoche (Chocolat), Tracy Morgan (TV’s 30 Rock) , Katie Holmes (TV’s The Kennedys) and Ray Liotta (Something Wild). Oh, and a guy named Al Pacino (Carlito’s Way).
Tatum stars in the movie as Jonathan White, a second-generation cop who gets in over his head when he’s assigned to re-open a double homicide cold case in his Queens, N.Y., neighborhood. An anonymous source feeding new information on the long-unsolved murders to a local reporter (Binoche) leads to evidence suggesting a possible cover-up by the former lead detective (Pacino). As Jonathan digs deeper into the assignment, a dark secret about the case emerges,...
Price: DVD $26.98, Blu-ray $29.99, Blu-ray/DVD Combo $34.99
Studio: Anchor Bay
Channing Tatum is a New York cop in The Son of No One.
The cop crime thriller The Son of No One boasts a helluva cast, including such actors as Channing Tatum (The Eagle), Juliette Binoche (Chocolat), Tracy Morgan (TV’s 30 Rock) , Katie Holmes (TV’s The Kennedys) and Ray Liotta (Something Wild). Oh, and a guy named Al Pacino (Carlito’s Way).
Tatum stars in the movie as Jonathan White, a second-generation cop who gets in over his head when he’s assigned to re-open a double homicide cold case in his Queens, N.Y., neighborhood. An anonymous source feeding new information on the long-unsolved murders to a local reporter (Binoche) leads to evidence suggesting a possible cover-up by the former lead detective (Pacino). As Jonathan digs deeper into the assignment, a dark secret about the case emerges,...
- 12/21/2011
- by Laurence
- Disc Dish
Tweet
Congrats to Channing Tatum, Jenna Dewan-Tatum, Reid Carolin, Jamie Linden, Adam Londy, Jake Pushinsky, and the entire cast and crew of ‘Ten Year‘!!!
Now in its 36th year, the Toronto International Film Festival today unveiled a selection of films in the 2011 Galas and Special Presentations programmes. Chan and Jenna’s high school reunion drama ‘Ten Year‘ made the list and will officially have its world premiere at the prestigious festival!!
Jenna, who’s known the good news for a while now, was finally able to tweet…
Exciting news! A movie I’m in called Ten Year will be going to Toronto Film Fest! Sept 12th, hope to see u there:)less than a minute ago via Echofon Favorite Retweet ReplyJenna Dewan-Tatum
jennaldewan
Written and directed by Jamie Linden (who wrote the screenplay for ‘Dear John‘), edited by Jake Pushinsky (who also worked on ‘A Guide to Recognizing Your Saints...
Congrats to Channing Tatum, Jenna Dewan-Tatum, Reid Carolin, Jamie Linden, Adam Londy, Jake Pushinsky, and the entire cast and crew of ‘Ten Year‘!!!
Now in its 36th year, the Toronto International Film Festival today unveiled a selection of films in the 2011 Galas and Special Presentations programmes. Chan and Jenna’s high school reunion drama ‘Ten Year‘ made the list and will officially have its world premiere at the prestigious festival!!
Jenna, who’s known the good news for a while now, was finally able to tweet…
Exciting news! A movie I’m in called Ten Year will be going to Toronto Film Fest! Sept 12th, hope to see u there:)less than a minute ago via Echofon Favorite Retweet ReplyJenna Dewan-Tatum
jennaldewan
Written and directed by Jamie Linden (who wrote the screenplay for ‘Dear John‘), edited by Jake Pushinsky (who also worked on ‘A Guide to Recognizing Your Saints...
- 7/26/2011
- by Channing Tatum Unwrapped
- Channing Tatum Unwrapped
The Sundance Film Festival received a final dose of Tinseltown when Channing Tatum, Ray Liotta, and Katie Holmes arrived Friday for the closing-night premiere of the cop thriller The Son of No One. Mainly, though, it was all about Katie. When Homes entered the Eccles Theatre via a side door, row after row of festival attendees stood up, yanking out their cameras to ambush the actress with more flashes of light than are present in the opening-credits sequence of Enter the Void. To me, the Sundance crowd has generally presented themselves as sophisticated cineastes, so it was somewhat unexpected to...
- 1/29/2011
- by John Young
- EW - Inside Movies
PARK CITY -- There is no escaping the old neighborhood, or more pointedly, the old man in this flashback to the rite-of-passage summer of four Queens teens. With an uptown indie cast of Robert Downey Jr., Dianne Wiest, Chazz Palminteri and even a quick whiff of Rosario Dawson, this coming-of-age saga might steam up initial boxoffice based on the marquee, but word-of-mouth will flatten this sweaty saga.
Told in a muddled flashback form as Dito (Downey) re-creates his youth, "A Guide to Recognizing Your Saints" traces back to summer 1986 when Dito and his three not-so-magnificent cronies trolled the mean streets of Queens, nearly under the Hellsgate Bridge. Oozing testosterone and spewing their bruised attitudes, they are petty predators, harassing the girls, tormenting the store owners and confronting their least-favored ethnic neighbors.
In their own minds, they are big men on the block. But, ultimately, they are afraid to leave their tiny world. It's no wonder since they congregate around Dito's small-minded father (Palminteri), who rants about the idiocy of ever leaving New York. In essence, the fearful foursome channel their energies into street thuggery, battling Puerto Ricans and anyone who resembles an outsider. Not surprisingly, it's an outsider, a Scottish student, who encourages young Dito to follow his dream and move to California. That's the main dramatic tension: Dito's tug between leaving home in order to live, or staying in that discomfort zone where he will surely wither.
Unfortunately, screenwriter-director Dito Montiel (who distilled from his own memoirs) never musters our sympathies for Dito to leave and find himself. After a while, the crudeness and venality of the central characters proves as stifling as the incessant Queens summer heat does to our dubious protagonists.
While there are dashes of jarringly raw dialogue and doses of from-the-block swagger, "Saints" struts its stuff mainly with only dull fury. Montiel's storytelling bangs ahead in a cacophony of dull repetition: There's too much ditto to this Dito.
Further enervating the drama are the uneven technical contributions. The tepid music of Jonathan Elias and the lumbering pace from Montiel and editors Peter Tellefsen and Jake Pushinsky combine to drain the personal stories.
The performances, including Downey's properly weary turn as the drained-out Dito, are what's best about "Saints". As the paterfamilias is in denial about his own health and the worth of his own philosophical spewing, Palminteri bursts with mule-headed rage; he is a ferocious and credible malevolence. In a brief appearance, Dawson captures the vigor and staying power of a young woman who has not been beaten down by her neighborhood's unsavory saints.
A GUIDE TO RECOGNIZING YOUR SAINTS
Original Media, Xingu Films, Belladonna Prods.
Credits:
Screenwriter-director: Dito Montiel
Producers: Trudy Styler, Travis Swords, Charlie Corwin, Clara Markowicz
Executive producers: Sting, Bobby Sager, Peter Sahagen, Armand Mackey
Director of photography: Eric Gautier
Production designer: Jody Asnes
Music: Jonathan Elias
Costume designer: Sandra Hernandez
Editors: Christopher Tellefsen, Jake Pushinsky
Cast:
Dito: Robert Downey Jr.
Young Dito: Shia LaBeouf
Monty: Chazz Palminteri
Flori: Dianne Wiest
Young Antonio: Channing Tatum
Young Laurie: Melonie Diaz
Mike O'Shea: Martin Compston
Older Antonio: Eric Roberts
Laurie: Rosario Dawson
No MPAA rating
Running time -- 90 minutes...
Told in a muddled flashback form as Dito (Downey) re-creates his youth, "A Guide to Recognizing Your Saints" traces back to summer 1986 when Dito and his three not-so-magnificent cronies trolled the mean streets of Queens, nearly under the Hellsgate Bridge. Oozing testosterone and spewing their bruised attitudes, they are petty predators, harassing the girls, tormenting the store owners and confronting their least-favored ethnic neighbors.
In their own minds, they are big men on the block. But, ultimately, they are afraid to leave their tiny world. It's no wonder since they congregate around Dito's small-minded father (Palminteri), who rants about the idiocy of ever leaving New York. In essence, the fearful foursome channel their energies into street thuggery, battling Puerto Ricans and anyone who resembles an outsider. Not surprisingly, it's an outsider, a Scottish student, who encourages young Dito to follow his dream and move to California. That's the main dramatic tension: Dito's tug between leaving home in order to live, or staying in that discomfort zone where he will surely wither.
Unfortunately, screenwriter-director Dito Montiel (who distilled from his own memoirs) never musters our sympathies for Dito to leave and find himself. After a while, the crudeness and venality of the central characters proves as stifling as the incessant Queens summer heat does to our dubious protagonists.
While there are dashes of jarringly raw dialogue and doses of from-the-block swagger, "Saints" struts its stuff mainly with only dull fury. Montiel's storytelling bangs ahead in a cacophony of dull repetition: There's too much ditto to this Dito.
Further enervating the drama are the uneven technical contributions. The tepid music of Jonathan Elias and the lumbering pace from Montiel and editors Peter Tellefsen and Jake Pushinsky combine to drain the personal stories.
The performances, including Downey's properly weary turn as the drained-out Dito, are what's best about "Saints". As the paterfamilias is in denial about his own health and the worth of his own philosophical spewing, Palminteri bursts with mule-headed rage; he is a ferocious and credible malevolence. In a brief appearance, Dawson captures the vigor and staying power of a young woman who has not been beaten down by her neighborhood's unsavory saints.
A GUIDE TO RECOGNIZING YOUR SAINTS
Original Media, Xingu Films, Belladonna Prods.
Credits:
Screenwriter-director: Dito Montiel
Producers: Trudy Styler, Travis Swords, Charlie Corwin, Clara Markowicz
Executive producers: Sting, Bobby Sager, Peter Sahagen, Armand Mackey
Director of photography: Eric Gautier
Production designer: Jody Asnes
Music: Jonathan Elias
Costume designer: Sandra Hernandez
Editors: Christopher Tellefsen, Jake Pushinsky
Cast:
Dito: Robert Downey Jr.
Young Dito: Shia LaBeouf
Monty: Chazz Palminteri
Flori: Dianne Wiest
Young Antonio: Channing Tatum
Young Laurie: Melonie Diaz
Mike O'Shea: Martin Compston
Older Antonio: Eric Roberts
Laurie: Rosario Dawson
No MPAA rating
Running time -- 90 minutes...
- 1/22/2006
- The Hollywood Reporter - Movie News
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