Opens Friday, March 14
"The Hunted" is about as basic as a chase movie gets. Tommy Lee Jones, a retired teacher in survival and assassination techniques, is called in to hunt down Benicio Del Toro, a former pupil gone bad. Jones hunts Del Toro down. Government operatives let him escape. So Jones hunts Del Toro again and the two fight to the finish. By stripping an action thriller this close to the bone, director William Friedkin has removed too much meat. Because these two guys intrigue an audience, especially given the relative nature of good and evil in their mano a mano conflict, one feels cheated by the movie's relentless drive to oversimplify the narrative. The urge is strong to cry out: Where's the rest of the movie?
The film's bloody action includes enough knife fights and suspenseful tracking sequences to hold its mostly male target audience. Del Toro should create female interest in the movie as well, so Paramount can expect above-average results. But they missed out on a classic thriller when Friedkin and writers David and Peter Griffiths and Art Monterastelli decided to cut to the chase and leave the potential for thematic complexity to the audience's imagination.
In a sense, this is a bold movie. Friedkin wants us to read volumes into the film's silences, into the men's physical movements and eye contact with each other. But in an action movie, this is asking too much even of actors this talented. We sense their connection but have no idea how they feel about each other.
In long-ago training sessions, Jones' L.T. Bonham turned Del Toro's Aaron Hallam into a killing machine. Yet L.T. has never harmed a fly. Hallam has killed so many at the behest of the U.S. government that he has lost all sense of moral control. Each gets an opening "credentials" sequence: In 1999, Hallam slips into the nighttime chaos of ethnic cleansing in Kosovo and without being seen or heard swiftly kills a murderous Serb officer. In the British Columbia wilderness, L.T. tracks down and gently heals a wolf wounded by a hunter's snare.
Four years later, Hallam is stalking and butchering hunters in the Oregon forest. The FBI calls in his teacher to track him down. Does L.T. feel any guilt? Does Hallam? Might not L.T. empathize with Hallam to the point he really doesn't want to kill him? Why is he so willing to kill a pupil for a government that has exploited them both?
Their brief, tenuous scenes together fail to answer any of these and so many more questions. A young woman (Leslie Stefanson) and her child are part of Hallam's world, but how they are involved is anybody's guess. A glimmer of a relationship develops between L.T. and an FBI agent (Connie Nielsen), but the movie has no time for that. What it does have time for are absurdities.
Hallam escapes from gray-suited government operatives in Portland. The city, L.T. remarks earlier, is a wilderness, and the movie means to prove his point. As if he were back in British Columbia, L.T. tracks Hallam through the city's tunnels, artificial waterfalls and riverway -- much of this implausible, to say the least. An elaborate sequence on the Interstate Bridge, where Hallam is exposed to SWAT sharpshooters for minutes but emerges unharmed, stretches things even further. But the final absurdity comes when the two men stop their hunt to give us a primer in turning urban debris into flint and steel weapons. OK, Hallam must do so since he has no weapon. But can't L.T. just grab a good hunting knife?
Their one-on-one fight is well-choreographed and contains visceral tension. This is a far cry from the martial arts follies in most action movies. But the stakes aren't high enough. Instead of two guys struggling to kill each other, we should sense their ambivalence. Truffaut once said Hitchcock filmed his murder scenes like love scenes. That should be the case here.
Fine location work by a superb crew -- cinematographer Caleb Deschanel, production designer William Cruse and costume designer Gloria Gresham -- adds compelling elements to the chase. Augie Hess' razor-sharp editing lets the movie flow gracefully.
THE HUNTED
Paramount Pictures
Paramount Pictures in association with Lakeshore Entertainment a Ricardo Mestres/Alphaville production
Credits:
Director: William Friedkin
Screenwriters: David Griffiths, Peter Griffiths, Art Monterastelli
Producers: Ricardo Mestres, James Jacks
Executive producers: David Griffiths, Peter Griffiths, Marcus Viscadi, Sean Daniel
Director of photography: Caleb Deschanel
Production designer: William Cruse
Music: Brian Tyler
Co-producer: Art Montersatelli
Costume designer: Gloria Gresham
Editor: Augie Hess
Cast:
L.T. Bonham: Tommy Lee Jones
Aaron Hallam: Benicio Del Toro
Abby: Connie Nielsen, Irene: Leslie Stefanson
Ted: John Finn
Moret: Jose Zuniga
Van Zandt: Ron Canada
Dale Hewitt: Mark Pellegrino
Running time -- 94 minutes
MPAA rating R...
"The Hunted" is about as basic as a chase movie gets. Tommy Lee Jones, a retired teacher in survival and assassination techniques, is called in to hunt down Benicio Del Toro, a former pupil gone bad. Jones hunts Del Toro down. Government operatives let him escape. So Jones hunts Del Toro again and the two fight to the finish. By stripping an action thriller this close to the bone, director William Friedkin has removed too much meat. Because these two guys intrigue an audience, especially given the relative nature of good and evil in their mano a mano conflict, one feels cheated by the movie's relentless drive to oversimplify the narrative. The urge is strong to cry out: Where's the rest of the movie?
The film's bloody action includes enough knife fights and suspenseful tracking sequences to hold its mostly male target audience. Del Toro should create female interest in the movie as well, so Paramount can expect above-average results. But they missed out on a classic thriller when Friedkin and writers David and Peter Griffiths and Art Monterastelli decided to cut to the chase and leave the potential for thematic complexity to the audience's imagination.
In a sense, this is a bold movie. Friedkin wants us to read volumes into the film's silences, into the men's physical movements and eye contact with each other. But in an action movie, this is asking too much even of actors this talented. We sense their connection but have no idea how they feel about each other.
In long-ago training sessions, Jones' L.T. Bonham turned Del Toro's Aaron Hallam into a killing machine. Yet L.T. has never harmed a fly. Hallam has killed so many at the behest of the U.S. government that he has lost all sense of moral control. Each gets an opening "credentials" sequence: In 1999, Hallam slips into the nighttime chaos of ethnic cleansing in Kosovo and without being seen or heard swiftly kills a murderous Serb officer. In the British Columbia wilderness, L.T. tracks down and gently heals a wolf wounded by a hunter's snare.
Four years later, Hallam is stalking and butchering hunters in the Oregon forest. The FBI calls in his teacher to track him down. Does L.T. feel any guilt? Does Hallam? Might not L.T. empathize with Hallam to the point he really doesn't want to kill him? Why is he so willing to kill a pupil for a government that has exploited them both?
Their brief, tenuous scenes together fail to answer any of these and so many more questions. A young woman (Leslie Stefanson) and her child are part of Hallam's world, but how they are involved is anybody's guess. A glimmer of a relationship develops between L.T. and an FBI agent (Connie Nielsen), but the movie has no time for that. What it does have time for are absurdities.
Hallam escapes from gray-suited government operatives in Portland. The city, L.T. remarks earlier, is a wilderness, and the movie means to prove his point. As if he were back in British Columbia, L.T. tracks Hallam through the city's tunnels, artificial waterfalls and riverway -- much of this implausible, to say the least. An elaborate sequence on the Interstate Bridge, where Hallam is exposed to SWAT sharpshooters for minutes but emerges unharmed, stretches things even further. But the final absurdity comes when the two men stop their hunt to give us a primer in turning urban debris into flint and steel weapons. OK, Hallam must do so since he has no weapon. But can't L.T. just grab a good hunting knife?
Their one-on-one fight is well-choreographed and contains visceral tension. This is a far cry from the martial arts follies in most action movies. But the stakes aren't high enough. Instead of two guys struggling to kill each other, we should sense their ambivalence. Truffaut once said Hitchcock filmed his murder scenes like love scenes. That should be the case here.
Fine location work by a superb crew -- cinematographer Caleb Deschanel, production designer William Cruse and costume designer Gloria Gresham -- adds compelling elements to the chase. Augie Hess' razor-sharp editing lets the movie flow gracefully.
THE HUNTED
Paramount Pictures
Paramount Pictures in association with Lakeshore Entertainment a Ricardo Mestres/Alphaville production
Credits:
Director: William Friedkin
Screenwriters: David Griffiths, Peter Griffiths, Art Monterastelli
Producers: Ricardo Mestres, James Jacks
Executive producers: David Griffiths, Peter Griffiths, Marcus Viscadi, Sean Daniel
Director of photography: Caleb Deschanel
Production designer: William Cruse
Music: Brian Tyler
Co-producer: Art Montersatelli
Costume designer: Gloria Gresham
Editor: Augie Hess
Cast:
L.T. Bonham: Tommy Lee Jones
Aaron Hallam: Benicio Del Toro
Abby: Connie Nielsen, Irene: Leslie Stefanson
Ted: John Finn
Moret: Jose Zuniga
Van Zandt: Ron Canada
Dale Hewitt: Mark Pellegrino
Running time -- 94 minutes
MPAA rating R...
- 3/14/2003
- The Hollywood Reporter - Movie News
The folks at DISNEY are putting a new spin on the classic ROBIN HOOD story - by telling the tale of a teenage MAID MARIAN and her love for young hero Hood. Disney producer Ricardo Mestres and screenwriter CARTER BLANCHARD are presently creating MARIAN AND ROBIN, a feature film set to tell the tale of a confused, teenage Marian. The cartoon makers plan to re-write the British legend so that childhood friends Marian, Robin and Sam - who grows up to be the Sheriff of Nottingham - decide to rob the rich and give to the poor because Marian suggested it. Disney hopes to interest young male and female audiences in the flick, described by the company as, "EVER AFTER meets YOUNG GUNS".
- 5/2/2000
- WENN
After the massive success of 1990's "Home Alone" and 1992's "Home Alone 2: Lost in New York", the nagging question remains, "Can there be life after Macaulay Culkin?"
The answer is yes. And no.
While "Home Alone 3" is a virtual Xerox of the oft-imitated "Home Alone" blueprint, young Alex D. Linz ("One Fine Day") makes for a highly charming lead and, as a whole, the John Hughes-penned script isn't as mean-spirited as the previous installment.
And, despite the relative sameness of it all, Hughes still manages to throw in a funny wrinkle here and there, keeping the high jinks humming.
But while the studio probably doesn't want to hear this, the secret of the franchise's success wasn't so much the endless pratfalls or good-vs.-evil through-line as it was the presence of Culkin, particularly the 8-year-old version, whose wide-eyed projection of innocence and mischief instantly made him America's favorite everykid.
Although the irresistible Linz certainly gets the job done (he's actually the better actor of the two), it just isn't "Home Alone" without Culkin's Kevin McCallister. As a result, while the Fox release should do solid holiday business, particularly with boys, it won't be reaching the lofty boxoffice heights of its predecessors.
The picture's rather drawn-out set up involves a group of black marketeers who pinch a top secret Defense Department computer chip and hide it in a toy car only to find out it has been misrouted to a sleepy Chicago suburb.
Of course, all audiences really are concerned about is how 8-year-old Alex Pruitt (Linz) will defend his home against the quartet of criminal masterminds (Olek Krupa, Rya Kihlstedt, David Thornton and Lenny Von Dohlen) who are determined to reclaim their booty by any means necessary.
Wisely, veteran editor and first-time director Raja Gosnell (he cut the two previous "Home Alone" editions) wastes little extra time in getting to the good stuff as we watch little Alex, who's been sidelined by the measels, turn everyday household objects into state-of-the-art booby traps.
While Hughes can pretty well write this stuff in his sleep by now (even his treatments of "101 Dalmatians" and "Flubber" boasted "Home Alone"-style battles), there are still moments of inventiveness to be found, manifested by the helpful presence of a pet white rat and an Amazon parrot. Then there's an extended and admittedly clever sequence involving a camcorder taped to said Remote Control toy car that will have thousands of kiddies hastily adding pricey Tyco Mutators to their Christmas lists.
In addition to Linz, the cast is fine, although it would have been nice if the quartet of interchangeable bad guys were given some individual traits. Catherine O'Hara lookalike Haviland Morris is fine as Alex's distracted mom, while stage great Marian Seldes as sour-faced neighbor Mrs. Hess has a firm grasp on that obligatory Hughes character -- the crotchety old person who ends up forming a special bond with the pint-sized protagonist.
HOME ALONE 3
20th Century Fox
A John Hughes production
Director: Raja Gosnell
Screenwriter: John Hughes
Producers: John Hughes, Hilton Green
Executive producer: Ricardo Mestres
Director of photographer: Julio Macat
Production designer: Henry Bumstead
Music: Nick Glennie-Smith
Costume designer: Jodie Tillen
Editors: Bruce Green, Malcolm Campbell, David Rennie Casting: Billy Hopkins, Suzanne Smith, Kerry Barden, Jennifer McNamara
Color/stereo
Cast:
Alex: Alex D. Linz
Karen Pruitt: Haviland Morris
Beaupre: Olek Krupa
Alice: Rya Kihlstedt
Unger: David Thornton
Jernigan: Lenny Von Dohlen
Jack Pruitt: Kevin Kilner
Mrs. Hess: Marian Seldes
Running time --103 minutes
MPAA Rating: PG...
The answer is yes. And no.
While "Home Alone 3" is a virtual Xerox of the oft-imitated "Home Alone" blueprint, young Alex D. Linz ("One Fine Day") makes for a highly charming lead and, as a whole, the John Hughes-penned script isn't as mean-spirited as the previous installment.
And, despite the relative sameness of it all, Hughes still manages to throw in a funny wrinkle here and there, keeping the high jinks humming.
But while the studio probably doesn't want to hear this, the secret of the franchise's success wasn't so much the endless pratfalls or good-vs.-evil through-line as it was the presence of Culkin, particularly the 8-year-old version, whose wide-eyed projection of innocence and mischief instantly made him America's favorite everykid.
Although the irresistible Linz certainly gets the job done (he's actually the better actor of the two), it just isn't "Home Alone" without Culkin's Kevin McCallister. As a result, while the Fox release should do solid holiday business, particularly with boys, it won't be reaching the lofty boxoffice heights of its predecessors.
The picture's rather drawn-out set up involves a group of black marketeers who pinch a top secret Defense Department computer chip and hide it in a toy car only to find out it has been misrouted to a sleepy Chicago suburb.
Of course, all audiences really are concerned about is how 8-year-old Alex Pruitt (Linz) will defend his home against the quartet of criminal masterminds (Olek Krupa, Rya Kihlstedt, David Thornton and Lenny Von Dohlen) who are determined to reclaim their booty by any means necessary.
Wisely, veteran editor and first-time director Raja Gosnell (he cut the two previous "Home Alone" editions) wastes little extra time in getting to the good stuff as we watch little Alex, who's been sidelined by the measels, turn everyday household objects into state-of-the-art booby traps.
While Hughes can pretty well write this stuff in his sleep by now (even his treatments of "101 Dalmatians" and "Flubber" boasted "Home Alone"-style battles), there are still moments of inventiveness to be found, manifested by the helpful presence of a pet white rat and an Amazon parrot. Then there's an extended and admittedly clever sequence involving a camcorder taped to said Remote Control toy car that will have thousands of kiddies hastily adding pricey Tyco Mutators to their Christmas lists.
In addition to Linz, the cast is fine, although it would have been nice if the quartet of interchangeable bad guys were given some individual traits. Catherine O'Hara lookalike Haviland Morris is fine as Alex's distracted mom, while stage great Marian Seldes as sour-faced neighbor Mrs. Hess has a firm grasp on that obligatory Hughes character -- the crotchety old person who ends up forming a special bond with the pint-sized protagonist.
HOME ALONE 3
20th Century Fox
A John Hughes production
Director: Raja Gosnell
Screenwriter: John Hughes
Producers: John Hughes, Hilton Green
Executive producer: Ricardo Mestres
Director of photographer: Julio Macat
Production designer: Henry Bumstead
Music: Nick Glennie-Smith
Costume designer: Jodie Tillen
Editors: Bruce Green, Malcolm Campbell, David Rennie Casting: Billy Hopkins, Suzanne Smith, Kerry Barden, Jennifer McNamara
Color/stereo
Cast:
Alex: Alex D. Linz
Karen Pruitt: Haviland Morris
Beaupre: Olek Krupa
Alice: Rya Kihlstedt
Unger: David Thornton
Jernigan: Lenny Von Dohlen
Jack Pruitt: Kevin Kilner
Mrs. Hess: Marian Seldes
Running time --103 minutes
MPAA Rating: PG...
- 12/8/1997
- The Hollywood Reporter - Movie News
Boxoffice is going to the dogs, namely Disney's "101 Dalmatians", a bounding, tail-wagging charmer that should fill the holiday bowls with piles of green stuff. A certain domestic hit, Buena Vista should also strike gold internationally with this farcical, live-action family film. And when it comes time for video leftovers, they'll need more than doggie bags to carry away the rental-purchase booty.
With John Hughes' screenwriting pawprint all over this blazing, warm holiday potion, "101 Dalmatians'" lineage is a bit of a mongrel, with its pedigree traced from the original English novel through the classic Disney animated film to Hughes' most recent kids' comedies, namely "Home Alone" and, most pointedly, "Beethoven".
Analytically apt seventh graders just might notice that "101 Dalmatians" is, basically, "Beethoven" played once again: Namely, a beloved bowser is dognapped by an evil ogre who will kill him for personal gain. Instead of a St. Bernard being whisked away under the cruel orders of a diabolical vet as in "Beethoven", in "Dalmatians" we have a whole slew of dogs, 101 to be exact, who are stolen under the orders of a cruel fashion maven who wants to turn their hides into a dog cape. As in "Home Alone" and "Beethoven", the actual perps are a pair of dimwits, one tall and skinny and one short and dumpy, who ultimately suffer the jolts and wallops of Hughes' severe sense of slapstick justice.
As those who are experts in the dog-in-jeopardy genre will attest, "if the dogs aren't cute, the kids will scoot." In "Dalmatians", they've packed the canines with plenty of puppy charm and loaded them with individual personality. Best, director Stephen Herek has packed the pic with scads of reactive dog shots to tug us even closer to them. With plenty of bright, anthropomorphic moments as the two lead dogs conspire to get the humans to behave in the fashion they want, the film is a heart-pulling winner. The kids and the menfolk will be especially pleased that the filmmakers do not wallow in any mushy moments: such sludge as grownup romance, happily, is put on fast-forward and quickly dispensed with.
The acting ensemble here is not ald dogs, however: The humans are doggone good also, particularly Glenn Close as the archvillainess Cruella DeVil$ whose haughty snappings are wicked-witch scary. Whether barking out her vicious orders or snapping at underlings, Close's yelpings are a zesty blend of cruelty and coeedy. Playing the central huean characters, Jeff Daniels and Joely Richardson are warmly appealing as newlyweds whose betrothal was, naturaldy, inspired by some kindly canine matchmaking. As the Daniel Stern and Joe Pesci characters, oops, we mean the two bumblers Jasper and Horace, Hugh Laurie and Mark Wildiams are amusingly dunderheaded, while Joan Plowright adds some kindly charm as a nattering nanny.
Technical coftributions are blue-ribbon consistent, comic and comfy all at once. Keeping us in stitches are costume designers Anthony Powell and Rosemarq Burrows' apt and arch flourishes, particularly DeVil's hideously haute fashionware& Similarly, production designer Assheton Gorton has kindled the right mix of fireplace comfort with dastardly menace, while composer Michaed Kamen has captured the fergcity of the evildoers while conveying the sweetness of the good-natured characters. Capturing all in a rich holaday glow, cinematographer Adrian Biddle's luminescent laghting is a perfect holiday wrap. Although Industrial Laght & Magic is credited wit` creating computer images of dogs when the real ones couldn't do the stuff, we conclude this must be a program-note misprint since there didn't seem to be afy fake dogs in the pack.
101 DALMATIANS
Buena Vista Distribution
Walt Disney Pictures
A Great Oaks Prodn.
A Stephen Herek Film
Producers :John Hughes, Ricardo Mestres
Director :Stephen Herek
Screenwriter :John Hughes
Based upon the novel "The One Hundred and One Dalmatians" by Dodie Smith
Executive producer:Edward S. Feldman
Director of photography:Adrian Biddle
Production designer:Assheton Gorton
Special visual effects and animation:Industrial Light & Magic
Editor :Trudy Ship
Costume designer:Anthony Powell, Rosemary burrows
Music: Michael Kamen
Casting :Celestia Fox, Marcia Ross
Visual effects supervisor:Michael Owens
Visual effects producer:Chrissie England
Associate producer:Rebekah Rudd
Sound mixer :Clive Winter
Color/stereo
Cast:
Cruella DeVil :Glenn Close
Roger :Jeff Daniels
Anita :Joely Richardson
Nanny :Joan Plowright
Jasper:Hugh Laurie
Horace :Mark Williams
Skinner :John Shrapnel
Running time -- 98 minutes
MPAA rating: G...
With John Hughes' screenwriting pawprint all over this blazing, warm holiday potion, "101 Dalmatians'" lineage is a bit of a mongrel, with its pedigree traced from the original English novel through the classic Disney animated film to Hughes' most recent kids' comedies, namely "Home Alone" and, most pointedly, "Beethoven".
Analytically apt seventh graders just might notice that "101 Dalmatians" is, basically, "Beethoven" played once again: Namely, a beloved bowser is dognapped by an evil ogre who will kill him for personal gain. Instead of a St. Bernard being whisked away under the cruel orders of a diabolical vet as in "Beethoven", in "Dalmatians" we have a whole slew of dogs, 101 to be exact, who are stolen under the orders of a cruel fashion maven who wants to turn their hides into a dog cape. As in "Home Alone" and "Beethoven", the actual perps are a pair of dimwits, one tall and skinny and one short and dumpy, who ultimately suffer the jolts and wallops of Hughes' severe sense of slapstick justice.
As those who are experts in the dog-in-jeopardy genre will attest, "if the dogs aren't cute, the kids will scoot." In "Dalmatians", they've packed the canines with plenty of puppy charm and loaded them with individual personality. Best, director Stephen Herek has packed the pic with scads of reactive dog shots to tug us even closer to them. With plenty of bright, anthropomorphic moments as the two lead dogs conspire to get the humans to behave in the fashion they want, the film is a heart-pulling winner. The kids and the menfolk will be especially pleased that the filmmakers do not wallow in any mushy moments: such sludge as grownup romance, happily, is put on fast-forward and quickly dispensed with.
The acting ensemble here is not ald dogs, however: The humans are doggone good also, particularly Glenn Close as the archvillainess Cruella DeVil$ whose haughty snappings are wicked-witch scary. Whether barking out her vicious orders or snapping at underlings, Close's yelpings are a zesty blend of cruelty and coeedy. Playing the central huean characters, Jeff Daniels and Joely Richardson are warmly appealing as newlyweds whose betrothal was, naturaldy, inspired by some kindly canine matchmaking. As the Daniel Stern and Joe Pesci characters, oops, we mean the two bumblers Jasper and Horace, Hugh Laurie and Mark Wildiams are amusingly dunderheaded, while Joan Plowright adds some kindly charm as a nattering nanny.
Technical coftributions are blue-ribbon consistent, comic and comfy all at once. Keeping us in stitches are costume designers Anthony Powell and Rosemarq Burrows' apt and arch flourishes, particularly DeVil's hideously haute fashionware& Similarly, production designer Assheton Gorton has kindled the right mix of fireplace comfort with dastardly menace, while composer Michaed Kamen has captured the fergcity of the evildoers while conveying the sweetness of the good-natured characters. Capturing all in a rich holaday glow, cinematographer Adrian Biddle's luminescent laghting is a perfect holiday wrap. Although Industrial Laght & Magic is credited wit` creating computer images of dogs when the real ones couldn't do the stuff, we conclude this must be a program-note misprint since there didn't seem to be afy fake dogs in the pack.
101 DALMATIANS
Buena Vista Distribution
Walt Disney Pictures
A Great Oaks Prodn.
A Stephen Herek Film
Producers :John Hughes, Ricardo Mestres
Director :Stephen Herek
Screenwriter :John Hughes
Based upon the novel "The One Hundred and One Dalmatians" by Dodie Smith
Executive producer:Edward S. Feldman
Director of photography:Adrian Biddle
Production designer:Assheton Gorton
Special visual effects and animation:Industrial Light & Magic
Editor :Trudy Ship
Costume designer:Anthony Powell, Rosemary burrows
Music: Michael Kamen
Casting :Celestia Fox, Marcia Ross
Visual effects supervisor:Michael Owens
Visual effects producer:Chrissie England
Associate producer:Rebekah Rudd
Sound mixer :Clive Winter
Color/stereo
Cast:
Cruella DeVil :Glenn Close
Roger :Jeff Daniels
Anita :Joely Richardson
Nanny :Joan Plowright
Jasper:Hugh Laurie
Horace :Mark Williams
Skinner :John Shrapnel
Running time -- 98 minutes
MPAA rating: G...
- 11/25/1996
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.