As film and television post-production work has increasingly left California, workers are pushing for a new standalone tax credit focused on their industry.
That effort got a major boost Wednesday night when a representative for Assemblymember Nick Schultz (D-Burbank) said the lawmaker would take up the bill.
The news was greeted by cheers and applause from an assembled crowd of more than 100 people who attended a town hall meeting at Burbank’s Evergreen Studios.
“As big of a victory as this is, because it means we’re in the game, this is just the beginning,” Marielle Abaunza, president of the California Post Alliance trade group, a newly formed trade group representing post-production workers, said during the meeting.
The state’s post-production industry — which includes workers in fields like sound and picture editing, music, composition and visual effects — has been hit hard by the overall flight of film and TV work out of California and to other states and countries. Though post-production workers aren’t as visible, they play a crucial role in delivering a polished final product to TV, film and music audiences.
Last year, lawmakers boosted the annual amount allocated to the state’s film and TV tax credit program and expanded the criteria for eligible projects in an attempt to lure production back to California. So far, more than 100 film and TV projects have been awarded tax credits under the revamped program.
But post-production workers say the incentive program doesn’t do enough to retain jobs in California because it only covers their work if 75% of filming or overall budget is spent in the state. The new California Post Alliance is advocating for an incentive that would cover post-production jobs in-state, even if principal photography films elsewhere or the project did not otherwise qualify for the state’s production incentive.
Schultz said he is backing the proposed legislation because of the effect on workers in his district over the last decade.
“We are competing with other states and foreign countries for post production jobs, which is causing unprecedented threats to our workforce and to future generations of entertainment industry workers,” he said in a statement Thursday.
During the 1 1/2 hour meeting, industry speakers pointed to other states and countries, including many in Europe, with specific post-production incentives that have lured work away from the Golden State. By 2024, post-production employment in California dropped 11.2%, compared with 2010, according to a presentation from Tim Belcher, managing director at post-production company Light Iron.
“We’re all an integrated ecosystem, and losses in one affect losses in the other,” he said during the meeting. “And when post[-production] leaves California, we are all affected.”
One glowing 10/10 review of the picture stated: “One of the finest plays in history is turned into a cinematic masterpiece.”
The reviewer praised The Crucible for featuring an “absolutely brilliant and cathartically heartbreaking performance” from one of its leading actors. They continued, describing how the star “delivers one of the finest examples of acting genius I’ve ever had the privilege of experiencing”.
Another 8/10 assessment declared: “I am not someone to randomly give out a perfect score for a movie… And I also happen to be a very critical person of most films. With that being said, The Crucible completely blows me away with its virtually flawless cinematic achievements!”
One 9/10 critique called the picture “just fantastic” and rooted in “possibly the greatest play ever written”.
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A particular performance was labelled “outstanding”, whilst another cast member made an “indelible impression thanks to their “marvellous acting”. The critic concluded by calling the film a “work of cinematic genius”.Yet another viewer awarded maximum marks, writing: “Not just a dynamic character study, but a study of madness”. One enthusiastic 7/10 review praised the production as an “excellent adaptation”, adding: “There is nothing I like better than a good play for the stage, even when it is on screen. “.
Released in 1996, The Crucible draws from Arthur Miller’s acclaimed 1953 stage play of the same title.
Taking place during the Salem Witch Trials in Massachusetts Bay between 1692 and 1693, Miller crafted the work as a pointed commentary on the political persecution characteristic of McCarthyism in the mid-1950s.
The narrative centres on a community of Puritan settlers thrown into chaos following rumours of dark magic after local minister Samuel Parris (portrayed by Bruce Davison) discovers his daughter collapsed and unresponsive in the forest.
The incident follows her participation with several other young women in attempting to perform incantations alongside an enslaved woman.
As news of the events circulates, allegations of sorcery spread like wildfire throughout the settlement, prompting residents to turn against one another based on mere suspicion rather than proof.
The young women begin pointing fingers at fellow townspeople, resulting in numerous trials, including that of John Proctor (Daniel Day-Lewis), who previously engaged in an illicit relationship with Abigail Williams (Winona Ryder).
The production boasted a stellar ensemble, featuring Joan Allen, Paul Scofield, Peter Vaughn, Frances Conroy, and Jeffrey Jones amongst its ranks.
Upon its 1996 debut, the picture garnered multiple accolades, including a Best Actress recognition for Allen and a Best Adapted Screenplay acknowledgement for playwright Miller himself. Furthermore, the production earned nominations for BAFTAs, Golden Globes, Satellite Awards, and the Berlin Film Festival.
The Crucible (1996) is streaming on Prime Video and Apple TV for a fee now.
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Martin McDonagh’s 2023 film The Banshees of Inisherin secured eight Academy Award nominations – including Best Picture – while collecting numerous other accolades, inspiring many to explore its stunning landscapes.
For those eager to experience the spectacular scenery firsthand, there’s welcome news: the majority was shot on a single island.
Achill Island, situated off the County Mayo coast, is accessible by car, linked to the mainland via the Michael Davitt Bridge and readily reached using the N59 from Westport to Mulranny, followed by the R319, according to Achill Tourism.
On the island’s south-eastern side, Cloughmore served as the backdrop for JJ Devine’s pub Jonjo’s. Regrettably, the structure was purpose-built for production and subsequently dismantled, meaning it’s no longer visible today.
Nevertheless, it remains a beloved birdwatching location and merits a visit for its sweeping coastal panoramas, reports the Irish Mirror.
Heading westward from Cloughmore along the shoreline, you’ll discover the spot used for the fork in the road, distinguished by a statue of the Virgin Mary in the film.
In reality, no fork exists at this location, and the production team positioned the Mary statue there specifically for filming. This site was also used for the sequence in which Colm (Brendan Gleeson) escorts Pádraic (Colin Farrell) home following a beating in the village.
The notorious opening sequence of a cheerful, contented Pádraic wandering into frame against a vividly coloured, rainbow-tinged landscape was filmed at Purteen harbour, situated between Keel and Pollagh.
The production team transformed the site into a harbourside street scene featuring the island’s post office. The shop – O’Riordan’s – was built specifically for the film, whilst the row of fishermen’s cottages was merely a front.
Keem Bay is a breathtaking beach, boasting white sands and gorgeous turquoise waters – establishing it as one of Ireland’s most beloved coastal destinations. It also serves as the location for Colm and Pádraic’s closing scene – the structure, which is privately owned, wasn’t purpose-built and remains standing, though the actual scene was filmed on a studio set.
Corrymore Lake provides the backdrop for Dominic’s (Barry Keoghan) and Siobhán’s (Kerry Condon) heartbreaking exchange and his demise.
St Thomas’s Church, located in Dugort, is a 19th-century Church of Ireland structure that functioned as the setting for the Catholic Mass sequences in the film. It remains an active church and isn’t accessible to visitors outside of service times.
The film The Eagle Had Landed stars Michael Caine, Robert Duvall and Donald Sutherland, and is a hit with movie fans who praised it as ‘not your typical boring war movie’
Michael Caine stars in the war epic
A war film hailed by movie fans as ‘powerful’ and ‘wonderful’ is available to stream now on BBCiPlayer.
The film The Eagle Had Landed stars Michael Caine, Robert Duvall, Donald Sutherland and Jean Marsh, and has become a huge hit with movie fans.
Based on the 1975 novel The Eagle Has Landed by Jack Higgins, the movie follows a German intelligence officer Max Radl in 1943 as he plots to kidnap Winston Churchill during a visit to a small English village. Colonel Kurt Steiner leads a team of disguised paratroopers, aided by Irish agent Liam Devlin. The mission, initially successful, is jeopardised when a soldier’s uniform is revealed during a rescue act, bringing in American forces.
Released in 1977, the film might not have won over critics or earned any Academy Awards but it did earn the affection of fans who have praised it. The film ratings website Rotten Tomatoes is packed with positive reviews, all contributing to the film’s 71 percent rating.
One review said: “Its a brilliant lazy afternoon war film packed with actors you recognise and a wonderful performance from Larry Hagman.”
Another wrote: “Watched the film for the first time recently. It was better than I thought. Great cast and moves quickly.”
A third posted: “This is as much a thriller as a ‘war movie’. It has great characters, a wonderful soundtrack and has an authentic vibe throughout. Suspect negative reviews are from gamers. This film requires thought and attention to fully enjoy. The book is Higgins best and is a really enjoyable read.”
“A powerful beginning, great build-up, an interesting side-story to keep us interested and great finishing action sequences make for a World War II movie that is well worth seeing,” said a fourth.
A fifth added: “A neat little WWII spy thriller. Caine and Duvall are great, and Pleasence and Sutherland ham it up in an agreeable fashion.
“It’s not attempting to reinvent the genre, but it goes about its business with confidence (the steady hand of veteran director Sturges is felt in this regard), and it’s unique in that it presents the story (fairly exclusively) from the point-of-view of the ‘enemy.'”
Another highlighted the star cast as it said: “Michael Caine and Robert Duvall are two of my favorite actors of all time and yet somehow, Donald Sutherland totally steals the show. Awesome story out of the WW2 era. Not your typical boring war movie either.”
“Well made little war film based on the novel by Jack Higgins. Last film directed by Sturges is not as good as “The Great Escape” or “Magnificant Seven” but its not bad. Duval, Sutherland, Caine and Wiliams all do well while Hagman acts like he’s in a different movie entirely,” said another.
Another simply wrote: “One of the best action war movies.”
The Eagle Has Landed is now available to stream on BBC iPlayer.
Before starting a cosmopolitan life as an artist in Mexico City, queer filmmaker Efraín Mojica came of age between Riverside and the rural town of Penjamillo, Michoacán: home to an annual jaripeo, or a Mexican rodeo competition that takes place every Christmas.
Every year, cowboys convene to test-drive their masculinity, namely by swigging handles of tequila and precariously mounting the backs of bucking bulls. These heroic shows of manhood long fascinated Mojica, who frequented jaripeos with family — and quietly forged a community with other locals who diverged from Mexican gender norms.
That community would become the cast of “Jaripeo,” the debut documentary feature film by Mojica and co-director Rebecca Zweig, which premiered at this year’s Sundance Film Festival in Park City, Utah. Shot in the style of cinéma vérité, Mojica appears as both a narrator and protagonist. Zweig, who first encountered Mojica in Seattle’s punk scene, follows them behind the lens as they interview members of the LGBTQ community in and around Penjamillo.
“[Mojica] invited me to Michoacán in 2018 to spend Christmas with their family,” Zweig tells The Times, the day after the film’s Jan. 25 premiere. “As soon as I was at the rodeo with them, I became obsessed with the performance of masculinity.”
“[Zweig] was like, ‘How do you feel about making a documentary [about] the rodeos?’” Mojica tells The Times. “I said, ‘Yeah, but it’s got to be gay.’”
Produced by Sarah Strunin, the documentary begins with a pastoral scene from Mojica’s pickup truck as they overlook the grasslands of Michoacán. Pink party lights and techno music are woven into scenes of bandas and revelers in tejana hats, who kick up dust as they dance inside the rodeo ring. The crew flashes strobe lights in the cornfields, lighting up the figures of sexy cowboys sifting through the crops to find one another — drawing parallels to queer nightlife in the cities.
“On New Year’s there’s a rodeo in Acuitzeramo, with like 10,000 people and big speakers with heavy bass,” said Mojica. “What’s the big difference between a city rave and a rancho jaripeo, you know? They’re doing the exact same thing.”
“I wanted to blur all the lines and make these abstract sequences,” says Zweig. “And I thought, how much is that gonna be allowed in a formal [film] institution? I want to shout out public media, [because] when we got the Open Call Fund from ITVS, they took a chance on us as first-time filmmakers. [Marlon Riggs’ documentary] ‘Tongues Untied’ was also funded by ITVS — the legacy of queer cinema and documentaries in the U.S. has been supported by public media.”
“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” says Noé Margarito Zaragoza, center, who stars in the new film “Jaripeo.”
(Cat Cardenas / De Los)
Each interview adds more color and dimension to Mojica’s memories of the village they left long ago, no longer suspended in the past. Mojica visits Arturo Calderón, a local rodeo clown known as “La Pirinola,” who performs in drag; Calderón lets the camera roll as he paints his eyelids electric blue.
They later stop by the local church and the disco with Joseph Cerda Bañales, a bearded makeup artist who brandishes long stiletto nails to the rodeos. Despite efforts from the festival organizers, and even a letter from Sen. John Curtis (R-Utah), Cerda was unfortunately not granted entry into the U.S. for the Sundance premiere.
“Joseph is the mayor of his town,” says Mojica. “He’s the president of the church. He runs the folkloric ballet. He does everything. It’s not that there’s no more traditional culture… People just want to keep the community together. [It means] holding a bunch of truths [and] contradictions at the same time.”
Mojica even shares flirtatious moments onscreen while interviewing Noé Margarito Zaragoza, a dashing and stoic ranchero who lives discreetly as a gay man.
“It’s exciting, but at the same time I’m a little nervous,” says Margarito of coming out in the film. “Part of my family doesn’t know what’s going on with my life, so I don’t know how they’re going to take it. But my main family members — my siblings, my dad — well, they feel content and happy [for me], so I’m going forward and giving it my all.”
“We never talked about my queer identity,” says Mojica of their own family, some of whom flew in for the premiere of “Jaripeo” at the Yarrow Theatre in Park City. Mojica planned a belated coming out talk at dinner the night before; the discussion never happened.
“I choked up,” says Mojica. “I thought, ‘OK, I’m just going to give them a little heads up of what the film’s actually about.’ But I could not vocalize a single word. My eyes started tearing up. So I was like, ‘See you tomorrow!’”
It was after the screening, during an open Q&A, when Mojica’s mother quelled the artist’s fears in one fell swoop.
“What was the reception from your family after seeing the film?” an audience member asked Mojica in Spanish — unaware that their family had just watched it for the first time with everyone else in the theater.
To that, Mrs. Mojica Rubio rose from her seat and introduced herself “as a very proud mamá” who loves her child “unconditionally.”
After a beat, she exclaimed: “It’s the 21st century!”
Mrs. Mojica Rubio’s show of support was promptly met with resounding cheers from the audience. “My mom also approached [Margarito] and said, ‘I’m going to give you a mother’s hug, because you deserve it,’” says Mojica, who appears misty-eyed as they recount the scene.
In a time of increasing hostility against LGBTQ people and immigrants in the United States, to behold the strength of a mother’s love — and the solidarity across communities — affirms the purpose of such a film, with a power that transcends states, governments and institutions.
“People in different countries [have] this antiquated idea that Mexico is this little ranchita that’s hateful, that they’re gonna beat you if you’re queer. But we really care for each other,” Mojica says.
“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” added Margarito. “So let’s hope [the movie is] a success.”
The poster for “Send Help” advertises the film as from the director of “The Evil Dead” and “Drag Me to Hell” — and notably not Sam Raimi’s bigger hit “Spider-Man” (or its two sequels). No, the kind of Raimi movie you’re getting here is irreverent, silly and very bloody: a character study that also features incredibly goofy scares. Written by Damian Shannon and Mark Swift, “Send Help” is a gonzo survivalist riff that works as well as it does because it features two incredibly game actors that surf the wave of Raimi’s tonal madness with a blend of absolute glee and carefully honed skill.
And if that poster were to present the star of “Send Help” in the same way as Raimi, the tagline would read “from the star of ‘Red Eye’ and ‘Mean Girls,’” because Rachel McAdams is fully in her horror-comedy mode here. It’s an excellent reminder of her range. Co-star Dylan O’Brien also proves himself once again to be one of the best actors of his generation: a former teen heartthrob who now operates more like a chameleonic character actor. Both McAdams and O’Brien move beyond expectations to deliver highly expressive, almost clownish performances — in the best way.
McAdams is astonishingly dowdy as beleaguered corporate workhorse Linda Liddle, a “Survivor”-obsessed loser who is passed over for a promotion by her slick new boss, Bradley Preston (O’Brien), a nepo baby. In an attempt to play the good ol’ boys game, she boards a private flight to Bangkok with the team, on which she bangs out memos while they laugh at her “Survivor” audition tape. One plane crash later, the tables are turned, with the injured Bradley now at the mercy of Linda and her survival skills on a tropical island.
The swap in the power dynamic thrills Linda, calling to mind Ruben Östlund’s “Triangle of Sadness,” specifically the relationship between Dolly de Leon and Harris Dickinson. But “Send Help” is more of a psychological exploration than overt class satire, though it does explore the ridiculous notion of what it would be like to be stranded on an island with your boss.
McAdams and O’Brien deliver almost silent-film era acting with their faces (there’s one bravura long shot of O’Brien eating a bug that’s absolutely virtuosic) and Raimi’s camera playfully pushes the audience around, offering exaggerated tilts and close-ups, screaming: Look at this. There’s no subtlety, but would you expect that from the director of the “Evil Dead” movies? You’re just waiting for the ghouls and blood geysers to pop out. We don’t come to a Raimi film for its natural realism.
If there’s any flaw to “Send Help,” it’s that it generates such nuance and empathy for both Linda and Bradley, even within such outlandish circumstances and style, that it feels impossible to root for just one of them to come out on top. The film paints itself into such a corner when it comes to their conflict that any ending would feel too clean, too pat. As it stands, the ending is just that. But it’s to Raimi and the actors’ credit that they manage to make such an odious character as Bradley actually sympathetic — and so clear a heroine as Linda complex and thorny. Nothing’s perfect but “Send Help” is a blast nevertheless.
What’s the difference between Brett Ratner and Leni Riefenstahl? Riefenstahl, for all her many sins, was technically innovative; Ratner (unless you count an almost fetishistic fascination with first lady footwear), not so much.
But in the end, they are both political propagandists, collaborators if you will, with heads of state determined to create a narrative that is, at best, at odds with reality and, at worst, a targeted attempt to distort it.
Am I saying that “Melania” is as horrifically significant as “Triumph of the Will”? No, I am not. But it is motivated by the same base forces, and as fun as it might be to watch Jeff Bezos lose most of the $75 million Amazon paid for the purchase and then marketing of the film, it is important to remember that.
As Melania Trump said herself at the film’s premiere: “Some have called this a documentary. It is not. It is a creative experience that offers perspectives, insights and moments.”
A “creative experience” for which the first lady, who serves as narrator and executive producer, reportedly received about $28 million.
Money she very much does not earn.
Anyone who goes into “Melania” hoping to see even a glimpse of what it is like to be first lady, or indeed Melania Trump, will find instead a super-long version of “we followed [fill in the blank] as they got ready for the Oscars.”
Only in this case, it’s Donald Trump’s second inauguration, which Ratner (given his first big job since being accused by six women of sexual misconduct) frames as the Second Coming, from the lingering shots of the sleek lines of the motorcade to the use of “His truth is marching on” from “Battle Hymn of the Republic” as the first couple takes the stage at one of the inaugural balls.
(And in case you think that’s not obsequious enough, at the end of the inaugural festivities, Ratner, off camera, says, “sweet dreams, Mr. President,” which honestly could have been the title of this film.)
Most of the “action” involves the first lady making entrances: off private jets, out of big black cars and into well-appointed rooms. There, Trump and her designers wax rhapsodic over a gown designed to disguise any seams, admire an inaugural dinner menu that begins with caviar in a big golden egg and discuss the furnishings that will be moved in as soon as the Bidens move out.
These mind-numbing glories are interrupted just long enough for Tham Kannalikham, an interior designer in charge of the White House transition, to talk about how her family immigrated to America from Laos when she was 2 — the opportunity to work in the White House is, for her, the ultimate American dream. Beside her, Trump, also an immigrant, remains silent.
Other things happen. Trump has a video conference with French First Lady Brigitte Macron to discuss initiatives to end cyberbullying, meets with Queen Rania of Jordan to discuss helping foster children and comforts former Hamas hostage Aviva Siegel. Siegel, whose husband, at the time of filming, is still a hostage, provides the film’s one real emotional moment, despite having been clearly included as an opportunity for Trump to reveal a bit of personal kindness (and some political messaging).
We follow Trump as she and her husband attend Jimmy Carter’s funeral, during which her narration describes the pain of her mother’s death the year before, and as she “sneaks” the cameras into a room where her husband is rehearsing his inaugural speech.
There she suggests, with a completely straight face, that he add the word “unifier” to “peacemaker” in his description of what he hopes to be his legacy, a term he then uses in his speech the next day.
Throughout it all, the first lady remains relentlessly poised and personally inaccessible, lending new and literal meaning to the term “statuesque.”
Given the nature of the film’s subject, and the fact that she is the one literally calling the shots, no one with half a brain could expect to see any interesting or authentic “behind-the-scenes” moments (Melania wearing sweats or counting her breakfast almonds or, I don’t know, sneezing). A brief scene in which the remarkably tone-deaf Ratner attempts to get her to sing along to her favorite song, Michael Jackson’s “Billie Jean,” elicits (finally!) a genuine laugh from her, and while his decision to repeatedly zoom in on her admittedly well-shod feet becomes increasingly creepy, it at least offers drinking-game potential.
Even so, “Melania” is as cynical a piece of filmmaking as exists since the art form began.
Listening to her describe the seriousness with which she takes her duties; her love, as an immigrant, for this great nation; and her dedication to making life better for all Americans — especially children and families — I was reminded of the climactic scene in “A Wrinkle in Time,” when young Charles Wallace has been ensnared by the soothing rhetoric of the evil brain-washing IT.
The superficial blandness of “Melania” isn’t boring; it’s calculated, infuriating and horrifying.
The first lady is describing an alternative universe of peace, love and unity while her husband has unleashed armed Immigration and Customs Enforcement agents to terrorize and detain children and adults (many of whom are citizens or here in this country legally) and, in at least two cases, kill American citizens who protest their actions. She wants to help children and families while her husband slashes federal assistance programs and holds school funding hostage. She would have us believe she is battling cyberbullies while her husband, the president of these United States, regularly engages in lies, direct threats and character assassination on social media.
President Trump is many things but he is not a unifier — he believes, as he has assured us time and again, in winning, and, as he has also said and shown, he will choose retribution over reconciliation every time.
Melania Trump is, of course, not her husband. But this film is little more than a 90-minute campaign ad. Which, given the fact that Trump cannot legally run for president again, should be cause for much concern.
Many criticized the decision to release “Melania” mere days after federal agents killed Alex Pretti and Renee Good in Minneapolis, and excoriated those notables, including Apple CEO Tim Cook, who chose to attend an early celebratory screening that included “let them eat” cookies with “Melania” scrawled in the icing.
For the kind of person who makes, and buys and distributes, a film that purports to be a “documentary” and is really just old-fashioned, through-the-looking-glass propaganda, however, it’s actually the perfect time.
Why worry about the federal government killing its own citizens when we can all ooh and aah over the fact that the first lady’s inaugural gown is constructed so that none of the seams show? Especially if it makes her husband happy.
She portrayed a spoiled socialite turned impoverished rural motel manager in “Schitt’s Creek.” She played a self-centered stepmom who, when possessed by an evil entity, channeled Harry Belafonte’s voice singing “Day-O (The Banana Boat Song)” in 1988’s “Beetlejuice.” She was the harried, forgetful mom who left her son behind in “Home Alone,” a goofy ‘90s comedy that would become a Christmas classic.
Catherine O’Hara, who died Friday at the age of 71, brought to life dozens of characters over her 50-year career across film and television, and no two of her performances were alike. She might play an eccentric artist one moment, an insufferable snob the next, then a deceptively “normal” housewife, animating each with their own personality, quirks and ticks.
Though a comedic performer at heart, O’Hara, as they say, had range. From her recurring role as a grieving therapist in Season 2 of HBO’s dystopian drama “The Last of Us” to voicing and acting a plethora of bizarre characters in Tim Burton‘s films, O’Hara made her mark. Here are 10 of her most memorable roles.
I was just getting settled in my seat for the first showing of “Melania” at the Grove cineplex when Melania Trump walked in.
OK, it wasn’t the Melania Trump, as in the first lady. But it was a reasonable facsimile.
The impersonator, followed by a man filming with his phone, strode in like a model, flinging her hair back and smiling as she addressed the six people — many of them critics from various press outlets — in the auditorium who were among the first in Los Angeles to see “Melania,” the controversial documentary that features the first lady as star and producer.
“Hi, everybody. I want to welcome you all to my movie,” the impersonator said in a Slovenian accent. She wore a stylish dark pantsuit and high heels, a frequent motif in the film which chronicles the real Melania Trump in the 20 days leading up to the second presidential inauguration of her husband, Donald Trump.
After a few more words of greeting, the impostor Melania flashed another smile as she exited.
I was stunned and extremely frustrated that I didn’t have time to capture the moment. It’s rare to find yourself in the presence of a first lady —even a fake one.
During the film, my fellow viewers were mostly silent, although there were a few murmurs of laughter as Melania Trump outlined the burdens of coordinating the correct outfit and decor for her re-entry to the White House.
“My creative vision is always clear, and it’s my responsibility to share my ideas with my team so they can bring it to life,” she says at one point.
Later in the film, when Donald Trump was formally introduced at the inauguration as the 47th president, one older woman sitting near the front of the theater applauded. And I could see her smiling as, onscreen, the first couple made their way through the White House following the ceremony.
“Being hand in hand with my husband at this moment is very emotional,” she says. “Nobody has endured what he has over the past few years. People tried to murder him, incarcerate him, slander him. But here he is. I’m so very proud.”
I hoped that Melania would be around in the lobby as we left the theater to ask us how we liked the film. But I was disappointed. Melania had left the building.
Cher Horowitz fans, rejoice: Amy Heckerling’s 1995 teen comedy is one of 25 classic movies chosen this year by the Library of Congress for its National Film Registry.
And if “Clueless” wasn’t your jam — whatever! — maybe this will send you deep into your dreams: Christopher Nolan’s mind-bending “Inception” is in the mix. Other films chosen for preservation include “The Karate Kid,” “Glory,” “Philadelphia,” “Before Sunrise,” “The Incredibles” and “Frida.” There are four documentaries, including “Brooklyn Bridge” by Ken Burns. From old Hollywood, there’s the 1954 musical “White Christmas,” and the 1956 “High Society,” Grace Kelly’s last movie before marrying into royalty.
Since 1988, the Library of Congress has selected 25 movies each year for preservation due to their “cultural, historic or aesthetic importance.” The films must be at least 10 years old.
The oldest of the 2025 picks dates from 1896, filmmaker William Selig’s “The Tramp and the Dog.” The newest of the group is from 2014: Wes Anderson’s “The Grand Budapest Hotel,” which, the registry noted, involved “meticulous historical research at the Library of Congress to create visually striking scenery.”
Turner Classic Movies will host a TV special March 19 to screen a selection of the films.
A closer look at some of this year’s selections:
“The Tramp and the Dog” (1896): Once deemed lost, but discovered in 2021 at the National Library of Norway, Selig’s silent film tells the story of a tramp who tries to steal a pie from a backyard windowsill — and is foiled by a dog. The registry notes it’s an early example of “pants humor” — “where a character loses (or almost loses) its pants during an altercation.”
“The Maid of McMillan” (1916): This 15-minute “whimsical silent romance” shot by students at a drama club at Washington University in St. Louis tells the story of the track team captain, Jack, who’s in love with Myrtle, “a pretty coed,” according to the university’s library. It is known, the registry says, as the first student film on record.
“Ten Nights in a Barroom” (1926): A silent film featuring an all-Black cast, it’s based on a stage melodrama adapted from “Ten Nights in a Bar-room and What I Saw There,” an 1854 “temperance novel” written to discourage readers from drinking alcohol.
“High Society” (1956): In what the registry calls “the last great musical of the Golden Age of Hollywood,” Bing Crosby appeared with Frank Sinatra and Grace Kelly, in her last movie before retiring and marrying Prince Rainier of Monaco. Louis Armstrong appeared with his band. Kelly wore her Cartier engagement ring during filming, the registry notes.
“Brooklyn Bridge” (1981): Ken Burns’ first documentary broadcast on PBS, in which the filmmaker recounted the building of the iconic landmark. “More than just a filmmaker, Burns has become a trusted public historian,” the registry says.
“The Big Chill” (1983): Lawrence Kasdan’s era-defining story of a group of friends reuniting after a suicide features Glenn Close, William Hurt, JoBeth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly in an ensemble that “portrays American stereotypes of the time — the yuppie, the drug dealer, the TV star — and deftly humanizes them.”
“The Karate Kid (1984): The first film in the franchise, starring Ralph Macchio and Pat Morita, is “as American as they come,” the registry says — “a hero’s journey, a sports movie and a teen movie — a feel-good movie, but not without grit.”
“Glory” (1989): Denzel Washington won an Oscar as Private Trip in this story of the 54th Regiment, a unit of Black soldiers who fought in the Civil War. The cast also included Morgan Freeman, Matthew Broderick, Cary Elwes and Andre Braugher.
“Philadelphia” (1993): Tom Hanks starred — and won an Oscar — in one of the first big studio movies to confront the HIV/AIDS crisis. The film is also known for Bruce Springsteen’s Oscar-winning song, “The Streets of Philadelphia.”
“Before Sunrise” (1995): The first film of Richard Linklater’s deeply romantic “Before” trilogy, starring Ethan Hawke and Julie Delpy. The registry notes Linklater’s “innovative use of time as a defining and recurring cinematic tool.”
“Clueless” (1995): Heckerling’s teen comedy, starring Alicia Silverstone, was a loose adaptation of Jane Austen’s “Emma” and forever enshrined the phrase “As if!” into popular culture. The registry hails “its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism.”
“The Wrecking Crew” (2008): Danny Tedesco’s documentary — not to be confused with the 2026 buddy cop movie of the same name — looks at a group of Los Angeles studio musicians who played on hit songs of the ‘60s and ’70s such as “California Dreamin’” and “The Beat Goes On.”
“Inception” (2010): In a movie that asks whether it’s possible to influence a person’s thoughts by manipulating their dreams, Nolan “once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects.”
Noveck writes for the Associated Press.
Full chronological list of 2025 National Film Registry inductees
ACTRESS Margot Robbie hits a Hollywood height at her new film’s premiere — wearing a £6million necklace once owned by Elizabeth Taylor.
The Taj Mahal diamond is a heart-shaped gold pendant set in jade and hanging from a gold, ruby and diamond chain made by Cartier.
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Margot Robbie dazzles at the Wuthering Heights premiere in a £6million necklace once owned by movie star Elizabeth TaylorCredit: GettyMargot stuns at the Los Angeles premiereCredit: GettyElizabeth Taylor wearing the necklace, pictured with Richard Burton and Grace KellyCredit: Getty
Margot wore it to the world premiere of Wuthering Heights in Los Angeles, where she was earlier joined by co-star Jacob Elordi and singer Charli XCX, who recorded the film’s soundtrack.
The actress, Cathy in the adaptation of Emily Bronte’s 1847 novel, said the necklace was poignant as it had “a lot of romantic history”.
She said: “It’s our big Hollywood world premiere — we’ve got to go all out.
“This is Elizabeth Taylor’s necklace. It’s the Taj Mahal diamond that Richard Burton gave to her.
“There’s something kind of Cathy and Heathcliff about Richard Burton and Elizabeth Taylor in my mind, so it felt appropriate.”
The diamond was created for a 17th century Mughal emperor who commissioned the Taj Mahal.
It was later acquired by Cartier, with Burton buying it from them to give to Elizabeth.
Following her death in 2011, it was sold at auction for £6million to an anonymous buyer.
The Taj Mahal diamond is a heart-shaped gold pendant set in jade and hanging from a gold, ruby and diamond chain made by CartierCredit: AFPMargot with co-star Jacob Elordi and singer Charli XCX, who recorded the film’s soundtrackCredit: Getty
When Melania Trump showed up on movie screens in 2001, it was a joke.
The former fashion model and her spouse, Donald Trump, then only a real estate mogul, played themselves in the Ben Stiller comedy “Zoolander,” about a dimwitted male supermodel. She silently looked on as her husband gushed at an awards show red carpet: “Without Derek Zoolander, male modeling would not be where it is today.”
The cameo offers a glimpse of the couple, who in 2017 would enter the White House as president and first lady. As they move past the first anniversary of their second stint in Washington, D.C., Melania has largely stayed away from the spotlight.
But this week the first lady is preparing for her close-up. She is center stage as star and executive producer in the documentary “Melania” hitting theaters Friday. Positioned as a companion to her best-selling memoir, “Melania” has been shadowed by controversy since its announcement several months ago. The project marks a comeback attempt by Hollywood filmmaker Brett Ratner, the director of the documentary, who was exiled from Hollywood in 2017 following charges of sexual misconduct by multiple women, including actor Olivia Munn. He continues to deny the accusations.
Amazon MGM Studios paid $40 million to license the project, and sources said it is spending around $35 million for marketing and promotion. Melania is skipping the traditional TV talk show circuit, opting for an appearance on Fox News, which featured an exclusive interview with her on Tuesday — her first since returning to the White House. The following day, she rang the opening bell at the New York Stock Exchange.
Trailers for the film have popped up on several networks including CNN, a frequent target of President Trump’s ire, and outdoor advertising has been installed in several major cities, including Los Angeles.
The project, which is slated to stream on Prime Video after a brief theatrical run, arrives as the president confronts sinking approval ratings and the most turbulent phase to date of his second term, which includes controversies over his handling of the economy, international relations, the demolition of the White House’s East Wing for a planned ballroom, and the long-delayed release of the Epstein files.
More pointedly, the lead-up to the official premiere, slated for Thursday at the Kennedy Center in Washington, has collided with an unexpected juggernaut: national outrage over the deadly shootings of two Minneapolis residents by federal officers carrying out his aggressive anti-immigration campaign.
The continuing protests over the deaths of Renee Good and Alex Pretti, as well as the backlash after Secretary of Homeland Security Kristi Noem and Deputy White House Chief of Staff Stephen Miller labeled them as domestic terrorists, has placed even more uncertainty over how “Melania” will fare with moviegoers.
Industry forecasters were divided on whether the film will be a hit or a bomb. Firms specializing in box office projections estimate the opening weekend will fall within the $5 million range.
“It’s very hard to predict whether people will show up, given the unique nature of the film and the marketplace,” said one veteran box office analyst who asked not to be identified.
On Wednesday, the film was pulled from theaters in South Africa, where it was slated to open on Friday, after the distributor announced it would no longer release the title, citing “recent developments,” according to a New York Times report.
Domestically, “Melania” is competing in a crowded movie weekend against the highly anticipated survival thriller “Send Help” from veteran filmmaker Sam Raimi (“Drag Me to Hell”), the horror film “Iron Lung” from popular YouTuber Markiplier (Mark Edward Fischbach), and “Shelter,” with action star Jason Statham.
President Trump kisses his wife, First Lady Melania Trump, during the presidential inauguration in 2025. The documentary will highlight the lead-up to the event.
(Julia Demaree Nikhinson / Associated Press)
Adding to the uncertainty on the film’s performance, the analyst said, is whether fans of Ratner, whose resume features several blockbusters including the “Rush Hour” trilogy, will show up for a documentary about the first lady. According to press notes, “Melania” follows the first lady in the 20 days leading up to the 2025 presidential inauguration as she orchestrates plans for the event and the family’s move back to the White House. The film’s trailer, released last month, does not offer much more insight.
During both of Trump’s terms in the White House, his wife has been described as mysterious and sphinx-like. Some Washington watchers have praised her for what they call her independence and individualism, while others say her accomplishments fall short of previous first ladies such as Michelle Obama, Hillary Clinton and Nancy Reagan.
Anita B. McBride, director of the First Ladies Initiative at American University, said that the position of first lady has been defined in distinct ways by every woman who has served in that capacity.
She said in an interview that the current first lady has exhibited a confident persona “that has never been defined by expectations. She now has the benefit of experience after operating during her first term in a very hostile environment. She is sure-footed with a staff that supports her, and she has made it clear that she is in control.”
The White House on Saturday hosted a VIP black-tie preview of “Melania,” with a guest list that included Amazon CEO Andy Jassy, former boxer Mike Tyson and Apple CEO Tim Cook, who this week criticized the shootings of Good and Pretti, calling for de-escalation in Minneapolis.
Rep. Alexandria Ocasio-Cortez of New York was among the politicians blasting the event, which took place hours after Pretti was killed.
“Today DHS assassinated a VA nurse in the street, [Atty. Gen.] Bondi is attempting to extort voter files, and half the country is bracing on the eve of a potentially crippling ice storm with FEMA gutted,” she wrote in a post on X. “So what is the President up to? Having a movie night at the White House. He’s unfit.”
In the interview on Fox News a few days later to promote the film, the first lady was asked about the controversy in Minneapolis.
“I’m against the violence, so please if you protest, protest in peace,” she said. “We need to unify in these times.”
After a competitive bidding process, indie studio A24 has acquired the U.S. rights to Olivia Wilde’s comedy “The Invite” in a major deal out of the Sundance Film Festival.
The film, which stars Wilde, Seth Rogen, Penélope Cruz and Edward Norton, was purchased for around $10 million, according to a person familiar with the deal who requested anonymity due to the sensitive matter. One factor for Wilde was a preference for a traditional theatrical release.
“The Invite” focuses on a dinner party among neighbors and was billed as a must-see after it premiered over the weekend at Sundance. So far, the film has notched a 91% rating on aggregator Rotten Tomatoes.
The market at Sundance has traditionally been viewed as a bellwether for the indie film business. In the last few years, deals have been slower to emerge from the festival, particularly as streamers stopped offering massive sums for films to stock their platforms and as studios cut back on spending.
The deal for “The Invite” is one of a handful that have already been announced. On Tuesday, Neon said it acquired the worldwide rights to horror film “Leviticus,” which premiered at Sundance. Neon also bought the worldwide rights over the weekend for another horror flick, “4 X 4: The Event” from filmmaker Alex Ullom. That deal was the first to be made in Park City, though the film was not shown at Sundance and will begin production later this year. The value for both of Neon’s deals was not disclosed.
Many in Hollywood fear Warner Bros. Discovery’s sale will trigger steep job losses — at a time when the industry already has been ravaged by dramatic downsizing and the flight of productions from Los Angeles.
David Ellison‘s Paramount Skydance is seeking to allay some of those concerns by detailing its plans to save $6 billion, including job cuts, should Paramount succeed in its bid to buy the larger Warner Bros. Discovery.
Leaders of the combined company would search for savings by focusing on “duplicative operations across all aspects of the business — specifically back office, finance, corporate, legal, technology, infrastructure and real estate,” Paramount said in documents filed with the Securities & Exchange Commission.
Paramount is locked in an uphill battle to buy the storied studio behind Batman, Harry Potter, Scooby-Doo and “The Big Bang Theory.” The firm’s proposed $108.4-billion deal would include swallowing HBO, HBO Max, CNN, TBS, Food Network and other Warner cable channels.
Warner’s board prefers Netflix’s proposed $82.7-billion deal, and has repeatedly rebuffed the Ellison family’s proposals. That prompted Paramount to turn hostile last month and make its case directly to Warner investors on its website and in regulatory filings.
Shareholders may ultimately decide the winner.
Paramount previously disclosed that it would target $6 billion in synergies. And it has stressed the proposed merger would make Hollywood stronger — not weaker. The firm, however, recently acknowledged that it would shave about 10% from program spending should it succeed in combining Paramount and Warner Bros.
Paramount said the cuts would come from areas other than film and television studio operations.
A film enthusiast and longtime producer, David Ellison has long expressed a desire to grow the combined Paramount Pictures and Warner Bros. slate to more than 30 movies a year. His goal is to keep Paramount Pictures and Warner Bros. stand-alone studios.
This year, Warner Bros. plans to release 17 films. Paramount has said it wants to nearly double its output to 15 movies, which would bring the two-studio total to 32.
“We are very focused on maintaining the creative engines of the combined company,” Paramount said in its marketing materials for investors, which were submitted to the SEC on Monday.
“Our priority is to build a vibrant, healthy business and industry — one that supports Hollywood and creative, benefits consumers, encourages competition, and strengthens the overall job market,” Paramount said.
If the deal goes through, Paramount said that it would become Hollywood’s biggest spender — shelling out about $30 billion a year on programming.
In comparison, Walt Disney Co. has said it plans to spend $24 billion in the current fiscal year.
Paramount also added a dig at Warner management, saying: “We expect to make smarter decisions about licensing across linear networks and streaming.”
Some analysts have wondered whether Paramount would sell one of its most valuable assets — the historic Melrose Avenue movie lot — to raise money to pay down debt that a Warner acquisition would bring.
Paramount is the only major studio to be physically located in Hollywood and its studio lot is one of the company’s crown jewels. That’s where “Sunset Boulevard,” several “Star Trek” movies and parts of “Chinatown” were filmed.
A Paramount spokesperson declined to comment.
Sources close to the company said Paramount would scrutinize the numerous real estate leases in an effort to bring together far-flung teams into a more centralized space.
For example, CBS has much of its administrative offices on Gower in Hollywood, blocks away from the Paramount lot. And HBO maintains its operations in Culver City — miles from Warner’s Burbank lot.
The tender offer was set to expire last week, but Paramount extended the window after failing to solicit sufficient interest among Warner shareholders.
Some analysts believe Paramount may have to raise its bid to closer to $34 a share to turn heads. Paramount last raised its bid Dec. 4 — hours before the auction closed and Netflix was declared the winner.
Paramount also has filed proxy materials to ask Warner shareholders to reject the Netflix deal at an upcoming stockholder meeting.
Should Paramount win Warner Bros., it would need to line up $94.65 billion in debt and equity.
Billionaire Larry Ellison has pledged to backstop $40.4 billion for the equity required. Paramount’s proposed financing relies on $24 billion from royal families in Saudi Arabia, Qatar and Abu Dhabi.
The deal would saddle Paramount with more than $60 billion of debt — which Warner board members have argued may be untenable.
“The extraordinary amount of debt financing as well as other terms of the PSKY offer heighten the risk of failure to close,” Warner board members said in a filing earlier this month.
Paramount would also have to absorb Warner’s debt load, which currently tops $30 billion.
Netflix is seeking to buy the Warner Bros. television and movie studios, HBO and HBO Max. It is not interested in Warner’s cable channels, including CNN. Warner wants to spin off its basic cable channels to facilitate the Netflix deal.
Analysts say both deals could face regulatory hurdles.
The stunning circular walking trail, perfect for a relaxed day out, is believed to have inspired one of the most famous authors of our time — and it’s right here in the UK.
08:00, 28 Jan 2026Updated 08:08, 28 Jan 2026
The Tolkien Trail is popular with walkers(Image: Visit Lancashire)
A breathtaking walking route in Lancashire boasts an incredibly famous link to a bestselling author and has formed the inspiration behind a mammoth blockbuster film trilogy.
It’s well known that JRR Tolkien drew inspiration from Lancashire’s spectacular countryside whilst penning The Lord of the Rings, which was clearly reflected in his portrayal of Middle Earth. For decades, countless visitors have travelled from across the globe to trace the footsteps of the legendary fantasy writer.
During World War Two, Tolkien and his spouse frequently stayed at a guesthouse within Stonyhurst College’s grounds, where their son had allegedly been evacuated. This timeframe coincided with his writing of The Lord of the Rings, reports Lancs Live.
He’s believed to have sought refuge in Hurst Green village in the Ribble Valley, whose verdant and enchanting environment directly shaped The Lord of the Rings as well as his children’s fantasy tale The Hobbit.
Indeed, devotees of The Hobbit will recognise that Hobbiton and the Shire drew their inspiration from Hurst Green’s magnificent rural splendour and neighbouring regions.
The terrain surrounding Stonyhurst College also appears within Tolkien’s bestselling novels, and there’s even a complete 5.5 mile circular route called the Tolkien Trail which guides walkers through numerous locations they’d encounter referenced – or directly inspired by – in Tolkien’s masterpieces.
Renowned for his passion for woodland scenery and the natural world, several names and locations in Tolkien’s Lord of the Rings bear striking resemblance to those found in reality around Hurst Green, including Shire Lane and the River Shirebourn, which shared its name with the very family who owned the Stonyhurst estate.
Tolkien is famously reported to have devoted considerable time ‘in a classroom on the upper gallery of Stonyhurst College’ crafting Lord of the Rings.
The Tolkien Trail itself is packed with historic sites, each more captivating than the previous. Beginning and concluding near the Shireburn Arms – a celebrated gastro pub in Hurst Green – the approximately five-and-a-half-mile Tolkien Trail guides walkers through breathtaking vistas.
The Shireburn Arms itself is a 17th-century establishment which has preserved many of its period features. Celebrated for its cuisine, this independent pub features a welcoming fireplace in the public room – particularly popular with visitors during the colder months.
The Tolkien Trail guides walkers past Stonyhurst College and the historic yet famous Cromwell’s Bridge, named after Oliver Cromwell.
Initially built in 1562, Cromwell is believed to have led his forces across the ancient bridge whilst travelling from Walton-le-Dale to participate in the 1648 Battle of Preston.
The Tolkien Trail also leads visitors past Hacking Hall – a 17th-century, Grade I listed Jacobean residence located near where the River Calder meets the River Ribble. Despite being privately-owned, it remains a beloved landmark amongst walkers, particularly those who have embarked upon the Tolkien Trail.
Tolkien’s Trail also guides adventurers through verdant fields and agricultural pathways, offering hikers classic Ribble Valley countryside panoramas.
Additional remarkable features along the route include a 19th-century observatory, the 18th century Hodder Place – a former educational establishment that initially functioned as a mill owner’s home – alongside a partially-medieval barn.
Peaceful waterside sections and endless vistas of the Bowland Area of Outstanding Natural Beauty (AONB) render the Tolkien Trail an ideal ramble for those seeking to undertake a relaxed stroll.
Between two and a half to three hours represents an appropriate timeframe to dedicate to this historical walking route.
Delighted visitors have flocked to Tripadvisor to praise the trail, with one writing: “The Tolkien Trail is a scenic 5.5-mile walk through the beautiful Ribble Valley, offering lush woodlands, riverside paths, and peaceful countryside.
“Inspired by J.R.R. Tolkien’s time at nearby Stonyhurst College, the trail is easy to follow and perfect for a relaxed day out. The mix of history and nature makes it a must for Tolkien fans and casual walkers alike. A great spot for a picnic with magical views!”.
Meanwhile another hiker said: ” Loved the walk. Great views and stunning scenery. Can understand this would inspire the imagination. Easy recommend.”
One visitor said: “The views and the surrounding area are exactly what you want on a walk, fresh air and green spaces with rolling hills and the rivers to marvel at too.”
How to get there
The village of Hurst Green is located approximately 5 miles west of Clitheroe and nine and a half miles northeast of Preston. Limited car parking is available in the village.
Regular bus services also operate between Clitheroe, Preston, and Whalley, stopping at Hurst Green.
Best Lancashire holiday cottage deals
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Lancashire is known for its wide open skies, stunning landscapes and lively coastal resorts. Sykes Cottages has a wide range of self catering accommodation across the county from £42 a night.
An underrated horror film from 2013 starring Jessica Chastain is now available to stream on Netflix
They soon discover their guardian isn’t finished with them(Image: UNIVERSAL PICTURES)
Andy Muschietti, the director of It, has a lesser-known horror gem that’s just landed on Netflix.
First hitting screens in 2013, it boasts a standout performance from Jessica Chastain, who later took on the role of Beverly Marsh in the popular Stephen King adaptation.
The film, titled Mama, also stars Game of Thrones’ Nikolaj Coster-Waldau and Yellowjackets’ Isabelle Nélisse. It tells the chilling tale of two young girls who lose their parents in a tragic incident and are subsequently raised by a malevolent entity in a dark forest.
After being rescued by their father’s twin brother, they attempt to adjust to normal life, only to find that the ominous ‘Mama’ isn’t quite finished with them yet.
Despite being Muschietti’s directorial debut, Mama didn’t exactly wow critics, earning a modest 63 percent rating on Rotten Tomatoes. However, it has cultivated a dedicated fanbase who believe it deserves another look, reports the Express.
One glowing Letterboxd review proclaimed: “I could happily sit through twenty turkeys to find one diamond like this. A masterclass in modern horror.”
Another viewer enthused: “I have seen many, many horror films in my lifetime. But I have rarely (if ever) seen one that has touched me so deeply, rewarded me so profoundly, and at the same time managed to scare the everliving s*** out of me so many times in one night.
“Mama has left me shaken to my very core, in so many good ways.”
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They added: “Mama is possibly the scariest film I have ever seen, but also one of the most touching, well filmed and memorable stories in a very long time.
“More ghost story than fairytale, it’s one that is sure to haunt me for all time, and I will think twice before I turn out the lights tonight..”
The accolades kept coming on IMDb, where one fan confessed “I wish there were more movies like Mama.
“This has become one of my favorite horror movies over the years, one I keep turning to as a prime example of what the horror genre should be,” they said.
Get Netflix free with Sky for Bridgerton Season 4
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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
Meanwhile, another bewildered enthusiast questioned: “Why is this movie so underrated??
“Mama wasn’t terrible like everyone says. It was so good! The ending was super emotional and wtf-ish.”
If you’re already hooked on the recent It films, be sure to discover where it all started for horror genius Muschietti now that Mama is ready to stream.
In late 2024, shortly after her husband, Donald Trump, was reelected as the 47th president of the United States, Melania Trump saw an opportunity: a documentary centered on her life.
The film, a follow-up to her eponymous memoir, would offer a window into the first lady’s private, sphinx-like world, in contrast to that of her bombastic, spotlight-seeking husband.
To direct the film, a fly-on-the-wall chronicle of the 20 days leading up to the inauguration, Melania turned to an unlikely choice: Brett Ratner, who only a few years earlier had been all but banished from Hollywood.
The controversial filmmaker had been recommended by her agent and “senior advisor” Marc Beckman, who had a long-standing relationship with Ratner.
“He’s one of the most talented directors of our lifetime,” said Beckman, who negotiated the unusually lucrative $40-million deal with Amazon MGM Studios to distribute the film.
“He actually accounts for like $2 billion in box-office receipts,” Beckman told The Times. “He really understands not just how to create something that’s gorgeous, but also how to reach the passions and emotions of his audience.”
The timing was fortuitous. Ratner was looking for a comeback vehicle from his heady days as one of the industry’s most successful filmmakers. And Beckman was among several prominent figures in Trump’s orbit who could help make that happen.
President-elect Donald Trump kisses his wife, Melania, before his inauguration on Jan. 20, 2025.
(Saul Loeb / Associated Press)
Brash, rich and successful, Ratner, 56, was the director and producer of a string of blockbuster films, the “Rush Hour” franchise and “X-Men: The Last Stand” among them. He was a consummate Hollywood dealmaker and habitué of red carpets who held court at the legendary basement disco inside of his equally storied Beverly Hills estate.
Then, in the fall of 2017, The Times reported on sexual misconduct allegations against Ratner made by multiple women. At the time, Ratner strenuously denied the claims.
It was the height of the #MeToo movement and a range of sexual misconduct allegations toppled the careers of powerful men, from disgraced producer Harvey Weinstein to “Today Show” host Matt Lauer and CBS Chairman Les Moonves. Weinstein was later convicted of rape in Los Angeles and sentenced to 16 years in prison.
Almost immediately, Ratner’s reign as blockbuster king was over.
Beckman, however, viewed Ratner first and foremost as a director. They had a relationship that stretched back to 2007. Beckman’s agency hired Ratner to direct a sultry Jordache jeans campaign, inspired by the iconic photographer Helmut Newton, whose work was edgy, provocative and erotically charged. The campaign, shot at the Chateau Marmont, featured a mostly topless Heidi Klum — in one ad she is brandishing a riding whip.
Beckman declined to say whether he had talked to other potential directors, nor would he address any of the claims made against Ratner. He stressed that it was Ratner’s “massive talent” that put him in the director’s chair. “We focused on Ratner’s capabilities as being a superior director,” he said.
The documentary, “Melania,” is set to premiere at the Kennedy Center for the Performing Arts in Washington — which the president is trying to rename the Trump Kennedy Center — on Thursday, followed the next day by a global theatrical release.
In addition to the “Melania” documentary, a three-part docuseries also filmed during the inauguration run-up about the first lady that Ratner directed and is part of the same Amazon deal, is set to air on the streamer later this year, according to Beckman.
Brett Ratner, center, and the stars of “Rush Hour 3,” Jackie Chan and Chris Tucker, at the film’s Los Angeles premiere party in 2007.
(Matt Sayles / Associated Press)
Then there is the much-buzzed-about fourth installment of “Rush Hour.” It has been widely reported that Ratner will direct the $100-million movie to be distributed by Paramount.
The long-stalled project came about after President Trump was said to have urged his friend Larry Ellison, who bankrolled his son David’s acquisition of Paramount, to revive the franchise.
Not everyone is happy about Ratner’s return.
“It speaks to the larger issue that these men who didn’t take responsibility for their actions are coming back into society as if nothing happened,” said Nancy Erika Smith, a partner at Smith Mullin in Montclair, N.J., who has litigated numerous harassment cases, including that of former Fox anchor Gretchen Carlson.
Reached by phone, Ratner declined to respond to questions, saying, “I don’t talk to or cooperate with the Los Angeles Times.”
He referred questions to his London-based publicist, who did not respond to a detailed list of questions.
An early love of movies
Growing up in Miami, Ratner once said that “I eat, sleep, breathe the movies.” He was raised by a single mother, Marsha, who had him at 16, and his grandparents Mario and Fanita Presman, Jewish Cubans who immigrated to Florida during the 1960s. (His paternal grandfather, Lee Ratner, founded d-Con, the rat poison company.) At 12, he was an extra, appearing as a boy on a raft, during a pool scene at the Fontainebleau Hotel in the 1983 Brian De Palma film “Scarface.”
Early on, Ratner garnered a reputation for his ambition, relentless drive and a preternatural ability to surround himself with famous friends and mentors.
While a student at New York University in the late 1980s, he befriended Def Jam co-founder Russell Simmons, who made him his protégé, tapping Ratner to direct music videos.
At 28, he directed his first film, the 1997 buddy comedy “Money Talks,” starring Charlie Sheen and Chris Tucker. The movie grossed $48 million on a $25-million budget, cementing Ratner’s reputation as a highly bankable director.
In 2012, Ratner and Australian billionaire investor James Packer co-founded RatPac Entertainment. A year later, they merged with the film financing company Dune Entertainment, founded by Steven Mnuchin (Trump’s future Treasury secretary), that had bankrolled massive hits like “Avatar.”
The rebranded RatPac-Dune quickly entered into a $450-million slate financing deal with Warner Bros. to fund up to 75 movies, including Oscar winner “Gravity” and box-office hit “Wonder Woman.”
Ratner himself served as an executive producer on such acclaimed films as the epic western drama “The Revenant.”
“I was not the best student, but I was the hardest-working kid that I know, and it paid off,” said Ratner when the Friar’s Club honored him with a comedy achievement award in 2011.
A self-styled jet-setting playboy, Ratner dated actor Rebecca Gayheart and tennis star Serena Williams. He cocooned himself inside a circle of much older, famous cinema legends that he considered his mentors such as Robert Evans, Roman Polanski and Robert Towne.
The late movie producer Robert Evans was part of a clutch of cinema legends that Ratner considered his mentors.
(Getty Images)
Ratner’s Beverly Hills mansion, Hilhaven Lodge, the estate once owned by “Casablanca” actor Ingrid Bergman, was the scene of numerous raucous parties filled with celebrities and models.
After he made a series of vulgar and inappropriate comments while promoting his film “Tower Heist” in 2011, including saying that “rehearsal is for f—,” using an anti-gay slur, he dropped out of producing the Academy Awards broadcast.
Still, Ratner frequently groused that he was misunderstood.
“I don’t drink; I don’t do drugs. Do I like to have fun? Yeah. Do I like to enjoy myself, enjoy my life? Yeah. But I’m not a decadent person. … I’m just a nice Jewish kid from Miami Beach who loves movies and pretty girls,” he said in an interview with the Jewish Journal.
Over the years, Ratner sat on the boards of several charities such as Chrysalis, a group that helps homeless people; and the Ghetto Film School. In 2013, he donated $1 million to the Academy Museum of Motion Pictures and he actively supported the Simon Wiesenthal Center, where he was a trustee, and the Museum of Tolerance.
When Patty Jenkins presented him with the Tree of Life humanitarian award at a Jewish National Fund dinner in 2017, the director of “Wonder Woman” and “Monster” shared that he financed her thesis film.
In 2017, when Ratner received a star on the Hollywood Walk of Fame, he was cheered on by actors Edward Norton, Dwayne Johnson and Eddie Murphy, producer Brian Grazer and Warner Bros. chief Kevin Tsujihara.
(Chris Delmas / AFP via Getty Images)
That year, RatPac-Dune’s co-financing deal with Warner Bros. delivered a series of hits, including “It,” “Wonder Woman” and “Dunkirk.” He received a star on the Hollywood Walk of Fame.
Fallout over allegations of misconduct
Then, in November, The Times published detailed allegations against Ratner made by six women who accused him of harassment, groping and forced oral sex. Actor Olivia Munn claimed that Ratner masturbated in front of her when she delivered a meal to his trailer on the set of the 2004 film “After the Sunset.”
At the time, Ratner’s attorney Martin Singer rejected the women’s claims, saying that his client “vehemently denies the outrageous derogatory allegations that have been reported about him.”
The Times published another report weeks later that included additional sexual misconduct allegations from several other women. The report also named Simmons, the Def Jam co-founder, as a witness and alleged perpetrator in several of the episodes.
Both Ratner and Simmons disputed the women’s accounts and denied their allegations. Simmons subsequently faced several rape accusations, which he has denied.
The professional repercussions were swift. Ratner’s agents at WME dropped him, as did his publicist, and projects were put on hold. Ratner parted ways with Warner Bros.
“I don’t want to have any possible negative impact to the studio until these personal issues are resolved,” he said in a statement.
Two years later, Ratner’s name surfaced amid the tangled Hollywood sex scandals involving British actor Charlotte Kirk, whose allegations brought down two studio chiefs: Warner Bros. CEO Kevin Tsujihara and NBCUniversal Vice Chairman Ron Meyer, with whom she claimed to have had sexual affairs.
British actor Charlotte Kirk accused several Hollywood power players including Ratner of “victimizing her.”
(Paul Archuleta / FilmMagic)
In a sworn court declaration, Kirk said she was victimized by Tsujihara, Ratner, Packer and Millennium Films CEO Avi Lerner, stating that the men “coerced me into engaging in ‘commercial sex’ for them and their business associates.”
She further accused Packer, whom she had dated for a period, and Ratner of having “sexually exploited me,” with Ratner sending her “crude sexual text messages, and offering me as an inducement to his business partners,” according to her declaration.
Attorney Singer, who represented the men, “categorically and vehemently” denied any wrongdoing on the part of his clients.
Cast out of Hollywood, Ratner appeared to escape the piercing scrutiny by living large. He was spotted variously at the five-star Faena Hotel in Miami and sunning on a yacht off Saint-Barthélemy in the Caribbean.
Ratner’s initial attempts to get back behind the camera went nowhere. In 2021, he announced plans to direct a long-stalled Milli Vanilli biopic with Millennium Media, but soon after, Millennium Media stated that it was no longer involved with the film.
In Trump’s orbit
Despite the setbacks, the seeds for Ratner’s eventual comeback had been sown. Known as a world-class schmoozer, Ratner cultivated numerous ties to people affiliated with Trump.
For several years, he was partners with Mnuchin, who served as Treasury secretary during Trump’s first term, through their production and financing company RatPac-Dune.
Billionaire Len Blavatnik, owner of Warner Music Group, bought Packer’s stake in RatPac-Dune through his Access Entertainment in 2017, making him Ratner’s partner for a time. Blavatnik, through his company, contributed $1 million to Trump’s first inauguration.
Then there’s Arthur Sarkissian, the producer of the original “Rush Hour” movie. He also produced the 2024 Trump-friendly documentary, “The Man You Don’t Know.”
Steven Mnuchin, who was Treasury secretary during Trump’s first term, was a partner with Ratner through their company RatPac-Dune Entertainment.
(Alex Brandon / Associated Press)
Ratner also developed a friendship with Israeli Prime Minister Benjamin Netanyahu, who has a long-standing relationship with Trump. Ratner was the prime minister’s guest at the United Nations General Assembly in September 2023. He posted a picture on his Instagram standing behind a seated Netanyahu and his wife, and next to attorney Alan Dershowitz, himself a longtime advisor and friend of Trump’s.
That year, several Israeli media outlets reported that Ratner had obtained Israeli citizenship after he posted the passbook Israel issues to new immigrants on his Instagram story with his name “Brett Shai Ratner” captioned in Hebrew.
“There’s a strong community in south Florida that is close to Trump,” said someone who worked with the family but was not authorized to speak publicly. “Brett has relationships with a bunch of them; it was just a matter of connecting the dots.”
Ratner no longer appears to live at his Hillhaven estate (which is currently listed for lease at $82,500 a month), while there have been sightings of him at Mar-a-Lago.
Not long after the presidential election, Ratner was given unprecedented entrée to Melania Trump and became a part of her trusted inner circle.
Beckman said Ratner was given “remarkable” access to her life. “There were behind-the-scenes meetings,” he said. “She’s a very private person and for the first time she was allowing the cameras to cover her, her family, her philanthropy and of course her business endeavors.”
Many of the women who came forward in 2017 to level their accusations against Ratner declined to speak about him now or to comment on his return to directing.
In the 2017 Times article, actor Jaime Ray Newman alleged that during a flight Ratner made sexually inappropriate comments and showed her nude photos of his then-girlfriend.
“I said my piece a couple of years ago and have moved on,” Newman, who stars in the Netflix hit “The Hunting Wives,” told The Times. “I feel really good and brave in what I did.”
The “Melania” trailer is in heavy rotation online and was shown during the NFL playoffs. Billboards loom over cities and on buses.
Talking to reporters on Air Force One earlier this month, the president praised the upcoming film.
“I’ve seen pieces of it, it’s incredible,” Trump said. “Everybody wants tickets to the premiere. I think it’s going to be great.”
