Now Playing
B985 FM
Last Song Played
80s 90s & NOW
On Air
No Program
Now Playing
B985 FM
Last Song Played
80s 90s & NOW


200 items
Results 21 - 30 of 200 < previous next >

DiCaprio says he's cooperating with DOJ in Malaysian scandal

Leonardo DiCaprio says he's awaiting direction from the U.S. Justice Department regarding any ill-gotten funds that may have supported his environmental foundation or 2013 film "The Wolf of Wall Street."

The Oscar-winning actor released a statement through his representatives Tuesday saying he will return any gifts or donations connected to a Malaysian wealth fund, pending a fraud investigation of that fund by the U.S. and other countries. Court filings in connection with the investigations allege a complex money laundering scheme intended to enrich top-level officials of the Malaysian government-controlled wealth fund.

"Both Mr. DiCaprio and (the Leonardo DiCaprio Foundation) continue to be entirely supportive of all efforts to assure that justice is done in this matter," the statement said. "Mr. DiCaprio is grateful for the lead and instruction of the government on how to accomplish this."

The Justice Department says that at least $3.5 billion has been stolen from the wealth fund, known as 1MDB, by people close to Malaysian Prime Minister Najib Razak. Najib created the fund in 2009 shortly after he took office to promote economic development projects in the Asian nation, but the fund accumulated billions in debts over the years.

The Justice Department has initiated action to seize $1.3 billion it says was taken from the fund to buy assets in the U.S., including luxury properties in New York and California, a $35 million jet, art by Vincent Van Gogh and Claude Monet, and financing of "The Wolf of Wall Street," according to federal government complaints filed in Los Angeles in July.

The government complaints also say that more than $700 million has landed in the accounts of "Malaysian Official 1." They didn't name the official, but appear to be referring to Najib.

The Justice Department complaints also do not mention DiCaprio by name, but make an oblique reference to "Hollywood Actor 1," who during his Golden Globe acceptance speech thanked "the entire production team" and singled out several people close to Najib implicated in the scandal as "collaborators" on the film. DiCaprio won the Golden Globe for his "Wolf of Wall Street" performance.

The Justice Department complaints identify the collaborators by name, including Najib's stepson, Riza Shahriz Abdul Aziz, who co-founded movie production company Red Granite Pictures. Besides "The Wolf of Wall Street," other films produced by Red Granite include 2015's "Daddy's Home" and 2014's "Dumb and Dumber To."

Last week, a Swiss rainforest charity demanded that DiCaprio resign from his post as a United Nations "Messenger of Peace" if he doesn't disclose his financial ties to the Malaysian fund. But on Monday, a U.N. spokesman expressed continued support for the actor.

Stephane Dujarric said he understands that DiCaprio's foundation is working with the relevant authorities in the U.S. to resolve the issue.

"We continue to welcome his public work on behalf of climate change," Dujarric said.

Najib has consistently denied any wrongdoing since allegations of massive fraud in the fund erupted last year. He remains firmly in political control by clamping down on critics and because of unwavering support of most ruling party members. The opposition is too weak in Malaysia to dislodge him.

Democracy group Bersih plans to hold a mass street rally on Nov. 19 to demand Najib's immediate resignation to allow an independent investigation in Malaysia into the financial scandal.


Eileen Ng in Kuala Lumpur and Eric Tucker in Washington contributed to this report.

In 'Tower,' a mass shooting before anyone knew what that was

Neal Spelce was scrounging for news to fill his Austin station's noon radio broadcast when he heard this announcement on the police scanner: "We have a report of a shot being fired at the University of Texas."

That message, on Aug. 1, 1966, didn't even begin to capture the magnitude of the tragedy about to rock the sleepy college town.

Charles Whitman, an architectural engineering major and U.S. Marine sniper, had climbed the campus clock tower and launched a killing rampage considered one of the first "mass shootings" in modern American history.

A new documentary film, "Tower," captures the sense of confusion and carnage that permeates many major acts of violence. But it also illustrates how extremely rare such events were back then — a stark contrast to more recent massacres that have become almost chillingly common.

Director Keith Maitland tells the story using animation spliced with news photographs and footage, radio clips and testimonials provided chiefly by eight survivors. Among them is Spelce, then news director for KTBC-TV, who soon after that initial report was in a station vehicle, broadcasting on radio as he drove toward the sniper.

"It was really an unbelievable scene, unlike anything anyone had ever seen before and you didn't have any frame of reference," Spelce, then 30, said in a phone interview. "It wasn't like today. There was no police tape marking anything off. No authority saying 'Stand back.' We were able to go straight onto the campus."

The documentary has begun opening in theaters nationally, five decades after an attack in which Whitman, then 25, killed 13 people and wounded nearly three dozen others. He had killed his wife and mother prior to heading to the tower, one victim died a week later and medical examiners eventually attributed a 17th death to Whitman in 2001.

Rather than focusing on the sniper, though, the documentary explores what it was like on the ground during the mayhem. Men, women and a newspaper delivery boy were shot without warning, before they even knew to be afraid — and some survived. Some scrambled for any cover they could find in the nearly 100-degree heat. Police and ordinary Texans would eventually rush to get their own guns and fire back, in vain, at Whitman from the ground.

The sniper's face doesn't appear in animation; only his legs are shown after he's killed by police and a store manager who made their way to the top of the clock tower. Whitman's name isn't mentioned until more than hour into the film.

"I felt like really every other newspaper article, magazine article, the one bad TV movie and other kinds of basic-cable, true-crime investigations were always about the sniper and trying to unravel his motivations," Maitland said, panning a 1975 Kurt Russell made-for-TV offering called "The Deadly Tower."

"We would never know the answers to those questions," he added. "But what was answerable was what it was like to survive."

When the shooting started, a TV station near to the clock tower rolled a camera close — some say it was onto a balcony, others remember it as by an open window. The footage, which Maitland said hadn't been previously accessed since the 1970s, appears in the documentary and provides the much of the visceral, seemingly endless sounds of booming gunfire throughout it. Authorities would later say Whitman had 700 rounds of ammunition, though how many times he fired between around 11:48 a.m., as the attack began, and when he was killed about 90 minutes later is unknown.

Claire Wilson James had just finished an anthropology test when she and her boyfriend, Tom Eckman, began walking through campus to put a nickel in the meter where their Volkswagen was parked. The 18-year-old was eight months pregnant and describes in the film being shot and feeling her baby stop moving — then lying on the blistering pavement beside Eckman's body.

Bystanders carried James to safety eventually, knowing they too could be shot at any instant. Another of the documentary's stars, John "Artly" Fox, said at Austin's South by Southwest Film Festival in March that the rescuers figured they had a 75 percent chance of survival since the tower's observation deck was four-sided. While Whitman was firing from all four, he couldn't be more than one place at once.

James spent seven weeks in intensive care. She resumed classes the following January and said she never felt "horror or trauma" returning to campus — but eventually left school anyway.

"It seems like you're with the love of your life and I'm going to have a baby in another month or so, and then, all of a sudden, everything's gone," James, who now lives in Texarkana, Texas, said in a phone interview. "I just felt a lot of loneliness."

Maitland said many mass killings prior to Whitman's had clearer motives. What occurred at the University of Texas was targeting people with no connection to the sniper.

"These random public acts are the most terrifying because there's nothing you can do to prevent them. There's no amount of vigilance you can have with somebody, especially a long-range sniper," Maitland said. "That's where the real turning point is in the story of public crime."


This story has been corrected to reflect the quote should be attributed to James, not Jones.

Harry Shearer sues French studio over 'Spinal Tap' profits

Comedian Harry Shearer announced Tuesday that he has sued a French film studio over tens of millions in dollars in profits he claims he and his co-creators are owed for creating the classic mockumentary "This Is Spinal Tap."

Shearer's lawsuit filed in a federal court in Los Angeles on Monday claims the French company Vivendi S.A. and its subsidiary StudioCanal withheld profits from the film, its music and its merchandise.

Shearer released a two-minute video on Twitter announcing the lawsuit, urging people to share it with the hashtag #fairnessrocks.

Shearer co-created the satire about a British rock band on the decline, which has been featured on numerous top movie lists of all time since its 1984 release. "This Is Spinal Tap" was made for $2.25 million, the lawsuit said.

The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.

The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.

Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.

Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.

The company said their share of profits on music on songs such as "Sex Farm" and "Stonehenge" was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film's profits since 2013.

The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer's company, Century of Progress Productions.

Vivendi in an emailed statement declined comment on the lawsuit.

A jury would determine the amount of any damages awarded to Shearer's company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character's name, Derek Smalls.

If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.

The comedian also voices several characters on the long-running Fox animated series "The Simpsons."


This story has been corrected to show the hashtag is #fairnessrocks, not #fairness rocks and that the name of one song is "Sex Farm" not "Sex Far."


Anthony McCartney can be reached at

Hundreds in Warsaw bid farewell to filmmaker Andrzej Wajda

Hundreds of Warsaw residents and public figures packed a church Tuesday for a mourning Mass to bid farewell to renowned filmmaker Andrzej Wajda.

Wajda, who received an honorary lifetime achievement Oscar in 2000, died in a hospital Oct. 9 at the age of 90, just months after finishing "Afterimage," a movie that will compete for a foreign language Academy Award.

The film is a biopic about avant-garde artist Wladyslaw Strzeminski fighting totalitarian Stalinist ideology.

Culture Minister Piotr Glinski, former presidents Aleksander Kwasniewski and Bronislaw Komorowski as well as popular Polish actors, many of whom played in Wajda's movies, were in the crowd that packed Warsaw's St. Jack church for the special Mass.

"I came here for him, because he merits our memory," Stella Wiktor, 82, told The Associated Press before the Mass. "I saw almost all of his films and they will always be with me."

An urn with Wajda's ashes and his portrait stood near the altar, which was decorated with white gladiolas.

"We are losing a teacher, someone with great authority," the Rev. Andrzej Luter said in the homily.

"He knew how to effectively expose the world of primitive propaganda around us," Luter said.

In awarding him an Oscar for lifetime achievement, the Academy members said Wajda was "a man whose films have given audiences around the world an artist's view of history, democracy and freedom, and who in so doing has himself become a symbol of courage and hope for millions of people in postwar Europe."

He made more than 40 movies, including the 1977 "Man of Marble," which looked at the roots of worker discontent in communist Poland in the 1950s; and "Man of Iron," in 1981, on the rise of the Solidarity labor union movement that won him the top prize, the Palme d'Or at Cannes festival that year.

Crowds are expected for Wajda's funeral that will be held Wednesday in the southern city of Krakow, where his mother is buried.

He is survived by his fourth wife, stage designer and actress Krystyna Zachwatowicz, and by his daughter Karolina, as well as by former wife, actress Beata Tyszkiewicz.

Correction: Smithsonian-Ruby Slippers story

In a story Oct. 18 about an effort to preserve the ruby slippers from "The Wizard of Oz," The Associated Press reported erroneously where the slippers are displayed. They are on display at the Smithsonian's National Museum of American History, not the National Museum of Natural History.

A corrected version of the story is below:

No-brainer: $300K campaign to rescue Dorothy's ruby slippers

It will take more than three clicks of the heels to preserve the ruby slippers that whisked Dorothy back to Kansas at the end of "The Wizard of Oz." The nearly 80-year-old shoes are one of the most beloved items at the National Museum of American History, but now they're frayed and they're not even ruby-colored anymore


Associated Press

WASHINGTON (AP) — It will take more than three clicks of the heels to preserve the ruby slippers that whisked Dorothy back to Kansas at the end of "The Wizard of Oz."

The slippers, which for more than 30 years have been one of the most beloved items at the Smithsonian's National Museum of American History, were crafted almost 80 years ago by the MGM Studios prop department. Like most movie props, they weren't built to last. Now, the frayed shoes aren't even ruby-colored anymore — they're more like a dull auburn.

On Monday, the Smithsonian asked the public to help save the slippers, launching a Kickstarter campaign to raise $300,000. In addition to keeping the shoes' color from deteriorating further, the money will go toward a technologically advanced display case that will preserve them for future generations.

The Smithsonian's museums are federally funded, but the institution frequently solicits private and corporate contributions for major projects that its budget doesn't cover. This is the Smithsonian's second Kickstarter campaign. In 2015, the National Air and Space Museum raised $700,000 through the crowd-funding site to preserve the spacesuit that Neil Armstrong wore when he walked on the moon.

"This particular pair of ruby slippers really belongs to the American people, and so we thought as we sought support that we would invite the public to join us on this journey to help preserve them for the next generation," said Melinda Machado, a museum spokeswoman.

If the Kickstarter campaign is successful, the slippers will be the second-most-researched item in the museum's collection, behind the flag that inspired Francis Scott Key to write "The Star-Spangled Banner," said Richard Barden, the museum's head of conservation.

The shoes are the most recognizable prop for the beloved 1939 musical, their deep red hue dazzling audiences when the movie made its dramatic transition from black-and-white to Technicolor. They have been on near-constant display since they were anonymously donated to the museum in 1979.

Their age is showing, and preserving them is more complicated than it might appear. The slippers contain a dozen different materials. The sequins are made of gelatin with a primitive plastic coating, and many are no longer red because the coating has flaked off, in part because of decades of exposure to light and moisture. The undersides of the sequins, or portions that did not have direct exposure to light, have retained more of their color.

The shoes also include glass beads and red felt on the soles that was used to muffle their sound when Judy Garland wore them during dance sequences.

The pair is also mismatched: One shoe is wider than the other, and there are other subtle differences in their shape. Each has Garland's name written inside.

The museum will research the ideal conditions for the various materials that make up the shoes. The new case is likely to contain a gas other than oxygen, with controls on temperature, humidity and barometric pressure, Barden said.

"That case becomes very expensive to build, and we want to build one that will be efficient and low-maintenance so we're doing the best for the slipper and keeping our costs as low as possible," Barden said.

As of Tuesday afternoon, donors had pledged nearly $80,000 on Kickstarter. If the museum does not reach its $300,000 goal in 30 days, no one will be charged. Donations start at $1 and, depending how much they give, contributors can receive rewards including T-shirts and tote bags created by William Ivey Long, a Tony award-winning costume designer.


Follow Ben Nuckols on Twitter at

Wanda lures Hollywood to China with 40 percent rebate offer

Chinese entertainment giant Wanda is offering producers a rebate of 40 percent to promote its upcoming $8 billion movie studio in eastern China in an ambitious bid to establish the complex as a major production base in Asia.

The 408-acre (165-hectare) Qingdao Movie Metropolis is due to open in the port city in August 2018. Not just a movie studio, it is slated to include four indoor theme parks and even international schools to encourage foreign filmmakers to live there with their families.

In an announcement Monday in Los Angeles, Wanda said the next installments of "Pacific Rim" and "Godzilla," made by Wanda-owned Legendary Entertainment, would be filmed in Qingdao, as well as unspecified films by Lionsgate.

Wanda said it and the Qingdao city government had established a film and TV industry development fund to enable Chinese and international producers to receive a rebate of 40 percent of their Qingdao production expenses.

The announcement is the latest by Wanda to promote its growing entertainment brand on the global stage, even as U.S. lawmakers raise concerns about the company's investment in Hollywood.

Wanda already owns U.S. cinema chain AMC Theaters and bought Legendary Entertainment for $3.5 billion in January. It has said it will invest in multiple Sony Pictures productions, and strive to highlight China in those films.

Last month, a group of U.S. lawmakers called for closer scrutiny of Chinese investment such as Wanda's in the entertainment industry, concerned those moves could limit creative freedom or promote Chinese propaganda.

Originally a property and cinema giant, Wanda has also expanded into sports, becoming a top-tier sponsor of FIFA and acquiring a 20 percent stake in Spanish football team Atletico Madrid.

The 3 stars of 'Moonlight' share a role and a breakthrough

The three Chirons of Barry Jenkins' "Moonlight' are sitting around a table, examining each other's eyes.

Trevante Rhodes, 26, Ashton Sanders, 20, and Alex R. Hibbert 12, play the same character across three distant chapters in his life, growing up black, gay and confused with his drug addicted mother (Naomi Harris) in Miami. The three actors didn't properly meet until well after the film was finished.

Yet they somehow add up to one of the fullest coming-of-age portraits in years. Tenderly lyrical, exhilaratingly intimate, "Moonlight" and its trio of Chirons capture the tidal swells and recesses of an identity in the midst of discovery, one warped by pain and lifted by fleeting moments of transcendence.

The only link between the three actors, Jenkins says, was their eyes. "I really wanted them to be different people. Same character, different people," says Jenkins. "But there was this spiritual, cosmic connection through the eyes."

Rhodes, Sanders and Hibbert gathered together for one of the first times recently in Manhattan. They are excited — man, are they excited — about collectively sharing a singular character and splitting "Moonlight" (one of the year's most acclaimed films even before it opens Friday) in thirds between themselves.

Tenuous though their connection may be, Rhodes, Sanders and Hibbert could hardly feel more related. Even though they didn't film one scene together, sharing Chiron has made them something like brothers. They see bits of themselves in each other, even if they don't all agree with Jenkins about their eyes.

"I get it," says Sanders, a college student.

"I don't," says Hibbert, while munching on gummy bears.

They laugh. Rhodes tries to explain it. "It's the essence, man," he says. "Chiron is a very truthful person. He's putting up this facade, but can't hide the eyeballs."

Rhodes and Sanders met briefly as Sanders was finishing his shoot and Rhodes was starting his. But they didn't all get together until the film played at the Toronto International Film Festival.

"I heard about them and I was like, 'Oh my gosh, bro, they're dope!' says Hibbert.

Each was plucked from auditions. Sanders, an aspiring actor in Los Angeles who had a small role in "Straight Outta Compton," was the first to be cast. Hibbert, encouraged to go out for it by his drama teacher, came out of local auditions in Miami. Rhodes, a New Orleans native transplanted to Texas, is the most established of the trio, with a number of credits including Terrence Malick's upcoming "Weightless" and the HBO series "Westworld."

As if making up for lost time, they're exceptionally supportive of one another, playfully cheering each other on during a photo session and complimenting each other's answers. Hibbert, who speaks with a confidence and maturity beyond his years, utters a wise pronouncement and Rhodes exclaims, "This guy!"

They're a talkative bunch, in contrast with their quietly powerful performances in "Moonlight," each of which bubbles with inner turbulence.

"There's a lot of scenes where I'm watching, just reacting," says Hibbert. "When I saw the movie, I was all like: 'I don't talk.' My mom was all like: 'Don't you get it? You talk with your face.'"

Jenkins didn't allow them to share notes, so each came to embody Chiron in his own way.

"At the time when I got this part, my mother had just relapsed on drugs," says Sanders. "She's been on and off drugs for my entire life. I do this thing often where I bury things in the back of my mind until I have to be confronted with them. So this film, in the scenes with Naomi Harris, allowed me to deal with that. It was like therapy for me."

"This is the movie where I fell in love with acting," says Rhodes. "I felt like I was becoming an artist because I wasn't putting on a coat, I was inhabiting another skin."

"I had to move so my dad wasn't there in my life a lot," says Hibbert. "And Chiron, he didn't have a dad. It's OK now because I'm here in New York and I'm going to see him today."

The three breakout stars of "Moonlight" may have filmed separately but they're together experiencing the film's rapturous response and the spotlight of an international publicity tour.

"The response we got from the trailer alone, I feel as if I really underestimated America in regards to how people would receive the project," says Rhodes. "You'd think the black community would really shun something like this because it is perceived as taboo to be effeminate and black because we have to be the physical, most imposing guy in the movie. For people to receive a film that shows so many different layers to people — not just black people — and really receiving that with open heart and open eyes, that shows me where we are as a world."

"Even if they go to the movie and they think, "Aw, it's going to be about these black people or these gay people," says Hibbert. "When you watch the movie, your mind's going to be changed."

"Straight up," agrees Sanders.


Follow AP Film Writer Jake Coyle on Twitter at:

Actress Ali MacGraw to be honored as Santa Fe 'treasure'

Actress and longtime New Mexico resident Ali MacGraw will be recognized for her advocacy work in the community.

The "Love Story" star is being honored Sunday as one of four new "Santa Fe Living Treasures."

The 77-year-old, who has lived in Tesuque in Santa Fe County since 1994, is being singled out for her charity work.

MacGraw tells the Santa Fe New Mexican ( that she is just "an ant" in a network of people who volunteer around Santa Fe.

She says her past fame can sometimes help draw more attention to an issue.

MacGraw advocates for several causes — many of them involving animals.

She supported legislation that would ban cockfighting and was present in 2007 when it was signed into law.

Affleck's 'The Accountant' tops charts with $24.7 million

Ben Affleck is still a box office draw outside of the bat suit.

His new thriller "The Accountant" opened to a chart-topping $24.7 million this weekend, according to studio estimates Sunday. Gavin O'Connor directed the R-rated thriller, starring Affleck as an autistic mathematician. The film didn't play especially well with critics, but audiences, who were 58 percent male and 68 percent over the age of 35, gave it a promising "A'' CinemaScore.

It's the continuation of what proves to be a long and fruitful partnership between Affleck and Warner Bros. Although "The Accountant," which cost a reported $40 million to produce, didn't quite hit the heights of "Gone Girl's" $37.5 million opening, it is in the range of some of his other R-rated fall openings with the studio. "Argo," for instance, launched to $19.5 million in 2012, and "The Town," took in $23.8 million in 2010.

"The Accountant" also far-surpassed Warner Bros.' early predictions for the film, which had it in the $15 to $20 million range.

"We're in the Ben Affleck business, and we're proud of it. We've had a lot of movies with him, and we have a lot of movies coming up with him," said Jeff Goldstein, Warner Bros. president of domestic distribution. "Audiences just love him."

Affleck's mob drama "Live By Night," which he wrote, directed and stars in, opens on Christmas. He also has the DC comics films with the studio.

The weekend's other new star-driven project, "Kevin Hart: What Now?" narrowly took second place over last week's champ "The Girl on the Train." The Kevin Hart concert film, which Universal Pictures distributed, took in $11.98 million. The comedian's 2013 concert film "Kevin Hart: Let Me Explain" opened to a similar $10 million in 2013.

"We love Kevin Hart and we love our association with him. This is our fourth collaboration with him this year alone," said Nick Carpou, Universal's president of domestic distribution. "He is tireless in the way that he promotes his projects and the way that he's always working. It's really a pleasure to be part of it."

In third place, "The Girl on the Train" netted $11.975 million for Universal, bringing its domestic total to $46.6 million. With such a minuscule difference, the Universal films could easily switch places when final numbers come in on Monday.

Holdovers "Miss Peregrine's Home For Peculiar Children" and "Deepwater Horizon" rounded out the top five with $8.9 million and $6.4 million, respectively.

The weekend's other new opener, the Mattel-inspired "Max Steel," bombed with only $2.2 million. Open Road distributed the film starring Ben Winchell, which currently has a zero percent on Rotten Tomatoes.

Overall, the year is still up 3.5 percent, but the fall season is down from last year, according to box office tracker comScore.

"In the wake of the summer season, the fall always seems a little slow. This year is sort of typical in that way. We haven't had an October breakout hit like we had with 'Gravity' and 'The Martian,'" said Paul Dergarabedian, comScore's senior media analyst. So far, the fall's top-grossing film is "Sully," which has grossed $118.4 million to date.

"I'm thinking we're going to have a renaissance at the box office in a week or two and things could turn around," he added, noting big upcoming films like "Jack Reacher: Never Go Back," ''Doctor Strange," and "Fantastic Beasts and Where to Find Them."

Internationally, "Inferno," starring Tom Hanks, opened in 53 territories to $50 million in advance of its North American release on Oct. 28.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday.

1. "The Accountant," $24.7 million ($2.8 million international).

2."Kevin Hart: What Now?" $11.98 million.

3."The Girl on the Train," $11.975 million ($7.8 million international).

4."Miss Peregrine's Home for Peculiar Children," $8.9 million ($23.5 million international).

5."Deepwater Horizon," $6.4 million ($4.2 million international).

6."Storks," $5.6 million ($10.6 million international).

7."The Magnificent Seven," $5.2 million ($3.5 million international).

8."Middle School: The Worst Years of My Life," $4.3 million.

9."Sully," $3 million ($1.3 million international).

10."The Birth of a Nation," $2.7 million.


Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to comScore:

1. "Inferno," $50 million.

2. "Miss Peregrine's Home for Peculiar Children," $23.5 million.

3. "Operation Mekong," $21 million.

4. "The BFG," $13.5 million.

5. "Luck-Key" $12.6 million.

6. "Storks," $10.6 million.

7. "Bridget Jones's Baby," $10.4 million.

8. "The Girl on the Train," $7.8 million.

9. "I Belonged to You," $7 million.

10. "Finding Dory," $6.4 million.


Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.


Follow AP Film Writer Lindsey Bahr on Twitter at:

'Certain Women' wins, McQueen honored at London Film Fest

Writer-director Kelly Reichardt's spare and subtle Montana drama "Certain Women" has won the best-picture prize at the London Film Festival, while "12 Years a Slave" director Steve McQueen received a major career award.

The festival wraps up Sunday with "Free Fire," a 1970s-set comic thriller by British director Ben Wheatley.

McQueen, a filmmaker and Turner Prize-winning video artist, was presented with the British Film Institute Fellowship — the organization's highest honor — by Michael Fassbender. The Irish actor has appeared in all three of the director's feature films — "Hunger," ''Shame" and "12 Years a Slave."

Fassbender called McQueen, whose movies have tackled subjects including starvation, addiction and slavery, "a rarity — both a sensitive and a dangerous man."

McQueen, 47, said "there's only two things I'm sure about: One, I'm black ... Two, I'm a Londoner."

He credited Britain's previous system of free higher education for giving him the freedom to "explore, experiment and make mistakes." Students now face thousands of pounds a year in tuition fees.

"It seems that freedom is being slowly eroded," McQueen said.

The 60-year-old London festival has sought this year to encourage diversity in the film industry, opening with Amma Asante's "A United Kingdom." A tale of interracial love and politics inspired by real events, it marked the first time that a black female director has held the prestigious opening slot at the festival.

As well as hosting premieres and red-carpet galas, the festival gathered performers, producers and filmmakers to discuss why black actors remain underrepresented onscreen in Britain and the United States.

During the festival's black-tie awards ceremony Saturday at London's 17th-century Banqueting House, a jury headed by Greek director Athina Rachel Tsangari praised the masterful imagery and quiet modesty of Reichardt's film about three women — played by Kristen Stewart, Michelle Williams and Laura Dern — struggling with life in a chilly small town.

The director is known for moving, minimalist dramas including "Wendy and Lucy" and "Meek's Cutoff."

"Certain Women" beat other nominees including Paul Verhoeven's provocative revenge thriller "Elle;" Barry Jenkins' Miami coming-of-age drama "Moonlight;" and Chilean director Pablo Larrain's poet biopic "Neruda."

French director Julia Ducournau's horror story "Raw" was named best first feature. Jurors praised the "outrageousness" of the film, which Ducournau called a crossover "between comedy, drama and body horror."

Iranian director Mehrdad Oskouei's portrait of teenage inmates, "Starless Dreams," was named best documentary, and Syrian photographer Issa Touma's unflinching "9 Days — From My Window in Aleppo" won the short-film prize.

The 12-day festival screened some 250 documentary and fiction features across London.

200 items
Results 21 - 30 of 200 < previous next >