For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Thanks to Sam Raimi, we've seen a fair share of Spider-Man villains take to the big screen, each upholding a unique set of dark powers. But director Marc Webb has his own crew with their own powers like The Amazing Spider-Man 's limb regenerating Lizard and, something to really get excited about, Electros crazy zapping power. Webb tweeted a new set pic from The Amazing Spider-Man 2 showing Electro (Jamie Foxx) is packing heat... and by that, we mean oxygen combusting at extremely high temperatures, to form fire:
Webb tweeted the above image and attached this joke, "This is what happens when you try to give Electro a ticket." This adds to the long string of Amazing Spider-Man 2 set pics he's shared with Twitter followers. Click the image to see our gallery of Webb's set photos! We can't wait to see who has the power next.
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While Sam Raimi's third Spider-Man film might be a tear-inducing memory for many of us, there are a handful of Hollywood names who owe their big screen careers to the trilogy. Known best for their work on television, the likes of James Franco and Topher Grace joined the world of cinema with Raimi's series. And this promotion of sorts seems to carry forth in director Marc Webb's Amazing Spider-Man reboot. The filmmaker, who has been tweeting a slew of pictures from the set of his developing second Peter Parker chapter, reveals the inclusion of one B.J. Novak in the cast — the actor known best as Ryan Howard, the egomaniacal temp/executive from The Office.
RELATED: Who Is Chris Cooper Playing in 'The Amazing Spider-Man 2'?
Novak is revealed in a joyless pair of specs in the below image from the Amazing Spider-Man 2 set. Although a small but prominent role in Quentin Tarantino's Inglourious basterds predicted a transition to film for the actor, we have yet to see him continue a cinematic streak. But this surprise turn in the Marvel venture could mean bright things for Novak's big screen future. Click the image below to see more pics from the Amazing Spider-Man 2 set.
Novak is also slated to appear in the comedy The Internship and the dramatic biography film Saving Mr. Banks. The Amazing Spider-Man 2 will hit theaters in spring of 2014.
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[Photo Credit: Twitter]
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For fans whose Spider-Man knowledge doesn't extend too far beyond the material covered in Sam Raimi's good/great/awful trilogy, the name "Ravencroft" might not ring a bell. But if you've been keeping a watchful eye, you'll have noticed the insignia for the eponymous organization popping up all over the Amazing Spider-Man 2 set. The latest in director Marc Webb's set pic tweets have showcased the nefarious Ravencroft Institute for the Criminally Insane, Marvel's answer to the Batman universe's Arkham Asylum.
Locked away in Ravencroft are a slew of Spider-Man baddies deemed unfit for civil living... and it seems as though one or two of them are going to slip through the cracks in the upcoming sequel. After all, why would director Webb bother sharing images of armed security guards and ominous steel doors if not to suggest that there's going to be trouble?
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Click through our gallery of Amazing-Spider Man 2 set pics to unravel more of Marc Webb's upcoming mysteries.
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[Photo Credit: Twitter]
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Chris Cooper has just joined Marc Webb's The Amazing Spider-Man 2. He will play the character of Norman Osborn, adding to the already lengthy list of villains, THR reports.
Osborn is the alter ego of Green Goblin – who was played by Willem Dafoe in the original Spider-Man movies franchise – though it is unclear whether Cooper will portray that evolution into a villain in this film or in an upcoming sequel. Osborn starts out as a mentor to Spider-Man before turning bad. But even without Osborn as Green Goblin, there are already two other villains confirmed for The Amazing Spider-Man 2: Jamie Foxx as Electro and Paul Giamatti as The Rhino.
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Along with Foxx and Giamatti, Cooper joins Andrew Garfield and Emma Stone as they reprise their roles as Peter Parker and Gwen Stacy, along with newcomers Shailene Woodley as Mary Jane Parker, Dane DeHaan as Norman's son Harry Osborn, and Felicity Jones, though her character has not yet been revealed. The speculation on who Jones will be playing is Felicia Hardy, and possibly Hardy's alter ego, The Black Cat.
In the sequel, Peter Parker's life is busy – between taking out the bad guys as Spider-Man and spending time with the person he loves, Gwen, high school graduation can’t come quickly enough. Peter hasn't forgotten about the promise he made to Gwen’s father to protect her by staying away – but that's a promise he just can't keep. Things will change for Peter when a new villain, Electro, emerges, an old friend, Harry Osborn, returns, and Peter uncovers new clues about his past.
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Webb will return to direct, with Avi Arad and Matt Tolmach producing. The Amazing Spider-Man 2 is set to hit theaters in 3D on May 2, 2014.
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[Photo Credit: Wenn]
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Miss New York Mallory Hytes Hagan was crowned 2013's Miss America Saturday night at Planet Hollywood Resort and Casino in Las Vegas. And it was a night filled with sparkly gowns, tears, awkward product placement, earnest question-answering and host Chris Harrison. Wait, am I watching The Bachelor?
Maybe the judges can help Bachelor Sean Lowe pick a winner?
It was awkward. It was cheesy. It was oddly sexualized while trying not to be. In other words, it was everything you'd expect from the country's most prestigious pageant.
A rundown of the best, worst and totally awkward moments:
BEST: Miss New York taking the crown.
The no-nonsense (or I guess less nonsense than the rest of them) Brooklyn native felt refreshingly different from the rest of the pack. Her tap routine, set to James Brown, was fun, mugging and she didn't take herself quite so seriously. Amid all the forced smiles and feigned tears, she was the real girl in a sea of cardboard cutouts. When the 23-year-old — who called herself "the class clown" — edged out the more traditional All-American Miss South Carolina, it felt like the long-running pageant was finally evolving.
THE WORST: Product placement.
Between competition segments, the contestants Vaseline-smiled in several music videos and product placement "ads" for everything from Las Vegas tourism to Brooke Burke's exercise DVD. They enthusiastically flipped pizzas, played foos ball, wore cotton candy hats (yep) and demonstrated Burke's exercises on-stage. Eek.
THE AWKWARD! Bad, bad dancing.
Think: Robert Palmer girls mixed with The Real Housewives before cocktail hour.
BEST: The talent competition.
Yes, there were some awkward moments (Miss Maryland's overly-emotive "I Dreamed a Dream" rendition from Les Mis). But you have to admit that some of the baton-twirling and piano playing was pretty solid.
WORST: The swimsuit competition.
OK, feminists, go nuts. Probably the most maligned portion of the pageant (but also the one that no doubt pulls in the most viewers), the contestants flexed their abs and walked the runway in their bikinis. But in a world of The Victoria's Secret Fashion Show, it felt, well, boring. Come on, ladies, can we get a headdress, some giant Angel wings or something?
WORST: The crazy questions and answers portion.
Finally, a dose of modern life was injected into the competition but man, was it strange. By nature, the Miss America pageant is a throwback to simpler times. But suddenly, you have pageant judge and DWTS star Cheryl Burke asking Miss Oklahoma about her thoughts on Honey Boo Boo.
"What are your thoughts on how sensational reality shows like Honey Boo Boo and Toddlers and Tiaras portray young girls and their mothers and the world of pageants?" she asked. To which Miss Oklahoma responded,"At the end of the day you have to admit that that mother loves her daughter (Honey Boo Boo)...These are reality TV shows and we just have to take them with a grain of salt."
Meanwhile, winner Miss New York answered a question about armed guards in schools and Miss South Carolina's question? Whether Brent Musburger's pervy comments about Miss Alabama Katherine Webb were out of line. "As a football fan...I think he has every right to point out her beauty. She is, in fact, gorgeous," she replied.
BEST: The "I've got to throw up" looks of shock.
Purely for entertainment value.
Follow Michelle on Twitter @HWMichelleLee
[Photos: Wenn, ABC]
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With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
The tragic and shocking passing of acclaimed director Tony Scott (Top Gun, True Romance, Crimson Tide, Enemy of the State, Man on Fire) has left Hollywood in a state of disbelief and mourning. The 68-year-old, whose illustrious career included producer on films like Prometheus and The Grey and executive producer on shows such as The Good Wife and Numb3rs, died Sunday when he fatally jumped "without hesitation" off the Vincent Thomas Bridge in San Pedro, Calif. He reportedly left a suicide note at his office. (Latest reports reveal that the filmmaker suffered from inoperable brain cancer prior to his suicide.) Scott, brother of fellow legendary director Ridley Scott, is survived by wife and their two young sons.
While so many have struggled to find the right words to comprehend his passing and pay tribute to his impact on Hollywood, some of Scott's friends, colleagues, and admirers have given statements and others took to their Twitter to express their feelings on the news.
In a statement released to Hollywood.com, Oscar winner Denzel Washington, who worked with Scott on five projects, including his last film Unstoppable said, "Tony Scott was a great director, a genuine friend and it is unfathomable to think that he is now gone. He had a tremendous passion for life and for the art of filmmaking and was able to share this passion with all of us through his cinematic brilliance. My family sends their prayers and deepest condolences to the entire Scott family."
According to E!, Top Gun star Tom Cruise said in a statement, "Tony was my dear friend and I will really miss him. He was a creative visionary whose mark on film is immeasurable. My deepest sorrow and thoughts are with his family at this time." Nicole Kidman, who worked with Cruise and Scott on Days of Thunder stated, "I'm so so sad. I loved Tony and he was always so good to me. He will be deeply missed by so many of us that knew him."
You can read a sampling of what Hollywood had to say on Twitter below.
Love ya Tony, always have, always will— Christian Slater (@ChristianSlate4) August 20, 2012
No more Tony Scott movies. Tragic day— Ron Howard (@RealRonHoward) August 20, 2012
RIP Tony. You were the kindest film director I ever worked for. You will be missed. ow.ly/d5Ngo— Val Kilmer (@ValEKilmer) August 20, 2012
There hasnt been 1 day since it came out that some1 doesnt say to me"I love #TrueRomance" Tony Scott was a sweet enthusiastic & lovin man— Michael Rapaport (@MichaelRapaport) August 20, 2012
Tony Scott. Damn. Great knowing you, buddy. Thanks for the inspiration, advice, encouragement, and the decades of great entertainment.— Robert Rodriguez (@Rodriguez) August 20, 2012
So sad to hear the news about Tony Scott. His movies made growing up more fun for me. My prayers and condolences to the Scott family.— Justin Timberlake(@jtimberlake) August 20, 2012
I'm deeply shocked and saddened by the news of Tony Scott's death and my thoughts and prayers are with his family tonight.— Josh Charles (@MrJoshCharles) August 20, 2012
Such sad news about Tony Scott. Heartfelt condolences to his family and friends.— Jon Favreau (@Jon_Favreau) August 20, 2012
Deeply saddened to hear the news about Tony Scott. A fine film-maker and the most charming, modest man.— Stephen Fry (@stephenfry) August 20, 2012
So very, very sorry to hear of the death of Tony Scott. A terrible, terrible loss of a truly talented, brilliant man.— Martha Plimpton (@MarthaPlimpton) August 20, 2012
Awww Tony.Wish you had felt there was a way to keep going.What a sad waste.My thoughts go out to his wife and beautiful children.— Duncan Jones (@ManMadeMoon) August 20, 2012
RIP Tony Scott. Damn. He was a huge inspiration. Very sad.— James Gunn (@JamesGunn) August 20, 2012
Saddened by the death of Tony Scott. A wonderful film maker and a funny, sweet guy. My condolences to his family.— Susan Sarandon (@SusanSarandon) August 20, 2012
The death of Tony Scott is shocking and saddening. He was an inspired craftsman.— Roger Ebert (@ebertchicago) August 20, 2012
So sorry to hear of Tony Scott's passing. Such a sad loss. Condolences to his family, friends and fans of his films.— yvette nicole brown (@yvettenbrown) August 20, 2012
Collaborating with the great Tony Scott was one of the most rewarding experiences of my life. My thoughts are with his family tonight.— Richard Kelly (@JRichardKelly) August 20, 2012
Devastated by the death of Tony Scott. Just watched True Romance 1 of my top 5 fav movies ever a few nights ago. #RIP— Dane Cook (@danecook) August 20, 2012
I've been extremely fortunate in my career. A career I wouldn't have without Tony Scott's persistence, love and relentless support.— Joe Carnahan (@carnojoe) August 20, 2012
Taking a moment to reflect on Tony Scott's life & work! My sympathies to his family. Feeling the loss!— Samuel L. Jackson (@SamuelLJackson) August 20, 2012
My heart stopped when I heard of the tragic death of 1 of r most inspiring directors, Tony Scott. Rest In Peace Tony. U will be missd so...— Adam Shankman (@adammshankman) August 20, 2012
Tony Scott was incredibly encouraging to me at an early stage of my career. He was generous, gregarious & immensely talented. Sadness.— mark romanek (@markromanek) August 20, 2012
True Romance. The scene with Christopher Walken and Dennis Hopper in a Detroit railyard is a classic. RIP Tony Scott.— Michael Moore (@MMFlint) August 20, 2012
Tony Scott director of my favorite movie man on fire." I wish you had moretime "— Chris Rock (@chrisrock) August 20, 2012
So sad to hear about Tony Scott. A master of grand action, nail biting pace and atmosphere. A real loss to film making.— Simon Pegg (@simonpegg) August 20, 2012
It's bittersweet to see the overwhelming praise for Tony Scott's work today. It's very much deserved, but sad he didn't hear it for himself.— edgarwright (@edgarwright) August 20, 2012
#RIPTONYSCOTTBig fan. Thank you for all of your movies. Sad day.— Peter Facinelli (@peterfacinelli) August 20, 2012
Tony Scott, rest in peace. How horribly sad.— Kat Dennings (@OfficialKat) August 20, 2012
RIP Tony Scott. Never knew him but always heard nothing but great things about him and I loved his films. Terrible loss for cinema.— Eli Roth (@eliroth) August 20, 2012
Rest in Peace...Tony Scott— Dylan McDermott (@DylanMcDermott) August 20, 2012
Just so sad about Tony Scott. R.I.P.— David Boreanaz (@David_Boreanaz) August 20, 2012
Two of my favorite movies of all time, "true romance" and "the hunger" #RIPTONYSCOTT— Evan Rachel Wood (@evanrachelwood) August 20, 2012
Shocked.Tony Scott is a legend.Tragic and sad day.Thoughts and prayers for his family.— Marc Webb (@MarcW) August 20, 2012
RIP mr. Tony Scott. :(— Kristin Chenoweth (@KChenoweth) August 20, 2012
"I make a movie because it's something that inspires me" ~ Tony Scott 6/21/44 - 8/19/12 Your movies inspired me..— Dwayne Johnson (@TheRock) August 20, 2012
met tony scott once. thought we would meet again. saddened by news of his passing. grateful for the work he leaves behind. peace to you sir.— Zachary Quinto (@ZacharyQuinto) August 20, 2012
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