That Old Jack Black Magic: As the Villain of ‘The Super Mario Bros. Movie,’ the Actor Gives His Peachiest Performance in Years

Ethan Shanfeld Variety garnered a record 96 nominations for the SoCal Journalism awards sponsored by the Los Angeles Press Club, with nods across magazine and entertainment journalism, art and photography, video, audio, online content and social media during the 2022 calendar year. Among the nominations announced Friday were Tim Gray for print journalist of the year and Clayton Davis for online journalist of the year. In addition, Owen Gleiberman, Chris Willman and Daniel D’Addario were nominated as entertainment journalists of the year. “We are extremely proud of our newsroom for a banner year in record-breaking traffic, hard-hitting investigative journalism, profile writing and video. These nominations are a testament to the great work Variety is doing covering the entertainment industry,” said Variety co-editor-in-chiefs Ramin Setoodeh and Cynthia Littleton.

Owen Gleiberman Chief Film Critic In a movie career that stretches back 25 years, Jennifer Lopez has on occasion done flaked-out underworld thriller romance (“Out of Sight”), capery action (“Parker”) and revenge (“Enough”). Yet she has never placed herself at the center of such a down-and-dirty, grimly overwrought, execute-now-and-ask-questions-later B-movie as “The Mother.” I’m tempted to call the film “minimalist,” because if you consider its bare-bones screenplay (by three writers!), its convoluted utilitarian set-up, its 2D villains, and its essential formulaic momentum, it’s a prime example of action filmmaking made basic. Yet “The Mother” is a Netflix action movie, which means that it has a certain flavor of ambition mixed into its pulp stew. The movie, which should have been 90 minutes long (it’s 116), is lumpy and inflated, it’s sketchy yet a touch grandiose, and it’s full of tersely dramatized scenes that somehow feel overly broad. Lopez, as a military sniper turned broker of underground arms deals turned FBI informant turned savagely cool-headed protector of her 12-year-old daughter, is playing a badass not so far removed from those played by Jason Statham or (in his grade-B prime) Bruce Willis, and she’s up to the task. She shoots, she stabs, she chops windpipes, she motorcycles down stone stairways in one of those chase-through-an-ancient-city action scenes (this one takes place in Havana), she tortures a man by punching him with a fist wrapped in barb wire, she grimaces in muscle-torn agony but mostly looks frozen and implacable. Even more important, she puts her own spin on those familiar motions.

Owen Gleiberman Chief Film Critic Does chronic Lyme disease exist? That’s the question that haunts “The Quiet Epidemic,” Lindsay Keys and Winslow Crane-Murdoch’s worthy and provocative documentary about the highly controversial syndrome. (The movie premieres on VOD on May 16.) The filmmakers argue, with unflinching advocacy and some very good reporting, that chronic Lyme disease most definitely exists. Among other things, “The Quiet Epidemic” is a portrait of individuals whose lives have been ravaged by it. Yet the movie, in its doggedly opinionated way, does acknowledge the profundity of the debate. The medical establishment, led by the Centers for Disease Control and the National Institutes of Health, has long held the position — one it maintains to this day — that Lyme disease is a real thing, eminently curable with a two-to-four week regimen of antibiotics, but that chronic Lyme disease, with sometimes devastating symptoms stretching on for months, years, even decades, is not backed up by the science.

accepted it live from her bathroom. Jennifer Coolidge was thrilled to receive the Comedic Genius Award.

Jennifer Coolidge was honored with the Comedic Genius award at the 2023 MTV Movie & TV Awards. Although the show turned into a clip show due to the writers strike, the White Lotus star accepted her award via a pretaped message.

Owen Gleiberman Chief Film Critic It’s beyond obvious that women deserve a movie that portrays and celebrates them in their sixties and seventies reveling in the joys of romantic adventure and uninhibited sex. It’s not so obvious that they deserved “Book Club,” the 2018 comedy about four hale, hearty, and prosperous senior friends who read “Fifty Shades of Grey” in their monthly literary white-wine klatsch, only to discover that E.L. James’s S&M princess fantasy jump-starts their hibernating libidos and/or their desire to commit to the men who are courting them. You could use a whole Thesaurus paragraph of withering descriptives to evoke the sort of movie “Book Club” was. It was prefab, it was cookie-cutter, it was paint-by-numbers, it was broad enough to play to the peanut gallery, it was four glorified sitcoms jammed into one overly synthetic package.

Icon alert! Jennifer Coolidge was awarded the Comedic Genius Award at the 2023 MTV Movie and TV Awards.

Owen Gleiberman Chief Film Critic Watching a police-procedural homicide drama, whether it’s the grungiest of VOD potboilers or the most visionary film of the genre, Michael Mann’s silvery, dread-drenched “Manhunter,” we more or less know one thing: At the end of two hours, the grisly mystery we’ve been dunked in will have its catharsis and its resolution. We will know who the killer is, and in knowing that a kind of order will have been restored. David Fincher’s “Zodiac,” with its tantalizing ambiguities, might stand as an exception to the form — a singular winding creep-out, without the closure we’re thirsting for — yet even there you feel, by the end, that you’ve glimpsed the face of evil. But “The Night of the 12th,” the French thriller that was nominated for 10 César Awards and won six of them, including best picture (it opens here on May 19), throws the audience a slow-motion curveball that’s intended to tinker with our dreams. And to a degree, it does. Based on a true-crime book by Pauline Guéna, the movie turns into one of the most casually authentic of investigative murder mysteries. Each time we think we’re seeing a classic suspense arc, it unravels into a dead end, and we think to ourselves: Of course. Crime in real life doesn’t necessarily happen so neatly. “The Night of the 12th” is a mostly compelling sit, though what lends the film its singular texture is that it keeps tricking us into thinking it’s a more conventional thriller than it is.

Ozzy Osbourne has revealed in a new interview that he wants to keep performing, despite retiring from touring earlier this year.Speaking to Tenacious D‘s Jack Black and Kyle Gass for Metal Hammer, Osbourne shared that though he’s done with lengthy tours, the Prince of Darkness isn’t ruling out more performances, saying “I don’t know how to do anything else. The thought of sitting in my house all day… I’m a road dog, you know? I’ve been doing it fucking 55 years. It’s the best thing to have ever happened to me”.“I mean, doing a live show is what I live for,” Osbourne said.

Justin Timberlake and Anna Kendrick linked up to promote their new Trolls movie Trolls Band Together at CinemaCon on Wednesday (April 26) at The Colosseum at Caesars Palace in Las Vegas, Nevada.

Super Mario Bros. franchise – has said he is grateful for the bad press that the recent Super Mario Bros.

Todd Spangler NY Digital Editor Disney+ subscribers will be able to jump into the Quantum Realm next month when “Ant-Man and the Wasp: Quantumania” hits the streaming service. The film, starring Paul Rudd, Evangeline Lilly and Jonathan Majors, will come to Disney+ worldwide on May 17. That’s 89 days after “Quantuamania” opened wide in the U.S. on Feb. 17. “Ant-Man and the Wasp: Quantumania” has been one of the worst-reviewed Marvel movies to date. It hauled in $213 million at the domestic box office during its theatrical run and grossed $261.6 million worldwide; the movie had an estimated production budget of $200 million.

Owen Gleiberman Chief Film Critic Biopics about star athletes or artists tend to have the same broad shape: the rise to achievement and fame, the fall from triumph (often fueled by some combination of addiction and ego), the restoration to a harder-won glory. A great biopic, like “Get On Up” or “I, Tonya,” will tease a profound portrait of the subject out of that form; a middling one will oversimplify the subject just to hit the right beats. But then there’s a film like “Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World.” That’s not a movie title — it’s the title of a parable. And it’s well chosen, since “Big George Foreman” is about a life that feels so outlandishly ready-made for the ups and downs, the lessons and inspirations, of the superstar biopic genre that you don’t even have to mess with it. The real George Foreman has, in effect, already scripted it for you.

Refresh for updates The studio that owns the highest grossing movie of the year so far, Universal with its billion bound Super Mario Bros Movie, brought the stars and filmmakers to CinemaCon. Could we expect anything less?

Rebecca Rubin Film and Media Reporter “The Super Mario Bros. Movie” has powered to $871 million at the global box office as the animated family film barrels closer and closer to the coveted $1 billion mark. By next week, it’ll be the first 2023 release to join the billion-dollar club. Over the weekend, the movie captured the top spot at the domestic and international box office with $58.23 million and $70 million, respectively. So far, “Mario” has generated $434.33 million in North America and $437.5 million overseas. With those ticket sales, the all-audience “Super Mario Bros. Movie” stands as the biggest film of the year at the global, domestic and international box office.

Owen Gleiberman Chief Film Critic In movies, the word “bomb” has always meant two things, generally at the same time. The first and most important definition of bomb is that a movie has lost a disastrous amount of money. Movies, in general, can’t afford to do that — they’re too expensive to produce. Bombs happen, but as a business model they’re not sustainable. A movie that bombs commercially has never been something to write off as a trivial matter. The second definition of bomb, which is linked to the first (though not automatically), is that a film is spectacularly bad. It is, of course, not axiomatic that a movie that bombs commercially has failed as a work of art. There are movies we think of as classics that crashed and burned at the box office — like “It’s a Wonderful Life” or “Blade Runner” or “Intolerance” or “The Long Goodbye.” It’s become almost trendy to rescue certain films from the scandal of their box-office infamy. The mother of all those rescue jobs is “Heaven’s Gate,” the grandly picturesque 219-minute Marxist art Western that effectively put a stake through the heart of the New Hollywood, helping to take United Artists down along with it — though it’s a film that numerous observers have re-evaluated as a misunderstood masterpiece. I can’t agree on that one; to me, “Heaven’s Gate” remains a visually stately but indulgent wallow. Nevertheless, it’s always worth standing up for the principle that a box-office fiasco isn’t necessarily a bad film.

Owen Gleiberman Chief Film Critic The romantic action comedy has always had a breathlessly eager-to-please, overstuffed quality. You might say it’s a what’s-not-to-like genre. We laugh! With pulses racing! And swoon at the moonstruck chemistry! In a superior rom-act-com, like “Romancing the Stone” or “Out of Sight” or “True Lies” or the new “Murder Mystery” sequel, the action is the romance — it’s how the characters connect. (One way the form extends vintage Hollywood screwball is that it tends to be about couples who so dislike each other that only by joining in death-defying scrapes can they melt the ice.) But then there are movies like “Mr. & Mrs. Smith,” where the love gets sandwiched between vehicular mayhem so aggressive it’s played for “laughs,” and the too-muchness of the whole thing becomes like one of those fast-food fusion experiments. Sorry, but the movie escapism equivalent of a burger topped with a quesadilla served with cheese fries is not my idea of a good time.  

Zack Sharf Digital News Director Nicholas Hoult confirmed in a recent interview with The Guardian that he lost out on roles in “The Batman,” “Mission: Impossible 7” and “Top Gun: Maverick” all in a row. In a new interview with GQ España, the actor stressed that he is “happy” with his career despite these “disappointments.” Hoult also went into a bit more detail about the experience of losing the title role in “The Batman” to Robert Pattinson. “Of course,” Hoult said when asked if he would’ve liked to play Bruce Wayne/Batman. “I’m sure if you ask most people, they’ll tell you they’d want to portray that role. I think Matt Reeves’ ideas were fantastic and he made a brilliant movie. And I also think that Rob [Robert Pattinson] did an amazing job with the character and I loved seeing him in it. So I don’t think I would have done as good a job as him ultimately. I don’t think I could have fit as well into the world that Matt created as Rob did.”

Jennifer Coolidge is set to join a prestigious list of hilarious people when she's honored at the 2023 MTV Movie & TV Awards with the Comedic Genius Award.MTV announced on Thursday that the  star will become the sixth recipient of the highly coveted award, which honors actors who have made incomparable contributions to the world of comedy, providing a major influence through their work and transforming the genre at-large. She joins Jack Black (2022), Sacha Baron Cohen (2021), Melissa McCarthy (2016), Kevin Hart (2015) and Will Ferrell (2013).Coolidge, fresh off being named to TIME's «100 Most Influential People of 2023» list, has undoubtedly cemented herself in Hollywood since exploding onto the scene in the 1999 classic as Stifler's mom — not to mention her unforgettable appearance in 2001's .

The White Lotus star Jennifer Coolidge will be honored with the Comedic Genius award at the 2023 MTV Movie & TV Awards, the network announced Thursday. Hosted by Drew Barrymore, the ceremony will air live on MTV, Sunday, May 7 at 8 PM ET/PT.