He’s always packin’ the niftiest of gadgetry and he’s reinvented himself throughout the generations, remaining forever in his prime, but one en vogue technology James Bond is not considering is 3-D. Producers of the 50 year-old franchise say they have no interest in making a Bond film a three-dimensional format despite the rise of the medium – and its box office prowess – since the last Bond film, Quantum of Solace debuted back in 2008. Avatar re-ushered in 3-D in a massive way to audiences back in 2009, grossing over $2 billion that year in the U.S. alone, while Summer-season ’12 release Marvel’s The Avengers scored well into the 10-figure gross mark. And Ang Lee’s ventured into 3-D with his anticipated Life of Pi due out in late November. [ Related: INTERVIEW: 007 Scion And Skyfall Producer Barbara Broccoli On Growing Up Bond ] Read More at: http://movieline.com/2012/10/09/barbara-broccoli-james-bond-007-interview-skyfall-daniel-craig/#utm_source=copypaste&utm_campaign=referral “3-D is fantastic for the right material, but we’re not sure Bond is the right way to go,” said Skyfall producer Barbara Broccoli in a recent interview with A.P. “With our movies, there’s a lot of challenges to 3-D, particularly when you’ve got a lot of action and a lot of quick cutting.” Broccoli added, “It has to be right for our story. Unless you can do something as well as [ Avatar ], it’s probably not worth looking at.” Broccoli and her half-brother Michael G. Wilson have spearheaded the last seven Bond films. Wilson added that some have poked around at the idea of converting some of the old Bond films into 3-D, perhaps taking a cue from Disney animated classics in recent years, but he called the suggestions “more of a novelty.” One piece of visual stimulation Skyfall is embracing is IMAX. The film will be released there a day early on November 8th in North America. So, Bond has mostly adapted to the times. Should the 3-D prove to be more than a medium-term fancy, seeing Daniel Craig as 007 flying, falling, shooting and in your face with millions of adoring cross-generational fans may yet happen. Craig has signed on for two more Bond films, which will be the 24th and 25th installments. Neither is planned as a 3-D pic, but said Broccoli: “Who knows? We’ll see if things change in the future.” [ Source: A.P. ]
Dutch actress Sylvia Kristel, who passed away overnight at the age of 60 after battling cancer, defined the character of Emmanuelle as much as it defined her four-decade film career. With her first appearance as the doe-eyed sensual adventuress and 1970s softcore icon in 1974’s Emmanuelle , Kristel became synonymous with the character, which, in turn, became shorthand for an entire genre of art-house erotica: gauzy, softly lit tales of women exploring their own sexual curiosity in exotic lands and pushing the boundaries of social conventions. Without Emmanuelle and Kristel, would we even have EL James’ 50 Shades of Grey ? [ GALLERY: Images of Sylvia Kristel in 1974’s Emmanuelle ] Kristel’s career began as a model at the age of 17. She won the Miss TV Europe contest at 21 and the following year made her acting debut in Emmanuelle , which also marked the first film of director Just Jaeckin, who pioneered the soft-focused “arty” look of the series and its many imitators. (Jaeckin and Kristel both went on to enjoy successful careers in the world of erotica and later reunited for 1981’s Lady Chatterley’s Lover .) While the later films featured amazing score contributions by Francis Lai , composer/musician Pierre Bachelet enjoyed one of his earliest hits with his theme song to Emmanuelle , which Lily Allen sampled in 2006. The tale of a bored diplomat’s wife in Bangkok learning to embrace her carnal desires, Emmanuelle was adapted from the 1967 French literary phenomenon of the same name. Credited to writer Emmanuelle Arsan, the book and its film adaptation detailed its heroine’s sexual exploits in the Far East with men and women, strangers, lovers, and assorted hedonistic expats. (The real behind-the-scenes saga of who exactly wrote Emmanuelle is dramatic in itself: French diplomat Louis-Jacques Rollet-Andriane is said to have been the original writer although his wife Marayat Rollet-Andriane accepted credit as “Emmanuelle Arsan,” supposedly to protect her husband’s public service position and, probably, to advance her own career. Similarly juicy ground was explored in last week’s 50 Shades of Grey -style episode of Law & Order: SVU .) Despite attempts by French President Georges Pompidou to ban Emmanuelle — his predecessor Charles De Gaulle attempted to do the same for the book, which became a bestseller — the film was a hit; Columbia Pictures picked it up for distribution stateside on the strength of its popularity with female audiences and the sexploitation hit went on to gross $100 million worldwide, according to IMDb, spawning six sequels, made-for-television spin-offs, and numerous knock-off films. What Emmanuelle did for erotic cinema then was akin to the recent 50 Shades of Grey phenomenon: It made sexual fantasy an acceptable indulgence for mainstream and female audiences through its hazy, dreamlike, and (mostly) non-sleazy scenarios in which lust was unabashedly embraced as an utterly human impulse. Significantly, it told the tale from a woman’s perspective, one in which sexual teachers were almost as often other sexually experienced women as they were men. Kristel starred in four Emmanuelle films, returning to the series in later years in supporting roles. Emmanuelle IV (1984) marked the passing of the torch and the series’ decline into full-on camp, as Kristel’s signature character underwent surgery to emerge with a new look, portrayed by newcomer Mia Nygren. A series of Italian knock-off films under the Black Emanuelle (note the single “m” spelling differentation) moniker starred Laura Gemser, and the official Emmanuelle series devolved into the bizarre Emmanuelle in Space sequels starring Krista Allen. But Kristel remained the prototypical Emmanuelle, and the series’ best — and she’ll forever be the iconic face of its legacy. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
By all indications at the LA press day the principals involved in Alex Cross are happy as plums with the pic director Rob Cohen delivered, which sees Tyler Perry (of Madea fame) making his action hero debut on Friday. So is it any wonder that a deal is underway already with novelist James Patterson to start work on Double Cross , the next in what Summit and QED International hope is another fruitful Perry franchise? Based on Patterson’s popular crime novels, Alex Cross follows a detective/profiler (Perry) as he challenges a serial killer named Picasso (Matthew Fox, in a memorably crazed turn) who kills with perverse pleasure — and has targeted people close to the detective. The two then engages him in a dangerous cat and mouse game against the backdrop of a decayed Detroit. It’s Perry’s first film solely as an actor following a tremendously successful run of niche films, television, and theater projects that have grossed over half a billion dollars to date with Perry producing, directing, writing, and/or starring. Alex Cross is, fittingly enough, his big crossover push as well as his first action role, and given his loyal following it’s not surprising that the studio’s banking on a big enough opening from the modestly-budgeted $25M pic to warrant a sequel. For his part, Patterson voiced his support of Perry’s star turn filling the shoes of the iconic character previously portrayed by Morgan Freeman in Kiss the Girls and Along Came a Spider . He described Perry as a more accurate embodiment of Alex Cross, who’s described in the novels as a 6’3″, 200 lb. family man who’s close to his grandmother. Addressing the idea of writing yet more novels in his 20-book Alex Cross series, the poised, brash Patterson answered, ” Always. Baby needs new shoes .” (No, really. He said that.) So I’m guessing there’s none of that original author hesitation on Patterson’s part to see another one of his novels adapted for the screen, regardless of how Alex Cross opens with audiences or critics this weekend. There’s no indication yet of who will be scripting or directing the sequel, but if I were QED I’d look to upgrade on both counts. [ Deadline ]
So, you can’t move like Jagger, but can you write a song like Jagger and Richards ? If you think you’ve got what it takes, you could win one of five pairs of tickets Movieline is giving away to the midnight screening of The Rolling Stones Charlie Is My Darling – Ireland 1965 documentary at Grauman’s Chinese Theater on Oct. 24. The hour-long road trip film, which was inspired by The Beatles ’ classic 1964 film A Hard Day’s Night , came together when the Stones manager Andrew Loog Oldham hired director Peter Whitehead to shoot and music producer and engineer Glyn Johns to record the first professionally filmed concert performances of the band during a two-city tour of Ireland. The footage, which includes the first live performance of “(I Can’t Get No) Satisfaction” caught on film, was never officially released or aired and sat largely untouched in film cans for more than 40 years. But now that it’s been rediscovered, it’s about to become available to the public. After premiering at the New York Film Festival in September, Charlie Is My Darling — which features previously unseen performances of six complete Stones songs including “The Last Time” and “Time Is On My Side” — will be released on DVD and Blu-Ray on Nov. 6. If you live in the Los Angeles area and can’t wait until next month, here’s what you need to do: Take a verse or chorus from one of your favorite Stones songs and rewrite it. Post the original verse and the song’s title followed by your reworking in the comments section, and I’ll choose the best five submissions by 3 p.m. EST on Friday, Oct. 19. Here’s an example: “Have You Seen Your Mother, Baby (Standing in the Shadow)?” Original: Have you seen your lover, baby, standing in the shadow? Has he had another baby, standing in the shadow? Baby, where have you been all your life? Talking about all the people who should try anything twice Reworked: Have you seen your stalker, baby, standing in the shadow? Has he violated his TRO, baby, standing in the shadow? Baby, he wants to know where have you been all his life Time to hit the panic room, looks like he’s got a knife Got it? Make sure to leave your email in the comments box, too, so if you win we can contact you with details on how to pick up your tickets. Remember, you’ve got to be able to get yourself to Grauman’s on your own steam. Now get writing, because time is not on your side. For inspiration, check out the trailer: Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
A surge of intrigue rippled through the blogosphere this week when a rumor hit, sourced from the barest of suggestions ( a secondhand casting breakdown ), that Michael Bay ‘s fourth and allegedly final outing with the Transformers series might revolve around the rarest of Bay creatures: A female heroine. Sad, yes — Bay’s filmography is so male-driven, his portfolio so stacked with binders full of supermodel-hot leading ladies, that even the slightest move toward gender equality in Bay’s work force warrants an onslaught of hopeful speculation. That’s not to say Michael Bay has that much in common with Presidential hopeful Mitt Romney . One’s a clean-cut Mormon Presidential candidate who appears to think in unfortunate Eisenhower-era terms of sexual politics, the other is Hollywood’s reigning alpha male blockbuster guru with an eye for explosions and hot ladies who was once described by an actor — lovingly so — as a barking dog . Well, they both have good hair. But these two white male millionaire Americans converge this week the most when it comes to talking about the roles of women in their respective worlds of film and politics. Could it be Michael Bay is really making room for a strong female star in his testosterone-fueled oeuvre? The rumors trace back to a flimsy two-sentence report on SpoilerTV : It looks like Transformers 4 will have 2 new leads. The new female lead that they are looking for is a high school senior and her boyfriend a Texas racing driver. Many bloggers picking up the story focused on the latter sentence, extrapolating that it meant Transformers 4 will revolve around a female protagonist with a male love interest — the opposite of the three Shia LaBeouf + Megan Fox/Rosie Huntington-Whitely films to date. Understandably, the notion is promising. Enough with LaBeouf’s Sam Witwicky saving the world with his robot pals and a hot lady on his arm — bring on the scrappy (but most likely model-gorgeous and stick-thin) female lead to save Earth, or the galaxy, or whatever! Consider it wishful thinking by way of selective reportage, if you give SpoilerTV’s clumsily-worded report any credence at all. For starters, it clearly states two new leads — beside which Fox and Huntington-Whitely were technically “female leads” even if they payed second fiddle to LaBeouf. It sounds more like Bay’s trying to reboot the franchise with a new dynamic romantic duo fans can root for, and lust after, like they did for LaBeouf and Fox at first but never quite did for LaBeouf and Huntington-Whiteley, Fox’s supermodel replacement. Maybe this “high school senior” and her “Texas racing driver” boyfriend will fight evil robots together, as equal partners on equal footing, although he already has a leg up on her with the mere fact that he has a vocation useful for fighting in a war with giant robots who turn into cars and she’s technically a schoolgirl. Look at Bay’s filmography and not one film has an actual female protagonist, though he’s got a memorable lineup of female leads/love interests under his belt: Tea Leoni in Bad Boys , Liv Tyler in Armageddon , Scarlett Johansson in The Island . His eye for the female form is undeniable, and moreso in his earlier films, translated to casting talented actresses in their popcorn movie breakthroughs. But Bay did surprise with his latest project, the modest (by Bay standards) true crime tale Pain & Gain . Not another CG-heavy spectacle, and not a film stitched together from the wet dreams of a 12-year-old boy, the forthcoming black comedy stars another group of muscly men (it is about thugs who meet at a gym, after all) including Mark Wahlberg, Dwayne Johnson, Anthony Mackie, and Kurt Angle. Rebel Wilson, one of the cast’s lone women, plays a key role and is a terrific hire on Bay’s part. Still, when I asked her in a recent interview what she’d learned most about her director, she noted that “he loves push-up bras” and shoots Victoria’s Secret commercials for fun . So let’s hope that Bay’s turning over a new leaf and embracing a more progressive attitude toward the female characters in his movies. It’s entirely possible that he could use his whirling hero shots and explosiony adventures for good, to introduce strong new heroines into the cinematic landscape. I’m just not terribly optimistic that it’ll happen in Transformers 4 . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Little Chloe Moretz is growing up fast. She’s currently reprising her role as Hit Girl (and stealing kisses from Aaron Taylor-Johnson ‘s titular hero) on the set of Kick-Ass 2 and in Kimberly Peirce’s horror remake Carrie she breathes vengeful life into the ultimate coming of age teenage girl tale. Get a glimpse of Carrie’s fiery wrath, and the aftermath of the worst prom ever, in the first teaser trailer for the 2013 release. Watch it on YouTube Cynical as I am about remakes, and as much as I associate Stephen King’s Carrie with Sissy Spacek’s naive, wild-eyed portrayal, I appreciate the ballsiness in this approach; let nobody pretend to not know how this saga of fanaticism, repression, and a young telekinetic girl’s first menstrual cycle will all end. By which I mean badly. And with the whole town on fire. Carrie hits theaters March 15, 2013. Thoughts on the tease? [ Yahoo ]
Alluring. International. Deadly. The so-called Bond Girls are, let’s face it, the fetish objects the producers hope will keep us coming back to the 007 pictures . (After the watches — the sweet, sweet watches.) While the internet is loaded with glamour shots of Bond ladies from Ursula Andress to Michelle Yeoh, these women are more than mere pin-ups. Indeed, here are some oddball facts about the women in James Bond ‘s life that ought to do you well at a dinner party — provided, of course, that you don’t order red wine with fish. Ursula Andress , the ur-Bond Girl (and not just because it is a pun), became an instant screen icon when she emerged from the Caribbean in her white bikini holding… something, I dunno, I never focused on her hands. But did this Swiss ingenue show any gratitude to the official EON James Bond productions? No! Just a few years after her debut as Honey Ryder in Dr. No she turned around and appeared in a legal loophole “unofficial” James Bond production, 1967’s Casino Royale . Andress wasn’t the only one to make a mockery of her Bond Girl status. The woman who played Tatiana Romanova in From Russia With Love , Daniela Bianchi (who came from the Russian section of Italy, apparently), took part in the mockery known as OK Connery , also known as Operation Kid Brother . In it, Neil (brother of Sean) Connery plays a spy called-up as a replacement when his big brother isn’t available. The movie has never been released on DVD. Mie Hama , who played Kissy Suzuki in You Only Live Twice , is notable for what she did before being a Bond Girl. Prior to Hama, most of the women were European models or aspiring actresses who managed to marry well. Hama was a bus conductor. I’m not even 100% sure what a bus conductor is, but I can totally picture her in her native Japan being constructive and forward in modern society. And probably wearing a sharp outfit.
Politicians have long appropriated pop culture to lend their campaigns relevancy and catchy hooks, so it wasn’t unprecedented when Republican nominee Mitt Romney began using the popular Friday Night Lights catchphrase “Clear eyes, full heart, can’t lose” in his bid for the Presidency. That doesn’t mean filmmaker Peter Berg has to be happy about it. In an open letter to Romney, Berg — who directed 2004’s Friday Night Lights , adapted from H.G. Bissinger’s book about a small Texas town obsessed with football, and created its subsequent spin-off television series — slammed the former Governor of Massachusetts for using the now-famous FNL line. “Your politics and campaign are clearly not aligned with the themes we portrayed in our series,” wrote Berg, who described the citation as plagiarism. Via EW : Governor Romney: I created the TV show “Friday Night Lights” and came up with the phrase “Clear Eyes, Full Hearts, Can’t Lose.” I was not thrilled when I saw that you have plagiarized this expression to support your campaign by using it on posters, your facebook page and as part of your stump speeches. Your politics and campaign are clearly not aligned with the themes we portrayed in our series. The only relevant comparison that I see between your campaign and “Friday Night Lights” is in the character of Buddy Garrity — who turned his back on American car manufacturers selling imported cars from Japan. Your use of the expression falsely and inappropriately associates “Friday Night Lights” with the Romney/Ryan campaign. Mitt, we all wish you and your family all the best. We are grateful for your support of our beloved show, but we are not in any way affiliated with you or your campaign. Please come up with your own campaign slogan. Sincerely, Peter Berg. To be fair, President Obama ‘s campaign also used the slogan, albeit less overtly and on Tumblr . I guess that was at least football-related, and therefore more closely aligned with the themes Berg & Co. portrayed in their series. [E W ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Barbara Broccoli was born into the world of James Bond ; along with co-producer Harry Saltzman, her father, Cubby Broccoli, brought 007 to the big screen with Dr. No when Barbara was only two years old. It would be inaccurate to say Broccoli inherited the Bond legacy — she’s made it her own, serving as producer from Goldeneye onwards, and in many ways, ushering cinema’s favorite secret agent into the modern era. The Skyfall producer rang Movieline to talk about the early days, Bond’s role in the cultural conversation over the years, and what the future holds for the character who, fifty years later, is still synonymous with effortless cool. Tell us a little about the beginning of the Bond film franchise. How did your father, Cubby Broccoli, along with Harry Saltzman, make the decision to adapt Ian Fleming’s spy novels? My father had wanted the rights to the films early on, but they eluded him. Harry Saltzman had an option, and my father heard this, called him up, and they joined forces just as the clock was ticking down, as the option was about to expire. Fortunately, they went to Arthur Kremp, who my father had a relationship with, and asked him if he would finance the film ( Dr. No ). David Picker, who was the young executive in the room, loved the Bond books, and he persuaded United Artists to take a shot and make the film, which was a huge commitment then. A million dollars for a budget, at that time, was significant. They were a force to be reckoned with. Cubby and Harry were both very passionate, determined men. They were driven. They wanted to see this series of books made into a film, and they were very passionate about their choice of Sean Connery, who was an unknown. They fought for him, and there was a lot of resistance because he wasn’t well known at all. The studio wanted a star, they wanted an American and all these various things, but [Broccoli and Saltzman] stuck to their guns, and the rest as they say, is history. Bond is turning 50 this year. In 2012, he’s still going strong. Why has the franchise endured? It basically comes down to Ian Fleming. I think he wrote a very complex character that has been able to evolve through the decades, with the assistance of the extraordinary men who have played the role, starting with Sean Connery who established the role to great effect in Dr. No , and all the subsequent actors have taken it and made it their own and made it of their time. I think Bond the character is distinct: He’s British, he has a certain code that he lives by, he’s incorruptible… he’s a classical hero, but he’s also fallible. He has inner demons, inner conflicts, and he’s a romantic. He gets himself caught up in all kinds of situations because of his heart, which gets broken in Casino Royale . He knows at the end of that first story that in order to do the job he does he has to make a lot of personal sacrifices, and one of them is that he cannot really have a proper relationship or a family, and that is a burden to him. By that same token, how do you think the character of Bond has evolved over the years, beginning with Sean Connery and running up to today with Daniel Craig ’s portrayal? With Daniel, the first film he did was Casino Royale , which was the first book, so that’s very much about how Bond became the Bond that we all know and love. It explains a lot about his history and why he got to be the way he is, particularly in his relationships with women, as I described. He knows he’s unable to really form a proper commitment with a woman because he may be captured, tortured, as he is in Casino Royale … he can put himself in that situation but he couldn’t put anyone else he loved, like a wife or a child, in that kind of jeopardy. So, I think with Daniel, it’s sort of come full-circle. We started with Fleming and fifty years later, we’re back to Fleming again: He’s very much central to the making of these films. The spirit of Ian Fleming is always with us and we particularly honor and celebrate him now, fifty years later, during this anniversary. Can you talk a little about your own relationship with 007 from a personal standpoint and how it’s changed from your childhood to the present? I was born in 1960, my father did the deal in ’61, and the first film was made in that year and released in ’62, so my life is synonymous with Bond. Growing up he was a huge figure in our lives, so much so that I thought he was a real person [laughs]. But it soon dawned on me that he was a fictional character. I spent a lot of time on the sets growing up. We would go on vacation from school, go on location, where the films were being filmed. Wonderful places: Exotic locales like Japan and the Bahamas, and the people making the films were part of our extended family. My father would be with them all day long and they would all come home for dinner. We were always together. It was a very large, happy family. Do you think Bond’s place in the pop culture spotlight has been constant, or has it fluctuated over the years? What kinds of challenges arise in making this franchise relevant to audiences today? There have always been challenges. I remember when we were doing Goldeneye and people were saying “The Cold War’s over, the wall’s down — does the world need James Bond anymore?” Of course, the answer was a resounding “Yes!” Just because the wall came down didn’t mean the world was at peace. In fact, good and evil were slightly blurred, and we didn’t know who the enemy was. I think we’re always trying to come up with intriguing storylines and villains for Bond to go up against, and when you look at Skyfall , and you look at Javier Bardem you’ll find… [laughter] he’s sort of the ultimate Bond villain. He’s provided a very exciting counterpoint to Daniel. How did Sam Mendes get involved with Skyfall ? Well, Sam and Daniel had worked together on Road to Perdition , and they’d had a great collaboration. When we were looking for a director, Daniel called us up and said “Oh, I was just at a party last night with Sam and I asked him if he wanted to do a Bond film — it turns out he’s a huge fan. What do you think?” And we said, “Oh my goodness, do you think we could actually get Sam Mendes? He’s a consummate film director, Oscar-award winner. Do you really think he’d be interested?” So we met with him, and it turns out — who would have known it – he’s a big Bond fan. So we snapped him up. He’s made an unbelievably terrific film, so we’re delighted. Has it been a little different working with a director like Sam, who is such a force of nature, on a franchise project like Bond that in the past has largely been producer-driven? I guess our attitude towards Sam was “We have a set of parameters as far as what we feel a Bond film is, but within those parameters…” There’s no point in hiring someone like Sam Mendes and then tying their hands. We wanted him because of his talent and his vision, and we worked together very closely on the script, and set the parameters together. He wanted to make a great Bond film, so it all turned out extremely well. As it turns out he was just like a kid in a candy store [laughs]. He loved the challenge, he lived up to it, and he exceeded all expectations. So I think the film has got all the wonderful, dramatic intriguing storylines and characters — we have a wonderful cast, many of whom were attracted to this because of Sam — and he’s also delivered tremendous action and excitement. He’s ticked all the boxes as far as I’m concerned. Learn more about Barbara Broccoli and the Bond legacy in the EPIX documentary Everything or Nothing: The Untold Story of 007 . Read more in Movieline’s ongoing Bond at 50 series leading up to the November 9 release of Skyfall . John Jarzemsky is a contributor at LitReactor, Twitch, and can be read semi-regularly at his personal blog, the ineptly named Super Roller Disco Monkey Hullabaloo! or on twitter @jtjarzemsky . He is big in Japan. Follow Movieline on Twitter .
Former President Jimmy Carter gives Ben Affleck’s talked-about new movie Argo a shot of credibility in this behind-the-scenes clip from the movie. The former Commander in Chief, whose presidency was hobbled by the Iranian hostage crisis — during which 52 Americans were held for 444 days from Nov. 4, 1979 to Jan. 20, 1981 — acknowledges that, as told in Argo , there were six diplomats who managed to evade capture and were spirited out of the country as the crew of a fake Canadian science-fiction movie. Check out Movieline ‘s photo gallery from the Argo premiere featuring Ben Affleck, George Clooney and Stacy Keibler here. Adding to the truth-is-stranger-than-fiction quotient of the movie is the character of Academy Award-winning make-up artist John Chambers (John Goodman) , who, in addition to working on the Planet of the Apes movies and inventing Spock’s pointy ears for Star Trek , was a CIA agent. Chambers, working with his agency colleague Tony Mendez (Affleck) played a key role in the story. In the clip, Breaking Bad actor Bryan Cranston, who plays CIA officer Jack O’Donnell, says that although Argo, which opens Friday, is steeped in espionage and bureaucracy at the highest level, truly, when you get down to it, it’s about the human experience and what lengths people will go to save the lives of others.” Argo is in theaters Friday. Read more here . Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
