Three more women have forward to accuse Dustin Hoffman of inappropriate sexual behavior.
The women, one of whom wished to remain anonymous, spoke to Variety about their alleged encounters with the two-time Oscar winner, which ranged from sexual harassment to assault.
Hoffman did not comment on the allegations, according to Variety, although his lawyer called them “defamatory falsehoods.”
A rep for Hoffman did not immediately respond to People’s request for comment.
Cori Thomas, friend of Hoffman’s daughter Karina, tells the outlet that Hoffman exposed himself to her when she was in high school. Thomas, now a playwright, claims...
The women, one of whom wished to remain anonymous, spoke to Variety about their alleged encounters with the two-time Oscar winner, which ranged from sexual harassment to assault.
Hoffman did not comment on the allegations, according to Variety, although his lawyer called them “defamatory falsehoods.”
A rep for Hoffman did not immediately respond to People’s request for comment.
Cori Thomas, friend of Hoffman’s daughter Karina, tells the outlet that Hoffman exposed himself to her when she was in high school. Thomas, now a playwright, claims...
- 12/15/2017
- by Mike Miller
- PEOPLE.com
Dustin Hoffman faces fresh allegations of sexual misconduct from another female accuser, the third in a little more than a month. Kathryn Rossetter wrote in an essay published by The Hollywood Reporter on Friday that the alleged incidents began while the two starred together in a Broadway revival of Death of a Salesman in 1983. Hoffman played main character Willy Loman, while she played his mistress. Hoffman's reps declined to comment. Several other people who worked on Death of a Salesman—Hoffman's brother-in-law and then-assistant Lee Gottsegen, and actors Anne McIntosh, Debra Mooney and Linda Hogan, Michael Quinlan and Andrew Bloch, and production stage manager Tom...
- 12/9/2017
- E! Online
As relationships go, they don't get much more mundane or artificial than those found in "Boys and Girls".
A talky, forced romantic comedy that attempts to retool a "When Harry Met Sally ..." take on sex and friendship for the college crowd, the picture shows few signs of life, despite the efforts of its energetic cast.
And though the presence of Freddie Prinze Jr. and Jason
Biggs could initially draw young females, you know Miramax is sweating it when one of the funniest bits in the trailer involving
Biggs and a quartet of Victoria Secret's models is actually a closing credits outtake.
Prinze is Ryan, a compulsive, repressed engineering student who meets up with the impulsive, direct Jennifer Claire Forlani) in college after a couple of previous antagonistic encounters.
They certainly make for an unlikely pair. Ryan, who plans everything to within an inch of its life, likes building intricate bridges in his spare time. Free-spirited Latin major Jennifer squirms at the mere concept of commitment. When they cross paths at UC Berkeley, they're involved with other people, but you know they're destined to be together -- mainly because the movie wants them to be, rather than there being any palpable spark between them.
While writing partners Andrew Lowery and Andrew Miller, a k a the Drews (Dennis Rodman's "Simon Sez"), obviously intended to deliver a hip dissertation on contemporary mating rituals, the game plays out more like Parcheesi than Twister. The story is continually covering the same old ground.
Although the leads try mightily, they're unable to scrape all of the bogus cut-and-paste dialogue off the page and make it sound authentic. Biggs and Amanda Detmer fare better as Ryan and Jennifer's respective roommates, injecting welcome comic energy into the drudgery.
Director Robert Iscove, who worked with Prinze on the successful "She's All That", matter-of-factly choreographs blocks of scenes as if he were governed by invisible commercial breaks.
In fact, there's a prevailing small-screen feel to the whole enterprise, despite worthy contributions from veteran cinematographer Ralf Bode ("Coal Miner's Daughter", "Saturday Night Fever") and costume designer April Ferry ("Maverick", "The Big Chill"). The soundtrack attempts to pick up the considerable slack by spinning proven hits (Apollo Four Forty's "Stop the Rock") and the obligatory Diane Warren ballad ("If I Don't Tell You Now").
BOYS AND GIRLS
Dimension Films
Punch 21
A film by Robert Iscove
Director: Robert Iscove
Producers: Jay Cohen, Lee Gottsegen,
Murray Schisgal
Screenwriters:
the Drews (Andrew Lowery, Andrew Miller)
Executive producers: Bob Weinstein,
Harvey Weinstein, Jeremy Kramer,
Jill Sobel Messick
Director of photography: Ralf Bode
Production designer: Marcia Hinds-Johnson
Editor: Casey O. Rohrs
Costume designer: April Ferry
Music: Stewart Copeland
Music supervisors: Randy Spendlove,
Leslie Lewis
Color/stereo
Cast:
Ryan: Freddie Prinze Jr.
Jennifer: Claire Forlani
Hunter: Jason Biggs
Amy: Amanda Detmer
Megan: Heather Donahue
Betty: Alyson Hannigan
Running time -- 97 minutes
MPAA rating: PG-13...
A talky, forced romantic comedy that attempts to retool a "When Harry Met Sally ..." take on sex and friendship for the college crowd, the picture shows few signs of life, despite the efforts of its energetic cast.
And though the presence of Freddie Prinze Jr. and Jason
Biggs could initially draw young females, you know Miramax is sweating it when one of the funniest bits in the trailer involving
Biggs and a quartet of Victoria Secret's models is actually a closing credits outtake.
Prinze is Ryan, a compulsive, repressed engineering student who meets up with the impulsive, direct Jennifer Claire Forlani) in college after a couple of previous antagonistic encounters.
They certainly make for an unlikely pair. Ryan, who plans everything to within an inch of its life, likes building intricate bridges in his spare time. Free-spirited Latin major Jennifer squirms at the mere concept of commitment. When they cross paths at UC Berkeley, they're involved with other people, but you know they're destined to be together -- mainly because the movie wants them to be, rather than there being any palpable spark between them.
While writing partners Andrew Lowery and Andrew Miller, a k a the Drews (Dennis Rodman's "Simon Sez"), obviously intended to deliver a hip dissertation on contemporary mating rituals, the game plays out more like Parcheesi than Twister. The story is continually covering the same old ground.
Although the leads try mightily, they're unable to scrape all of the bogus cut-and-paste dialogue off the page and make it sound authentic. Biggs and Amanda Detmer fare better as Ryan and Jennifer's respective roommates, injecting welcome comic energy into the drudgery.
Director Robert Iscove, who worked with Prinze on the successful "She's All That", matter-of-factly choreographs blocks of scenes as if he were governed by invisible commercial breaks.
In fact, there's a prevailing small-screen feel to the whole enterprise, despite worthy contributions from veteran cinematographer Ralf Bode ("Coal Miner's Daughter", "Saturday Night Fever") and costume designer April Ferry ("Maverick", "The Big Chill"). The soundtrack attempts to pick up the considerable slack by spinning proven hits (Apollo Four Forty's "Stop the Rock") and the obligatory Diane Warren ballad ("If I Don't Tell You Now").
BOYS AND GIRLS
Dimension Films
Punch 21
A film by Robert Iscove
Director: Robert Iscove
Producers: Jay Cohen, Lee Gottsegen,
Murray Schisgal
Screenwriters:
the Drews (Andrew Lowery, Andrew Miller)
Executive producers: Bob Weinstein,
Harvey Weinstein, Jeremy Kramer,
Jill Sobel Messick
Director of photography: Ralf Bode
Production designer: Marcia Hinds-Johnson
Editor: Casey O. Rohrs
Costume designer: April Ferry
Music: Stewart Copeland
Music supervisors: Randy Spendlove,
Leslie Lewis
Color/stereo
Cast:
Ryan: Freddie Prinze Jr.
Jennifer: Claire Forlani
Hunter: Jason Biggs
Amy: Amanda Detmer
Megan: Heather Donahue
Betty: Alyson Hannigan
Running time -- 97 minutes
MPAA rating: PG-13...
- 6/16/2000
- The Hollywood Reporter - Movie News
Actor Tony Goldwyn's accomplished directorial debut is a moving and amusing account of a housewife's painful attempts at self-discovery during the turbulent summer of 1969. Although the film doesn't entirely escape stereotypes on several fronts -- such as the umpteenth use of such iconic events as Woodstock and the moon landing -- it also presents well-rounded and sensitive characterizations and provides Diane Lane with her best screen role.
This Miramax release, recently showcased at the Miami Film Festival, won't set any commercial records, though it is bound to appeal to a sophisticated female audience.
Lane plays Pearl Kantrowitz, a 31-year-old wife and mother vacationing with her teenage daughter Alison (Anna Paquin) and her quintessentially Jewish mother-in-law Lilian (Tovah Feldshuh) at a bungalow colony in the Catskills. (A photo montage of various Catskill landmarks set off a cacophony of oohs and aahs at the Miami screening.)
Pearl is a devoted mother and wife to her hard-working, TV repairman husband Marty (Liev Schreiber), who can only join them on the weekends. But when she meets Walker Jerome (Viggo Mortensen) -- a handsome, free-living salesman who is called the Blouse Man because he travels around in a beat-up bus selling women's clothing -- her existential malaise comes to the surface.
It isn't long before Pearl, who got married and had a child before she was out of her teens, is engaged in a liberating affair, augmented by drug experimentation, tie-dyed clothing and Woodstock. Unfortunately, she is spotted there by her daughter, who has similarly run off without telling anyone, setting off a chain of anguished confrontations.
This is familiar territory, but Pamela Gray's insightful screenplay deals with the issues and personalities involved in sensitive fashion, rendering the psychological reasons for Pearl's straying with a depth and complexity that resonates. All of the characters engender sympathy, especially Schreiber's Marty, a loving husband and father who is deeply wounded by his wife's betrayal and yet possesses the inner resources to pull himself together. And characters who in lesser efforts would have been reduced to stereotype, such as the nagging Jewish mother-in-law or the hippie-ish Blouse Man, are allowed an uncommon inner richness.
Working within limited means, Goldwyn conveys the atmosphere of the Catskills milieu during the '60s with great skill and has elicited fine performances from the cast. Lane, in her most mature role, beautifully conveys Pearl's inner struggles and maintains audience sympathy even while her character is acting in not-so-nice ways. Paquin plays the confused teen with more depth than might have been expected, while Feldshuh never condescends to her role as the meddling Lilian. Best of all is Schreiber, who reveals unexpected levels of tenderness and anguish as the befuddled Marty. His superb work signals that he is ready to ascend to a new level of screen prominence.
A WALK ON THE MOON
Miramax Films
Director: Tony Goldwyn
Screenplay: Pamela Gray
Producers: Dustin Hoffman, Tony Goldwyn, Jay Cohen, Neil Koenigsberg, Lee Gottsegen, Murray Schisgal
Executive producers: Graham Burke, Greg Coote
Director of photography: Anthony Richmond
Editor: Dana Congdon
Original music: Mason Daring
Production designer: Dan Leigh
Color/stereo
Cast:
Pearl: Diane Lane
Walker Jerome: Viggo Mortensen
Marty: Liev Schreiber
Alison: Anna Paquin
Lilian: Tovah Feldshuh
Running time -- 105 minutes
MPAA rating: R...
This Miramax release, recently showcased at the Miami Film Festival, won't set any commercial records, though it is bound to appeal to a sophisticated female audience.
Lane plays Pearl Kantrowitz, a 31-year-old wife and mother vacationing with her teenage daughter Alison (Anna Paquin) and her quintessentially Jewish mother-in-law Lilian (Tovah Feldshuh) at a bungalow colony in the Catskills. (A photo montage of various Catskill landmarks set off a cacophony of oohs and aahs at the Miami screening.)
Pearl is a devoted mother and wife to her hard-working, TV repairman husband Marty (Liev Schreiber), who can only join them on the weekends. But when she meets Walker Jerome (Viggo Mortensen) -- a handsome, free-living salesman who is called the Blouse Man because he travels around in a beat-up bus selling women's clothing -- her existential malaise comes to the surface.
It isn't long before Pearl, who got married and had a child before she was out of her teens, is engaged in a liberating affair, augmented by drug experimentation, tie-dyed clothing and Woodstock. Unfortunately, she is spotted there by her daughter, who has similarly run off without telling anyone, setting off a chain of anguished confrontations.
This is familiar territory, but Pamela Gray's insightful screenplay deals with the issues and personalities involved in sensitive fashion, rendering the psychological reasons for Pearl's straying with a depth and complexity that resonates. All of the characters engender sympathy, especially Schreiber's Marty, a loving husband and father who is deeply wounded by his wife's betrayal and yet possesses the inner resources to pull himself together. And characters who in lesser efforts would have been reduced to stereotype, such as the nagging Jewish mother-in-law or the hippie-ish Blouse Man, are allowed an uncommon inner richness.
Working within limited means, Goldwyn conveys the atmosphere of the Catskills milieu during the '60s with great skill and has elicited fine performances from the cast. Lane, in her most mature role, beautifully conveys Pearl's inner struggles and maintains audience sympathy even while her character is acting in not-so-nice ways. Paquin plays the confused teen with more depth than might have been expected, while Feldshuh never condescends to her role as the meddling Lilian. Best of all is Schreiber, who reveals unexpected levels of tenderness and anguish as the befuddled Marty. His superb work signals that he is ready to ascend to a new level of screen prominence.
A WALK ON THE MOON
Miramax Films
Director: Tony Goldwyn
Screenplay: Pamela Gray
Producers: Dustin Hoffman, Tony Goldwyn, Jay Cohen, Neil Koenigsberg, Lee Gottsegen, Murray Schisgal
Executive producers: Graham Burke, Greg Coote
Director of photography: Anthony Richmond
Editor: Dana Congdon
Original music: Mason Daring
Production designer: Dan Leigh
Color/stereo
Cast:
Pearl: Diane Lane
Walker Jerome: Viggo Mortensen
Marty: Liev Schreiber
Alison: Anna Paquin
Lilian: Tovah Feldshuh
Running time -- 105 minutes
MPAA rating: R...
- 3/22/1999
- The Hollywood Reporter - Movie News
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