The Spanish Academy surprised some this year when it selected Fernando León de Aranoa’s Javier Bardem-starrer “The Good Boss” (“El buen patrón”) as the country’s submission for this year’s Best International Feature Oscar race. It’s main contender was Pedro Almodóvar’s “Parallel Mothers” which wowed at Venice – Penelope Cruz took the award for best actress, did well at the Spanish box office and has been an overwhelming critical success and has since been nominated for the Golden Globe for Best Motion Picture – Non-English Language.
To many, particularly in Spain however, the decision was less of a shock. Bolstering “The Good Boss’” credentials as a true contender, the film is one of the Spain’s best-reviewed films in 2021 both at home and abroad – it currently boasts a 90% on Rotten Tomatoes – is the year’s highest-grossing domestic indie and recently broke a 30-year-old record for the most...
To many, particularly in Spain however, the decision was less of a shock. Bolstering “The Good Boss’” credentials as a true contender, the film is one of the Spain’s best-reviewed films in 2021 both at home and abroad – it currently boasts a 90% on Rotten Tomatoes – is the year’s highest-grossing domestic indie and recently broke a 30-year-old record for the most...
- 12/14/2021
- by Jamie Lang
- Variety Film + TV
A court has sided with Netflix in a “Narcos” copyright infringement lawsuit brought by Virginia Vallejo, a Colombian journalist and former girlfriend of drug lord Pablo Escobar.
The suit, filed in Florida district court in Jan. 2018, accused the producers and distributors of the show of two counts of copyright infringement, saying the company borrowed from Vallejo’s 2006 memoir to inform two specific scenes, called “Caress of a Revolver” and “That Palace in Flames.”
Florida district court judge Rodney Smith granted Netflix’s motion for summary judgment and denied Vallejo’s Friday.
Also Read: Netflix Sets Premiere Date for Kenya Barris' 'Astronomy Club' - Watch the First Sketch (Video)
The memoir, “Amando a Pablo, Odiando a Escobar”, details Vallejo’s relationship with Escobar and her cooperation with Colombian and U.S. authorities in prosecuting an ex-Colombian senator as well as drug cartel bosses. In “Narcos,” Vallejo’s likeness is portrayed...
The suit, filed in Florida district court in Jan. 2018, accused the producers and distributors of the show of two counts of copyright infringement, saying the company borrowed from Vallejo’s 2006 memoir to inform two specific scenes, called “Caress of a Revolver” and “That Palace in Flames.”
Florida district court judge Rodney Smith granted Netflix’s motion for summary judgment and denied Vallejo’s Friday.
Also Read: Netflix Sets Premiere Date for Kenya Barris' 'Astronomy Club' - Watch the First Sketch (Video)
The memoir, “Amando a Pablo, Odiando a Escobar”, details Vallejo’s relationship with Escobar and her cooperation with Colombian and U.S. authorities in prosecuting an ex-Colombian senator as well as drug cartel bosses. In “Narcos,” Vallejo’s likeness is portrayed...
- 11/8/2019
- by Margeaux Sippell
- The Wrap
It took a few attempts, but Netflix and Gaumont Television finally prevailed against a Colombian journalist who alleged Narcos infringed her memoir about Pablo Escobar. On Friday, a Florida federal court granted summary judgment to defendants. The ruling avoids a trial that was scheduled to begin this month.
The plaintiff in the case was Virginia Vallejo, who wrote about her close relationship with the notorious drug kingpin in the 1980s. A popular television journalist, her memoir was titled Loving Pablo, Hating Escobar, which itself became the basis for a film starring Javier Bardem and Penelope Cruz in 2017.
In May, a ...
The plaintiff in the case was Virginia Vallejo, who wrote about her close relationship with the notorious drug kingpin in the 1980s. A popular television journalist, her memoir was titled Loving Pablo, Hating Escobar, which itself became the basis for a film starring Javier Bardem and Penelope Cruz in 2017.
In May, a ...
- 11/8/2019
- The Hollywood Reporter - Film + TV
Virginia Vallejo, a Colombian journalist who wrote about her close relationship with Pablo Escobar in the 1980s, may soon get to tell a Florida jury how Netflix's Narcos infringed her memoir. On Monday, a federal judge rejected arguments from Netflix and Gaumont Television premised on Vallejo's own deal with movie producers. The two sides appear to be preparing for a trial that could begin early next month.
Vallejo, once a popular television journalist in Colombia, is the author of Loving Pablo, Hating Escobar.
In May, U.S. District Court Judge K. Michael Moore narrowed Vallejo's lawsuit. She couldn't ...
Vallejo, once a popular television journalist in Colombia, is the author of Loving Pablo, Hating Escobar.
In May, U.S. District Court Judge K. Michael Moore narrowed Vallejo's lawsuit. She couldn't ...
- 10/28/2019
- The Hollywood Reporter - Film + TV
Pablo Escobar. A revolver. And a loving caress. Some things may be generic ideas, but according to a federal judge Friday, this scene from Netflix's Narcos could plausibly add up to copyright infringement.
The plaintiff in the case is Virginia Vallejo, an important figure in Escobar's life who documented her experience with the notorious Colombia drug lord in a memoir, Loving Pablo, Hating Escobar. In the 1980s, she was a notable television journalist in the country who struck up a relationship with Escobar, helped his brief foray into politics and ultimately cooperated with Colombian and United States authorities.
Vallejo is ...
The plaintiff in the case is Virginia Vallejo, an important figure in Escobar's life who documented her experience with the notorious Colombia drug lord in a memoir, Loving Pablo, Hating Escobar. In the 1980s, she was a notable television journalist in the country who struck up a relationship with Escobar, helped his brief foray into politics and ultimately cooperated with Colombian and United States authorities.
Vallejo is ...
- 5/24/2019
- The Hollywood Reporter - Film + TV
This story about Penélope Cruz, Javier Bardem and “Everybody Knows” first appeared in TheWrap’s magazine’s 2018 Cannes issue.
On the day that Penélope Cruz ended up in an ambulance on the set of “Everybody Knows,” she found out just what kind of director Asghar Farhadi is.
In the film, the opening-night attraction at this year’s Cannes Film Festival, Cruz plays a woman whose teenage daughter abruptly disappears under mysterious circumstances during a wedding celebration. She spends most of the film in a state of panic and desperation, enlisting the help of an old flame played by her real-life husband, Javier Bardem.
“All of my scenes were very intense,” Cruz told TheWrap. “In one scene I have a panic attack in the car, and I ended up in an ambulance myself. It was just from hyperventilation and from my blood sugar going very high from the stress of the scene.
On the day that Penélope Cruz ended up in an ambulance on the set of “Everybody Knows,” she found out just what kind of director Asghar Farhadi is.
In the film, the opening-night attraction at this year’s Cannes Film Festival, Cruz plays a woman whose teenage daughter abruptly disappears under mysterious circumstances during a wedding celebration. She spends most of the film in a state of panic and desperation, enlisting the help of an old flame played by her real-life husband, Javier Bardem.
“All of my scenes were very intense,” Cruz told TheWrap. “In one scene I have a panic attack in the car, and I ended up in an ambulance myself. It was just from hyperventilation and from my blood sugar going very high from the stress of the scene.
- 2/6/2019
- by Steve Pond
- The Wrap
Sony’s “Venom” is set to smash the previous opening weekend record for October with an estimated $80 million from 4,250 theaters.
The film, which stars Tom Hardy as Eddie Brock, who becomes the eponymous anti-hero Venom, is likely to beat out the last record-holder, “Gravity,” which debuted in 2013 to $55.7 million. Sony is projecting a more conservative estimate of $70 million, but even that number marks a 22% margin over “Gravity’s” opening tally.
“Venom” earned $32.75 million on Friday, with a B+ CinemaScore and abysmal Rotten Tomatoes score of 31%. Its audience score is somewhat more optimistic however, at 89%. Ruben Fleischer directed the dark twist on a superhero fable, with Michelle Williams, Riz Ahmed, Scott Haze, and Reid Scott also starring. Jeff Pinkner, Scott Rosenberg, and Kelly Marcel wrote the script.
Meanwhile the weekend’s other major opener, Lady Gaga and Bradley Cooper’s “A Star Is Born,” is looking to top initial forecasts with $42 million from 3,686 domestic sites.
The film, which stars Tom Hardy as Eddie Brock, who becomes the eponymous anti-hero Venom, is likely to beat out the last record-holder, “Gravity,” which debuted in 2013 to $55.7 million. Sony is projecting a more conservative estimate of $70 million, but even that number marks a 22% margin over “Gravity’s” opening tally.
“Venom” earned $32.75 million on Friday, with a B+ CinemaScore and abysmal Rotten Tomatoes score of 31%. Its audience score is somewhat more optimistic however, at 89%. Ruben Fleischer directed the dark twist on a superhero fable, with Michelle Williams, Riz Ahmed, Scott Haze, and Reid Scott also starring. Jeff Pinkner, Scott Rosenberg, and Kelly Marcel wrote the script.
Meanwhile the weekend’s other major opener, Lady Gaga and Bradley Cooper’s “A Star Is Born,” is looking to top initial forecasts with $42 million from 3,686 domestic sites.
- 10/6/2018
- by Erin Nyren
- Variety Film + TV
The latest cinematic look at Pablo Escobar is titled Loving Pablo for a reason: it’s based on Colombian journalist Virginia Vallejo’s book Loving Pablo, Hating Escobar. Fernando León de Aranoa makes a concerted effort to show as much in his opening by following Vallejo (Penélope Cruz) to an American hotel room over a decade after first meeting her long-time, not-so-secret boyfriend. We hear her voiceover explain how this journey’s circumstances are much different than earlier ones, laughing with her when DEA Agent Shepard (Peter Sarsgaard) says aspirin’s drug status means the concierge can’t send her some. We ready to witness Escobar’s (Javier Bardem) reign from her unique perspective that allowed his drug-lord violence to take a backseat to love, wealth, and power. But that’s not what we receive.
The movie’s quick rewind tries its hardest to do so by introducing Escobar through her vantage point,...
The movie’s quick rewind tries its hardest to do so by introducing Escobar through her vantage point,...
- 10/1/2018
- by Jared Mobarak
- The Film Stage
Javier Bardem is opening up about his new role — and how his weight gain affected his wife Penélope Cruz.
The Oscar-winning actor, 49, portrays Colombian drug lord Pablo Escobar in his new film Loving Pablo — which also stars Cruz, 44, as journalist Virginia Vallejo, who had a tumultuous love affair with Escobar.
“She wasn’t happy,” Bardem tells People with a laugh, of Cruz’s reaction when she saw her husband in his full Escobar look — which included a prosthetic belly. “I mean, she wasn’t happy in the sense that she knew what was coming. She knew what was coming.”
“There...
The Oscar-winning actor, 49, portrays Colombian drug lord Pablo Escobar in his new film Loving Pablo — which also stars Cruz, 44, as journalist Virginia Vallejo, who had a tumultuous love affair with Escobar.
“She wasn’t happy,” Bardem tells People with a laugh, of Cruz’s reaction when she saw her husband in his full Escobar look — which included a prosthetic belly. “I mean, she wasn’t happy in the sense that she knew what was coming. She knew what was coming.”
“There...
- 9/29/2018
- by Kara Warner, Alexia Fernandez
- PEOPLE.com
Javier Bardem struggles manfully with a prosthetic belly while Penélope Cruz is sidelined in this confused film
Until recently, any biopic of drug lord Pablo Escobar starring Javier Bardem and Penélope Cruz – especially one directed by the well-regarded social-realist Fernando León de Aranoa (Mondays in the Sun) – would have been presented as a major event. Perhaps Netflix’s Narcos has reduced any such project’s thunder. After lukewarm responses at last year’s Venice and Toronto festivals (where it premiered as Loving Pablo), the biopic we’ve ended up with has had to assume an alias, a development that might have brought a crooked smile to its elusive subject’s face. The film sneaking on to UK screens this weekend as the bluntly no-nonsense Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It’s an alluring product,...
Until recently, any biopic of drug lord Pablo Escobar starring Javier Bardem and Penélope Cruz – especially one directed by the well-regarded social-realist Fernando León de Aranoa (Mondays in the Sun) – would have been presented as a major event. Perhaps Netflix’s Narcos has reduced any such project’s thunder. After lukewarm responses at last year’s Venice and Toronto festivals (where it premiered as Loving Pablo), the biopic we’ve ended up with has had to assume an alias, a development that might have brought a crooked smile to its elusive subject’s face. The film sneaking on to UK screens this weekend as the bluntly no-nonsense Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It’s an alluring product,...
- 9/14/2018
- by Mike McCahill
- The Guardian - Film News
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