Ridley Scott has revealed that Kevin Spacey has yet to speak to him following Scott’s decision to recast his role in All The Money In The World.
‘I don’t know where he is,’ Scott said. ‘He’s gone down underground.’
Spacey was recast in the film with Christopher Plummer, who has gone on to be nominated for a Golden Globe and has received rave reviews, including from Metro.co.uk.
Scott also confirmed that he had no contact from Spacey after the news of his replacement was announced: ‘It would have been nice to have some kind of call, even if it was from his (Spacey’s) representative.’
Scott was speaking ahead of the film’s UK release on 5 January, and Mark Walhberg – who also appears in the film alongside Michelle Williams – spoke of the decision to replace Spacey, who was accused by various men of sexual misconduct.
‘Obviously, the most important thing was respecting the victims in this case,’ said Walhberg.
‘You know, whether there are allegations or not — there were many — and it’s important to make sure that was dealt with with the respect and sensitivity that it deserved. Many people have been replaced in films many times, including films that I’ve been involved with on both sides of the spectrum.
‘So those kind of things happen, but it was a decision that Ridley made and we all certainly supported him in that decision.’
The allegations against Spacey came after Star Trek actor Anthony Rapp alleged that he was sexually harassed by Spacey as a teen. The actor released a statement and is now receiving treatment.
A number of other men then came forward, including eight members from the set of House Of Cards, who said he made the set of the Netflix show a ‘toxic’ environment because of his ‘predatory’ behaviour, which allegedly incused crude comments and nonconsensual touching.
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.