During an interview on the Wednesday debut episode of “Any Given Wednesday,” Affleck passionately criticized the NFL and its commissioner, Roger Goodell, for suspending New England Patriots quarterback Tom Brady for using underinflated balls during a 2015 playoff game.
Corden was at the White House on Tuesday for the taping.
“I am the last one showing, alone. But it doesn’t have to be me at all costs,” he told Italian reporters after the show.
The 27-year-old actor reprises his role as Pavel Chekov in the third installment of the rebooted “Star Trek” film franchise due to be released in July, but at least five of the projects showcase his talents beyond a big-budget summer action film.
“Weiner,” a political documentary by Josh Kriegman and Elyse Steinberg on the second and final mayoral campaign by Anthony Weiner in New York City, is a solid example of how access — in the cinematic sense — evolves when it hits the fan
That story is already known, of course, to fans of the novel by Jojo Moyes, who adapted her book here. Like the (better) 2014 tearjerker “The Fault in Our Stars,” this film version, directed by Thea Sharrock, probably is a slam dunk for the book’s fans, who will likely be crying from the first scene.
“Popstar: Never Stop Never Stopping,” the Lonely Island’s mockumentary styled after self-aggrandizing docs like Bieber’s “Never Say Never,” doesn’t often reach the kind of pitch that will shatter glass. It comes closest when its “Behind the Music” format dissolves and, before you know it, there’s (the film’s producer) Judd Apatow’s penis (definitely not in a box) smeared against a limousine window or Will Arnett’s recurring, cackling, beverage-wielding impression of TMZ’s Harvey Levin.
Gosling and Crowe do have chemistry, and an obvious sense of humor which gets them far. They’d have gotten farther, though, if the movie, while at times hilarious, didn’t have such an uneven feel, particularly a nasty edge that simply clashes with the desired jocular tone. Yes, there’s such a thing as dark comedy, but this is a comedy that occasionally just makes you feel queasy. There were moments I knew I was supposed to be laughing but found myself scribbling in my notes: “hmm, funny but not?”
Those yuks are plentiful enough to ensure a reasonable box-office return. But viewers prone to worries about Hollywood’s treatment of women — a fair chunk of whom are young students this film wants to attract — may be laughing less loudly than those around them.