Rutger Hauer, Blade Runner Actor, Dead at 75

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Rutger Hauer, the Dutch actor best known for his turn as the replicant Roy Batty in Blade Runner, died last Friday at his home in the Netherlands, the actors agent, Steve Kenis, confirmed to Rolling Stone. He was 75.

While Kenis did not give a cause of death, Variety reported that Hauer died after a short illness. His funeral was held Wednesday.

While Hauer spent the early part of his career acting in a variety of films and television shows in the Netherlands and Britain, Blade Runner marked just his second role in an American film. Nevertheless, he made a lasting impression as Roy Batty, the fugitive replicant trying to evade Rick Deckard, the reluctant cop played by Harrison Ford enlisted to track down Batty and his co-conspirators.

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At the end of the film, a dying Batty delivers the famed tears in rain monologue, a speech Hauer partly wrote himself. In his autobiography, All Those Moments: Stories of Heroes, Villains, Replicants, and Blade Runners, Hauer recalled that he wasnt that happy with the original page-long monologue that Blade Runner director Ridley Scott had originally planned. So the actor took it upon himself to cut 30 lines from the speech and keep the two he felt were the most poetic. Then he added the most famous line himself, All those moments will be lost in time, like tears of rain.

What I love about the final sequence is that Roy performs an act of kindness and compassion saving Deckers life, Hauer wrote in All Those Moments. At the moment Deckard falls, Roy grabs. He doesnt really have a reason for doing it. In the last speech, which is a speech a lot of people like, hes still just running programs. Roy is never a hero, but for a moment he acts like one.

Hauer was born in Breukelen in the Netherlands, the son of two drama teachers. While he studied at the Academy for Theater and Dance in Amsterdam, when he was 15 he spent a year working on a freighter, while later he worked as an electrician and served as a combat medic in the Dutch army. As a professional actor, Hauer got his start in an experimental theater troupe, while he notched his first on-camera role in Paul Verhoevens 1969 TV series Floris.

Over the next few years, Hauer worked on an array of film and television projects, notably collaborating with Verhoeven again on Turkish Delight which helped Hauer score his first English-speaking roles in Britain and Soldier of Orange. In 1981, Hauer finally made his Hollywood debut when he was cast as the terrorist Wulfgar in Sylvester Stallones Nighthawks. Blade Runner was released the following year, and Hauer would go on to spend the next several decades working tirelessly on an array of film and TV projects.

Among Hauers myriad roles, many in a villainous capacity, one of his most notable is a turn in the 1987 British television film, Escape From Sobibor, for which he won a Golden Globe for Best Supporting Actor. In 1994, he received another Golden Globe nod for Best Actor in a Miniseries or TV Film for his turn in the World War II drama Fatherland. Hauer also appeared as the titular psychopath in the 1986 horror classic The Hitcher, a spy in Confessions of a Dangerous Mind, a duplicitous cardinal in Sin City and the CEO of Wayne Enterprises in Batman Beginsand a blind swordsman in Blind Fury, as well as TV shows like True Blood and Smallville. In 2011, he starred in Hobo With a Shotgun, an over-the-top B-movie homage based on a fake trailer from Robert Rodriguez and Quentin Tarantinos Grindhouse.

In all, Hauer racked up at least 174 film and TV credits, according to IMDB (seven of those projects havent even been released yet). In a 2011 interview with The AV Club, Hauer touched on his love of acting and his desire to keep working, saying, The profession that I have is so much fun. Youve been to Sundance how much fun do you think that is? Theres nothing better for an actor than to be right there with an audience that goes berserk because of the story If you have moments like that every five years, you can live forever on it, until you die.

David Crosby on Looking Back Without Anger in New Doc

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Near the end of the new documentary, David Crosby: Remember My Name, the 77-year-old singer looks directly into the camera and makes a startling admission. I still have friends, he says. But all the guys that I made music with wont even talk to me all of them. All of them. One of them hating my guts could be an accident. But [Roger] McGuinn, [Graham] Nash, Neil [Young] and Stephen [Stills] all really dislike me, strongly. I dont know quite how to undo it.

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Its one of many devastatingly honest moments in the film, which traces Crosbys life story from growing up the son of an Academy Award-winning cinematographer and his days in the Byrds and Crosby, Stills, Nash and Young to the 1982 cocaine bust that sent him to a Texas prison, his numerous financial struggles and current creative renaissance. Along the way, the musician talks about his many regrets when it comes to the way he treated his girlfriends, his bandmates and his own body. The way they do most documentaries these days is fucking bullshit, Crosby says. People make documentaries that are just shine jobs. I wanted to be honest.

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The film was directed by A.J. Eaton, but Cameron Crowe, who produced it, was a crucial behind-the-scenes force. Crosby points out that theyve been friends since Crowes days as a teenage Rolling Stone reporter: I knew him when he was the kid in Almost Famous and we or Led Zeppelin were the band, he says. Both of us stuck joints in his mouth and introduced him to girls, and that was that.

They stayed close even as Crosbys life took some difficult turns. I have seen him so exhausted or strung out in the Seventies or Eighties that I often thought it would be the last time Id ever see him, Crowe says. Because wed done so many interviews in the past, we were able to get past the niceties and get down to the toughest questions. For example, his take on the myth of Laurel Canyon is bracing and tough the stuff that gets said when the tourists are gone and the cameras get turned off. Except ours stayed on.

McGuinn agreed to a new interview for the movie, but Young, Stills and Nash dont appear. Instead, we see archival footage of them explaining CSNYs bitter breakup and why they havent spoken to Crosby in years. Some of those burned bridges in Crosbys life are still fresh and smoking, says Crowe. He had a lot to say to them, and its all in the movie. I often thought that this was Crosbys version of Neil Youngs own look back from Harvest Moon, One of These Days.'

He continues: What A.J. Eaton and I didnt want to do is try to stage some kind of reunion, failed or successful. The movie is made for you to decide what will happen next. What will Neil Young think when he sees it? Graham Nash is particularly emotional in his recent footage. So often documentaries try to whip up a camera-friendly conclusion. We didnt, and one wasnt available to us either. Its kind of what the movie is about.

Crosby has little hope that CSNY will ever re-form, but he hopes this film will help correct the historical record. All these guys I used to work with are saying Im just impossible and unreasonable, he says. They are doing their level best to paint a picture of me that is pretty bad. Hopefully this will paint a picture thats more honest. I just hope they see it.

Dude, Wheres My Uber? Kumail Nanjiani and Dave Bautista Buddy Comedy Goes Nowhere Fast

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What we have here is an action-comedy about an Uber driver named Stu. Hence the title, Stuber. These are the jokes, folks. Also not funny besides the title and the script is the fact that Stuber traps two talented dudes Kumail Nanjiani and Dave Bautista in a car thats going nowhere so fast that Thelma and Louise would hop right on. Still, if you loved Nanjiani in Silicon Valley and The Big Sick, hes going to get through the Stuber muck with his reputation intact. His comic delivery is foolproof. Watch Stuber with the sound off (I recommend it) and Nanjiani is still funny. And he matches up well with former wrestler and bodybuilder Bautista whose acting chops and timing made fools of critics who wanted to dismiss him as a beefy sight gag but watched him as Drax in Guardians of the Galaxy and stayed to cheer. Bautista and Nanjiani are pushing our loyalty with Stuber but they still have the stuff to keep us on their team.

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But, oh boy, are they slumming doing this spin on The Odd Couple here. Stu is the fastidious one looking out only for his next five-star ride. His vanity plate even reads FIVESTAR, which shows you how hard Stuber is going to go down. Bautista is Vic, a human battering ram in the form of an L.A. cop from Compton who commandeers Stus Uber to track down a killer. Recent Lasik surgery has rendered the crazed detective nearly blind and he needs Stu to be his eyes, his ears, his decoy, and his wheels as he hunts down Oka Tedjo (Iko Uwais), the psycho who killed his partner (Karen Gillan).

And were off. Or so youd think. Instead, screenwriter Tripper Clancy merely stitches together every bromance action clich this side of Jump Street. And director Michael Dowse whose resume includes Goon, FUBAR,and the deathless Its All Gone Pete Tong is still performing true to form.

Detailing the plot takes more patience than I possess. But here are the basics: The love Stu feels for Becca (Betty Gilpin), his business partner, is clear to everyone but Becca, who treats him like crap, which is not unlike the way Vic treats his neglected daughter Nicole (Natalie Morales). Is Vics toxic masculinity worse than the female trouble he gets from his boss Captain McHenry (Mia Sorvino). Its hard to give a damn, so Vic and Stu team up to prove their manhood on the battleground in pursuit of Tedjo. The filmmakers hit the blood spray switch whenever the plot dries up, which is always. Reducing Stu and Vic to generic head-banging doesnt bring out the strengths in Nanjiani and Bautista, who leave you with the feeling they could have been tied up in a car, force-fed random words and phrases and still puked out a better movie. There are many things you can say about Stuber, but its nobodys idea of a five-star ride.

Honeyland Review: To Bee or Not to Bee

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A woman walks down a dusty, sunbaked road. She hikes along a mountain ridge, prying a small, flat slab from the craggy wall with a small steel tool. When she removes it, you can hear the buzzing of bees filling the soundtrack. This is her secret honey stash; she will extract one dripping comb after another, placing them tenderly in a circular basket, before replacing the stone. Then she returns to her Macedonian village, working with her makeshift hive. This is how she makes her living, selling the honey at a market in a faraway town. Later, the woman her name is Hatidze Muratova goes down into a pit-like area near the cottage where she lives with her elderly mother, and opens up a hole in the wall. She breaks apart the gooey combs and collects the nectar inside them. Then she pours half of whats shes procured on a rock. 50 percent for you, 50 percent for me, she says. The tiny creatures lap it up.

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Poetic is a word that goes thrown around easily and abundantly, especially when it comes to documentaries that forego any sort of standard interview-clip-context-rinse-repeat format. But its hard to think of a better adjective to describe the early sequences of Honeyland, Tamara Kotevska and Ljubomir Stefanovs award-winning, years-in-the-making portrait of rural regionalism and lost art forms. Muratova is the last female beekeeper in Europe this is according to the press notes; the narration-less film never mentions this fact but more importantly, shes one of the last practitioners of a bygone agrarian method of living in harmony with nature. Her attempt to continue this tradition will be challenged by modernity, or at least a relative version of it. But before that, the filmmakers want to immerse you in her world the way the light hits at dusk on the hillside, the sound of tiny drones whizzing past, the careful handling of the honeycombs, the sensation of sitting in a dark room with illuminated by a single candle. They want you to feel what its like to do what she does and where she does it. All the better, then, to give you a sense of whats being jeopardized.

Because soon, Muratova has new neighbors, a family who isnt quite as adept or conscious of older beekeeping methods that allow for long-term sustainability. She tells the patriarch that a standard harvest happens in September or October, and produces about 10 kilos of honey. Hes made a deal with someone who wants 200 kilos at once, however. So he ramps things up and gets his brood, who arent crazy about being repeatedly stung in the face, to start gathering as much of the sweet and sticky liquid gold as quickly as possible. This weakens the combs and drains the resources. It also begins to affect Muratovas own hives as well. You can see where this is going.

Bees have long been considered the barometers of Mother Natures health, which makes Honeyland feel like watching an ecological car wreck in slow motion. And should you want to look for a metaphor for the way late capitalism has a way of sucking things dry and screwing anyone or anything in the vicinity, its sitting right there comfortably on top of the text. But what makes this documentary feel so extraordinary is the way Kotevska and Stefanov doesnt belabor this notion at the expense of letting you walk a mile in both parties worn sandals. They let everything unfold organically and manage to balance the experiential aspects with the bigger-picture notions buzzing around the edges a stunning example of form reflecting content. And along with their cinematographers Fejmi Daut and Samir Ljuma, the countryside in which the subjects eke out a living manages to look sensuous and unforgiving in equal measures.

We eventually come to a reprise of that opening scene with Muratova, with the seasons changed from spring to winter. So much has changed. So much is now gone. And still she pulls back the stone, tending to her friends, taking only what she needs. Honeyland knows her future is uncertain. But it still gives her a moment in front of the camera with dignity and grace.

Watch Gritty Trailer for Casey Afflecks Post-Apocalyptic Survival Film Light of My Life

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A father must protect his daughter by disguising her as his son after a plague wipes out most of the female population in the trailer for Casey Afflecks new film, Light of My Life. The film will be released in theaters, and via digital on demand services August 9th.

Affleck wrote, directed and stars in the film as the father, while newcomer Anna Pniowsky plays the daughter. The trailer finds the pair camped out in the middle of the woods and doing their best to avoid detection when they venture into what remains of society, while it also offers a glimpse of how this post-apocalyptic landscape came to be.

Of course things eventually get perilous for the father and daughter, like when a creepy old man stumbles across their campsite, or when the father is forced to hastily hide his daughter when strangers appear at a house where theyre staying. Ill always be with you, the father promises, even if someone tied me up and stabbed me and knocked me down and put me in a block of ice and dropped me in the middle of the ocean.

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Last August, Affleck notably gave an interview with The Associated Press that marked his first since resurfaced sexual harassment allegations forced him to avoid participating in the 2018 Oscars. The allegations stemmed from a pair of sexual harassment civil lawsuits he faced while directing the 2010 Joaquin Phoenix quasi-documentary, Im Still Here. Affleck denied any wrongdoing but settled both lawsuits.

First of all, that I was ever involved in a conflict that resulted in a lawsuit is something that I really regret, Affleck said. I wish I had found a way to resolve things in a different way. I hate that. I had never had any complaints like that made about me before in my life and it was really embarrassing and I didnt know how to handle it and I didnt agree with everything, the way I was being described, and the things that were said about me, but I wanted to try to make it right, so we made it right in the way that was asked at the time. And we all agreed to just try to put it behind us and move on with our lives, which I think we deserve to do, and I want to respect them as theyve respected me and my privacy. And thats that.

See Rob Zombies Bloody New 3 From Hell Trailer

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Rob Zombie will continue the horror saga he started with House of 1000 Corpses and The Devils Rejects when he releases 3 From Hell on September 16th. The trailer for the film opens with TV footage of the Devils Rejects gang in the hospital following a bloody police standoff. The chances of survival are less than a million to one, a newscaster says, as the footage transitions into a West Memphis Threestyle protest with people changing Free the three! The hullabaloo works and one of the baddies says, Now we can have a real day of the dead.

After that, they pick up their machetes and shotguns and get to laughing as they plunge the world into mayhem. Theres stabbing and blood and more stabbing and smiling and fire as the clips imagery echoes real-life serial killers like John Wayne Gacy and Charles Manson.

The cast features Sheri Moon Zombie, Sid Haig and Bill Moseley, as well as Danny Trejo and Tom Papa, among others. Earlier this year, Rob Zombie wrote on Instagram that the film would also have many bizarre cameos, and he revealed that Chaz Bono would be one of them. Bono is the son of Sonny and Cher. His previous horror-movie bonafides have been appearing in the Roanoke and Cult seasons of American Horror Story. If youre familiar with my work, then you can probably understand how much Ive wanted work with Rob, he wrote on Instagram. As a fan, I cant wait to see this film.

Disney Plots Home Alone Reboot for New Streaming Service

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Disney plans to reimagine the 1990 family classic Home Alone for its forthcoming streaming service, Disney+. Home Alone is one of several well-known franchises that Disney now owns after it acquired 21st Century Fox for $71.3 billion in March.

During an earnings call Tuesday, Disney CEO Bob Iger said the company had big plans for properties like Home Alone, Night at the Museum, Diary of a Wimpy Kid and Cheaper by the Dozen, all of which could be rebooted for Disney+, according to The Hollywood Reporter.

Were also focused on leveraging Foxs vast library of great titles to further enrich the content mix on our [direct to consumer] platforms, Iger said. Iger didnt offer any additional details about any of the reboots, such as whether any of the original cast memberswould be involved, or if the properties would be reimagined as films or as television series.

Disneys desire to reimagine classic Fox properties for a new generations isnt that surprising, considering the company has spent the past several years producing live-action remakes of some of its most famous animated films. This year alone, Disney has released new versions of Dumbo, Aladdin and The Lion King, while later this year the studio will unveil a new version of Lady and the Tramp. Forthcoming live action remakes include Mulan and The Little Mermaid.

As for Disney+, the streaming service is set to launch in North America November 12th. Priced at about $7 a month, the service will boast a vast catalogue of film and TV shows, including all the Star Wars and Marvel movies, Disney animated films and Pixar movies, plus new original content.