Guillermo Del Toro, Jenna Ortega, Laz Alonso & Gloria Calderón Kellett Among 2022 Critics Choice Latino Cinema & TV Awards Honorees

It’s been too long since a show like “Masters of Horror” allowed twisted auteurs a platform to explore the themes and images that haunt them. Enter Guillermo del Toro, the Oscar-winning director who has gifted his fans with Netflix’s “Guillermo del Toro’s Cabinet of Curiosities,” even writing two episodes and introducing each of them like a modern Rod Serling.

There’s a lot riding on Jenna Ortega’s deadpan performance as Wednesday Addams in Tim Burton’s coming-of-age comedy Wednesday, which debuts — of course — Wednesday, November 23 on Netflix. She plays the beloved Addams family character in the series, which marks Burton’s first live-action show, as well as his directing debut for such a project.

Jenna Ortega had to "shower in cold water" during the COVID-19 pandemic. The 20-year-old actress was shooting the title role in Netflix series 'Wednesday' in Romania when the pandemic broke out and explained that the entire cast was left without hot water in their accommodation because there were no repair workers available to fix a faulty boiler. She said: " I mean, we were out there for seven, eight months in Romania.

Chelsea Handler has been tapped to host the 2023 Critics Choice Awards. The 28th annual trophy show will be held Sunday, January 15 at the Fairmont Century Plaza in Los Angeles, and will air live from 7-10 PM ET/delayed PT on the CW.

Christina Ricci has witnessed firsthand Jenna Ortega’s take on Wednesday Addams. The actress, who previously portrayed Gomez and Morticia Addams’s firstborn, has a cameo on Netflix’s highly anticipated series Wednesday.Ricci told HollywoodLife how she felt watching Jenna’s performance on the filming set. “It’s really exciting, and it’s really fun.

BEST DOCUMENTARY FEATURE“Aftershock” (Hulu)“The Automat” (A Slice of Pie Productions)“Descendant” (Netflix)“Fire of Love” (National Geographic Documentary Films/Neon)“Gabby Giffords Won’t Back Down” (Briarcliff Entertainment)“Good Night Oppy” (Amazon Studios)“The Janes” (HBO)“Moonage Daydream” (HBO/Neon)“Navalny” (HBO/CNN/Warner Bros. Pictures)“Sidney” (Apple TV+)BEST DIRECTORJudd Apatow, Michael Bonfiglio – “George Carlin’s American Dream” (HBO)Margaret Brown – “Descendant” (Netflix)Sara Dosa – “Fire of Love” (National Geographic Documentary Films/Neon)Reginald Hudlin – “Sidney” (Apple TV+)Brett Morgen – “Moonage Daydream” (HBO/Neon)Laura Poitras – “All the Beauty and the Bloodshed” (HBO/Neon)Daniel Roher – “Navalny” (HBO/CNN/Warner Bros.

Kicking off the nomination season, ‘Fire Of Love’ with seven and ‘Good Night Oppy’ with six lead all comers in nominations for the 7th Annual Critics Choice Documentary Awards.

Clayton Davis The Critics Choice Documentary Awards announced its nominees where Sara Dosa’s lava-fueled love story “Fire of Love” led the field with seven nominations including best documentary feature and director. Co-distributed by National Geographic and Neon, the film’s Ryan White’s “Good Night Oppy,” the moving reflection on the Mars rovers, received a hearty six-nom tally including editing and score. “This year’s nominees prove that documentaries of all lengths and formats are advancing nonfiction media like never before,” said Christopher Campbell, Co-President of the Critics Choice Association Documentary Branch.

disastrously received rendition) as a “family movie” that “does not shy away from dark themes of death and war,” per Insider.

Guillermo Del Toro has opened up about the special connection he had with his mom over Pinocchio.

“All good things require patience,” Gepetto (David Bradley) lovingly tells his young son, Carlo (Gregory Mann). The exact same words must have been uttered by Guillermo del Toro to himself countless times over the fourteen years he spent working on his dream project, a stop-motion adaptation of Carlo Collodi’s 1886 classic tale, “The Adventures of Pinocchio.” The Mexican auteur, a well-known lover and supporter of animation, first fell in love with the tale of the wooden puppet who wished to be a real boy when he was a boy himself, going to the local cinema with his mother in Guadalajara (“Animation is a medium, not a genre.

at the world premiere of his animated film Pinocchio just one day after she died.Guadalupe Gómez passed away on Friday (October 14) shortly before the opening of Pinocchio at BFI London Film Festival yesterday (October 15).According to Variety, del Toro, the visionary director behind films including Pan’s Labyrinth and The Shape Of Water, became emotional as he revealed the news to the audience.“I just want to say, my mother just passed away, and this was very special for her and me,” del Toro said. “This is not only the first time you’ll see the movie, it’s the first time she’ll see the movie with us.

Rafaela Sales Ross Guest Contributor After a 14-year uphill battle, Mexican auteur Guillermo del Toro was finally able to share his dream project with an audience as “Pinocchio” (officially titled “Guillermo del Toro’s Pinocchio”) had its world premiere at the BFI London Film Festival. Taking the stage before the premiere, del Toro spoke of his connection to the story: “I saw the film as a kid and it’s a film that bonded me with my mom for an entire life. It affected me because Pinocchio saw the world the way I saw it. I was a little bit enraged that people demand obedience from Pinocchio so I wanted to make a film about disobedience as a virtue, and to say that you shouldn’t change to be loved.”

An enthusiastic rendition of Happy Birthday rang through the auditorium at the world premiere of Guillermo del Toro’s Pinocchio as the London audience was informed Gregory Mann, the film’s lead voice actor, had just turned 13. 

As you might expect from the billing, Guillermo del Toro’s Pinocchio — which had its world premiere at the BFI London Film Festival today — is a very different beast to the 1940 Disney animation, and just as cavalier with the picaresque elements of Carlo Collodi’s 1883 novel. The factor that unifies all three is that the main character — a wooden puppet blessed with life — longs to be a real, human boy, but it’s no spoiler to reveal that del Toro, champion of monsters and misfits, doesn’t see the appeal of that. 

Guy Lodge Film Critic The possessive claim in the title “Guillermo del Toro’s Pinocchio” is a gutsy one. There’s confidence — some would even say arrogance — in filming an oft-told story at least as old as the hills, and suddenly branding it as your own: Even two auteurs as ballsy as Francis Ford Coppola and Baz Luhrmann didn’t slap their own names on “Bram Stoker’s Dracula” and “William Shakespeare’s Romeo + Juliet,” respectively. Still, you can hardly blame del Toro’s stop-motion spin on Carlo Collodi’s 19th-century chestnut “The Adventures of Pinocchio” for wanting to advertise its distinguishing vision up top: After umpteen tellings of the wooden-boy tale, and coming on the heels of Robert Zemeckis’ wretched Disney remake, Netflix’s rival adaptation has to announce itself as something different. That it is; it’s often delightful too.

Selome Hailu Issues of discrimination and exclusion in Hollywood are often driven by baseless beliefs about marginalized communities, and even efforts to increase diversity sometimes get stalled in the “listening phase” without prioritizing action. That’s why Harness (and organization founded by America Ferrera, Wilmer Valderrama and Ryan Piers Williams) and Untitled Latinx Project (ULP) co-produce DEAR Hollywood (Demanding Equal Access and Representation in Hollywood). The initiative focuses on concrete, data-based strategies for change. “Latine storytellers and Latine storytelling has lived in the shadows since the advent of Hollywood. It’s always been like this,” said “Vida” creator and ULP member Tanya Saracho while opening DEAR Hollywood and UTA’s Latine Heritage Month event. “We are allowed a glimpse of light here and there, but we always go back in the shadows. We never remained in the light long enough to make substantial progress.”