"Jim Carrey’s A Christmas Carol and Yes Man were box-office disappointments and indie gay romance I Love You Philip Morris is currently on the shelf, caught in a distribution quagmire. What should the 48-year-old comedian do" — Indiewire
"Movie stars, who not so long ago vied to make $20 million or even $25 million a picture, have seen their upfront salaries shrink in the last several years as DVD sales fell, star-driven vehicles stumbled at the box office and studios grew increasingly tightfisted. Most of the three-dozen or so top-billed actors in the 10 films up for best picture in this Sunday’s Academy Awards ceremony, including blockbusters like "Up" and "Avatar," appear to have received relatively minuscule upfront payments for their work... Peter Dekom, a film industry lawyer who co-wrote the book "Not on My Watch: Hollywood vs. the Future," pegged the general devaluation of movie stars to a lack of interest among younger viewers. "Stars don’t resonate with the ‘what’s next’ " crowd, theorized Dekom. "They attract an over-30 audience, which is going to the movies less in an impaired economy." — NYT
"Land of the Lost"'s dismal box office helped land star Will Ferrell at the top of our annual list of Hollywood's Most Overpaid Stars... Ferrell's 2008 film "Semi-Pro" earned only $43 million. "Step Brothers" did better with $128 million... For every dollar Ferrell was paid, his films earned an average $3.29. Second-worst? Ewan McGregor. The Scottish actor, best known for his work in films like "Trainspotting" and "Star Wars" (where he played a young Obi-Wan Kenobi), doesn't earn as much as some of the higher-profile actors on our list. But his recent movies have performed poorly, making him a terrible investment for producers. For every dollar McGregor was paid, his films earned an average $3.75.
Besides Will Ferrell, other big names on our list include Eddie MurphyandTom Cruise. Murphy (who ranks fourth) has commanded one of the highest quotes in Hollywood for his work in family comedies, thanks to the performance of movies like "The Nutty Professor," which grossed $274 million at the worldwide box office. But lately his return on investment has fallen off a cliff. Last year's "Meet Dave" was a box office disaster, earning only $50 million worldwide. This year's "Imagine That" did even worse, bringing in $18 million. Murphy escaped being named the most overpaid star thanks to 2007's "Norbit," which earned $160 million. For every dollar Murphy was paid, his films earned an average $4.43. Cruise ranks sixth with a return on investment of $7.18. The star has worked out unusual deals on past films where he takes nothing up front in return for a large chunk of first-dollar gross -- that means on stinkers like "Lions For Lambs," Cruise earned even if the studio (in this case, his studio, United Artists) didn't recoup its money. These are just the kinds of deals studios are trying to avoid." — Forbes
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“A master-class‑–immersive, detailed, meticulous, privileged inside-dope… Tom Shone is the king of critical cool.” — Craig Raine
“An up-close and personal look at one of Hollywood’s most successful directors…This erudite book is packed with extensive, expansive discussions about Nolan’s films… insights into what he was trying to accomplish with each film; and the movies, directors, books, art, architecture, and music that influenced him…. Fans of Nolan’s films will find this revealing book invaluable.” — Kirkus, starred review
THE NOLAN VARIATIONS
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"Shone is simply one of the most eloquent and acute film writers we have" — Teddy Jamieson, The Sunday Herald
"Shone is a clever film columnist who can also write a wise book: two attributes that don't often go together." — Clive James
"Is there anyone now writing about movies better than Tom Shone? I think not” — John Heilemann, New York magazine
B O O K S
BEST MOVIES of 2018
1 The Irishman A
2. The Souvenir A
3.Marriage Story A-
4. Once Upon A Time in Hollywood A-
5. Apollo 11 A-
6. Parasite A-
7. Ford vs Ferrari
8. Toy Story 4 A-
9. Ad Astra B+
10. For Sama B+
B O O K S
R E V I E W S
"This level of discernment and tart dissent is an unexpected treat... Shone's prose has a beauty of it's own, abounding in nonchalantly exquisite turns of phrase" — Guy Lodge, The Observer
"Sharp, smart... Shone doesn't just follow critical orthodoxies. He makes his argument beautifully. It's the brain food Allen's rich career deserves." — Ian Freer, Empire
"The book is a must for Woody Allen fans" - Joe Meyers, Connecticut Post
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R E V I E W S
"What makes the book worth taking home, however, is the excellent text... by Tom Shone, a film critic worth reading whatever aspect of the film industry he talks about. (His book Blockbuster is a must).... Most critics are at their best when speaking the language of derision but Shone has the precious gift of being carried away in a sensible manner, and of begin celebratory without setting your teeth on edge." — Clive James, Prospect "The real draw here is Shone’s text, which tells the stories behind the pictures with intelligence and grace. It’s that rarest of creatures: a coffee-table book that’s also a helluva good read." — Jason Bailey, Flavorwire
"There’s a danger of drifting into blandness with this picture packed, coffee-table format. Shone is too vigorous a critic not to put up a fight. He calls Gangs “heartbreaking in the way that only missed masterpieces can be: raging, wounded, incomplete, galvanised by sallies of wild invention”. There’s lots of jazzy, thumbnail writing of this kind... Shone on the “rich, strange and unfathomable” Taxi Driver (1976) cuts to the essence of what Scorsese is capable of." — Tim Robey, The Sunday Telegraph
"A beautiful book on the Taxi Driver director's career by former Sunday Times film critic Tom Shone who relishes Scorsese's "energetic winding riffs that mix cinema history and personal reminiscence".' — Kate Muir,The Times "No mere coffee table book. Shone expertly guides us through Scorsese’s long career.... Shone shows a fine appreciation of his subject, too. Describing Taxi Driver (1976) as having ‘the stillness of a cobra’ is both pithy and apposite.... Fascinating stuff." — Michael Doherty, RTE Guide"An admiring but clear-eyed view of the great American filmmaker’s career... Shone gives the book the heft of a smart critical biography... his arguments are always strong and his insights are fresh. The oversized book’s beauty is matched by its brains”— Connecticut Post
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“The film book of the year.... enthralling... groundbreaking.” — The Daily Telegraph
“Blockbuster is weirdly humane: it prizes entertainment over boredom, and audiences over critics, and yet it’s a work of great critical intelligence” – Nick Hornby, The Believer
“Beautifully written and very funny... I loved it and didn’t want it to end.” – Helen Fielding “[An] impressively learned narrative... approachable and enlightening... Shone evinces an intuitive knowledge of what makes audiences respond... One of those rare film books that walks the fine line between populist tub-thumping and sky-is-falling, Sontag-esque screed.” – Kirkus Reviews
“Exhilarating.... wit, style and a good deal of cheeky scorn for the opinions of bien-pensant liberal intellectuals.” – Phillip French, Times Literary Supplement
“Startlingly original... his ability to sum up an actor or director in one well-turned phrase is reminiscent of Pauline Kael’s... the first and last word on the subject. For anyone interested in film, this book is a must read.” – Toby Young, The Spectator
“A history of caring” – Louis Menand, The New Yorker “Smart, observant… nuanced and original, a conversation between the kid who saw Star Wars a couple dozen times and the adult who's starting to think that a handful might have sufficed.” – Chris Tamarri, The Village Voice
"A sweet and savvy page-turner of a valentine to New York, the strange world of fiction, the pleasures of a tall, full glass and just about everything else that matters" — Gary Shteyngart, author of Super Sad True Love Story and Absurdistan
"A cocktail with bite. I downed it in one" — Helen Fielding, author of Bridget Jones's Diary
"A deft, witty satire which casts its sharp eye over the absurdities of addiction, recovery and contemporary New York" — Marcel Theroux, author of Far North
“Laugh-out-loud funny” — Toby Young, author of How to Lose Friends and Alienate People
"Tom Shone's superb debut is a wise and witty examination of literary celebrity, Anglo-American mystification and the cult of recovery. Shone's prose sparkles: his humor detonates smart-bombs of truth" — Stephen Amidon, author of Human Capital
“A cutting comic debut” — The Sunday Times
“Clever, witty, acerbic, warm” — Geoff Nicholson, author of Footsucker
"A sharp, funny, and ultimately touching debut novel" — Library Journal Reviews
"One of the few novels set in Manhattan that gives you a true feel for the city” — James Wolcott, Vanity Fair
"A splash of cynicism, a dash of self-doubt, and a good measure of humour.... In the Rooms is an entertaining page-turner about humanity, with plenty of hilarity" — The Economist
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