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Directed by John Dower. With Louis Theroux, Rob Alter, Tom Cruise, Paz de la Huerta. Louis Theroux documents his investigation into what goes on behind the scenes of. The HBO documentary film Going Clear profiles former Scientology members. Featuring videos, images, interviews, resources and schedule information.

The marquee of the AMC Loews Lincoln Square Theatres had gone blank. The carpet was totally covered with black plastic. Security only let guests past barricades after quizzing them about what they were there to see, and everybody had to walk through two imposing metal detectors. Inside the theater, Tom Cruise was jubilant, as he stood in front of the crowd. He introduced Alex Kurtzman, the film’s director, as well as the cast members, who stood quietly as Cruise delivered a 1. The reboot of “The Mummy” was supposed to be the start of a mega- franchise for Universal Pictures. But instead, it’s become a textbook case of a movie star run amok.

As Hollywood is playing the blame game on what went wrong on “The Mummy,” which had a measly domestic opening of just $3. Cruise. In the same way that he commanded the stage at the film’s premiere, leaving his cast standing awkwardly by his side, several sources close to the production say that Cruise exerted nearly complete creative oversight on “The Mummy,” essentially wearing all the hats and dictating even the smallest decisions on the set. On stage, Cruise admitted his own perfectionist tendencies. I give it everything I have and I expect it from everyone also.”Universal, according to sources familiar with the matter, contractually guaranteed Cruise control of most aspects of the project, from script approval to post- production decisions. He also had a great deal of input on the film’s marketing and release strategy, these sources said, advocating for a June debut in a prime summer period. With terrible reviews, “The Mummy,” which insiders say cost as much as $1.

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The film is performing much stronger overseas, where it was Cruise’s biggest international rollout with a $1. It’s not clear if the movie will break even, and it’s cast a shadow on the studio’s plans for a Dark Universe franchise that’s supposed to feature A- list stars like Johnny Depp (as “The Invisible Man”) and Angelina Jolie (in negotiations for “The Bride of Frankenstein”).

A representative for Cruise didn’t respond to a request for comment. In a statement, Universal refuted that Cruise had a negative influence on the production.“Tom approaches every project with a level of commitment and dedication that is unmatched by most working in our business today,” the statement read. In the 1. 99. 0s and early aughts, studios shelled out big money for the likes of Mel Gibson, Julia Roberts, and Harrison Ford, confident that their names above the title could guarantee ticket sales. In exchange they were offered big perks, hefty salaries, and a sizable share of the profits. Along with the money came the power to veto key decisions. But as comic book movies and special effects- heavy productions took over, top actors found themselves in less demand and with less influence.

Cruise has navigated the new landscape better than some–the “Mission: Impossible” franchise still makes money but other efforts such as “Oblivion” have disappointed. Going forward, he may have difficulty exerting the same kind of sway over other films. It may be the last hurrah for big movie stars, but on the set of “The Mummy,” Cruise acted like the top gun he once was, calling all the shots. Kurtzman had been in the running to direct the project before Cruise signed on, but the actor gave his blessing for the filmmaker to slide behind the camera. They’d established a comfort level when Kurtzman worked as the screenwriter of “Mission: Impossible III.”In the wake of “The Mummy’s” failure, the decision to tap such an untested director on a sprawling action- adventure seems to have been foolhardy. Kurtzman wouldn’t necessarily rank high on a studio’s wish list for a project this big, given that he’s a producer and writer who only helmed one small feature that debuted to mixed reviews (2.

Chris Pine drama “People Like Us”). As Kurtzman struggled to adjust to scope of the project, it felt more like Cruise was the real director, often dictating the major action sequences and micro- managing the production, according to sources.

There were other ways that “The Mummy” was transformed from a scary summer popcorn movie into a standard- issue Tom Cruise vehicle. The actor personally commissioned two other writers along with Mc. Quarrie to crank out a new script. Two of the film’s three credited screenwriters, Mc. Quarrie and Dylan Kussman, an actor- writer who played small roles in “The Mummy” and “Jack Reacher,” were close allies of Cruise’s. The script envisioned Nick Morton as an earnest Tom Cruise archetype, who is laughably described as a “young man” at one point.

His writers beefed up his part. In the original script, Morton and the Mummy (played by Sofia Boutella) had nearly equal screen time.

The writers also added a twist that saw Cruise’s character become possessed, to give him more of a dramatic arc. Even though Universal executives weren’t thrilled about the story — which feels disjointed and includes Russell Crowe as Dr. Jekyll — they went along with Cruise’s vision. And the crew fell in line too, behind Cruise as the boss. The guy is a great filmmaker and knows his craft.

He will walk onto a set and tell the director what to do, say . On the lot, there were differences of opinions about whether Cruise’s directions were improving a picture that had been troubled from its inception or whether they were turning a horror film into a Cruise infomercial.

Some believed that Cruise had no choice but to assert himself. Given Kurtzman’s inexperience directing tentpoles, Cruise, who has carried heavily choreographed action movies all his life, had to try to rally the troops or risk having the production fall behind schedule. Universal knew that if it wanted “The Mummy” to compete against the likes of “Wonder Woman” and “Guardians of the Galaxy Vol. Cruise’s waning star power. As the studio scrambled to deal with weak tracking, it released a portrait in late May of Cruise with other actors from the Dark Universe franchise, including Depp and Javier Bardem (who will play Frankenstein). Buy Listen To Me Marlon (2015) Movie on this page. Yet the studio couldn’t even assemble all the actors in the room at the same time, and the image had to be Photoshopped. The Internet reaction to the last- ditch marketing effort was tepid at best.

It was another reminder that the big names that once ruled Hollywood are inspiring a lot less love from audiences. The reviews may have been brutal, but at the premiere Cruise seemed pleased, complimenting everyone involved and portraying the finished film as a team effort.

Jake!” he shouted at one of his co- stars Jake Johnson.

Emphasis is on the “my” in the unilluminating My Scientology Movie. CAvailability. Select theaters and VOD March 1. Mr Right (2016) Download Ipod. Can there be such a thing as too many Scientology expos? Given the volume (and nature) of the allegations that have been made against the church over the years—reports of abuse, stories of bizarre behavior and rituals, shocking testimonials from former members—any attempt to tell us more about the inner workings of that organization feels like a public service. Still, after numerous magazine articles, a few books, a television series, a comprehensive documentary, a pretty brilliant episode of South Park, and a boldly fictionalized version of the L.

Ron Hubbard story, one would hope that a new film on the topic might possess at least a few fresh nuggets of wisdom or information. My Scientology Movie has very little of either to offer.

Instead, this stunt- driven nonfiction project rearranges the well- reported dirt on the church, placing it into the context of something considerably less useful: a documentary about how hard it is to make a documentary about Scientology. The “my” of the title refers to journalist and popular BBC television host Louis Theroux, who discovers very early on that any access to the church or its leadership will be strictly prohibited. Alex Gibney got around this problem just fine in Going Clear, relying on extensive interviews with the excommunicated and laying out an exhaustive history of the movement. My Scientology Movie scores a couple high- profile talking heads of its own (including arguably the most vocal of the renouncers, Marty Rathbun, who becomes a key creative collaborator), but it largely forgoes background info on Scientology, beyond some cursory exposition and clips from the group’s absurdly bombastic recruitment videos. Instead, the main draw is the pushback from the church—or more specifically, the dogged, deadpan response to it from Theroux, who looks like a less animated John Oliver and behaves like a politer Michael Moore. Perhaps recognizing that most of the movie’s insider insight is old hat, director John Dower leans heavily on Theroux’s personality, playing every pregnant pause in conversation for cringe comedy or tension.

To illustrate the church’s alleged behind- closed- doors practices, a kind of improvisational theater troupe play- acts the rituals, from the one- on- one insult appointments to the reportedly regular tantrums by Scientology leader David Miscavige. These passages are staged not like the hyper- slick dramatic reenactments of an Errol Morris movie but transparently: My Scientology Movie takes us through the casting calls, as Theroux auditions young actors to portray Miscavige and Tom Cruise, then focuses heavily on the process of “directing” each scene. None of these black- box acting exercises are remotely as upsetting as just hearing lapsed Scientologists describe their traumatic memories, but they’re arguably not for our benefit anyway; Rathbun is always watching from the sidelines, providing notes and guidance, and an early comment from Theroux about “putting him back in the mindset” suggests a kind of diet Act Of Killing, with the goal of making the man confront his own role in the abuse he claims to have witnessed, and later decried. But the contentiousness between the filmmaker and his subject never moves much past some light testiness, nor does any major breakthrough arrive. But you can practically see a glimmer of joy appear in his eyes when that first white van appears behind him in traffic and representatives of the church start investigating him.

Over and over again, My Scientology Movie presents the same scene: Theroux showing up to some Scientology outpost, then acting surprised when he’s told to leave, or getting into a passive- aggressive “No, why are you filming me” confrontation with Miscavige’s faithful followers. There’s no real ethical breach in serving people notorious for harassment a little of their own medicine. But that doesn’t make seeing Theroux bounce unproductively against the church’s interference tactics any more illuminating. We’ve heard too much about Scientology already to be shocked by any of this.