“I’m a bitch!” From the CinemaCon stage, Charlize Theron proudly delivered this assessment of her character in Universal’s “Atomic Blonde,” which she also developed and produced. Her pride is understandable: She’s the abstract for Hollywood’s newest vision of women on screen: They’re hot, fearless, funny and brassy.
It’s a model once hailed as near radical, back when Universal released Paul Feig’s “Bridesmaids” in 2011 and it went on to earn $288 million worldwide. (Hollywood still seems to be in no rush to put women behind the camera; most of these women-starring films touted at CinemaCon, with the notable exception of Patty Jenkins’ “Wonder Woman,” were directed by men.)
Much credit goes to Universal chairman Donna Langley, who shepherded “Bridesmaids” as well as Amy Schumer vehicle “Trainwreck.” She also bet heavily and won when she aggressively chased down the “Fifty Shades of Grey” and “Pitch Perfect” franchises.
It’s a model once hailed as near radical, back when Universal released Paul Feig’s “Bridesmaids” in 2011 and it went on to earn $288 million worldwide. (Hollywood still seems to be in no rush to put women behind the camera; most of these women-starring films touted at CinemaCon, with the notable exception of Patty Jenkins’ “Wonder Woman,” were directed by men.)
Much credit goes to Universal chairman Donna Langley, who shepherded “Bridesmaids” as well as Amy Schumer vehicle “Trainwreck.” She also bet heavily and won when she aggressively chased down the “Fifty Shades of Grey” and “Pitch Perfect” franchises.
- 3/29/2017
- by Anne Thompson
- Thompson on Hollywood
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