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While shock jock humor is the brand that made Howard Stern famous, an interview on Magic Johnson’s 1998 late-night talk show “The Magic Hour” pushed the limits even for him, creating one of the most uncomfortable moments in late-night TV history.

In a new interview with Variety, Johnson looked back on his hosting stint prior to the April 22 release of “They Call Me Magic,” an Apple TV Plus docuseries that covers his life and career — including his brief chapter in the late-night seat. And though “The Magic Hour” was an overall flop, hated by critics and canceled after three short months, it’s Stern’s appearance on the program that still gets talked about today as a blatant example of how entertainers could get away with making racist comments before things changed in our culture.

“So many times, I wanted to say something and hit him at the same time — on air,...

Chinese patriotic war epic ’The Battle At Lake Changjin II’ topped the global chart with $153.5m from its first six days.

Worldwide box office February 4-6 Rank Film (distributor) 3-day (World) Cume (World) 3-day (Int’l) Cume (Int’l) Territories 1. The Battle At Lake Changjin II (various) $153.4m $153.4m $153.4m $153.4m 2 2. Too Cool To Kill (various) $111.4m $111.5m $111.4m $111.5m 1 3. Nice View (various) $45.5m $45.5m $45.5m $45.5m 1 4. Boonie Bears: Back To Earth (various) $38.9m $40m $38.9m $40m 1 5. Jackass Forever (Paramount) $28.7m $28.7m $5.2m $5.2m 10 6. Spider-Man: No Way Home (Sony) $25.2m $1.7bn $15.6m $1bn 64 7. Sniper (various) $22.8m $22.8m $22.8m $22.8m 1 8. Moonfall...

Martin Short guested on “Conan” for the final time Tuesday, and he didn’t waste the farewell opportunity — though he kind of mailed it in if we’re being honest.

“In all sincerity, may I say that you are a true original. And I think an original deserves an original,” Short said to outgoing TBS host Conan O’Brien. “So I penned a song just for you and I’d love to sing it.”

“There’s only you/no one else can ever do/just what you do,” the song began. “If we could only have an hour more/or two/you’re the best at what you do.”

“Who else can we turn to?” Short continued. “It breaks my heart to say adieu.”

Sweet enough, but Conan cut him off right there. The “original” ditty sounded a bit familiar to the late-night legend.

O’Brien, who is heading to WarnerMedia...

Producers of “Las Acacias,” a Cannes’ Camera d’Or winner for best first feature, Juan Pablo Miller’s Tarea Fina and Ariel Rotter’s Aire Cine are now teaming on “Forest Girl” (“Niña Bosque”), their first animated feature production.

Co-written by Rotter, a distinguished writer-director in his own right whose first movie, 2007’s “The Other,” won a Berlin Festival Grand Jury Prize, “Forest Girl” also marks the debut feature of its Taiwan-born and Buenos Aires-based director Aili Chen, a co-founder with Rotter of Aire Cine.

A coming-of age fantasy adventure targeting up-scale family audiences, art house devotees, festivals and platforms, “Forest Girl” is set to be unveiled at Animation! Pitching Sessions, organized by Ventana Sur, the biggest film market in Latin America, and the Annecy Animation Festival’s MIFA market.

Conceived by Chen, who co-writes with Rotter, “Forest Girl” turns on a little girl who awakes alone in a forest land of striking wild beauty.

The 3/11 catastrophe is a reoccurring topic in recent Japanese cinema. After a slow start, the industry seems to be confident enough to tackle the trauma. It almost took nine years for a big production company to release the premier Fukushima-themed blockbuster, “Fukushima 50” by Setsuro Wakamatsu. In the same year Nobuhiru Suwa, film director and President of the Tokyo Zokei University, presents “Voices in the Wind”. For the first time in 18 years, Suwa returns to his home country to tell a devastating and haunting roadtrip drama about 17-year-old Haru, who lost her parents in the tsunami and travels to the place that once was her home.

Voices in the Wind is screening at Camera Japan

In the northern coast town of Otsuchi, there is a white telephone booth to which over 30.000 people from all over Japan have come to speak to the “loved ones” that were lost in the 2011 Great East Japan Earthquake.

Tomorrow X Together — better known by their abbreviated name Txt — are making leaps and bounds in their careers as they continue to grow as a K-pop boy group. Despite the fact they are “living in the shadow of Bts,” Txt has made a name of their own, showing they can live up to the popularity and hype of their seniors. Now, Txt is making another leap and bound in their career as they make their debut in the Japanese music scene with their debut Japanese album, Magic Hour. The title track has already made a splash among Japanese music fans as it reached […]...

Actress Susan Sarandon claims she once suffered an incident akin to the recent Mark Wahlberg/Michelle Williams salary disparity issue, wherein male colleagues were paid more for equal work. In an interview with BBC 5 live, Sarandon said she discovered that Paul Newman and Gene Hackman, her two male co-stars on the 1998 film Twilight, were getting paid the same rate, but more than her. The Wahlberg/Williams incident also saw a disparity in the pay rates between the actor…...

Elmer Bernstein, the amazingly prolific composer who wrote the memorable theme for The Magnificent Seven among other scores, died Wednesday in his sleep at his home in Ojai, California; he was 82. The recipient of 14 Oscar nominations (winning one for his score for 1967's Thoroughly Modern Millie), Bernstein wrote music for a number of classic movies that shaped the landscape of film in the last half of the 20th century. His scores ranged from the epic to the intimate, from classically austere to energetically jazzy, and were the accompaniment to a number of immortal films of the 50s and 60s. A protégé of Aaron Copland, Bernstein worked on B-films like Robot Monster before gaining fame with his jazz-influenced score (a Hollywood first) to 1955's The Man With the Golden Arm, for which he received his first Oscar nomination. A year later, his score for Cecil B. DeMille's The Ten Commandments also established his presence in Hollywood, and was quickly followed by scores for Sweet Smell of Success, Some Came Running, The Buccanner, and the TV series Gunsmoke, among others. Bernstein's most famous score came with the 1960 western The Magnificent Seven; its boisterous, rousing theme became of the most memorable pieces of movie music, and was endlessly featured (and imitated) in a number of movies to come; it was also utilized in a series of Marlboro commercials.

Bernstein worked tirelessly through the 60s and 70s, composing four to five scores a year for films as disparate as the Southern coming-of-age drama To Kill a Mockingbird, the sweeping epic Hawaii, the western The Hallelujah Trail, the jailhouse drama Birdman of Alcatraz and the 20s flapper musical Thoroughly Modern Millie. The 70s and 80s saw Bernstein compose more for television as well as film, and he also began composing more for comedy films, scoring Animal House, Airplane! , The Blues Brothers and Ghostbusters. In 1991, he worked with Martin Scorsese on Cape Fear, adapting and arranging Bernard Herrmann's score for the original 1961 film, and composed scores for Scorsese's The Age of Innocence and Bringing Out the Dead. Later films included The Rainmaker, Twilight, My Left Foot, The Grifters, and Devil in a Blue Dress. In 2002, Bernstein received his fourteenth Oscar nomination for the soaring, melancholy score for Far From Heaven. Bernstein is survived by his wife, Eve, as well as two daughters, two sons, and five grandchildren. --Prepared by IMDb staff...

Elmer Bernstein, the amazingly prolific composer who wrote the memorable theme for The Magnificent Seven among other scores, died Wednesday in his sleep at his home in Ojai, California; he was 82. The recipient of 14 Oscar nominations (winning one for his score for 1967's Thoroughly Modern Millie), Bernstein wrote music for a number of classic movies that shaped the landscape of film in the last half of the 20th century. His scores ranged from the epic to the intimate, from classically austere to energetically jazzy, and were the accompaniment to a number of immortal films of the 50s and 60s. A protégé of Aaron Copland, Bernstein worked on B-films like Robot Monster before gaining fame with his jazz-influenced score (a Hollywood first) to 1955's The Man With the Golden Arm, for which he received his first Oscar nomination. A year later, his score for Cecil B. DeMille's The Ten Commandments also established his presence in Hollywood, and was quickly followed by scores for Sweet Smell of Success, Some Came Running, The Buccanner, and the TV series Gunsmoke, among others. Bernstein's most famous score came with the 1960 western The Magnificent Seven; its boisterous, rousing theme became of the most memorable pieces of movie music, and was endlessly featured (and imitated) in a number of movies to come; it was also utilized in a series of Marlboro commercials.

Bernstein worked tirelessly through the 60s and 70s, composing four to five scores a year for films as disparate as the Southern coming-of-age drama To Kill a Mockingbird, the sweeping epic Hawaii, the western The Hallelujah Trail, the jailhouse drama Birdman of Alcatraz and the 20s flapper musical Thoroughly Modern Millie. The 70s and 80s saw Bernstein compose more for television as well as film, and he also began composing more for comedy films, scoring Animal House, Airplane! , The Blues Brothers and Ghostbusters. In 1991, he worked with Martin Scorsese on Cape Fear, adapting and arranging Bernard Herrmann's score for the original 1961 film, and composed scores for Scorsese's The Age of Innocence and Bringing Out the Dead. Later films included The Rainmaker, Twilight, My Left Foot, The Grifters, and Devil in a Blue Dress. In 2002, Bernstein received his fourteenth Oscar nomination for the soaring, melancholy score for Far From Heaven. Bernstein is survived by his wife, Eve, as well as two daughters, two sons, and five grandchildren. --Prepared by IMDb staff...