As we commemorate the 25th anniversary of 9/11, let’s look back at how the Weinsteins into crisis mode when they had some ill-timed films on their schedule.
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Thomas Schatz’s new book takes you back to the deals, triumphs, and disasters that went down during the golden age of “Conglomerate Hollywood.”
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Thirty years ago this summer, Miramax took on the multiplex with three counter-programmers.
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The twists and controversies of Neil Jordan’s political thriller kept most studios far away — but proved catnip to the Miramax boys.
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With a new legacyquel/reboot/whatever in theaters this week, our latest look at the cinematic sins of the Weinstein brothers revisits their series of spoofs of their own series of slasher meta-movies.
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The all-access Madonna tour doc, released 35 years ago, catches the queen of provocation at the height of her choke hold on popular culture.
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When David O. Russell went to work for Harvey Weinstein, “complications ensued” was an understatement.
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With the Oscars around the corner, this month’s look at the cinematic misdeeds of Miramax returns to a movie lost to time: the 1995 Best Picture nominee that served as a dry run for the success of “Life is Beautiful.”
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The 1999 teen rom-com is widely beloved these days — but it’s tonally inexplicable and morally reprehensible, so of course it came from Harvey Weinstein.
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This month’s examination of the cinematic misdeeds of Miramax spotlights Kevin Williamson’s directorial debut, a would-be black comedy softened and spoiled by the brothers Weinstein.
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On its 25th anniversary, a look back at the movie that severed Miramax’s relationship with Billy Bob Thornton — and put his directorial side hustle to an end.
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Welcome to Harvey’s Hellhole, a monthly column devoted to spotlighting the movies that were poorly marketed, mishandled, reshaped, neglected or just […]
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