Though, he was already the star of his own hit sitcom, Stockyard Channing received an Oscar nod for Best Actress in 1994, while the film and Smith’s performance were both highly praised. An affluent New York City couple finds their lives touched, intruded upon, and compelled by a mysterious young Black man who is never quite who he says he is.
While “Ali” did okay at the box office and received mixed reviews compared to many of Smith’s other films during the era, Smith’s embodiment of Muhammad Ali “swung like a butterfly” and “stung like a bee” in a highly praised kind of way. He and Martin Lawrence were both stars of popular sitcoms with predominantly Black casts, only to team up as a dynamic duo in this buddy cop, action blockbuster.
In 2035, a techno phobic cop investigates a crime that may have been perpetrated by a robot, which leads to a larger threat to humanity. Smith is known for his action blockbusters, but he’s also has comedic chops (“Fresh Prince” obviously) and he’s quite the leading man, so starring in a romantic comedy was right up his alley.
A smooth-talking man falls for a hardened columnist while helping a shy accountant woo a beautiful heiress. “I Am Legend” (2007) marked Smith’s returned to action since “I, Robot” (2004), and the result is an iconic post-apocalyptic blockbuster with a rousing performance from the movie star.
Years after a plague kills most humanity and transforms the rest into monsters, the sole survivor in New York City struggles valiantly to find a cure in this post-apocalyptic action thriller. Just the following year, “Men in Black” focused on policing extraterrestrial life on Earth, while intermixing elements of comedy, sci-fi, action and adventure.
Playing a superhero was right up Smith’s alley in the ’00s, but instead of embodying a famous comic book character, he presented a hilarious take on heroics in “Hancock” (2008). 1, not only in terms of box office success on this list, but because the film took Smith’s acting career to new heights.
2015 Axelle/Bauer-GriffinWill Smith and Martin Lawrence teamed up once again for their third buddy cop installment this past weekend: Bad Boys for Life. Will Smith has had a starring role in 29 films, including Bad Boys for Life.
When adjusted for inflation, Smith’s domestic total jumps up to 5.241 billion. Without question, Aladdin is Will Smith’s highest-grossing film, with $1.05 billion in global revenue.
So while Aladdin might sit atop the Will Smith rankings, there are plenty of movies like Independence Day that could make a case. Technically Aladdin is Smith’s top-earning film in the U.S., but domestic ticket price inflation moves the movie down into the No.
Next, let’s adjust all those grosses to account for ticket price inflation, which will reveal where Bad Boys for Life truly stands against Will Smith’s filmography. That probably says much more about Will Smith’s storied box office draw than it does about the quality of Bad Boys for Life.
Once again, there’s a huge delineation between Will Smith’s top-grossing movies with and without inflation when it comes to lifetime domestic earnings. As you can see, Bad Boys for Life has a bit to go before it cracks the top 15, as the movie ranks below projects like Enemy of the State and WildWildWest.
Aboard their train The Wanderer, West and Gordon examine the severed head of decapitated scientist Thaddeus Morton, finding a clue which leads them to Artist Loveless, a legless ex-Confederate officer who also happens to be an engineering genius. Infiltrating Loveless's plantation during a party, the duo rescue a woman named Rita Escobar.
She asks for their help in rescuing her father, Guillermo Escobar, one of the kidnapped scientists. Loveless holds a demonstration of his newest weapon, a steam-powered tank, and angers McGrath by using his soldiers as target practice.
Accusing McGrath of betrayal for surrendering at Appomattox, Loveless shoots him and leaves him for dead. Gordon, West, and Rita find the dying McGrath, who reveals he was framed by Loveless for the massacre of New Liberty, where West's parents died.
After a brief fight, Rita accidentally releases sleeping gas which knocks out West, Gordon and herself. West and Gordon wake up as Loveless pulls away in The Wanderer, with Rita as a hostage.
Announcing his intention to capture President Grant at the golden spike ceremony, he leaves the duo in a deadly trap which they narrowly evade. West and Gordon stumble across Loveless's private railroad, leading to his secret industrial complex at Spider Canyon.
They witness Loveless's ultimate weapon: a gigantic mechanical spider armed with nitroglycerin cannons. Loveless uses his spider to capture Grant and Gordon at the ceremony.
As West attempts to infiltrate the spider, he is shot in the chest and left for dead. At his complex, Loveless announces his plan: to dissolve the United States, dividing the territory among Great Britain, France, Spain, Mexico, the Native American people and Loveless himself, but Grant refuses to surrender, and Loveless orders Gordon to be executed.
West battles the henchmen before confronting Loveless, who is now on mechanical legs. After freeing Grant, Gordon shoots one of Loveless's legs, allowing West to gain the upper hand.
As the mechanical spider approaches a cliff, Loveless shoots at West with the concealed gun he used to kill McGrath. He misses and instead hits the spider's machinery, halting it abruptly at the canyon's edge.
Grant promotes Gordon and West as the first agents of his new United States Secret Service. After Grant departs on The Wanderer to Washington, D.C., West and Gordon reunite with Rita, whom they both attempt to court, but she announces that Professor Escobar is actually her husband.
The movie ends with Gordon and West riding into the sunset on the spider. The film featured several significant changes from the television series.
Jon Peters produced the film alongside director Rosenfeld. In a 2002 Q&A event that appears on An Evening with Kevin Smith, filmmaker Kevin Smith talked about working with Peters on a fifth potential Superman film in 1997, revealing that Peters had three demands for the script.
After Tim Burton came on board, Smith's script was scrapped and the film was never produced due to further complications. A year later, he noted that WildWildWest, with Peters on board as producer, was released with the inclusion of a giant mechanical spider in the final act.
Neil Gaiman also said that Peters insisted that a giant mechanical spider be included in a proposed film adaptation of The Sandman. The sequences on both Artemis Gordon's and Dr. Loveless's trains interiors were shot on sets at Warner Bros. Burbank Studios, 4000 Warner Boulevard, Burbank, California.
The train exteriors were shot in Idaho on the Camps Prairie Railroad. During pre-production the engine was sent to the steam shops at the Strasbourg Rail Road for restoration and repainting.
The locomotive is brought out for the B&O Train Museum in Baltimore's “Steam Days”. Much of the Wildest footage was shot around Santa Fe, New Mexico, particularly at the western town film set at the Cook Movie Ranch (now Cerro Melon Ranch).
During the shooting of a sequence involving stunts and pyrotechnics, a planned building fire grew out of control and quickly overwhelmed the local fire crews that were standing by. The film's orchestral score, including its main theme, was composed and conducted by Elmer Bernstein, a veteran of many western film scores such as The Magnificent Seven.
Additional parts of the score were composed by Bernstein's son Peter while his daughter Emilie served as one of the orchestrators and producers. “Trains, Tanks and Frayed Ropes” (Composed by Peter Bernstein)4:037.
“Ride the Spider”2:14Total length: 30:12 Upon release on June 30, 1999, alongside Paramount Pictures and Warner Bros. Pictures' R-rated animated film South Park: Bigger, Longer & Uncut, several news reports arose stating that adolescent moviegoers purchased tickets into seeing the PG-13-rated WildWildWest in theaters but instead went to see South Park. This was a result of a film industry crackdown that would make it tougher for children to sneak into R-rated films, as proposed by U.S. President Bill Clinton at the time in response to the moral panic generated by the Columbine High School massacre, which had occurred two months before the release of both films.
Warner Bros. heavily promoted WildWildWest as an anticipated summer blockbuster instead of Brad Bird's animated film The Iron Giant, which was released two months after WildWildWest. This sparked controversy as The Iron Giant was becoming more critically successful than the critically panned WildWildWest upon release, despite eventually under-performing at the box office due to the studio deciding to spend their money on marketing for WildWildWest among other films.
From June 28, 1999, to August 8, 1999, WildWildWest was available at Burger King for a limited time, featuring two stylish pairs of sunglasses modeled after the popular pair worn in the film, with a purchase of any Western meal as well as a kids' meal. WildWildWest grossed $27.7 million in its opening day (Wednesday), ranking first at the North American box office.
On Meta critic the film has a score of 38 out of 100 based on 25 critics, indicating “generally unfavorable reviews”. Audiences polled by CinemaScope gave the film an average grade of “C+” on an A+ to F scale.
Janet Marlin of The New York Times gave the film a negative review, saying the film “leaves reality so far behind that its storytelling would be arbitrary even by comic-book standards, and its characters share no common ground or emotional connection.” Robert Conrad, who played Jim West in the original television series, arrived at the 20th Golden Raspberry Awards ceremony to collect in person three Razzes the film won in order to express his objections to the film.
WildWildWest later ranked in the listed bottom 20 of the Stinkers' “100 Years, 100 Stinkers” list (which noted the 100 worst films of the 20th century) at #2, but lost to Battlefield Earth. In 1997, writer Gilbert Alston sued Warner Bros. over the upcoming feature film based on the series.
Alston helped create the original television series The WildWildWest and scripted the pilot episode “The Night of the Inferno”. Alston said he then created the Civil War characters, the format, the story outline and nine drafts of the script that was the basis for the television series.
Alston's experience brought to light a common Hollywood practice of the 1950s and 1960s when television writers who helped create popular series allowed producers or studios to take credit for a show, thus cheating the writers out of millions of dollars in royalties. However, Alston died in 1999 before his suit was settled, resulting in Warner Bros. paying his family between $600,000 and $1.5 million.
CS1 main: multiple names: authors list (link) ^ Michael Fleming (December 8, 1997). ^ “The “Mirrors” Interviews: Neil Gaiman & Dave McKean”.
“Boy sidelined from South Park : Theaters follow through on Clinton pact, enforce R rating”. ' Wild West Showdown For Early TV Writers; Lawsuit Seeks Royalties for 60s Series”.