Deadline Nears for Alec Baldwin in Deadly Movie Set Shooting

Actor Alec Baldwin arrives at the 2022 Robert F. Kennedy Human Rights Ripple of Hope Award Gala at the Hilton Midtown in New York on December 6, 2022. (AFP)
Actor Alec Baldwin arrives at the 2022 Robert F. Kennedy Human Rights Ripple of Hope Award Gala at the Hilton Midtown in New York on December 6, 2022. (AFP)
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Deadline Nears for Alec Baldwin in Deadly Movie Set Shooting

Actor Alec Baldwin arrives at the 2022 Robert F. Kennedy Human Rights Ripple of Hope Award Gala at the Hilton Midtown in New York on December 6, 2022. (AFP)
Actor Alec Baldwin arrives at the 2022 Robert F. Kennedy Human Rights Ripple of Hope Award Gala at the Hilton Midtown in New York on December 6, 2022. (AFP)

Prosecutors planned to file felony charges of involuntary manslaughter Tuesday in the fatal shooting of a cinematographer by actor Alec Baldwin during a rehearsal on the set of a Western movie in 2021.

Cinematographer Halyna Hutchins died shortly after being wounded at a film set ranch on the outskirts of Santa Fe, New Mexico, in Oct. 21, 2021. Baldwin was pointing a pistol at Hutchins when the gun went off, killing her and wounding the film's director.

In recent weeks, Santa Fe District Attorney Mary Carmack-Altwies has outlined two sets of involuntary manslaughter charges in connection with the shooting against Baldwin and film set weapons supervisor Hannah Gutierrez-Reed.

The district attorney said through a spokeswoman Monday that her office will release charging documents and a statement of probable cause outlining the evidence. Hutchins' death already has led to new safety precautions in the film industry.

Involuntary manslaughter can involve a killing that happens while a defendant is doing something lawful but dangerous and is acting negligently or without caution. Special prosecutor Andrea Reeb has cited a pattern of "criminal disregard for safety" on the set of "Rust."

Prosecutors also said they will release the terms of a signed plea agreement with assistant director David Halls, who oversaw safety on the set. Participants in the un-filmed rehearsal have given conflicting accounts of who handed the gun to Baldwin.

Halls has agreed to plead guilty in the negligent use of a deadly weapon, they said.

Heather Brewer, a spokeswoman for the district attorney's office, said in a statement Monday that prosecutors are "fully focused on securing justice for Halyna Hutchins" and "the evidence and the facts speak for themselves."

Baldwin, also a co-producer on "Rust," has described the killing as a tragic accident. The 64-year-old actor said he was told the gun was safe and has sought to clear his name by suing people involved in handling and supplying the loaded .45-caliber revolver.

In his lawsuit, Baldwin said that while working on camera angles with Hutchins, he pointed the gun in her direction and pulled back and released the hammer of the weapon, which discharged.

Defense attorney Jason Bowles, who represents Gutierrez-Reed, said the charges are the result of a "flawed investigation" and an "inaccurate understanding of the full facts."

Defendants can participate remotely in many initial court proceedings or seek to have their first appearance waived.

Involuntary manslaughter linked to negligence is a fourth-degree felony, punishable by up to 18 months in jail and a $5,000 fine under New Mexico law. The second set of manslaughter charges allege recklessness with a provision that could result in a mandatory five years in prison because the offense was committed with a gun.

The decision to charge Baldwin marks a stunning turn of events for an A-list actor whose 40-year career included the early blockbuster "The Hunt for Red October" and a starring role in the sitcom "30 Rock," as well as iconic appearances in Martin Scorsese’s "The Departed" and a film adaptation of David Mamet’s "Glengary Glen Ross." In recent years, Baldwin was known for his impression of former President Donald Trump on "Saturday Night Live."



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.