Kevin Spacey: Antihero of Screen and Stage, #MeToo Outcast

US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File
US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File
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Kevin Spacey: Antihero of Screen and Stage, #MeToo Outcast

US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File
US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File

Kevin Spacey built a formidable acting career playing dangerous, darkly charismatic antiheroes in hits from "The Usual Suspects" to "House of Cards" -- before disturbing allegations about his personal life brought it crashing down.

The two-time Oscar winner with a piercing, hypnotic charm first honed his craft on the stage, before going on to score major box office hits as a middle-aged father lusting after a teen in "American Beauty," a serial killer in "Se7en" and the villain in "Superman Returns."

But the 63-year-old Spacey has barely been seen except at courthouses since 2017, when he was among the first stars caught up in the global #MeToo reckoning, accused of sexual assault by multiple young men. He denies the claims, AFP said.

Born in New Jersey in 1959, Kevin Spacey Fowler grew up in California, where he briefly attended, and was kicked out of, military school.

Spacey has recently spoken in court about a troubled childhood, with a father he described as a "white supremacist" and a "neo-Nazi," who disliked gay people and did not appreciate his son's interest in theater.

Nevertheless, in 1979, a young Spacey entered New York's elite Juilliard performing arts school.

Spacey's biggest early stage success came opposite Jack Lemmon in a 1986 production of "Long Day's Journey Into Night."

His first film role was a tiny part as a subway thief that same year in "Heartburn" for Mike Nichols, the director Spacey had earlier worked for as an understudy in a Broadway play. The duo reunited for 1988 hit movie "Working Girl."

Spacey also ventured into television and won breakthrough acclaim as a paranoid, psychotic and incestuous young crime boss in "Wiseguy."

That set the tone for a string of pitch-black Hollywood hits culminating in 1995, when Spacey memorably appeared as a fanatical serial killer in David Fincher's "Se7en," and played a mysterious gangster in "The Usual Suspects" -- a role that earned him his first Oscar for best supporting actor.

The mid-1990s also saw Spacey play a monstrous Hollywood executive in "Swimming with Sharks" and an ambitious, malevolent prosecutor in "A Time To Kill."

Spacey's crowning big-screen success came with 1999's "American Beauty," in which he played a sexually frustrated father trying to escape suburban drudgery who becomes obsessed with his teenage daughter's friend.

He won his second Oscar -- this time for best actor -- as the movie racked up five Academy Awards, including best picture.

- From the Old Vic to Netflix -
In subsequent years, Spacey briefly pivoted toward gentler movie roles, including a romantic lead in "Pay It Forward" with Helen Hunt, and oddball sci-fi mystery "K-PAX." The results were mixed.

Meanwhile Spacey, who had continued to win accolades for stage performances in such plays as "Lost in Yonkers" and "The Iceman Cometh," announced in 2003 he was to take over as artistic director of London's Old Vic.

Spacey's decade-long tenure at the historic theater would be widely acclaimed.

He starred in and lured A-list actors and directors to diverse and daring productions, reveling in playing Shakespeare's "Richard III" and staging American classics by Eugene O'Neill, Arthur Miller and Tennessee Williams.

During that period, he also struck big-screen gold again as the nefarious Lex Luthor in "Superman Returns."

In 2013, Spacey helped launch Hollywood's streaming revolution, taking the lead role in Netflix's first-ever major exclusive series "House of Cards," as a ruthless US congressman who will stop at nothing to become president.

The series became a cultural phenomenon. It was the first online-only series to be nominated for, and win, an Emmy, and ushered in the binge-watching era.

- #MeToo -
But Spacey's empire rapidly began to unravel in October 2017.

Barely three weeks after #MeToo allegations broke against Harvey Weinstein, Spacey too was hit with sexual assault claims.

Actor Anthony Rapp was the first to go public, alleging he had been assaulted as a 14-year-old at a New York party by Spacey in 1986.

Spacey swiftly apologized, but drew criticism for appearing to try to deflect the story by finally confirming that he is gay -- an open secret in Hollywood for years.

Within a month, Spacey had been accused of assault by multiple men in the US and Britain, dropped by Netflix, and stunningly removed at the last minute from the film "All the Money in the World."

Director Ridley Scott and studio Sony Pictures rushed to reshoot Spacey's scenes in just two months before the film's release.

Since then, Spacey has rarely been seen in public, with the exception of court appearances, where he has denied all allegations of sexual abuse.

In 2019, assault charges against the actor were dropped in Massachusetts. In October, a New York court dismissed Rapp's $40 million sexual misconduct lawsuit.

Spacey has pleaded not guilty to further sexual assault charges in Britain, where he is due to appear in a London courtroom on Friday.



‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
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‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)

The choices on the movie marquee this weekend included Joaquin Phoenix as the Joker, a film about Donald Trump, a “Saturday Night Live” origin story and even Pharrell Williams as a Lego. In the end, all were trounced by an ax-wielding clown.

“Terrifier 3,” a gory, low-budget slasher from the small distributor Cineverse, topped the weekend box office with $18.3 million, according to estimates Sunday. The film, a sequel to 2022’s “Terrifier 2” ($15 million worldwide in ticket sales), brings back the murderous Art the Clown (David Howard Thornton) and lets him loose, under the guise of Santa, at a Christmas party.

That “Terrifier 3” could notably overperform expectations and leapfrog both major studios and awards hopefuls was only possible due to the disaster of “Joker: Folie à Deux.” After Todd Phillips’ “Joker” sequel, starring Phoenix and Lady Gaga, got off to a much-diminished start last weekend (and a “D” CinemaScore from audiences), the Warner Bros. release fell a staggering 81% in its second weekend, bringing in just $7.1 million.

For a superhero film, such a drop has little precedent. Disappointments like “The Marvels,” “The Flash” and “Shazam Fury of the Gods” all managed better second weekends. Such a mass rejection by audiences and critics is particularly unusual for a follow-up to a massive hit like 2019’s “Joker.” That film, also from Phillips and Phoenix, grossed more than $1 billion worldwide against a $60 million budget.

The sequel was pricier, costing about $200 million to make. That means “Joker: Folie à Deux” is headed for certain box-office disaster. Globally, it’s collected $165.3 million in ticket sales.

“This is an outlier of a weekend if ever there was one,” said Paul Dergarabedian, senior media analyst for Comscore. “If you had asked anyone a month ago or even a week ago: Would ‘Terrifier 3’ be the number one movie amongst all these major-studio films and awards contenders? To have a movie like this come along just shows you that the audience is the ultimate arbiter of what wins at the box office.”

The “Joker” slide allowed “The Wild Robot,” the acclaimed Universal Pictures and DreamWorks animated movie, to take second place in its third weekend with $13.4 million. Strong reviews for Chris Sanders’ adaptation of Peter Brown’s book have led the movie, with Lupita Nyong’o voicing the robot protagonist, to $83.7 million domestically and $148 million worldwide.

The young Donald Trump film “The Apprentice,” distributed by Briarcliff Entertainment in 1,740 theaters, opened in a distant 10th place, managing a paltry $1.6 million in ticket sales. While expectations weren’t much higher, audiences still showed little enthusiasm for an election-year origin story of the Republican nominee.

If headlines translated to ticket sales, Ali Abbasi’s film might have done better. “The Apprentice,” starring Sebastian Stan as Trump under the mentorship of Roy Cohn (Jeremy Strong), has been making news since its debut at the Cannes Film Festival, up to its last-minute release just weeks before the election. The Trump campaign has called the movie “election interference by Hollywood elites.”

Abbasi’s film, set in the 1970s and 1980s, tested moviegoer’s appetite for a political film in an election year. Major studios and specialty labels passed on acquiring it in part because of the question of whether a movie about Trump would turn off both liberal and conservative moviegoers, alike. “The Apprentice” will depend on continued awards conversation for Strong and Stan to make a significant mark in theaters before voters turn out at the polls.

Jason Reitman’s “Saturday Night” failed to ignite its nationwide expansion. The film, with an ensemble cast led by Gabriel LaBelle’s Lorne Michaels, collected $3.4 million from 2,288 locations. The Sony Pictures release, about the backstage drama as the NBC sketch comedy show is about to air for the first time in 1975, will likely need to make more of an impact with audiences to carry it through awards season.

“Piece by Piece,” a Pharrell Williams documentary-biopic hybrid animated in Lego form, had also been hoping to click better with moviegoers. The acclaimed Focus Features release, directed by veteran documentarian Morgan Neville (“20 Feet From Stardom,” “Won’t You Be My Neighbor?”), opened with $3.8 million from 1,865 theaters.

But the debut for “Piece By Piece,” while low for a Lego animated movie, was very high for a documentary. “Piece By Piece,” which had the weekend’s best CinemaScore, an “A” from audiences, could play well for weeks to come. The film, which was modestly budgeted at $16 million, is also likely to end up the year’s highest grossing doc — if “Piece By Piece” can be called that.

“We Live in Time,” the weepy drama starring Florence Pugh and Andrew Garfield, had one of the year’s best per-theater averages in its five-screen opening. The A24 release, which will expand nationwide next weekend, debuted with $255,911 and a $51,000 per-screen average.

Outside of the success of Warner Bros.’ “Beetlejuice Beetlejuice” (which pulled in $7.1 million in its six weekends of release despite recently launching on video-on-demand), Hollywood’s fall has struggled to get going. Low-budget horror, like “Terrifier 3,” continues to be one good bet in theaters, but this autumn has been mostly characterized by bombs like “Joker: Folie à Deux” and “Megalopolis.”

This time last year, Taylor Swift was giving the box office a massive lift with “The Eras Tour.” This weekend compared with the same time last year was down 45% according to Comscore.