Category: Actresses (Page 81 of 258)

Late Friday movie news dump

It’s been a long four day week, and the hits just keep on coming.

* Even as A-listers are wrapping up George Clooney‘s Haiti telethon, the Sundance Film Festival is now underway in earnest and under new management, although boss Bob abides, naturally. Anne Thompson has a report from the front. Yesterday, she reported on the notable acquisition of the super-fest, director David Guggenheim’s “Waiting for Superman” — which is not about to whole “when will the next Superman movie come out?” thing or even superheroes at all. Sorry.

More Sundance news to come next week, no doubt. Watch this space.

* Movie City News has compiled the results of 225 Top 10 lists and come out with a top 30 of its own. At the top, “The Hurt Locker” far ahead of nearest competitors, “Up in the Air” and “Inglourious Basterds.” At the bottom of the “best of” lists, Lars von Trier’s horror drama “Antichrist,” the most controversial film in a career filled with controversy.

* Speaking of films at the bottom, the Wrap brings us Forbes’ annoyingly hard-to-read list of the biggest fiscal flops of the last five years in more easily digestible form. Topping the list is the recent adaptation of Robert Penn Warren’s “All the King’s Men” which went from Oscar hopeful to complete dud in nothing flat when it came out. There are two films I personally like on this list, “Grindhouse” and “Walk Hard.” Anybody else out there have a favorite on the flop list? In any case, I wonder about the accuracy of the list as it doesn’t include DVD figures.

Continue reading »

The logic of casting

Yesterday, Mike Fleming reported that Nick Cassavettes was in talks to direct the fourth, or possibly fifth — depending on how you reckon it — version of “A Star is Born,” a perpetually successful property that dates back to the 1930s.

You can complain about remakes all you want, but this is one story that really begs to be remade with every generation, as it’s always pretty much always relevant and only more topical with each new decade. In case you’ve never seen any version, it’s the story of a young actress and/or singer on the way up who becomes involved with a star very much on the way down, mostly because of substance abuse. Apparently the thinking is to once again make the on-the-go female a singer, as in the now iconic 1954 version starring Judy Garland and James Mason directed by George Cukor, and the commercially huge but critically dissed 1976 Barbara Streisand/Kris Kritofferson version directed by Frank Perry and, perhaps, an uncredited Streisand. Names like Beyoncé and Alicia Keys are being mentioned for the female lead.

The two male stars Fleming mentions are interesting. I don’t need to say why Robert Downey, Jr. is either too on the nose or absolutely and utterly perfect for the role. Real-life parallels and method acting possibilities aside, he’s a intriguing choice also because of his own forays into singing. Could make for a dramatic duet or two.

The other name being floated according to Fleming is Jon Hamm of “Mad Men.” This would presumably take the film more in the direction of the 1954 version, which featured James Mason as the alcoholic movie star in love with Judy Garland’s singer. Hamm’s a terrific and versatile actor and I’m sure he’d be very good. I just hope, however, they’re not just mentioning his name because just he does a great impression of Mason.

This Mason, by the way, is mainly inspired by his “A Star is Born” character. In real life, it was Judy Garland who had the drinking and drug issues. As for Hamm, let’s hope we see his impressionistic skills again — and the writers can again figure out something funny for him to do with them — when he returns to SNL later this month.

Zzzzz….”Avatar”…zzzz

We’re deep, deep into the January doldrums this week with the studios putting out three new movies that will be lucky to be fodder for late night cable or very hard trivia questions after a few weeks. We also, of course, have one true-blue blockbuster dominating the box office for the sixth week in a row.

Sam Worthington in And so THR’s jolly Carl DiOrio is beyond certain that James Cameron will, by Sunday, not only be the director of the #1 and #2 moneymakers of all time (not adjusted for inflation) but also will be matching his own “Titanic” record of six consecutive #1 showings at the U.S. box office. He also says “Avatar” will make roughly $25 million. That sounds about right to me, but all I can really say for sure is that it does seem reasonably sure to wipe the floor with the three fairly lackluster looking films on tap for this weekend.

The Tooth Fairy,” at least, benefits from a quickly understandable premise which has some comic potential, as well as a very strong supporting cast. Dwayne “no longer ‘the Rock'” Johnson is an unpleasant hockey star forced to become the winged pixie of everyone’s childhood. Playing M to his emasculated James Bond is a slightly stern Julie Andrews, with Billy Crystal and Stephen Merchant of “Extras” as his Q branch operatives, while Ashley Judd performs love interest duties. The consensus on this one is that, while  it’s the very rare critic who will go so far as to admit to actually liking the thing — it has a lousy 11% “fresh” Rotten Tomatoes reading — it could have been worse. Talk about faint praise. The trailer isn’t exactly huge on laughs, but Crystal variation on his old Miracle Max shtick got a chuckle out of me. Considering the family factor and Johnson’s appeal, I suspect this Fox comedy will stand up nicely to the weak competition of the other new releases.

Speaking of weak competition, every review I glanced at, including the one from our own David Medsker, compared “Extraordinary Measures” to a TV movie. This fact-inspired maiden voyage for the newly formed CBS Films stars Brendan Fraser as a corporate executive with two children suffering from a rare disease who joins forces with Harrison Ford‘s curmudgeonly scientist to find a cure while battling the medical and corporate establishment.

Brendan Frasher and Harrison Ford take

This type of material can work in theatrical films as was proven by both Steven Soderbergh with “Erin Brockovich” and, before that, George Miller with the underrated “Lorenzo’s Oil.” (Nick Nolte’s Italian accent wasn’t all that bad, besides, he got the emotions right.) The consensus here, however, is that pedestrian execution destines this film to fairly instant obscurity — a familiar face and an aging superstar won’t be enough to attract major audiences to a film that really could have used a few some good reviews. Instead, it got only 23% percent of critics at Rotten Tomatoes admitting to even a mild liking for the film.

Only one critic we know of has even seen “Legion.” Released by Sony and made by a first time director with a background in effects work, this one sounds to me like an action/horror remake of Kevin Smith’s “Dogma” or “Wings of Desire” gone very, very wrong. The film has very literal killer angels besieging a diner — because hashhouses are always the best place to start an apocalypse. Starring Paul Bettany as the week’s second ass-kicking winged mythological being and Dennis Quaid as a sick looking middle-aged guy, DiOrio says this is “tracking best among young males” and I can’t imagine who else would see this one. Judging by Mr. One Critic’s ultra-harsh review, even they may find better better things to do. As for what religious people will make of a film which has angels wielding machine guns, I can only imagine.

BAFTA nominations

The British equivalent of the Oscars has announced its choices. Since the BAFTAs include American films, it’s often somewhat similar to the Oscars though with a bit of an edge, not surprisingly, for UK fare. You can see the complete list at the BAFTA site.

This year’s Best Film list looks very much like the lists we’ve been seeing all along, with one major difference. The spot usually reserved for “Inglourious Basterds” has been taken up by the highly regarded coming-of-age/relationship dramedy, “An Education,” which makes it the token British nominee in a field that includes usual suspects “The Hurt Locker,” “Precious,” “Up in the Air,” and “Avatar.” As if to make sure no Hollywood feelings were hurt too hard, Quentin Tarantino was nominated for Best Director while Lee Daniels — whose direction has, in fact, taken its share of criticism from some critics and film bloggers — went un-nominated for his work on “Precious.”

“An Education” is also nominated in the “Outstanding British Film” category against “In the Loop,” “Moon,” the currently in limited U.S. release “Fish Tank,” and the upcoming John Lennon biopic, “Nowhere Boy.”

an_education_trailer_gawker.flv

In other tidbits of interest, the terrific Andy Serkis of LOTR fame was nominated for Best Actor for his work in the musical biopic, “Sex and Drugs and Rock and Roll” which hasn’t been released here yet. There’s hope for a possible upset win for Serkis to defeat the seemingly unstoppable Jeff Bridges here, if the BAFTAs go by the usual acting award tendencies.Not only does Serkis transform himself into a fairly well-known entertainment figure as oddball rocker Ian Dury (that nailed Oscars for Martin Landau in “Ed Wood” and Jamie Foxx in “Ray“) but Dury was partially disabled by polio, so there’s that whole actors-playing disabled-characters-win-awards thing to deal with.

Some of you will also note that Sandra Bullock was not nominated for Best Actress. “The Blind Side” has not been released in the U.K. yet and therefore won’t be eligible until next year’s awards. Release patterns may also explain why the artful vampire tale, “Let the Right One In,” one of 2008’s biggest arthouse films in the U.S., was nominated for in the foreign language category this year.

24 8.3-4: Baby, did you forget to take your meds?

George Harrison: “Hey guys, don’t mind me. I’m just going to slip behind this pillar to make a private phone call right in the middle of an emergency evacuation.”
Moscow Mike: “Hey guys, don’t mind me. I’m just going to speak on the phone in my native Russian accent shortly after replacing another cop on U.N. security detail.”

Jesus.

Seriously, have these people heard of text messaging? Are they worried about lingering evidence? If you’re willing to call an assassin on your phone, there’s no reason to be bashful about texting. It would have looked a lot less conspicuous for both parties. “Slumdog in 3rd car. Make boom boom.” Problem solved, and he wouldn’t have to hide behind a pillar to do it.

All right, Rule #1 for home invasions: if someone is willing to shoot your wife in the leg as the first step in the “I’m not fucking around” dance that captors and hostages take, you can safely assume that neither you nor your wife is going to live through said encounter. So why not die with your boots on? I understand the cop’s desire to protect his now-crippled wife, but he lost me the second that the phone rang, and Moscow Mike looked away to the phone…and the cop didn’t take Mike’s gun and shoot him with it. He had a good second and a half. That may not sound like much, but in TV time, it’s an eternity. It goes even slower for the viewers. Any cop worth a damn would have made a move for the gun.

Which is why, while I knew that Buffy was putting his life in grave danger by entering that evacuated building looking for Moscow Mike – and sure enough, Mike got the drop on him, but inexplicably did not shoot him in the head on sight – I was thrilled to see Buffy not make the same mistake as the cop in Queens. He knew he was doing to die either way, but if he had a chance to stop the assassin, it would be worth it. As it turned out, Jack was there to take Moscow Mike down, though I’m still a little perplexed how he was able to shoot Mike twice in the back without hitting Buffy. There were exit wounds in Mike’s chest, and from what I could tell, it looked as though any pass-through bullet would have gladly made a home in Buffy’s flesh. But still, major props to Buffy for being willing to die for the cause.

As for the vengeful cop that tied up Jack as retaliation for the dead cop and his wife: ha ha ha ha ha ha! I know you needed something to keep Jack from getting to Buffy sooner, but that was just silly. You know what would be a perfectly reasonable way to delay Jack from arriving somewhere on time? Traffic. New York has a lot of it, not that you would know from these first four episodes.

24-ep804_Sc427_027

“You can tell from the state of my room that they let me out too soon.”

Holy fucking shit, what has happened with Jacqueline Bauer? She’s positively unhinged, pulling stunts that rival Jack at his most unstable. Remember when he shot the federal witness and cut off his head to use as currency to infiltrate a weapons gang? That actually pales in comparison to what Renee pulls here. Cutting off a guy’s thumb while he was still conscious? The girl has issues, to say the least…and I love it. It’s like Jack being partnered with himself – his dark, evil self. I’m sure we’ll reach a point where Jack has to pull a gun on Jacqueline and tell her she’s Gone Too Far. But for now, I am totally loving Crazy Jackie.

Likewise, I’m loving Slumdog President, too. He isn’t at all predictable, or perhaps more accurately, he’s not playing the stereotypical slimy politician game. Of course, we still have 20 hours to go, which means there are surely some skeletons that George Harrison will gladly hurl out of the closet in order to buy either time or leverage. I’m not sure what those skeletons would be worth to the Russians – they just want George’s money – but we’ll see. It’s nice to see David Anders, a.k.a. Sark from “Alias,” on the show. Hopefully he gets to do a little more than say “Yes, sir” to the big baddie.

Oh, and I love scenes of empty restaurants at 7:00. How very “Godfather” of them. And for the record, a guy stashed away in a meat locker with the sniffles is not irrefutable proof of the possession of nuclear weapons. What a gulli-bull.

On the Starbuck front, her blackmailer Kevin dropped a line about seven years of hard time. Did he do jail time for a crime that she committed? And even if he did, he’s the convicted felon, not her, and the law favors the innocent, or at the very least those without criminal records. One anonymous call to the police should take care of him, yes? I mean, if she’s willing to work for the government despite being an alleged fugitive, why would she be afraid of the police? And doesn’t he know how bad it looks that he’s been caught on security cameras shaking down a government employee? Just rat the guy out already. He’s wasting time.

Still, for all my complaining, I just love what they’re doing with Renee. It doesn’t speak well for her long-term well-being – I’m thinking she has a tollbooth and a hailstorm of Russian bullets in her future – but it’s good to see that Jack isn’t the only good guy that’s willing to be bad. How has he not proposed to her by now? She completes you, Jack.

As for the blog’s title, Placebo, take it away.

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑