Category: Actresses (Page 101 of 258)

The Film Formerly Known As “The Boat That Rocked”…

…has been given a new name for its U.S. release: “Pirate Radio.”

If you’re unfamiliar with the motion picture in question (which lets out most of our UK readership, as the film was released across the pond back in April), here’s the official synopsis from Focus Features:

“Pirate Radio” is the high-spirited story of how 8 DJs’ love affair with Rock ‘n’ Roll changed the world forever. In the 1960s, this group of rogue DJs, on a boat in the middle of the Northern Atlantic, played rock records and broke the law, all for the love of music. The songs they played united and defined an entire generation and drove the British government crazy. By playing Rock ‘n’ Roll, they were standing up against the British government who did everything in their power to shut them down. The band of rebels is led by The Count, played by the Academy Award-winning Philip Seymour Hoffman, Quentin (Bill Nighy), the boss of Radio Rock, Gavin (Rhys Ifans), the greatest DJ in Britain, Midnight Mark (Tom Wisdom), Doctor Dave (Nick Frost), and Young Carl (Tom Sturridge), who comes of age amidst the chaos of sex, drugs and rock n roll. The film features an unbelievable selection of music including The Beatles, The Stones, Beach Boys, Dusty Springfield, The Who, Jimi Hendrix, Smokey Robinson, David Bowie, Otis Redding, Cat Stevens just to name a few. The film is laugh out loud funny and speaks to the rock n roll rebel in all of us.

A few other bits which might interest you: it also stars Kenneth Branagh, Rhys Darby (“Flight of the Conchords”), Chris O’Dowd (“The I.T. Crowd”), Ralph Brown (“Meadowlands”), January Jones (“Mad Men”), and Jack Davenport (“Coupling,” “Swingtown”), and it was written and directed by the always-enjoyable Richard Curtis, the man behind “Four Weddings and a Funeral,” “Notting Hill,” “Love, Actually,” and the “Bridget Jones” films.

Here’s the trailer for your viewing enjoyment:

In a turn of events which obviously leaves me pleased as punch, I have been invited to participate in the press junket for the U.S. release of the film, so stay tuned to Bullz-Eye and Premium Hollywood for further coverage, including discussions with Mr. Curtis and some of the stars of “Pirate Radio.” Rest assured, my first question will be, “Who decided that Americans couldn’t appreciate a title like ‘The Boat That Rocked’?” (I’m guessing I’ll learn that some higher-up decided, “Hey, the kids love the pirates, so maybe we can trick ’em into thinking this is actually about pirates!”)

Playing catch-up

Predator with Arnold Schwarzennegger

A few more random items worth mentioning…

* Robert Rodriguez is producing a “Predator” reboot, entitled “Predators,” to be directed by Hungarian-American helmer Nimród Antal. As per today’s Variety, along for the ride are Adrien Brody and Topher Grace. I, personally, will wait for the movie to decide first whether I’ll bother to see it and second whether these two undoubtedly talented actors are well cast here. (Grace is kind of a personal favorite and this sounds like chance to be sort of a badass Norman Bates, which I can kind of see.) However, as usual geek film bloggers and some film geek bloggers can’t wait for the movie to have an opinion, and Spout’s Christopher Campbell collates the reaction. No word on Brody’s chances for eventually becoming a not-too competent and unlucky governor of California.

* Two very tentative but interesting items from Mike Fleming today. Gary Ross, who’s past specialty was such seriocomic Oscarish fare as “Dave,” “Pleasantville,” and “Seabiscuit” but who is doing the the latest rewrite on the next “Spiderman” film may also be directing as well as rewriting a proposed “Venom” movie, without Topher Grace, most likely. The many problems with “Spider-Man 3” to my mind had nothing at all to do with Grace, but who said life was fair?

* The second Fleming item has screenwriter-director Bill Condon (“Dreamgirls“) “in discussions” to return to biographical material somewhat along the lines of “Gods and Monsters” and “Kinsey,” with a proposed film about the late Richard Pryor to star Marlon Wayans. Adam Sandler‘s “Happy Madison” company is involved at this point, which makes sense given the reverence nearly all modern comedians have for Pryor.

* Speaking of people who’ve been known to throw a few M-F bombs in the name of a laugh, our own Will Harris has an interview with the praised and maligned indie film mainstay and part-time funny de facto stand-up comic, Kevin Smith at Bullz-Eye. Very definitely worth a read. And, though I probably don’t need to say it, the following video is NSFW and is just plain dangerous to your life and career if you are anywhere near Gwyneth Paltrow, Steven Spielberg, or George Lucas.

Model Shop

Model Shop A shambling 1969 walkabout through the Venice and Hollywood sections of Los Angeles with music by proggy psychedelic band Spirit, “Model Shop” is not for everyone. Shot in gorgeous “Perfect Color” by the late Jacques Demy with dialogue by Carole Eastman (“Five Easy Pieces”), it’s a departure for the most traditional of French New Wave writer-directors who charmed the world with the great 1964 musical, “The Umbrellas of Cherbourg.”

If you’re not fascinated by L.A.’s history and culture, you could quickly lose patience with “Model Shop.” There’s little story and Demy’s cast is mainly comprised of amateurs and two young working actors who might as well be. Still, you may want to stick around. “Model Shop” stars Gary Lockwood (“2001: A Space Odyssey”) as an aimless young unemployed architect who may or may not be contemplating dodging both the Vietnam-era draft and his live-in girlfriend (Alexandra Hay). Eventually, however, he spots a bewitching, somewhat older, woman played by Anouk Aimée (“8 1/2,” “A Man and a Woman”), who turns out to be recreating her role from Demy’s 1961 breakthrough, “Lola.” When Lockwood finally meets up with her in a model shop – where men would once pay to take their own non-nude girlie shots (life before the Internet!) – and then in her apartment, the film’s dramatic side is salvaged thanks to a wonderfully simple and very moving performance by Aimée, who shyly and beautifully takes over the movie. Slowly, an artful mess becomes a moving romance.

Click to buy “Model Shop”

Sony’s “Zombieland” and “Meatballs” satisfy at the box office

zombieland

“Zombieland” led our carnivorous movie weekend and met expectations almost on the nose with a horror-comedy-curse breaking estimate of $25 million on it’s opening weekend, thereby breaking the back of one of the most irritating box office canards of recent times. Another misunderstanding being promulgated by Nikki Finke, who is back with all vitriol-guns blazing this weekend, is that star Woody Harrelson was box office poison, but the “zom-com” was so appealing it did well anyway. Personally, I have a hard time with the whole notion of once popular stars becoming antithetical to good box office, but that’s a complicated rant for another day.

Cloudy With a Chance of Meatballs
The #2 spot went to “Cloudy With a Chance of Meatballs” which showed some really meaty legs and dropped a terrific 33% in its third weekend with an estimated $16.7 million, says Andrew Stewart of Variety and everyone else. Once again, the only sure thing in Hollywood is a family film that parents enjoy watching themselves, and 3-D, at least for the time being, is a proven deal-sweetener for the right kind of movie. By the way, both “Zombieland” and “Meatballs” are from Sony, which means there’ll be delight at the old MGM lot in Culver City tomorrow.

And, as if the prove my point about family films and 3-D, this weekend’s third top grosser was the Disney/Pixar double-feature 3-D retreads of “Toy Story” and “Toy Story 2.” Not at all surprisingly, the combination of the two beloved animated features was an appealing entertainment value to parents and fun for kids, getting a very solid $12.5 million in just under 1800 theaters. It’s more impressive when you consider that the entire package runs 174 minutes, plus trailers. Considering the limited number of 3-D screens, both “Toy Story” and “Meatballs” doing so well is an interesting development.

After that, we have a bit of divergence from what I wrote in my preview post, in that the #4 film is the Ricky Gervais vehicle from Warners, “The Invention of Lying.” It brought in a modest — but possibly sufficient, given the budget — estimated $7.4 million via just slightly over 1700 screens. I’m going to guess that the growing cult of comedy demigod Gervais plus the film’s easy-to-grasp and inherently amusing premise, as well as the strong and well known supporting cast, gave it enough of a bump to beat the crowded low-end competition this weekend. Beaten by a pug nose was the much higher budgeted ($80 million) Bruce Willis science-fiction film “Surrogates,” with somewhere in the neighborhood of $7.3 million.

Ellen Page and Juliette Lewis in The well-reviewed and, you’d think, appealing sports comedy, “Whip It” disappointed with a mere $4.85 million estimated despite a strong cast led by Ellen Page, and Drew Barrymore’s involvement as both director and cast member. However, the studio is hoping that this underdog will benefit from word of mouth and ultimately win the big game with an unexpected surge. Who doesn’t love an underdog?

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That Hamilton Woman

That Hamilton Woman

This 1941 historical biopic from producer-director Alexander Korda about the illicit affair between the heroic nemesis of Napoleon, Admiral Horatio Nelson (Laurence Olivier), and the vivacious Lady Emma Hamilton (Vivien Leigh) benefits from the magnificent production design of Vincent Korda and some extra acting oomph drawn from a real-life adulterous affair between its two A-list stars. On the other hand, there’s an idea out there that it has been unjustly dismissed ever since its release as ponderous wartime propaganda and an overblown romance. I might say exactly the same thing, minus the “un.”

Essentially commissioned by wartime British Prime Minister Winston Churchill, who later proclaimed it his favorite movie, “That Hamilton Woman” suffers from some ham-fisted parallels between Hitler and Napoleon as well as a certain amount of hypocrisy on the question of empire. (English colonialism good! French colonialism bad!) Far worse for the movie’s entertainment value, however, is its tediously stolid hero, an awful lot of gassy romantic dialogue, ponderous pacing, and an excessive 125 minute running time. On the plus side, the young Vivien Leigh, fresh off “Gone With the Wind,” is allowed to show her powerfully sexy and funny sides, and the film’s relative frankness in dealing with an open adulterous affair is something of a miracle considering that this British production was shot in the U.S. and made under American censorship. Nevertheless, the extras on this typically crisp Criterion DVD make the case that the making-of story here is far more engaging than the actual movie.

Click to buy “That Hamilton Woman”

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