Brooks quit as CEO of media mogul Rupert Murdoch's News International company in the wake of the News of the World phone hacking scandal last year (11). She had previously edited the defunct title as well as daily newspaper The Sun.
She was charged with conspiracy to pervert the course of justice earlier this week (begs14May12), and now there are plans to turn her meteoric rise to the top of British media and the subsequent demise of her career into a film.
Gene Kirkwood, who produced Sylvester Stallone's hit Rocky, insists he was drawn to Brooks' life story due to its comparison to Charles Dickens' novel Great Expectations.
He says, "She's a great story. Her rise is almost like Great Expectations - with a moral. (The film will be) a porthole into Murdoch's world. I see it as a Citizen Kane approach."
The project will start rolling when the phone hacking scandal reaches some sort of conclusion. Kirkwood adds, "As soon as there is an ending, we're going forward. Murdoch might retire - who knows?"
Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.
November 14, 2005 6:06am EST
Since the age of 12 Marcus (Curtis “50 Cent” Jackson) wanted to be a rapper. After his mother Katrina (Serena Reeder) is brutally killed Marcus’ rap dreams are put on hold and he begins hustling drugs to make enough money for a nice pair of shoes. Only he doesn’t stop at the shoes. When Marcus gets involved with Majestic (Adewale Akinnuoye-Agbaje) he sees how much money there is to be made in the drug business and he wants it all. Then his childhood best friend Charlene (Joy Bryant) moves back to Queens and they fall in love. But it isn’t too long before she gets pregnant and he is arrested. While perfecting his rap skills in jail he meets Bama (Terrence Howard) who becomes his manager and lifesaver on the outside taking him out of the drug game for good. 50 Cent may have the rap world locked up but his acting skills leave a lot to be desired. Watching him trying to emote is sort of akin to watching a bad comic bomb on stage. He seems to be the first rapper-turn-actors these days who can’t cut it. Thankfully Get Rich’s supporting cast help out--a little. Marc John Jefferies (Stuart Little 2 Spider-Man 2) who plays the young Marcus nearly steals the show. At first loving and caring then turning cold and unforgiving Jefferies made it look easy to flip the switch between the two. Another standout is Adewale Akinnuoye-Agbaje (HBO’s Oz) as the crooked drug lord Majestic. And in a year chockfull of good performances Terrence Howard who obviously just wanted to work with Sheridan adds much needed comic relief as the quirky Bama. Director Jim Sheridan whose resume includes Oscar-winning films such as In America and My Left Foot probably thought that if Oscar-winning director Curtis Hanson could handle Eminem’s 8 Mile with aplomb then he could do the same thing with a gangsta rap story. Guess he forgot the fact Hanson (L.A. Confidential) can do gritty. The very Irish Sheridan is just clearly way out of his element. Get Rich jumps around so much you don’t have any time to figure out what’s happening who’s who or where the heck the film’s heading. And it doesn’t help that the chaotic script is peppered with such stereotypical dialogue. Honestly if you want to see a compelling story about a wannabe rapper getting his shot (and not shot at) rent this year’s Hustle & Flow.