The British funnyman finalised his divorce from Katy Perry last month (Jul12), but despite his heartache, Brand is pressing ahead with plans to play the Roman god of love in a new romantic comedy.
The film, titled Cupid, will see Brand in the title role plucking the heartstrings of present-day couples in a bid to create the perfect relationship, according to Variety.com.
Cupid will be directed by Joe Nussbaum and Brand will star and produce.
Disney's new movie Mars Needs Moms suffers from a classic mistake: focusing too much on one aspect of a production -- and in this case it's the visuals. The result is an unbalanced mess that looks terrific but doesn't have enough substance to leave the audience with anything more to "ooh" and "ah" at other than all the pretty colors. As we all know from that one really really hot girl/guy in high school who's now overweight and working a dead-end job looks can only go so far.
Adapted from the children's novel by Berkeley Breathed and directed by Simon Wells Mars Needs Moms follows Milo (acted by Seth Green voiced by Seth Robert Dusky) as he chases after his mother who's been stolen by Martians just a few hours after he told her he'd be better off without her. Once he arrives on Mars (by sneaking on the ship) he meets Gribble (Dan Fogler) who informs him of his problem: the Martians are ruled by a ruthless queen-like Supervisor (Mindy Sterling) who's decided that the hatchlings (babies who sprout from the ground like vegetables) must be divided: all males are thrown away into the dump and the females are raised by "nanny-bots" -- robots programmed by the "discipline" energy of good moms like Milo's from Earth. Milo and Gribble buddy-up and with the help of a rebel Martian named Ki (Elisabeth Harnois) the three of them venture to save Milo's mom before it's too late.
And venture on they do. Coming from producer Robert Zemeckis and utilizing the same motion-capture technology as The Polar Express A Christmas Carol and Beowulf Mars Needs Moms rushes forward embracing its visually stunning universe without taking a moment to stop and breathe. The characters never have a chance to do anything significant that would make the audience think they're substantial or important -- especially Gribble whom the filmmakers really really want us to care for. On top of that it relies on a plot line that we've all seen before and instead of diving into the parts that made it interesting (like the question of why men were thrown in the garbage and not women) it skims safely along the surface doing its best to avoid anything deeper than basic themes.
But that may be a little too picky. After all the movie is just supposed to be a fun little child's tale right? In that vein it succeeds. We feel like we're on an amusement park ride thanks to Ki's vibrant '60s flower-power paintings and the adventures on the Red Planet's surface. Even the moments that aren't super fast-paced present environments that are beautiful. Plus Fogler's performance as Gribble (as Jack Black-esque as it was) gives us some fun enjoyable moments and one-liners that kids will no doubt love.
Yet at the same time Mars Needs Moms' visuals aren't all glorious. In fact some hurt the plot because frankly the humans aren't animated very well. There's no life in their eyes. Simple movements like walking look awkward and too often characters facial expressions don't match the urgency found in their voices. Instead the animation just turns all the characters into weird cartoony versions of themselves that look so "almost human" they appear fake. And as always it's difficult to care for fake people.
Children will definitely enjoy Mars Needs Moms but from a filmmaking standpoint Wells really missed an opportunity to deliver something other than neat visuals and one-liners.
Our fair maiden Sydney (Amanda Bynes) doesn’t have coal-black hair or sing with a sweet voice or have woodland creatures following her around. Instead the tomboy grew up on construction sites with her widower dad (John Schneider) a plumber who guided Syd as best he could. But now the time has come for the gorgeous freshman to head to Southern Atlantic University to pledge her late mom’s once-dignified sorority where she meets this story’s version of the Wicked Queen: the vain and evil Rachel (Sara Paxton) president of the sorority. Let’s just say Sydney does not fit in and Rachel sends the soon-to-be fairest of them all to the curb. Luckily there’s a condemned frat house right next door with seven very socially challenged guys--each with a familiar "Dwarf"-like quality. They take Sydney in and soon with the help of one love-struck frat boy named Tyler Prince (Matthew Long) she and the seven doofuses campaign to take over the student government—and push out the Greek system that has ruled for too long. Tween sensation Amanda Bynes knows exactly where her bread is buttered. With star vehicles such as What a Girl Wants She's the Man and now Sydney White the comic actress keeps playing slightly different versions of the same character: a pretty if goofy and klutzy young woman whose vivaciousness usually changes everything for the better. And whether her fluff movies grate or not you can’t fault Bynes who clearly knows what works for her. Paxton (Aquamarine) is perfectly predictable as the mean girl as is Long as the Prince. But the seven guys playing the nerds do a nice job of reinventing their dwarfishness be it sneeziness sleepiness bashfulness dopeyness—you know the rest. The only dork who didn’t quite mesh with his inner-“Dwarf” was the one called Spanky (Samm Levine) who is more horny than “Happy.” I guess in the fairytale there really isn’t a Lusty dwarf even though you’d think at some point at least one of them must have had a few untoward thoughts about Snow White. They were little but still men. We’ve seen countless Cinderella redos but for a modern retelling of the classic fairy Snow White Sydney White isn’t half-bad--there it’s been said. It's got all the trappings of a college comedy but some of it works. Don’t however give credit to director Joe Nussbaum whose only other movies include the dud Sleepover and the direct-to-DVD American Pie Presents: The Naked Mile. He pretty much directs by the numbers. No it’s first-time screenwriter Chad Creasey who is the clever one. For example the poisoned apple is translated into a virus sent to Sydney’s Mac laptop. And when the dorky seven march in a line past Rachel and her crew holding picket signs one of the guys says “Hi ho!” For a film as pedestrian as Sydney White laughing out loud even once means something. It’s certainly not going to wow anyone besides girls ages 8-14 but Sydney White will make the perfect third in the Amanda Bynes comedy DVD set.
A middle-school version of Mean Girls and darn close to every other PG-rated girl-power movie you or your daughters are likely to see this follows four brash eighth-graders as they have a sleepover to wear dress-up clothes freeze their bras fantasize about boys dance madly and celebrate their graduation to high school. They see themselves as social outcasts but while one (Kallie Flynn Childress) is short and plump. the others could be cheerleaders at any real school--Spy Kids' Alexa Vega (who gives the party and is the film's star) Mika Boorem and Scout Taylor-Compton. (Does anybody still name their kid "Jane" these days?) But just when they're being good girls and staying home as mom (Best in Show's delightfully edgy Jane Lynch) has demanded a snooty rival (the statuesque blonde Sara Paxton) and her coterie challenge them to a slightly risqué scavenger hunt. That involves getting into a bar and ordering Sex on the Beach cocktails changing the display in an Old Navy window (one of many shameless plugs) and escaping from a dimwit security guard by driving a tiny lime-green electric car that is the ugliest movie vehicle ever. In a surprisingly erotic scene for a PG movie Vega--wearing a tight red party dress with a plunging neckline that amply reveals why she's been having "growing pains"--sneaks into a "hot" boy's bathroom to steal his boxers watching from the shower as he removes them. Just in case you thought this all would lead to a teen reenactment of Psycho Sleepover ends with the usual sentimental empowerment lessons learned and friendships sealed. And the chubby girl even finds a boyfriend who likes brownies more than carrots.
The film's three casting directors all worked overtime to find young actresses amazingly reminiscent of slightly older girl-role-model favorites. Vega conveys the same mixture of insecurity and self-confidence as Lindsay Lohan in Mean Girls and even has the same expressions. With her moon-round face long tangle of dark hair and glowing smile she might also remind adults of a teen Bonnie Raitt. But she's maturing so fast she already seems too old for this part physically and temperamentally. There are moments in fact when the actress acts dismissive of the story's clunky derivative plot mechanics. Meanwhile Boorem is warmly Kirsten Dunst-like and Paxton such an amazing reincarnation of Reese Witherspoon that I'll look for her in a Legally Blonde sequel when she hits 18. This is all good by the way - most everyone appears to relish her chance in the spotlight. But even better are the two offbeat comic actors who play Vega's parents--Lynch and the portly Jeff Garlin (of Curb Your Enthusiasm) as the clueless dad. The film reaches a moment of Freaky Friday hilarity with Vega discovers enthusiastic mom Lynch wiggling and writhing at a dance club. "Yeah older lady shakin' her boo-tay " the deejay announces as Vega cringes. It's a great movie parent-child moment.
Director Joe Nussbaum got his start in Hollywood with the cult favorite short George Lucas in Love and this marks his feature debut. He gets the train to the station in time so to speak but the pace is so chop-chop quick that a lot of promising comic and romantic scenes go underdeveloped amid the editing pace. And unfortunately Nussbaum kept in all the corny scenes involving an unfunny security guard (Steve Carell) who harasses the girls. There also are a lot of tiresome close-ups and two-shots - this could (and doubtlessly will) play on TV with little lost. So unlike the cast the direction isn't pretty. But writer Elisa Bell however does embellish the formulaic plot with some unusual--sometimes even downright surreal--dialogue. I'm still trying to figure out for instance what Sam Huntington as Vega's slightly older brother (a Giovanni Ribisi look-alike by the way) means when he tells her "Go be a teenager. It ends too soon. And it gets replaced by ribbons and lampshades." Huh?
The guy who directed the buzzable parody short "George Lucas in Love" has made good on the buzz, landing his first Hollywood picture deal. Joe Nussbaum will helm the comedy "How to Eat Fried Worms" for Nickelodeon Films, today's Hollywood Reporter says.
"George Lucas in Love," produced in 1999, is a goof on "Shakespeare in Love," featuring the young "Star Wars" guru (circa 1967) looking for inspiration for a screenplay, a la the Bard.
HOW DOES THIS GUY KEEP GETTING WORK? Mumbler Giovanni Ribisi is in talks to co-star with Cate Blanchett in Miramax's "Heaven," a drama about a woman (Blanchett) bent on finding her husband's true murderer.
WHAT A CROC: Shooting is slated to begin in August on "Crocodile Dundee III," starring the weathered-looking star of the first two only-in-the-'80s comedies, Paul Hogan.
Our friends over at Eon Magazine (www.mothership.com) scored a major scoop this week, publishing the first-ever interview with director Sam Raimi on the subject of the wall-crawling, web-shooting "Spider-Man" movie. Of course, Raimi wouldn't talk about plot details, but he waxed about his love of Marvel Comics' marquee character, a pulp teen icon of the post-atomic age. "What I hope to put into the movie is what I found so attractive about the comic books," Raimi said in the interview. "[Peter Parker, Spidey's true identity] is not pretending to be somebody, like Superman pretends to be Clark Kent. Superman is really cool and unstoppable and he winks at us with the glasses and says, 'I'm just pretending to be a nerd.' But Peter really is. He never loses sight of who he is and that's what's great about him. He's still us in that costume."
The other, equally interesting "Spider-Man" news this week is selection of John Dykstra as the film's visual-effects supervisor. Dykstra's illustrious career includes old-school masterpieces like "Star Wars" and "Star Trek: The Motion Picture" and new-school, digital-minded stuff like "Batman Forever" and "Stuart Little," so we can (hopefully) expect a pastiche of digital cityscapes and traditional effects. "It certainly won't be in any way pedestrian," Dykstra promised.
George Lucas LUCAS LAMPOONED: Go figure. The famed underground parody short, "George Lucas in Love," just went on sale at Amazon.com, and it's out selling copies of the real Lucas' own "Star Wars: Episode 1 -- The Phantom Menace."
The flick, directed by Joe Nussbaum, depicts a nerdy young Lucas (circa 1967) suffering from writer's block during his film school days at USC. As of this afternoon, "George Lucas in Love" was Amazon's third-best video seller; "Phantom Menace," it's number-four best performer.
Famous Monsters of Filmland DR. ACULA LIVES! Horror-movie guru Forrest J. Ackerman has won his battle to defend his good name. Not his real name, but his pen name, "Dr. Acula," which Ackerman claimed that his ex-business partner, Ray Ferry, had surreptitiously stolen from him.
Ackerman, founder and former publisher of the iconic Famous Monsters of Filmland magazine, was awarded $724,000 by a jury this week, ending a lawsuit in which horror and sci-fi notables like Ray Bradbury, Harlan Ellison and John Landis testified. The defendants, of course, say they will appeal.
(SCI-FI GEEK is a roundup of genre movie news, appearing weekly on Hollywood.com.)