Denzel Washington has signed up to star in an upcoming big-screen adaptation of the 1980s series The Equalizer.
The Oscar winner will play the lead role in the film, about a secret agent looking to make amends for his sinful past.
No director has been confirmed yet, but Richard Wenk -- who recently wrote the scripts for The Mechanic and the soon-to-be-released Expendables 2 -- will pen the screenplay.
Click on the image below to see more photos of Denzel Washington!
CBS Films, to date, has been unsuccessful in crafting a hit. The relatively new studio, headed by President and CEO Amy Baer, released a pair of duds this year (Extraordinary Measures and The Back-Up Plan) and have the Dwayne Johnson-topped Faster and the Vanessa Hudgens fantasy romance Beastly scheduled for an October 2010 and March 2011 bow, respectively.
Today, the studio adds another picture to it's 2011 slate as it announced the acquisition of Millennium Films' The Mechanic. The movie is a remake of the 1972 Charles Bronson flick, which centers on a hitman teaching the trade to an apprentice who has a connection to one of his mentor's victims. Jason Statham and Ben Foster star in the violent thriller, which is now planned for a Spring 2011 release. Simon West (Con Air) directed the film from a screenplay by Richard Wenk and John Lewis Carlino. Irwin and David Winkler and Robert and William Chartoff produced.
"We look forward to working with the CBS Films team on releasing this movie," stated the elder Winkler and Chartoff, who also produced the original film. "CBS Films possesses a refreshing, constructive energy and we are excited with their game plan to bring this exhilarating film to audiences." CEO Baer added: “The right acquisitions have always been a part of our plan and in The Mechanic we have a strong intelligent action thriller.”
It's a smart move on behalf of CBS Films, which desperately needs a hit. Both of it's 2010 releases were rather unimpressive, with The Back-Up Plan barely recouping it's production budget and turning just a slight profit after global grosses factored in. Extraordinary Measures was a true flop - bringing in just $15 million worldwide on a $30 million budget. That kind of track record doesn't ensure that the company will be around for too long, but with The Mechanic, it has an opportunity to potentially garner a solid return on it's investment, which should be relatively small as it did not produce the picture. We'll see if Statham still has what it takes to open a picture on his own, since Foster - though easily the better actor - is hardly a box-office draw and director West hasn't been relevant since the 1990s.
Source: CBS Films
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.
Based on the best-selling book by Mark Foster Game tells the remarkable real-life story of Francis Ouimet (Shia LaBeouf). He was a working-class immigrant kid who in the early 1900s turned the privileged world of golf on its ear. The story begins with Francis working as a caddie at a posh country club where he masters the game by quietly practicing on his own. His French-born father (Elias Koteas) thinks he's wasting his time and should be earning an honest wage but Francis is far too smitten with the game to give it up. Francis finally gets his big break when an amateur spot opens up at the 1913 U.S. Open. With a feisty 10-year-old caddie named Eddie (Josh Flitter) by his side egging him on Francis plays the best he ever has. He eventually finds himself facing off against the sport's undisputed champion Harry Vardon (Stephen Dillane) a U.S. Open winner and six-time British Open champion (a record that still stands today). Their legendary battle changes the face of the sport forever--but I wouldn't necessarily call it the greatest game ever.
Game is one of those juicy little biopics actors can really sink their teeth into. Starting with our young lead LaBeouf (Holes) is sufficiently determined as the guy playing against impossible odds. His Francis with his liquid brown eyes and winning smile is full of optimism and raw talent that propels him into the majors. And he looks pretty authentic swinging a golf club too. Still it may be time for LaBeouf to move on from the Disney family fare and do something grittier sort of like what he showed in Constantine. Dillane--who was so achingly good in The Hours as Virginia Woolf's beleaguered husband--also does a fine job as the legendary Vardon a man haunted by his own demons. In a way Game is a story about both men who have more in common than they realize. Although a top professional in the sport Vardon has to fight against the elitist golfing community's prejudices. You see Vardon grew up dirt poor on the plains of Scotland and because of his background was never permitted into any "gentleman's" clubs. The cast of colorful supporting players add to the film especially Flitter as the caustic but encouraging Eddie. He may be small but he packs a wallop. The last shot of the movie features Francis and Eddie walking off the golf course at sunset evoking the classic Casablanca ending line "This is the start of a beautiful friendship"--which apparently really happened. The real-life Eddie and Francis remained friends for the rest of their lives.
The main slice against Game is that it's about golf. Besides comedies such as Caddyshack and Happy Gilmore a serious movie about the game really isn't going to stir your soul say like football or baseball. But actor-turned-director Bill Paxton--who made his directorial debut with the creepy Frailty--takes the story and keeps it convincingly affecting. Much like Seabiscuit it's the real-life historical context that makes Game even more compelling. Paxton painstakingly details how the game was played at the turn of the century--and who was allowed to play it. The whole discriminatory arrogance surrounding the game makes the stakes even higher for our heroes. Vardon had a score to settle while Ouimet simply became the game's new hero paving the way for legendary whiz kids like Tiger Woods to step up on the green. Paxton also views Game as a Western. The final golf round between Vardon and Ouimet is the ultimate shootout á la the OK Corral in which the camera angles are inventive--a bird's eye view of the ball sailing through the air or gliding on the green into the hole. Plus he keeps the tension as taut as he can considering the less than exhilarating subject matter. Oh come on who isn't a sucker for a good sports underdog story even if it is golf?