Summit Entertainment's Highlander reboot is starting to look like the moors of Scotland, and by that I mean uninhabited by people. Juan Carlos Fresnadillo was most recently attached to direct, but he left in November 2012. Now Ryan Reynolds has left the project as well. Reynolds was attached to play Connor MacLeod, an immortal Scottish swordsman forced to confront the Kurgan, a brutal barbarian who lusts for the fabled "Prize."
Art Marcum and Matt Holloway wrote the Highlander reboot, while Noah Oppenheim penned the most recent draft. Melissa Rosenberg also took her turn with the script in 2011. Justin Lin was originally attached to direct in September 2009, though he exited the project in August 2011 to focus on Fast and Furious 6.
Leaving the film won't hurt Reynolds, as he'll soon begin filming Tarsem Singh's thriller Selfless, which FilmDistrict will release on Sept. 26, 2014. He also stars opposite Jeff Bridges in Universal's R.I.P.D and voices the title character in Turbo, which DreamWorks Animation opens July 17. And his exit might actually help the reboot. When it eventually finds a new director, he or she will have more freedom with the vision for the film without being stuck with another director's casting choice.
In the end, there can only be one Highlander star — until he leaves, that is. Then there will be a different one.
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A little back story - the Black List is not a “best of” list by any regard. Instead it is referred to as a “most liked” list. Each year Franklin Leonard asks several members of the entertainment industry elite - top agents, managers, executives, people like that - to vote for their favorite unproduced screenplays and each year he publishes the resulting list. Several of your favorite unique movies of the past few years (Juno, 500 Days of Summer, Lars and The Real Girl) appeared on the list and it has helped launch quite a few careers.
Having said that, there is a caveat. While the criteria calls for the screenplay to be “unproduced” several of these works have either been optioned and/or are in production. In fact, a few have already been made. And there have been whispers that some agencies and managers stack the list for their own clients so this is by no means a fair or accurate list. But alas, that’s Hollywood baby.
Anyway, on to the most promising sounding scripts!
College Republicans - Wes Jones. Taking the top spot this year is the true story of Karl Rove running for the presidency of the College Of Republicans under the guidance of Lee Atwater. Rove is one of the most devious little bastards of the American political system in the past two decades. It’ll be interesting to see this story translated to screen. Shia LaBeouf and Paul Dano are loosely attached to the project.
Jackie - Noah Oppenheim. The second place script follows Jackie Kennedy in the immediate week following JFK’s assassination. While the nation mourned the loss of its leader, she mourned the death of her husband...intriguing to say the least. Sounds heartwrenching. Steven Spielberg is on board to executive produce through Amblin, with Rachel Weisz in talks to star.
All You Need is Kill - Dante Harper. Third place goes to the first skeptical inclusion, an adaptation of a graphic novel. Its high ranking somewhat ensures that it is indeed good, but still the fact that it isn’t original isn’t promising. The story follows a soldier in the future who finds himself caught in a time loop after dying on the battlefield. His tactical skills become more concise after each "death". Doug Liman (The Bourne Identity) to direct.
999 - Matt Cook. A group of corrupt cops have to shoot a fellow officer in order to get away. How can you not like the sound of that? John Hillcoat to direct, Chris Pine in talks to star.
Margin Call - JC Chandor. Our first produced screenplay! This one stars Kevin Spacey and a gaggle of gifted performers. You’ll be able to see it next year as it premieres at Sundance.
American Bullshit - Eric Warren Singer. Another true story of an FBI sting in the US Congress. This is a perfect example of the unwritten rule of the Black List: if you want your film on it, give its title a little dirty word.
The Last Son of Isaac Lemay - Greg Johnson. An aging outlaw is convinced his children are evil and sets off to kill him. However, his worst fears come to life when he meets his last remaining son. Sounds a lot like Dexter and I’m completely okay with that.
Die in a Gun Fight - Andrew Barrer & Gabriel Ferrari. A contemporary take on the Romeo & Juliet tale. This one just had Zac Efron attached to it and has a good chance of getting made.
Imagine - Dan Fogelman. You’ll be seeing this one soon enough with Steve Carell as the son of an aging rockstar discovers the life of his father he never knew existed.
Chronicle - Max Landis. Three teens discovers they have gained superpowers after contact with a mysterious substance in the woods. Things start off all fun and games until they start to turn on each other. Finally! Something not involving politics!
Your Bridesmaid is a Bitch - Brian Duffeld. A guy agrees to be a groomsman for his sister’s wedding only to discover the woman who broke his heart is also a part of the wedding. Why the guy (or the sister for that matter) didn’t see this coming remains to be seen. But again, put a dirty word in your title = recognition.
What Happened To Monday? - Max Botkin. A group of identical septuplets has to investigate the disappearance of one their siblings when the government forces families to only conceive one child due to population overcrowding. The possibilities of this seem amazing and due to the title it seems likely each sibling is named after a day of the week. Go me.
The Butler - Danny Strong. A black butler in the White House services eight US Presidents. Could be Forrest Gump. Could be TMZ. Either way, I’m there.
One Day - David Nicholls. Here’s the official Black List summary, “Dexter and Emma meet for the first time on college graduation day in 1988 and proceed to reunite one day a year for the next 20 years.” Here’s my official reactiong, “Bluuuuurgh.” This one is in post-production with Anne Hathaway and Jim Sturgess starring. Lone Scherfig (An Education) directs.
Murder of a Cat - Christian Magalhars & Robert Snow. A dark comedy about a guy investigating his cat’s death? Why hasn’t this been made sooner?
Can You Keep A Secret - Megan Martin. A woman spills all of her secrets to the stranger on a rough plane ride. Turns out the stranger is the CEO of her company. This logline actually made me laugh out loud. I really hope it gets made.
Cinema Verite - David Seltzer. “Based on the PBS series ‘An American Family,’ cameras follow a family as they go about their daily life.” I’m sorry, I couldn’t make it through that sentence. I had to copy and paste.
The Girl With Something Extra - Terrence Michael. A girl enters high school and suddenly realizes she’s a boy who has been raised his whole life to believe he is a girl? Talk about an awkward first day of gym class.
Ricky Stanicky - Jeff Bushell. Three childhood friends invent someone to take the blame for all of their shenanigans. Eventually their wives demand to meet this person and they hire and actor to play him. Sounds like a Farrelly Brothers movie and I mean that in the most sincere way possible. James Franco is attached.
Zombie Baby - Andy Jones. You don’t need to know anything other than the title. Trust me.
Boy Scouts Vs. Zombies - Carrie Evans & Emi Mochizuko. Again, no other information necessary.
Prom - Katie Wech. “High school students prepare for their prom.” No, seriously. That is all there is to it.
Fucking Jane Austen - Blake Bruns. Again, use a dirty word, get Black Listed. But this one actually lives up to its title. Two men are pissed at Austen for creating unrealistic expectations about love among women (preach it brothers!) so they get sent back in time. Unfortunately the only way for them to get back is to have Jane Austen fall in love and sleep with one of them.
Paint - Brit McAdams. From the list, “A Bob Ross-esque PBS painting show host must fight for his career when his station brings in a rival painting host.” Stop, you had me a Bob Ross-esque.
Novelist Richard Yates tried for years to bring his 1961 story of marital trouble in ‘50s suburbia to the screen but died before seeing it finally come to fruition in the form of this scorching adaptation by writer Justin Haythe. April (Kate Winslet) and Frank Wheeler (Leonardo DiCaprio) are young marrieds living what appears to be the ideal life in the Connecticut of the 1950s. He has a nice job she is a mother of two with dreams of an acting career. But beneath the surface is a lingering dissatisfaction with their lives; Frank is having an affair with an office worker (Zoe Kazan) and April is terribly unhappy with the way her life is turning out. They engage in ferocious arguments constantly disproving the idea they are the perfect couple. One day April decides the answer to all their problems is to move to Paris and start over. Frank initially agrees but the relationship goes downhill even further from there and things spiral out of control. Revolutionary Road’s brilliant ensemble ignites and delivers on just about every level imaginable. Kate Winslet who seemingly can do no wrong these days is heartbreakingly good as a housewife who foreshadows the feminist movement. Her April is an ambitious confused woman tragically living a couple of beats ahead of her time. Leonardo DiCaprio gives his finest film performance as a man who knows he is not living up to his potential but seems to be in a state of denial trying almost pathetically to keep what’s left of his marriage and family together. It’s the subtext and unspoken words between them that really give power to these tremendously effective performances. After the first 10 minutes you will be so mesmerized by their raw naked acting you will forget you are watching the two young stars who first appeared together in Titanic a decade earlier. Kathy Bates as a cheerful real estate agent with her own family problems is also quite good as is Michael Shannon as her disturbed grown son who seems to know more about the sad state of the Wheelers home life than anyone realizes. He should be a frontrunner for the supporting actor Oscar if there is any justice. Also blending in nicely are Kathryn Hahn and David Harbour as neighbors who are the polar opposite of Frank and April. Sam Mendes who won an Oscar for directing yet another stinging view of suburbia with his Oscar-winning American Beauty does another great job of bringing out the essence of what Yates says about a generation hiding behind a façade of happiness but living on the cusp of great profound social change. Mendes lets long dialogue scenes play out packing them with riveting moments. His filmmaking style should be savored for the insights it provides and the emotional challenges it presents. Mendes also manages to get an extraordinary portrayal of suburban angst from his real-life wife Winslet. Not since Elizabeth Taylor and Richard Burton battled so brazenly in 1966’s Who's Afraid of Virginia Woolf has there been a wounded couple’s marriage so deeply and poignantly exposed on screen.
Loosely based on the (rather lame) 1960 Rat Pack film dashing understated-but-cool thief Danny Ocean (George Clooney) orchestrates the most sophisticated elaborate casino heist in history less than 24 hours after being released from jail. In one night Danny's handpicked 11-man crew of specialists--including an ace card sharp (Brad Pitt) a young-but-masterful pickpocket (Matt Damon) and a demolition genius (Don Cheadle)--will attempt to steal over $150 million from three Las Vegas casinos owned by Terry Benedict (Andy Garcia) the elegant ruthless entrepreneur who just happens to be dating Danny's ex-wife Tess (Julia Roberts). To score the cash Danny will have to risk his life and risk his chance of ever reconciling with Tess. But if all goes according to his intricate nearly impossible plan Danny won't have to choose between his stake in the heist and his high-stakes reunion with Tess. Or will he?
The star wattage in this movie could solve all of California's electricity problems in one fell swoop. George Clooney easily passes himself off as suave mastermind Danny Ocean playing the role with understated class and elegance. Brad Pitt takes a similar arc as Rusty though he's slightly more dispassionate and professional than Clooney's visionary Ocean. Matt Damon is convincing as the inexperienced-but-talented pickpocket who's essential to getting in the vault. And Julia is simply Julia--glamorous and charming a smart cookie who is being wooed by the evil ruthless (and anal-retentive) casino mogul so elegantly portrayed by Andy Garcia. Affecting a Cockney accent and attitude Don Cheadle's portrayal of the demolition expert is a tour de force. Carl Reiner is absolutely hilarious as Saul Bloom an aging old-timer who comes out of retirement to infiltrate the casino as a debonair arms dealer. Elliott Gould Bernie Mac Scott Caan and Casey Affleck round out the cast nicely with inspired performances especially Gould's and Mac's.
Soderbergh cemented his reputation last year as a director of serious weight when both Traffic and Erin Brockovich were nominated for the Best Film Academy Award and garnered him two Best Director nominations---an unprecedented feat. Ocean's Eleven marks Soderbergh's departure from the serious to the seriously fun. This is one of the most stylish most elegantly filmed movies I have ever seen. Not only are all the actors beautiful but so are the locations clothes and shot selections. The speed and pacing of the flick belie the movie's length; Soderbergh clearly had fun making this movie. He shot this film very intimately often allowing the camera to stay close on the actors a tad longer than expected which lets their personas shine through--thus their personalities draw you into the movie as much as the caper itself. It's not often you see a movie where the direction has as much wit and cleverness as the plot itself. Ocean's Eleven makes no pretense to be something other than a jaunty cheeky exhilarating heist movie. So while the plot's not too deep all is forgiven considering the level of acting and direction.