Imagine a big, block-lettered MEANWHILE... in the top corner of this post, as you are about to be privy to all of the Marvel Studios information that is underway. Below is an assembly of info on all of the developments regarding several in-the-works Marvel projects... Iron Man 3 is said to begin shooting in Wilmington, NC this coming March, several weeks prior to previously reported schedule dates, which were set close to The Avengers release (May 4). Comingsoon reports that a source involved with the NC production has stated, "[Marvel] will have staff in Wilmington as early as mid-March, with shooting scheduled to begin the last week of April or the first week of May." A Marvel Studios source confirmed somewhat nebulously, "It is not April for sure." The script for the developing Doctor Strange film has been completed by writers Thomas Dean Donnelly and Joshua Oppenheimer (Conan The Barbarian, Sahara). A director is currently being sought. Production on the film is expected to begin this year, with a target release date in 2013. Marvel Studios has set release dates for two other unspecified projects. One is Apr. 4, 2014, and the other is May 16, 2014. Thor 2 is set for Nov 15, 2013, ruling that out. Suggested possibilities include Captain America 2, which is shooting for production by the end of 2012, and Nick Fury.Source: Comingsoon
Marcus Nispel’s silly violent fantasy epic Conan the Barbarian is Hollywood’s second attempt at building a franchise based on pulp author Robert E. Howard’s signature character. The first yielded two films of diminishing quality – 1982’s Conan the Barbarian and 1984’s Conan the Destroyer – and is best remembered for launching the career of future governor Arnold Schwarzenegger whose Austrian accent in the films is so thick as to render the bulk of his dialogue unintelligible.
Playing the title role in the update is Jason Momoa whose muscles aren’t quite as gargantuan as his predecessor’s but whose line-readings are at the very least comprehensible. (His own accent betrays hints of Hawaiian surfer-dude.) Momoa is most famous for his recent turn as a Khal Drogo on the hit HBO series Game of Thrones a far superior work of hard-R sword-and-sorcery fantasy. Thrones like Conan the Barbarian boasts bare breasts and beheadings galore but beneath the sex and savagery lies real intelligence. All the titillating elements are icing on the cake for a series founded on compelling characters and ingenious storytelling
Not so much with Conan the Barbarian. The film begins with a lengthy prologue inexplicably narrated by Morgan Freeman that briefs us on the essential details of the film’s mythology – and you’d best be paying attention because the ensuing film treats story and character as so many enemies to be vanquished. The opening scene announces the movie’s savage B-movie ethos thusly: When Conan’s very pregnant mother is injured in battle (barbarians don’t get maternity leave) his father (Ron Perlman) delivers his son via an impromptu battlefield Cesarean photographed in graphic detail. A warrior is born.
The plot involves a grown-up Conan gunning for revenge against Khalar Zym (Stephen Lang) the sorcerer-chieftan who killed his father and obliterated his tribe the Cimmerians when he was just a boy. Conan is something of a rock star in the marauding world his bloodlust not so all-consuming that he can’t stop to enjoy a flagon of mead with the odd topless slave babe. His credo is cogently expressed as “I live I love I slay I am content” – words to live by if there ever were.
On the path to vengeance Conan links up with a runaway nun Tamara (Rachel Nichols) whose special blood is required by Khalar to resurrect his dead wife. Or maybe it’s needed to conquer the Kingdom of Hyboria. Whatever. The attraction between Conan and Tamara is instantaneous and powerful – what girl can resist such charming lines as “Woman come here ” and “You look like a harlot”? Films like this can usually get by with one female speaking role but Conan the Barbarian offers a second: Marique (Rose McGowan) a scheming goth-witch whose affection for her father Khalar is clearly beyond familial. The role was originally written for a man.
Nispel’s previous films include two horror remakes (The Texas Chainsaw Massacre and Friday the 13th) and the barely releasable Pathfinder. He directs with casual disregard for context rushing hurriedly from one bloody set-piece to the next coherence be damned. Action is paramount in Conan the Barbarian; the film is positively bursting with it leaving little room for anything that might engage us on any level beyond “guilty pleasure.” Some of the action is memorable some of it tedious but the violence is inspired. In one scene while questioning a man whose nose he’d hacked off just a few frames earlier Conan jams his finger into the man’s exposed nose-hole causing it to spew icky clear fluid. Now that is some enhanced interrogation.
Leonardo DiCaprio joined environmentalists to give Americans a pre-Halloween scare on Oprah Winfrey's talk show yesterday, when he warned about the dangers of global warming.
The Titanic star presented a segment from a politically charged new documentary, called Global Warming, which he narrates, and explained he felt the last year's hurricanes and tsunamis are just a terrifying warning of what is to come.
DiCaprio and Dr. Michael Oppenheimer, a professor at Princeton University, attempted to explain the "complicated issue" of global warming, emphasizing that America, which boasts five percent of the world's population, produces 25 percent of the globe's carbon emissions.
The actor stated, "Global warming is not only the number one environmental issue that we're facing today, but one of the most important issues facing all of humanity.
"We're in a situation right now where we're basically emitting too much of this carbon pollution from our cars and our electric power plants that burn coal into the atmosphere, and it's causing our planet to heat up."
Winfrey listened intently as DiCaprio warned about the dangers of ignoring the problem, and then said, "You feel like Noah (biblical character who built an arc in preparation for a great flood) to me—you’re like, 'Pay attention, pay attention, pay attention.'"
Winfrey then confessed she owns one of the five worst sports utility vehicles on a new emissions list, prompting DiCaprio to state, "That's OK, as long as you change that."
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September 16, 2004 12:22pm EST
In 1930s New York Chronicle investigative reporter Polly Perkins (Gwyneth Paltrow) gets a lead on a story she's been covering about prominent scientists from around the world who are mysteriously disappearing. When Manhattan is attacked by giant robots Polly reluctantly seeks the help of an old flame ace aviator Captain Joseph Sullivan aka Sky Captain (Jude Law) to get the scoop and find out who's behind these strange events and discovers an Oppenheimer-type science man named Dr. Totenkopf has abducted the scientists in a mad bid to build a doomsday device to annihilate what he believes to be an already damned human race. Assisted by Captain Franky Cook (Angelina Jolie) who runs a secret mobile airstrip thousands of feet in the air Sky Captain and Polly head out to stop Totenkopf and save mankind. How could such a visually dazzling film where the fate of the world rests on the shoulders of three dashing Hollywood stars be so ... unexciting? Much stronger storylines could have evolved from supporting players Dex Sky's right-hand man (Giovanni Ribisi) and especially daredevil Franky and her amphibious squadron all of which are used too sparingly throughout the film.
Paltrow in the lead role of Polly completely captures the witty rapid-fire dialogue of the era immortalized by Rosalind Russell in His Girl Friday. But while her performance is nearly flawless Polly's self-centeredness turns the would-be heroine into an antagonist; it's hard to like a character who can't put humanity's needs before her own career ambitions. Polly's rabble-rouser persona should bring some exciting tension between her character and Sky Captain's Boy Scout guise but it doesn't--in fact there's a complete lack of chemistry between the two leads. But Law's performance as Sky Captain brilliantly matches Paltrow's as the actor encompasses the new-yet-old type of movie hero one more suave than macho. Less platonic however is the on-screen relationship between Law's Sky and Jolie's Franky. The script's purposefully ambiguous take on the characters' history adds spice to the film's otherwise bland relationships. It's too bad Jolie's performance probably the highlight of the film isn't brought more to the forefront. Ribisi injects some light comedy to the heavy story and Omid Djalili impresses as Kaji a friend of Sky Captain's who helps them during a leg of their journey to find Totenkopf. To their tremendous credit all the cast members delivered seamless performances especially considering all their scenes were shot in one room using a blue screen.
The production behind Sky Captain and the World of Tomorrow is what this film is really all about. Based on a six-minute test reel created on his home Mac writer/director Kerry Conran was able to nab studio backing and secure major names--not shabby for one's feature debut. The final product delivers too--a retro sci-fi picture where nearly everything onscreen except for the actors was painstakingly computer generated in post-production. It's amazing how the actors blend flawlessly into the film's animatic backdrops. Every shot makes the most of its visual effects and the film has a dark and dramatic comic book feel a sort of Gotham meets War of the Worlds. Conrad pays homage to literary masters such as H.G. Wells New York's 1939 World's Fair and films including The Wizard of Oz: Sky Captain tracks down Totenkopf like Dorothy searched for her sorcerer and although they are not in Kansas and there is no yellow brick road there is a mysterious genius hiding behind the curtain. But unlike Wizard of Oz Sky Captain doesn't hold its momentum. There's a chase scene for example that goes on way longer than it should have and an overly weighted storyline about Polly and Sky Captain's defunct love affair. Did he cheat on her when they were together years ago? Did she sabotage his airplane? Who cares! Luckily the ending somewhat redeems the story thanks to a couple of surprising little twists.
The Academy of Motion Picture Arts and Sciences had a few surprises up its sleeve tonight, though for the most part experts predicted the winners accurately.
Gladiator, which many thought was a shoe-in for Best Picture, was. In a more surprising addition, the film's star, Russell Crowe, beat out Golden Globe winner Tom Hanks for the Best Actor award. Gladiator's chief rival for Best Picture, Crouching Tiger, Hidden Dragon, had to be content with the prize for Best Foreign Language Film as well as several technical awards.
Steven Soderbergh seemed surprised to find himself the proud owner of a new gold statue when he was awarded the Best Director Oscar for Traffic, one of two movies for which he was nominated. A win for Julia Roberts in Erin Brockovich, the other Soderbergh directing venture, was no surprise in the Best Actress category.
In one of the evening's biggest shockers, Marcia Gay Harden walked away with the Academy Award for Best Supporting Actress for her role in Pollock, upsetting pundit predictions that newcomer Kate Hudson would take home the statuette. Holding back tears, Harden thanked her co-workers and her family for their support throughout her career.
As expected, Benicio Del Toro took home the Academy Award for Best Supporting Actor for his work in Traffic. The actor thanked the members of the Academy, and dedicated his Oscar to the people of Nogales, AZ and Nogales, Mexico, two of the cities where the film Traffic was filmed.
Screenplay awards fell out much as anticipated, with Traffic's Stephen Gaghan winning for Best Adapted Screenplay and Cameron Crowe taking home the award for Best Original Screenplay for Almost Famous.
The Oscar for Best Achievement for Costume Design went to Janty Yates for Gladiator, and Goldie Hawn presented the award for the Best Score to Crouching Tiger, Hidden Dragon composer Tan Dun. Crouching Tiger's Peter Pau also won for Best Cinematography. The first Oscar awarded this evening, Best Achievement for Art Direction, went to Tim Yip for his work on Crouching Tiger, Hidden Dragon. "I am really nervous...this is the first time I win an Oscar," Yip said.
Bob Dylan appeared live from Australia, and later accepted the award for Best Song from there as well. His tune "Things Have Changed" is from Wonder Boys.
Several technical awards went out early in the evening; Jon Johnson won for Sound Editing for U-571, and Best Achievement in Visual Effects went to Gladiator. Nominee Kate Hudson presented the award in the Best Makeup category to Rick Baker, a six-time Oscar winner, and Gail Ryan for Dr. Seuss' How the Grinch Stole Christmas. Bob Beemer, Ken Weston and Scott Milan picked up the statue for Best Sound for Gladiator, and that film's John Nelson, Neil Corbould, Tim Burke and Rob Harvey won for Best Visual Effects. Stephen Mirrione won the Oscar for Best Editing for Traffic.
The Short Subject Documentary award went to Tracy Seretean for Big Mama, and the Documentary Feature award went to Mark Jonathan Harris and Deborah Oppenheimer for Into the Arms of Strangers: Stories of the Kinder Transport.
When Quiero Ser" (I Want To Be ...) won the award for Best Short Live Action Film, director Florian Gallenberger greeted his native Mexico and thanked his film school for making his dreams come true.
The Best Animated Short Film nominee category followed with Michael Dudok de Wit's Father and Daughter taking the prize.
The Academy honored director Jack Cardiff with an honorary Academy Award tonight. "For those of us who are 70 years or younger were born, Jack Cardiff was shooting film...and he's still shooting," Dustin Hoffman said. As he accepted his award, Cardiff hugged his statue and said, "This has to be a dream."
Ernest Lehman, screenwriter for such amazing movies as The Sound of Music and Hello, Dolly, was given the Lifetime Achievement Award, as was Gladiator producer Dino De Laurentiis.
In other news, Bob Raime, President of the Academy for five and a half years, told viewers and attendees that he was resigning from office.