UPDATE: While new Glee characters are plentiful this coming year, some of the ones we know and love might be undergoing some changes. Mercedes Jones (Amber Riley) has been known for her bravado. Since Season One, she's been one of the most outspoken, firey characters in the show, which is what drew Puck to her way back when they breifly dated. However, come Season Three, Mercedes will undergo a little personality change. When she gets a boyfriend in the form of Lamarcus Tinker (Friday Night Lights, Cougar Town), Mercedes will become more of a sensitive, "girly" type. Riley told TVLine that Mercedes will be dressing differently, acting differently, and possibly even singing differently -- for now, anyway. We probably won't be rid of her sass for good.
EARLIER: The Glee family is growing rapidly. We already know about the introduction of a trio of female bullies (including the ), Mercedes' Sam-replacing linebacker boyfriend-to-be, the reveal of Mike Chang's clingy parents, and the mysterious inclusion of The Glee Project victors. But there are still so many new characters to meet. Fearless Gleeder Ryan Murphy has open casting calls for two new characters specifically. Very little is known about the first, a student, other than his general age and physical description. The request calls for a “Young man 18 and over to play 17. He is extremely handsome. Must be an excellent singer. HUGE guest star, MAJOR recurring role.” So... we're most likely dealing with a love interest for someone. We can rule out Santana and, most likely, Brittany. Rachel is an option, although what with Finn/Jesse/Puck/Blaine/Mr. Schue, she's been into enough guys already. It's possible that we'll see someone threaten the relationship between Tina and Mike. Ever since getting together in the Season Two premiere, they have barely had so much as a spat. Murphy has stated that he wants to expand characters like Tina and Mike, who have not had the screen time they deserve, in Season Three. Perhaps this will be a vehicle to do so (and a means of naturally introducing Mr. and Mrs. Chang). The second character Murphy is looking to cast is a “tall big dude who is an Ohio State football recruiter." That plotline offers much less ambiguity: it looks like Finn will be called up to a good college after all. And if the expectations we all have of Finn and Rachel reigniting their blowtorch of love are correct, we can also expect that Finn's football scholarship won't take him anywhere in the vicinity of New York (where Rachel wants to attend school). The age-old "distance versus love" debacle will most likely erupt towards the middle or end of this season. Will Rachel and Finn stay together past their time at McKinley? This is jumping the gun, of course. We still have the problems of Quinn, Jesse, Rachel's career, Finn's popularity and "what's best for the Glee club" to deal with. But the greatest Glee news of all will involve the parents of another character: guidance counselor Emma Pillsbury. We will be introduced to Mr. Schue's obsessive-compulsive dream girl's (unsurprisingly) ginger-follicled parents. Her mother will be played by Valerie Mahaffey, a veteran TV actor who you might know from The United States of Tara. And as her father: the iconic Don Most, who is an eternal part of television history as Happy Days' Ralph Malph. Perhaps the beauty of this will be lost on Glee's younger audiences, but fellow nerds for classic sitcoms will revel in Don(ny) Most's return to the small screen. If this information isn't enough for you, check out the endless supply of new Glee images, including class photos here and here, and shots from the upcoming season premiere, which will air Tuesday, September 20 at 9 p.m. ET on Fox. Click on the photo to see our full Glee gallery. Source: EW
If Transformers: Dark of the Moon is indeed Michael Bay’s final entry in the Hasbro toy-inspired franchise as he has repeatedly intimated then it is a fitting swan song for a director whose lust - and gift - for spectacle remains unmatched. Exhilarating and exasperating awe-inspiring and stupefying the third installment in the blockbuster alien-robot saga is less a movie than a prolonged manic episode. In other words it’s a Michael Bay film.
Any suspicion that Bay might have matured at all since his last film 2009’s Transformers: Revenge of the Fallen vanishes immediately after Dark of the Moon’s opening credits when model-actress (in that order) Rosie Huntington-Whiteley replacing tempestuous Megan Fox as the franchise’s resident eye candy is introduced ass-first. The camera lingers on her backside mesmerized as she makes her way up the stairs to summon our hero Sam Witwicky (Shia LaBeouf) from the bed she inexplicably shares with him. For a director so notoriously ADD-afflicted as Bay he can show remarkable focus when circumstances require it.
Times are tough for our boy Sam who despite having saved the world on two separate occasions can’t find a job. With the Decepticon scourge abated (for now) Optimus Prime Bumblebee and the rest of Sam’s Autobot pals have gotten side gigs as mechanized Hans Blixes roaming the planet in search of illegal WMDs and eliminating the regimes that harbor them. Feeling left out and finding little comfort in the arms his undeservedly hot girlfriend Sam yearns for a shot at more world-saving action.
He finds it soon enough when he is drafted into a plot so sprawling and convoluted that to describe it in full would extinguish what little neurochemical reserves I’ve managed to replenish since last night’s screening. It’s built on an enticing bit of revisionist history which casts the war between the Autobots and Decepticons as the real inspiration for the Cold War space race. It seems that many years ago an Autobot spacecraft carrying a technology that could turn the tide in their centuries-long war crash-landed on the moon. Alerted to the crash JFK immediately initiated the Apollo program with the specific purpose of harvesting technology from the craft before the Soviets could.
But that’s only part of the story as Sam learns when confronted with evidence by a raving co-worker (Ken Jeong) at his new job. (The two have a tussle in the loo – setting the stage for a hi-larious gay-insinuation joke. Vintage Bay!) Turns out there there’s much more to that fallen craft than anyone realizes and if its undiscovered cargo falls into the wrong hands – say Megatron and the Decepticons who are quietly regrouping in Africa – the implications could be devastating.
Dark of the Moon can be roughly divided into two parts. The first is a conspiracy thriller with a surreal comic bent with Bay aiming for – and dare I say nearly achieving – a quirky Coen Brothers vibe as Sam delves headlong into the moon mystery. (The presence of Coen veterans Frances McDormand John Turturro and John Malkovich among the cast reinforces the connection.) Credit screenwriter Ehren Kruger for recognizing that material this preposterous requires a suitably ludicrous sense of humor. But there’s also a sharpness and irreverence to Dark of the Moon’s wit that previous Transformers films have lacked. (It’s still however steadfastly juvenile: When Sam locks eyes with his future girlfriend for the first time his mom exclaims “What a gorgeous box!” while gazing at an unrelated object in the background.) Dark of the Moon's screenplay is a vast improvement over Revenge of the Fallen's in that it is an actual screenplay and not a stack of index cards.
The second half of the film centering on the Decepticons’ extended siege of Chicago unfolds essentially in one long action sequence. It’s as if Bay having sufficiently answered the biggest complaint about the previous film – the lack of a discernible plot – is suddenly unburdened free to commence the all-out sensory onslaught he’s been planning all along. In doing so he all but disavows the film’s first half rendering much of its storyline superfluous.
The battle scenes are truly epic – unprecedented in grandeur and scale and utterly resplendent in 3D – but the endless spectacle induces a kind of delirium. Each frame is positively crammed with images far more than our feeble non-Michael Bay brains could ever hope to process at the breakneck speed he presents them. And no two shots ever look the same: Even a simple shot-reverse-shot dialogue exchange shifts perspective on seemingly every other word. The net effect of Bay’s frenzied handiwork is a state of joyful discombobulation: mouth agape bewildered basking in the dopamine blush.
Oscar buzz continues at the box office this weekend as a few of the year's most highly touted films open in both wide and limited release.
Tom Hanks and company lead the way in the prison drama "The Green Mile," based on the popular series by Stephen King and directed by Frank Darabont. Five years ago, Darabont came to prominence with another prison-bound tale by King called "The Shawshank Redemption." That movie, which frequently tops lists of the most popular films of all time, garnered seven Academy Award nominations.
Other Oscar hopefuls include the limited releases "Cradle Will Rock" and "The Cider House Rules." "Cradle," directed by Tim Robbins and featuring an all-star cast, details the events of New York City's art scene in the 1930s. "Cider," directed by "What's Eating Gilbert Grape's" Lasse Hallstrom, is a quirky, coming-of-age love story adapted from John Irving's book. It stars up-and-comers Tobey Maguire and Charlize Theron.
Those in the mood for lighter fare (especially fans of the Adam Sandler/Chris Farley set) should be delighted by the release of "Deuce Bigalow: Male Gigolo." Rob Schneider, another "Saturday Night Live" alum and frequent co-star in the Sandler films, gets his chance to play dumb as a pool cleaner turned first-class male hustler.
Smaller films vying for attention in limited engagements are "Diamonds," a road movie about family relationships co-starring Kirk Douglas and Dan Aykroyd; "Miss Julie," a sexy affair starring "Deep Blue Sea's" Saffron Burrows and directed by "Leaving Las Vegas'" Mike Figgis; and "Wallowitch & Ross," a documentary covering the careers of entertainers John Wallowitch and Bertram Ross.
The following is a complete list of all the week's releases.
Friday, Dec. 10, 1999
"Deuce Bigalow: Male Gigolo" (Buena Vista) -- Rob Schneider stars as Deuce Bigalow, a down-on-his-luck guy who cleans fish tanks for a living. While fish-sitting for a debonair, world-class male escort, he mistakenly answers the business phone and becomes "Deuce Bigalow: Male Gigolo."
"The Green Mile" (Warner Bros.) -- Set during the Great Depression, Michael Clarke Duncan plays a Death Row inmate in a Southern prison who possesses the unusual gift of healing. Tom Hanks co-stars as the penitentiary guard who, upon discovering the inmate's miraculous power and gentle nature, begins to question the man's guilt.
"Cradle Will Rock" (Buena Vista) -- Based on true events in the cultural and art scenes of 1930s New York City, this film follows various cultural workers -- including Mexican artist Diego Rivera, theater director Orson Welles and propagandist Margherita Sarfatti -- as they defend their artistic expressions in the face of political paranoia and government censorship. John Cusack, Bill Murray and Susan Sarandon co-star.
"The Cider House Rules" (Miramax) -- Directed by Lasse Hallstrom and adapted from John Irving's best-selling novel, this coming-of-age story casts Tobey Maguire as a young man who has spent his entire youth in an orphanage. Hungry for experience, he sets out to explore the world outside. Charlize Theron and Michael Caine co-star.
"Diamonds" (Miramax) -- In an effort to bond with estranged son Dan Aykroyd, former prizefighter Kirk Douglas takes his son and grandson on a road trip to Reno in search of 13 stolen diamonds, stashed away years ago. The quest for the hidden gems affords the men a lesson in fatherhood, reconciliation and the price of growing older. Lauren Bacall co-stars.
"Miss Julie" (MGM) -- Director Mike Figgis returns with a tale of sexual seduction and class conflict set at a wealthy estate. Saffron Burrows stars as an affluent count's sexually wanton daughter who begins an ambivalent and destructive affair with an opportunistic servant, played by Peter Mullan. By the end of the night, the illicit liaison pushes the emotionally unbalanced heroine toward a certain self-destructive act.
"Jerome" (Phaedra) -- Drew Pillsbury plays a man who abandons everything he knows -- his wife, his son, his job -- and heads across the desert to Jerome, Ariz., to pursue his dream of becoming an artist. Despite his determination, the hapless dreamer gets sidetracked when an iconoclastic female drifter, played by Wendie Malick, crosses his path.
"Wallowitch & Ross: This Moment" (First Run) -- Written and directed by Richard Morris, this moving portrait details the career and partnership of entertainers John Wallowitch and Bertram Ross. The documentary recounts from the beginning when Ross was a principal dancer for Martha Graham and Wallowitch was a gifted Juilliard student. Their initial meeting in New York paved the way for an enduring collaboration and a lasting romance.
"Sweet and Lowdown" (Sony Pictures Classics) -- In Woody Allen's latest, Sean Penn plays musician Emmet Ray, a self-proclaimed jazz guitar genius of the 1920s and 1930s. The bigger-than-life portrait follows the eccentric personality through his notorious career as he clashes with lovers, friends, enemies and gangsters in New York City. John Waters and Uma Thurman co-star.
"42 Up" (First Run) -- In 1964, filmmaker Michael Apted began his marathon documentary series about the lives of a group of 7-year-old kids in England, each from radically different socioeconomic backgrounds. Since then, the director has continued to chronicle the ups and downs of his subjects at 7-year intervals. The sixth installment is the latest update on these people at the crossroad of the big 42.
"Tumbleweeds" (Fine Line) -- Leaving an abusive boyfriend behind, single mother Janet McTeer and daughter Kimberly J. Brown head for the sunny suburbs of San Diego to start anew. Once again, McTeer swiftly enters into a destructive relationship and is tempted to look for an easy way out. However, her headstrong daughter, tired of her rootless existence, refuses to abandon her newly established life.