20th Century Fox Film via Everett Collection
Pretty soon, passengers on the Queen Mary 2's transatlantic route will set sail with director Wes Anderson and a few members of the Grand Budapest Hotel cast. According to CNN, Tilda Swinton, Jason Schwartzman, and Wes' afrequent collaborating screenwriter Roman Coppola will all be on board to attend screenings of Anderson's films and participate in audience Q&As. No word on whether the kitchen will be serving Mendl's Courtesan au Chocolat or if the concierge will be as solicitous as Gustave H. Still, this cinematic sail has us dreaming of themed cruises inspired by our favorite movies. Here are a few ideas.
1. Moulin Rouge!
Sumptuous, lavish, romantic. A few days living inside Baz Luhrmann's musical epic will have you feeling like you've danced with the Green Fairy. There might be a treacherous, possessive Duke on the loose, but the guest talent show on the final night would be a doozy.
Cruise ships have levels, and according to Christopher Nolan, so do dreams. What if you could play the Architect and design your own stateroom to full dream-like specifications? We'd be on the phone to our travel agent right now.
3. Gone with the Wind
The perfect trip for anyone who's ever been accused of being "over-dramatic," our Gone with the Wind cruise would be all sweeping scores and epic clinches. For obvious reasons, some basic elements of the Civil War era drama will have to be updated. And the diameter of the ladies' hoop skirts would probably cut our capacity in half.
4. Black Swan
Those who are only happy when it rains can go dark with a cruise inspired by Darren Aronofsky's trippy ballerina thriller. The line between reality and nightmare may get slightly blurred, but club night will definitely be interesting. And, like Nina Sayers' final dance, we're sure it'll all be perfect.
5. The Lego Movie
Lego ice sculptures! Lego towel animals! Lego deck chairs! All Lego everything! A whole ship of Legos! When do we leave?
Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
Follow @Michael Arbeiter
| Follow @Hollywood_com
Fassbender pulled in a haul of nominations for his portrayal of a sex addict in the gritty 2011 drama, including nods for Best Actor at the Golden Globes and the British Academy of Film and Television Arts awards (BAFTA).
His performance is now in contention for a top acting prize at the 25th EFAs, where he faces competition from Mads Mikkelsen (Jagten), Gary Oldman (Tinker Tailor Soldier Spy), Jean-Louis Trintignant (Amour), and The Intouchables co-stars Francois Cluzet and Omar Sy.
Shame is also up for another four trophies, including European Film, European Director for Steve McQueen, European Cinematographer Award and European Editor.
Alongside Shame, the other nominees for European Film 2012 are Amour, Barbara, Jagten, Cesare Deve Morire and The Intouchables.
Kate Winslet is included in the Best Actress category for her turn in Roman Polanski's Carnage, and is up against Margarethe Tiesel (Paradies: Liebe), Emmanuelle Riva (Amour), Nina Hoss (Barbara), and Emilie Dequenne (A Perdre La Raison).
Dame Helen Mirren will be presented with a lifetime achievement award at the ceremony, which will take place in Malta on 1 December (12).
The Pianist moviemaker will begin shooting the saucy comedy in Paris in November (12) and Polanski cannot wait to get started with his favourite actress.
He tells TheWrap.com, "I've been looking for a chance to make a film in French with Emmanuelle for a long time. Reading Venus in Fur I realised the moment had arrived."
The couple last worked together in 1999's The Ninth Gate, which starred Johnny Depp.
Nina Arianda originated the role Seigner will play in the film and won a Best Actress Tony Award last year (11) for the part.
The majesty of the Emerald Isle is on full display in Leap Year an opposites attract romantic comedy starring Amy Adams (Julie & Julia Enchanted) and Matthew Goode (A Single Man Watchmen). Director Anand Tucker (Shopgirl Hilary and Jackie) shooting entirely on location in Ireland takes us on a whirlwind tour of the country’s breathtaking landscape reveling in its fabled fairy-tale charm.
Pity then that such a magnificent setting is so mercilessly defaced by Leap Year’s unrelenting mediocrity. The film’s dubious premise testing the already loose limits of rom-com believability casts Adams as Anna a type-A career girl who flies to Ireland intending to pop the question to her feet-dragging boyfriend on February 29th aka Leap Day. Why Leap Day? Because according to some idiotic old Irish tradition that’s when women are allowed to do such things. (Click here to watch Adams herself try to explain the plot.)
Unfortunately for Anna weather problems force her plane to land far away from Dublin and her would-be fiance. Trapped in a tiny coastal town with no reliable transportation at her disposal she enlists the help of a scruffy abrasive barkeep named Declan (Goode) to drive her cross-country so she can reach her destination by the 29th. And thus begins the traditional rom-com mating ritual of sexually-charged bickering followed by moments of abrupt awkward intimacy.
While watching Leap Year I swear I could hear the Irish countryside quietly weeping as it witnessed Goode and Adams slog through the film's succession of trite misadventures the talented actors straining in vain to manufacture some semblance of romantic chemistry as an assortment of jolly Waking Ned Devine types futilely spurred them on. Oh if only Greenpeace could have intervened and put a halt to such wanton environmental desecration. It's the worst thing to come out of Ireland since The Cranberries.