Carol McGregor, an executive producer of the film, admits a number of roles have yet to be filled and she hopes the Trainspotting star will find the time to take part.
She says, "It depends on his schedule. He's been very supportive of the film."
Ewan is said to be eager to join the cast, which boasts Texas rocker Sharleen Spiteri and actress Dawn Steele. The movie, described as a modern-day David and Goliath story, is due to be filmed in Scotland this summer (11).
I expected Your Highness David Gordon Green's R-rated sword-and-sorcery farce to be a medieval stoner comedy something in the vein of Monty Python-meets-Cheech and Chong. This was not an unreasonable assumption given a) the film’s clearly suggestive title and b) the fact that its stars (Danny McBride and James Franco) and director previously collaborated on the THC-laced epic Pineapple Express. But I was waaaaaay off. Sure drug references abound in Your Highness but they are relatively benign in comparison to the film’s exhausting barrage of adolescent sexual humor and often shockingly crude language. Less bongs more schlongs is Your Highness' overriding ethos.
Taking care not to stray too far from the winning comic persona established in Eastbound & Down and The Foot Fist Way McBride plays Prince Thadeous a royal ne’er-do-well who lives in the shadow of his handsome older brother Prince Fabious (Franco) gallant knight and heir apparent to the throne of the kingdom of Mourne. While Fabious is out defending his father’s realm against various supernatural threats and earning acclaim for his illustrious deeds cowardly and entitled Thadeous parties with loose maidens and smokes hallucinogenic herbs with his twink-ish toadie Courtney (Rasmus Hardiker). But he finds he can no longer shirk his heroic duties when an evil sorcerer named Leezar (Justin Theroux) crashes Fabious’ wedding and absconds with the crown prince’s fiancée Belladonna (Zooey Deschanel). Urged to aid in his brother’s quest to rescue her Thadeous resists — that is until his father threatens to cut him off from the royal teat.
Very soon into his journey we discover why Thadeous was heretofore so reluctant to join in his brother’s adventures: Quests in the Your Highness universe entail an awful lot of encounters with homoeroticism – both latent and blatant. Knights dress in tights and codpieces and seem unusually affectionate toward one another. The price for advice from the Great Wize Wizard a bedridden seal-like creature wearing what looks to be a jellyfish as a skullcap is an open-mouthed kiss and a handjob. A sassy manservant is stripped of his clothing and revealed to be a eunuch. A tribe of feral women is ruled by a half-naked highly effete cherub-like figure named Marteetee. And so on.
Your Highness reaches its homoerotic apex during a pivotal scene in which Thadeous in his first real act of bravery intervenes to prevent Courtney from being raped by a minotaur which minotaur happens to be sporting a massive erection. Wanting a trophy to commemorate the deed he severs the slain beast’s still-engorged member and hangs it around his neck giving us for the remainder of the film a vivid monument to the filmmakers' most reliable comic device. (It’s an impressive sight – I fully expect “hung like a minotaur” to gain much greater prevalence in the lexicon should Your Highness be a hit.)
Not that there’s anything wrong with that. And Your Highness does throw in a few hetero bits to help balance the sexual ledger especially when the cast is joined by Natalie Portman playing a feisty fellow-quester and McBride’s unlikely romantic foil. Portman should at the very least be commended for being able to utter lines about a "burning in her beaver" with unvarnished sincerity.
Your Highness is often wickedly funny – a filthy spot-on send-up of The Beastmaster Krull and other campy '80s fantasy flicks. But there’s precious little beyond the filth and eventually the bawdy language and infantile shenanigans grow repetitive especially when the plot starts to meander in the second act. Green's primary comic instinct is to aim for shock value — as in Pineapple Express the action in Your Highness is punctuated by cartoonish violence — which grows tedious toward the end credits. His efforts would have been better devoted to expanding Theroux's and Deschanel's roles — they are woefully underutilized — or giving McBride something funnier to say than "motherf*cker."
In Red Riding Hood the age-old fairytale of a little girl who learns the perils of talking to strangers has been turned into a sort of supernatural harlequin murder mystery by Catherine Hardwicke director of the 2008 teen vampire flick Twilight. Though nominally a horror film its dearth of scares and potent strain of adolescent melodrama will inspire more comparisons to Stephenie Meyer’s bestselling saga than its director would probably care to acknowledge.
In this version the titular red-cloaked heroine played by doe-eyed Amanda Seyfried is given a name – Valerie – and cast not as the disobedient naïf we remember from the original fable but a headstrong and independent-minded young lady who would never fall for the tricks of some hairy beast masquerading as her grandmother. Although betrothed by parental arrangement to Henry (Max Irons) the respectable scion of a wealthy blacksmithing family her heart really belongs to Peter (Shiloh Fernandez) the darkly handsome town badboy whose chosen occupation woodworker apparently ranks far below blacksmith in the social hierarchy.
Valerie is inclined to run off with Peter but soon such inclinations must be shelved when her sister turns up dead the apparent victim of a wolf that has terrorized the residents of Daggerhorn the rustic medieval-ish mountain village in which the film is set (the exact setting and time period are kept weirdly indeterminate) for decades. The men of Daggerhorn resolve to avenge the girl’s death and slay the murderous animal once and for all but they appear hopelessly outmatched until Father Solomon (Gary Oldman) a blustery hunter/inquisitor with dubious religious credentials arrives on the scene. Solomon informs the beleaguered Daggerhornians that the wolf they are dealing with is no mere wolf but a shape-shifting werewolf with powers far greater than any of them had anticipated.
Even worse when the moon isn’t full he (or she) walks among them unnoticed in human form. Everyone is a suspect Solomon declares and soon Red Riding Hood evolves into a hokey whodunit filled with all sorts of unconvincing feints and red herrings. At the center of the mystery is poor Valerie in whom the werewolf seems inordinately interested. “Ohmigod you can talk!” she gasps when the werewolf first speaks to her telepathically – a line that got some of the loudest laughs in a film that is far too often inadvertently comedic.
Such is the danger of a film that treats such a subject as ridiculous as Red Riding Hood’s with such unrelenting gravity – melodrama curdles into gooey processed cheese. And this film is slathered with it. Which wouldn't be so bad if the subject matters were at least a little suspenseful but Hardwicke is unable to exact much terror or fright out of David Leslie Johnson’s too-tame script. (The film’s PG-13 rating doesn’t help.) What we’re left with is a gauzy romance that might have even ardent Twi-hard types rolling their eyes.
The Italian Job actress, who has dated Billy Zane and Jason Statham, admits she has been checking out Steele in action since the pair became friends on the set of the 2010 fishy film.
She tells Britain's Sunday Sport newspaper, "Riley and I became really good friends and I was really intrigued by what she was doing and how she got into it.
"I was really impressed by how much she enjoyed what she did and I admired her and became a big fan of her work."
Brook and Steele shot an underwater lesbian scene for Piranha 3D.
Mark Ronson, designer Vivienne Westwood and TV presenter Michael Palin are also supporting the scheme, which aims to encourage more Brits to go green to help the planet.
Climate Week founder Kevin Steele tells WENN, "We are delighted that people such as Sir Paul McCartney, Sienna Miller, Lily Cole and Mark Ronson are backing Climate Week.
"Their support is a vital part of showing how everyone can do their bit to combat climate change. With the energy and influence of the biggest names in entertainment, politics and business, Climate Week can help inspire millions of people to protect our planet and create a secure future."
Climate Week takes place in Britain between 21 and 27 March (11).
The term “burlesque ” for the uninitiated refers to a specific brand of female striptease that incorporates flamboyant costumes elaborate choreography kitschy songs and various other elements to which heterosexual men are largely indifferent. But it’s wildly popular in other circles -- so much so in fact that it has earned its very own film titled oddly enough Burlesque.
Written and directed by music video veteran Steven Antin Burlesque is fashioned loosely as a camp homage to the 2000 film Coyote Ugly. Stage and screen legend Cher brought to life by an innovative blend of animatronics and CGI stars as Tess the brash tough-as-nails proprietress of Hollywood's almost unbearably fabulous Burlesque Lounge. Despite the obvious popularity of its musical revue the club is plagued by money problems which makes it the target of acquisitive real estate developer Marcus Gerber (Eric Dane) a man whose name alone carries all sorts of ominous Teutonic implications. But Tess determined diva that she is refuses to sell. She's not about to let years of gross financial mismanagement kill her dream of providing a haven where scantily clad women can dance provocatively without fear of encountering men who’d like to sleep with them.
Potential salvation arrives in the luminous top-heavy form of Iowa-bred Ali (Christina Aguilera) a vision of wide-eyed innocence and vaulting ambition in soft focus. Immediately upon entering the Lounge she is struck by the sudden realization that her lifelong dream is to become a burlesque superstar. Unfortunately Tess doesn’t initially recognize Ali’s potential and the poor girl is forced to slum it as a cocktail waitress in the bar area where she’s embraced by the club’s straightgay bartender Jack (Cam Gigandet) a southern transplant whose own showbiz dream involves making it as a songwriter. (In accordance with songwriter tradition he takes pains to ensure that every inch of his chiseled frame is bronzed and waxed. Just like Bernie Taupin.) In her free time Ali devotes herself to the study of burlesque and when her opportunity arises she seizes it without hesitation.
Burlesque is principally the Cher and Christina Show and the film thrives when their respective talents are on display. (“Talents ” obviously gaining a dual meaning in regards to Aguilera.) Surrounding them are a smattering of stock characters pursuing forgettable story arcs the lone exception being the always excellent Stanley Tucci adding a pinkish hue to his incomparable wit in the role of Sean Tess’s long-suffering boa-clad second-in-command. He and co-star Alan Cumming are two sides of the same sassy coin but Cumming is little more than a bitchy bit player in Burlesque poking his head into the frame on occasion to deliver a biting one-liner. Then again that description could apply to any number of characters in the film.
It appears that Antin true to his music-video pedigree conceived of Burlesque with the song-and-dance pieces in mind first then set about building a story around them. (The opposite is generally preferred.) The musical set pieces are lavish sexy and at times truly dazzling especially when Aguilera takes the stage but they do little to advance the film’s plot. Consequently Burlesque’s running time swells to almost two hours to satisfy the demands of a story that frankly seem hardly worthy of such an effort.
The James Bond star, whose last high-profile stint on TV came in 1980s crime show Remington Steele, has signed up to star in a new thriller series about a private detective, based on the experiences of real life investigator Logan Clarke.
Brosnan will not play the lead in the show, but will take on a smaller part, according to Deadline.com.
The currently unnamed project will be penned by former ER writer/producer Jack Orman, while the former 007 will act as an executive producer.
The record of rappers becoming actors is decidedly mixed. Eminem drew praise for his semi-autobiographical turn in 8 Mile while his Detroit neighbor Curtis “50 Cent” Jackson was largely panned for his work in his 2005 biopic Get Rich or Die Tryin’. Ice Cube and Ice T have both earned steady paychecks and occasional acclaim on the big and small screens while the less-esteemed member of the Brothers Ice Vanilla never quite recovered from 1991‘s disastrous Cool as Ice.
Two of the latest hip-hoppers to attempt the leap Chris Brown and Tip “T.I.” Harris can both be seen in the heist thriller Takers. They also served as producers on the film and in that regard they deserve credit for helping assemble a cast that quite effectively lowers the bar for their acting work. In an ensemble that includes the likes of Paul Walker and Hayden Christensen they needn’t worry about issuing Oscar-worthy performances. As long as they’re semi-ambulatory they stand a fairly good chance of keeping pace with Takers’ slow-moving herd.
The film’s plot concerns a swaggering crew of bank robbers whose sophisticated methods have enabled them to pull off a number of high-stakes heists with nary a hitch. Their strict adherence to a one-job-per-year schedule is enough to fund a luxurious lifestyle in which they freely indulge their tastes for fancy cars tailored suits single-malt scotch and big cigars (No King Cobra and Swisher Sweets for these classy gents. No siree.) All of which is fastidiously depicted by director John Luessenhop (Lockdown) whose aesthetic sensibility in Takers varies between hip-hop video and Maker’s Mark ad.
And they’re decent civic-minded folks too: Jake (Michael Ealy) is eager to leave the game and settle down with his fiance (Zoe Saldana) the proprietor of a trendy downtown L.A. cocktail lounge; his brother Jesse (Brown) wants to ensure their elderly father is taken care of upon his release from prison; proper English chap Gordon (Idris Elba the lone standout) faithfully shepherds his junkie sister through rehab; John’s (Walker) moral compass won’t allow for shooting cops or unarmed civilians; and A.J. (Christensen) is a talented pianist whose bowler hat and hoarse hepcat diction are I can only assume indicative of a deep appreciation for jazz-age style.
But for all the gang’s obvious intelligence their judgment of character is appallingly poor. When a shady former associate named Ghost (T.I. — which after watching the film I now realize stands for "Totally Incoherent") comes to them with a suspiciously lucrative new opportunity he claims to have hatched during a recent jail stint the fellas need all of a nanosecond to sign on to the dubious scheme forsaking all of the rules that made them successful. Why they’d place their livelihoods on the line for an ex-con who can’t be bothered to raise his eyelids above half-mast or pronounce consonants appearing at the end of words like “love” (which his lazy twang renders “luh”) is beyond me but it’s the first of several missteps that open the door for Detective Jack Welles (Matt Dillon) an old-school cop who refuses allow a crumbling marriage chronic sleep deprivation or established caselaw involving warrants and Miranda rights to deter him in his dogged pursuit of justice.
Takers features a smattering of the expected twists and turns most of which are sufficiently telegraphed by Luessenhop’s direction which downshifts to slow-motion at the advent of every action sequence and the film’s predictable story arc. What is surprising about the film is its lack of verve an absolute must for a heist flick and something which even the worst of the Ocean’s films boasted. For all of its bullets and bling Takers all too often feels as lethargic as its co-producer and co-star T.I. looks. (Although to be fair Dillon appears at times to be sleep-walking as well.)
Those who’ve watched MTV’s Spring Break and wished for its undulating crew of debauched partiers to be devoured wholesale or who’ve witnessed Girls Gone Wild’s shameless exploitation of drunken college girls and longed for its smarmy founder Joe Francis to receive a grisly dose of karmic justice or who’ve seen any of Eli Roth’s films and hoped for the “torture-porn” impresario to receive a dose of his own vile medicine will find their catharsis in Piranha 3D. What they will not find is much in the way of a plot quality acting or anything remotely resembling restraint. But you weren’t really expecting that in a film about killer fish were you?
In Piranha 3D director Alexandre Aja's (High Tension The Hills Have Eyes remake) overriding concern is with his relentless onslaught of T&E — tits and entrails. He often groups them together in the same scene — presumably for efficiency’s sake — as when a busty topless parasailor (an IMDB search reveals her to be a porn star named Gianna Michaels) is bisected during a brief dip below the water’s surface or when a similarly-endowed party girl is separated from her bikini top — and then much of her upper torso — by a stray cable from a tumbling platform. Indeed Piranha DDD might be a more suitable title for the film given Aja’s Russ Meyer-meets-Faces of Death sensibility.
Given the ridiculous subject matter Aja has little choice but to wholeheartedly embrace the camp of it all and Piranha 3D is nothing less than the Avatar of B movie schlockfests. In addition to its array of grotesquely violent set pieces the film boasts a gleefully wicked sense of humor the primary vessel of which is Jerry O’Connell who plays internet sleaze merchant Derrick Jones an obvious stand-in for the aforementioned Francis. In search of fresh meat for his co-ed porn site he combs the fictional Arizona resort town of Lake Victoria at the height of spring break for new prey. Unbeknownst to him his prospective talent pool is about to be decimated by a swarm of piranhas recently freed from their undersea prison by a timely earthquake — this despite the heroic efforts of the town’s pair of hardy but laughably impotent sheriffs (Elisabeth Shue and Ving Rhames).
These razor-toothed piranhas may seem like mindless predators but they are not without their share of admirable traits. Before beginning their feeding frenzy for example they’re considerate enough to allow the lake’s doomed revelers one last hedonistic hurrah the highlight of which is an extended sequence in which Jones’ two most prized fillies played by softcore titans Kelly Brook and Riley Steele frolic naked underwater to the tune of “The Flower Duet” from Delibes’ Lakme. (“They’re like fish with boobies!” their director shouts ecstatically.) The fish clearly possess a taste for the ironic and perhaps a bit of a feminist streak as well as we witness when O'Connell's character is literally emasculated during an ill-timed dive. (Fittingly he gurgles “Wet t-shirt” as his final blood-drenched words.) As his severed manhood sinks toward the bottom a piranha arrives and snaps it up but it doesn’t quite agree with the creature and the penis is quickly burped up in disgust. Even the fish can’t stomach him it seems.
The British beauty admits French director Alexandre Aja managed to get the most out of her in new movie Piranha 3D - because his sexy accent melted her and made her willing to do almost anything.
That included getting naked and performing an underwater lesbian love scene with adult actress Riley Steele.
Brook tells Playboy magazine, "Alexandre is French, so we did anything he asked us to do just because of his accent.
"If he were a ballsy American and asked me to bend over and smile at the camera, I'd be a bit suspicious."
But the former model admits the underwater scenes with Steele were tough: "You have to practice holding your breath and hitting your marks... It's not as easy as it looks."