Sherlock Holmes is heading to Broadway in a new play. Sir Arthur Conan Doyle's supersleuth, who has been played by both Robert Downey, Jr. and Benedict Cumberbatch in recent years, is destined for the New York stage in a production simply titled Sherlock Holmes.
The play is being billed as an original story based on Doyle's books and is set to hit the stage in 2017.
Co-producer Antonio Marion tells the New York Post, "Our version of Sherlock Holmes will have all the elements that fans want and expect, but with new twists and turns and plenty of surprises."
Laura Linney has signed on to play Sherlock Holmes' housekeeper in a new movie about the literary detective as an old man. Sir Ian McKellen will play the aged Holmes in director Bill Condon's A Slight Trick of the Mind, and now Linney has been cast as his doting caretaker, Mrs. Munro.
The Truman Show star is a lifelong fan of author Arthur Conan Doyle's Sherlock Holmes stories, and admits she jumped at the chance to be part of the sleuth's world.
She tells EW.com, "I was obsessed with Sherlock Holmes as a young kid. You know how some people are into Dungeons & Dragons? I was into Sherlock Holmes. I loved the atmosphere of the stories. I loved the intrigue, his personality. Bill (Condon) had no idea (when he offered me the part)."
The film, which will begin shooting in London and Sussex, England, in July (14), reteams Condon and Linney, who worked together on acclaimed 2003 drama Kinsey and last year's (13) The Fifth Estate. It will also be a reunion for Condon and McKellen, who worked together on 1998's Gods & Monsters. The project will be Linney's first since she became a mother earlier this year (14).
A Slight Trick of the Mind will be based on Mitch Cullin's 2005 novel about Holmes' later years as the retired detective battles old age and dementia, while trying to figure out one unsolved case.
McKellen joins the ranks of the stars currently portraying Sherlock Holmes - Jonny Lee Miller and Benedict Cumberbatch play modern versions of the sleuth on TV and Robert Downey, Jr. took on the character in two Guy Ritchie movies.
British actor Mark Strong is to return to his theatre roots in London more than 10 years after his last stint on stage. The Zero Dark Thirty star, who began his acting career with Britain's Royal Shakespeare Company, was last seen on the London stage in 2002, in a double bill of Anton Chekhov's Uncle Vanya and William Shakespeare's Twelfth Night as part of director Sam Mendes' last season at the Donmar Warehouse theatre.
Strong went on to focus on his Hollywood career, landing roles in films such as Sherlock Holmes with Robert Downey, Jr., Kick-Ass and Green Lantern, but now he is heading home to London to star in a new production of Arthur Miller's A View From The Bridge.
He says of his long absence from the stage, "I never intended to be away so long... It (Hollywood) was a new environment for me and I just wanted to see what it was like doing movies... (But) I miss being able to go into a rehearsal room and think about what you're saying."
A View From The Bridge will debut at the Young Vic theatre in London in April (14).
A 2009 revival of the play on Broadway starred Liev Schreiber opposite Scarlett Johansson, who won a Tony Award for her performance.
British actress Emma Thompson wants to become the first woman to play Sherlock Holmes. The Love Actually star is a big fan of Sir Arthur Conan Doyle's fictional sleuth, and she is convinced the part could be played by a female.
She tells Britain's Daily Telegraph, "I have always been a huge Sherlock Holmes fan. I would love to play a character like that, but that's a problem if you're a female. I'm always likely to be overlooked for not being male."
Thompson is adamant she would make a good Holmes, and hopes more women will be seen in leading roles in the future, adding, "Is the heroic role unisex? Or does it mean there is an area of life which remains unexplored, which contains stories which remain untold? I suspect that's the case and it will be very interesting as this generation gets into its stride to see what those stories turn out to be."
Actors who have recently played the detective include Robert Downey, Jr., Benedict Cumberbatch, and Jonny Lee Miller, who starred opposite Lucy Liu as a female Dr. Watson in U.S. TV series Elementary.
The New York Times reported that an American judge ruled that Sherlock Holmes, along with friends and foes John Watson, Mycroft Holmes, Moriarty, and more of Arthur Conan Doyle's characters, are now in the United States public domain. The judgement means that no copyright law applies to the use of story elements in any Holme adventures published before 1923. There were a few after that, so adaptors have to take care to not run up a bill with the author's estate by using any characters or plots introduced in those later works. But forget that advice, because we are all set with Sherlock reboots at the moment.
Unless you're as culturally clueless as the detective himself, you know that the character has had a massive renaissance these last few years. Robert Downey Jr. imbued Holmes with serious swagger in the Guy Ritchie-helmed 2009 film version. Between that movie and its sequel, Doctor Who showrunner Steven Moffat and writer Mark Gatiss launched a phenomenon to drive the internet to insane acts of meme-ing in 2010 with the slick BBC series. And CBS got into the game with its own modernized take Elementary, this time set in New York City and with a Joan, not a John. Even our collective obsession with forensic procedurals hinted at the successful resurgence of this character. There wouldn't be an NCIS without Sherlock Holmes.
And now he's free. And it's tempting. But between Jude Law and RDJ's chemistry; Benedict Cumberbatch's cheekbones; and Jonny Lee Miller's mania, there just isn't room out here for another version. At least not a good one. Any attempt to create a Holmes that doesn't directly copy any of these interpretations will just lead to a watered-down or barely recognizable imitation. And Sherlock deserves better than that.
British actor Jude Law has assured fans plans are in place to give Sherlock Holmes a third outing on the big screen despite ongoing delays. The Alfie star has appeared as sidekick Dr. John Watson in two movies based on the books of Sir Arthur Conan Doyle, opposite Robert Downey, Jr. as the supersleuth, and the last installment, Sherlock Holmes: A Game of Shadows, hit cinemas in 2011.
Law reveals the whole "team" wants to reunite for a third movie, but plans have been on hold for a while due to scheduling conflicts.
He tells Empire magazine, "I think Warners (Warner Bros.) want it and there's a lot of want from us as a team. We want it to be better than the other two. We want to make sure it's smarter and cleverer, but in the same realm... It's a slow process (getting it together). We're all busy. So getting us together to try to nail that has taken a little bit longer than we had hoped."
The Oscar winner is in talks to portray the super snoop's loyal employee Mrs. Hudson in a new show based on her journals, called A View From The Landing At 221B Baker Street.
The script has been penned by British comedy writer Barry Cryer and his son, Bob, and the pair is adamant the Bond actress is the perfect person for the job.
Cryer tells Britain's Daily Mail, "It's all at a very early stage but it would be brilliant if Dame Judi were to play Mrs. Hudson. She would be ideal."
The show is the latest update of the Sherlock Holmes tale - Robert Downey, Jr. played the private investigator in Guy Ritchie's two films, and Benedict Cumberbatch plays Holmes in hit BBC series Sherlock.
Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
Downey, Jr. and Law have enjoyed great success with their portrayals of the detective and his sidekick in Ritchie's all-action take on Sir Arthur Conan Doyle's creation, with the first two movies taking more than $1 billion at the box office.
Studio bosses are rumoured to be planning a third outing, and Law can't wait to get back in front of the camera alongside Downey, Jr.
He tells Collider.com, "There's certainly talk of it and I know there's a script being played around with, but Downey's a busy boy and I'm a busy boy so we'll see. But we want to (do another one). We're a very happy team and we have a lot of fun and we also think there's still a lot of legs in the duo."
Do the Bourne movies make any sense? Enough. The first three films — The Bourne Identity Supremacy and Ultimatum — throw in just enough detail into the covert ops babble and high-speed action that by the end Jason Bourne comes out an emotional character with an evident mission. That's where Bourne Legacy drops the ball. A "sidequel" to the original trilogy Legacy follows super soldier Aaron Cross (Jeremy Renner) as he runs jumps and shoots his way out of the hands of his government captors. The film is identical to its predecessors; political intrigue chase scenes morally ambiguous CIA agents monitoring their man-on-the-run from a computer-filled HQ — a Bourne movie through and through. But Legacy has to dig deeper to find new ground to cover introducing elements of sci-fi into the equation. The result is surprisingly limp and even more incomprehensible.
Damon's Bourne spent three blockbusters uncovering his past erased by the assassin training program Treadstone. Renner's Alex Cross has a similar do-or-die mission: after Bourne's antics send Washington into a tizzy Cross' own training program Outcome is terminated. Unlike Bourne Cross is enhanced by "chems" (essentially steroid drugs) that keep him alive and kicking ass. When Outcome is ended Cross goes rogue to stay alive and find more pills.
Steeped heavily in the plot lines of the established mythology Bourne Legacy jumps back and forth between Cross and the clean up job of the movie's big bad (Edward Norton) and his elite squad of suits. The movie balances a lot of moving parts but the adventure never feels sprawling or all that exciting. Actress Rachel Weisz vibrant in nearly every role she takes on plays a chemist who is key to Cross' chemical woes. The two are forced into partnership Weisz limited to screaming cowering and sneaking past the occasional airport x-ray machine while her partner aggressively fistfights his way through any hurdle in his path. Renner is equally underserved. Cross is tailored to the actor's strengths — a darker more aggressive character than Damon's Bourne but with one out of every five of the character's lines being "CHEMS!" shouted at the top of his lungs Renner never has the time or the material to develop him.
Writer/director Tony Gilroy (Michael Clayton Duplicity and the screenwriter of the previous three movies) is a master of dense language but his style choices can't breath life into the 21st century epic speak. In the film's necessary car chase Gilroy mimics the loose camera style of Ultimatum director Paul Greengrass without fully embracing it. The wishy washy approach sucks the life out of large-scale set pieces. The final 30 minutes of Bourne Legacy is a shaky cam naysayer's worst nightmare.
The Bourne Legacy demonstrates potential without ever kicking into high gear. One scene when Gilroy finally slows down and unleashes absolute terror on screen is striking. Unfortunately the moment doesn't involve our hero and its implications never explained. That sums up Legacy; by the film's conclusion it only feels like the first hour has played out. The movie crawls — which would be much more forgivable if the intense banter between its large ensemble carried weight. Instead Legacy packs the thrills of an airport thriller: sporadically entertaining and instantly forgettable.