Popular British leading lady of the late 1930s who became England's biggest female star of the WWII era. Trained on the stage, Lockwood made her film debut in 1935 and distinguished herself as the ing...
Judd Apatow's This Is 40 is being dubbed as "semi-sequel," a clever buzzword that, when defined in the official Hollywood.com Reboot Glossery, basically boils down to "spin-off." Which is not a bad thing: as Paul Rudd and Leslie Mann have escaped the supporting character confines of Knocked Up to star in their own comedy vehicle, so have many other characters and actors since the beginning of film history.
In anticipation of Hollywood's latest spin-off, we take a look back at where the trend came from and where it's going from here….
The Early Days of Spin-offs
In the turn of the 20th Century, movies were even more episodic than they are today, with serials dominating the theaters. Genres of every kind had films slowly released over time, but rarely did they "spin-off" in the traditional sense. Eventually, silent stars like Fatty Arbuckle and Harold Lloyd would help spin-off newcomers into their own movies. Charlie Chaplin and Buster Keaton, not specific characters they played, became franchise lynchpins. Later, Universal's horror movies would become a steady stream of almost-kinda-sorta spin-offs, as was the case with 1936's Dracula's Daughter, which continues the events of the Bela Lugosi 1931 Dracula from the perspective of his next of kin. Spin-off or sequel? In the heyday of cinema, it was murkier territory.
Charters and Caldicott
Was Hitchcock the first to film a true spin-off? Actors Basil Radford and Naunton Wayne first appeared as their alter egos Charters and Caldicott in the director's 1938 thriller The Lady Vanishes, before being revived for his 1940 film A Night Train to Munich. The duo aren't the main characters of either movie — Margaret Lockwood actually stars in both, but as different characters, adding to the confusion. Obviously, people saw the continued use of the characters as reason to bring them back for more adventures: 1941's Crook's Tour put Charters and Caldicott at center stage, appearing in 1943's Millions Like Us, and the two were nearly included in The Third Man before being combined into a new character.
The Comic Book Movies
TV spin-offs were commonplace throughout the 20th Century, but 1984's Supergirl marks the beginning of movie spin-offs' fruitful life. The movie follows Kara Zor-El, a Kryptonian like Superman who also escaped the planet's blast. She heads to Earth — complete with Superman insignia-branded threads — and saves the day from an evil witch. Marc McClure, who played Jimmy Olsen in the 1979 Superman, returns for the movie, the only actor thread linking the two.
Superhero movies are prime for spin-offs, and Hollywood is certainly aware of the potential. Elektra spun off of Daredevil, Halle Berry sent the drowning Batman franchise plummeting even further with Catwoman, and Hugh Jackman has continued to own the silver screen version of Marvel's Wolverine in X-Men Origins: Wolverine and the upcoming The Wolverine. With characters out the wazoo and room for cameos to act as testing grounds for new franchises, spin-offs may end up being more prevalent than ever.
With intricate mythologies and ever-growing ensembles, comic book movies are easy to spin off. Everything else? A wee bit harder.
But studios have tried: five years after winning a Best Supporting Oscar for his work on The Fugitive, Warner Bros. brought Tommy Lee Jones back for another round of law enforcing in U.S. Marshals. No Dr. Richard Kimble to be found — Jones was now the star, chasing Wesley Snipes as guilty-until-proven-innocent man on the run. In more reasonable territory, producers found luck in back story (and The Rock's popularity) by prequelizing The Mummy Returns with the Dwayne Johnson-led Scorpion King. Robert Rodriguez took his faux-trailer for 2008's Machete from the movie Grindhouse and spun it off into a full length feature in 2011. With the added time afforded by the feature-length format, the world was granted a Lindsey Lohan nude scene (for what that's worth).
As This Is 40 proves, there's more flexibility in spinning off comedy than in drama. Not every movie would make sense to have a sequel. But as long as there's one character worth paying attention to, Hollywood has worked their alchemy to keep the "franchise" going. After outshining her male costars in Barbershop 2, Queen Latifah had her own salon story: Beauty Shop. Can't get Jim Carrey to come back for a sequel to the ubersuccessful Bruce Almighty? Not an issue, Steve Carrell can try his hand at another Biblical story with Evan Almighty. And This Is 40 isn't the first time Apatow's noticed the spin-off potential of his characters — in Get Him to the Greek, Russell Brand's breakout character Aldous Snow from Forgetting Sarah Marshall is given the star treatment.
The Future of Spin-Offs
The future is bright for spin-offs. Comic book movies continue to gain steam, while long-gestating projects never seem to disappear (see: Tom Cruise's Lev Grossman Tropic Thunder spin-off never failing to revive itself just when we though it was dead). Then there's the case of Star Wars, now in the hands of Disney, who plan to release two to three adventures in a galaxy far, far away per year starting in 2015. They've already hired writers, and the rumors are that the plan is all about spin-offs.
With all the off-shoots in the works, Hollywood is iterating at fractal-like speed, continuing a trend that's been evolving for 100 years.
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Universal Pictures; 20th Century Fox]
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The first five minutes of The Change-Up—a horrifying look into the world of late-night baby care complete with one of the more grotesque poop-to-face shots ever captured on film—sums up the movie's bait-and-switch. In most comedies this scene would be the first step towards a descent into hell that only Paul Blart: Mall Cop and Adam Sandler are capable of realizing. In The Change-Up it's a sequence that sets the bar as low as artistically possible so stars Jason Bateman and Ryan Reynolds can obliterate expectations with equally raunchy shocking and hilarious comedic stylings. Simply put The Change-Up is the funniest movie of the year.
Bateman plays Dave Lockwood a run-of-the-mill lawyer who works too hard juggles his parenting duties and struggles to find time to tell his wife he loves her. Dave's best friend Mitch (Reynolds) couldn't be more of the opposite—sleeping all day and spending his conscious hours wooing sexual partners while stoned out of his mind. The two are polar opposites making them the perfect candidates for a little bit of switcheroo magic. One particularly devastating night of alcohol and lamenting life's woes ends with the duo taking a leak into a magical fountain (go with it). Fate of course intervenes and when Dave and Mitch wake up they find themselves trapped in the one another's bodies.
There's no denying The Change-Up follows the Freaky Friday formula—but that's not a fault. The logic is already established giving Bateman Reynolds and director David Dobkin (Wedding Crashers) freedom to jump right into the crass humor hook. Bateman who's becoming a go-to straight man in Hollywood finds a refreshing opportunity in inhabiting Reynold's Mitch. The character's lack of self-censorship opens the floodgates for Bateman to poetically surface some of the English language's more horrendous sentences. A slang dictionary may be required to understand what bizarre body part synonyms are being dropped at rapid pace in this movie. Whether you comprehended them or not when they come out of Bateman's mouth they're priceless.
Same goes for Reynolds who escapes the box of fast-talking womanizer to play the uncomfortable family man. Judging an actor's versatility on a scene in which he's unwillingly placed at the center of a "lorno" (read: low-budget soft core pornography) may seem twisted but Reynolds sells it and makes it perfectly agonizing. Even obvious scenarios like "uh oh Dave's going to have to cheat on his wife in Mitch's body!" are twisted once twice three times over to pull the rug from under you.
The biggest surprise of The Change-Up is the movie's heart. Pummeling an audience with jokes is one thing but to sell genuine relationships underneath it makes it satisfying. The wavering friendship between the two lead knuckleheads is tangible and keeps an impossible plot device grounded while Leslie Mann (Knocked Up Funny People) as Dave's wife Jamie has her fair share of tender moments (as well as devilish laughs—there's a reason her husband Judd Apatow keeps casting her). In a movie that's constructed by textbook rules to have an ending that resonates with any sort of emotion is as surprising as watching a grown man toss a baby down next to a set of steak knives. Which coincidentally also happens in the movie.
In today's world where anything goes it's hard to whip up slapstick and one-liners that feel edgy and that leave your jaw on the floor. That's how The Change-Up hits—and it hits hard.
The star, born Georgette Lizette Withers, passed away at her home in Sydney, Australia on Friday (15Jul11). No further information was available as WENN went to press.
Withers was working as a dancer in London's West End when she was asked to be an extra in the 1935 movie The Girl in the Crowd - but she ended up with a main role after director Michael Powell fired a lead actress.
She went on to rack up credits in films such as The Gang's All Here and One of Our Aircraft Is Missing, and also appeared on Broadway.
But she will be best remembered for playing Blanche in Alfred Hitchcock's 1938 thriller The Lady Vanishes, opposite Margaret Lockwood and Michael Redgrave.
Withers was the first non-Australian to be made an Officer of the Order of Australia and she was awarded a Commander of the Order of the British Empire in 2002.
She married Australian actor John McCallum, who helped create the cult TV series Skippy the Bush Kangaroo.
They had three children and lived together in Sydney until McCallum's death last year (10).
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
In the vein of Field of Dreams Astronaut Farmer is about building the seemingly impossible. Thankfully in this case it’s simply a rocket in the barn not a ballpark in a cornfield where ghosts of baseball heroes past can play the game. That is a bit far-fetched. Instead we meet Charles Farmer (Thornton) a man who was once on track to be an astronaut but was forced to leave NASA to save his family farm. He still wants to go into space however and so sets out to build a rocket inside his barn. By the time the movie starts the rocket is pretty much put together so we aren’t burdened with how he gets his supplies. All Charles needs now is 10 000 pounds of fuel which shoots up a big red flag with the government--a government that now considers Charles a threat--while the media look at him as a big story. But no matter the odds nothing can deter Charles from his dream to break through the atmosphere and orbit the earth. It’s refreshing to see Thornton as a loving father who wants to inspire his kids rather than make them go get him another beer. Of course Charles Farmer isn’t all sweetness and light—he’s an obvious eccentric whose obsession to launch into space effects the entire family—and it’s definitely a role right up Thornton’s alley. Virginia Madsen does an admirable job as the loving and supportive wife who nonetheless puts her foot down when things get out of hand while Bruce Dern plays the grizzled but equally supportive father-in-law. There’s also a supportive lawyer played by Tim Blake Nelson. In fact besides the big evil NASA chief (J.K. Simmons) and two bungling FBI agents (Mark Polish and Jon Gries) everyone supports Charles in his crazy dream. How could he fail? From the writing-directing team of Michael and Mark Polish (Northfork) Astronaut Farmer is pure old-school—an unassuming throwback to those feel-good movies of the ‘40s and ‘50s. In fact Thornton told Hollywood.com he considers this his “Jimmy Stewart” movie. While the Polish brothers based Charles Farmer on their own eccentric father and obviously harbor their own boyhood dreams of being an astronaut the guys still follow a nice and simple formula finding some good actors to carry it out and adding cool visual effects when they can. Yes the more cynical moviegoer may look at Astronaut Farmer as completely improbable and trite. But those willing to be taken back to a simpler time--when movies were about walking out triumphant--should find watching Astronaut Farmer a pleasant way to spend an afternoon.
Last starring role in a feature film, "Cast a Dark Shadow"
Professional stage debut aged 12 in "A Midsummer Night's Dream"
Brief stay in Hollywood
West End debut in "Cavalcade"
Returned to films to play a role in "The Slipper and the Rose"
Popular British leading lady of the late 1930s who became England's biggest female star of the WWII era. Trained on the stage, Lockwood made her film debut in 1935 and distinguished herself as the ingenue lead of Hitchcock's delightful suspenser "The Lady Vanishes" (1938) and as the vain wife of Michael Redgrave in Carol Reed's fine mining-town drama "The Stars Look Down" (1939). A brief Hollywood foray in 1939, however, which included a role as romantic lead in the Shirley Temple vehicle "Susannah of the Mounties" (1939), proved unsuccessful. After making the charming comedy "Quiet Wedding" (1940) and the suspenseful "Night Train to Munich" (1940), Lockwood clinched her popularity with her period villainess role in the immensely popular costume drama "The Man in Grey" (1943) and followed up with the equally successful "The Wicked Lady" (1945). Her popularity began to slip near the end of the decade but she continued making films until the mid-50s. Lockwood resurfaced after nearly two decades of semi-retirement to play Cinderella's stepmother in "The Slipper and the Rose" (1976). Daughter Julia Lockwood is also an actress.