More news from the shuffle to find a new lead for the Bourne movies: Joel Edgerton is the latest name to drop into the rumor mill. According to Vulture, Bourne Legacy director Tony Gilroy hopes to sign the Australian actor for the lead in the flick. Once more for clarification: the role is not Jason Bourne, it's a man named Martin who is part of a "Treadstone-like project."
Anyway, even though Gilroy is down, it's not that simple. After Hugh Jackman turned down the lead role in Snow White and the Huntsman, Universal set out to find another man for the job. They're eying Edgerton for that role as well. As Vulture already noted, his lack of international fame wouldn't present as much of a gamble here because Kristen Stewart and Charlize Theron are already shouldering that burden. With Bourne, Edgerton would essentially be carrying the film on his own not-so-famous shoulders. The studio is also trying to get this Hunstman role cast as soon as possible so that filming can get underway over the summer. So what does this mean? Well, if Edgerton gets the Huntsman role, he won't be able to take the Bourne role.
And if that happens, we're back to speculationland. There we find rumors of James McAvoy and Shia LeBeouf as the Bourne-less Bourne flick leads, as they are at the top of the studio's list. Then again, we've heard plenty of names thrown around this project from all different genres, talent levels and fame levels. With all these different types, it would seem that Universal hasn't yet figured out what sort of hero they're looking for, which would make a lot of sense. How do you make a Bourne-less Bourne flick while still drawing existing fans and brand new ones? That's one hell of an order, for sure.
In the late 19th century Dr. Gabriel Van Helsing (Hugh Jackman) a misunderstood monster hunter is summoned to Transylvania to ferret out Count Dracula (Richard Roxburgh) and kill him once and for all. When Van Helsing gets to the small village where the vampire was last spotted he discovers he also must contend with Dracula's three seriously twisted vampire brides Dracula's angry henchman/werewolf--and a lovely gypsy princess named Anna Valerious (Kate Beckinsale) who is hell-bent on eradicating Dracula and his bloodsucking kind for slaughtering her entire family. Oh and let's not forget Frankenstein's Monster (Shuler Hensley) who holds the key to Dracula's evil master plan--something about releasing his minions of unborn bat-like children from their goo-filled cocoons so they can wreck havoc on the world. Yuck. Sounds like our resident monster stomper and his sword-swinging gal pal have their work cut out for them. If Van Helsing does manage to kill all his monster foes does that mean he's out of a job?
Jackman has the whole antihero thing down pat. He adequately embodies the younger more virile Van Helsing dishing out as much pain and torture as he can on the undead--but the Aussie actor isn't given nearly as much meat to chew on as he did say delving into the complicated Wolverine in X-Men. Instead the monster hunter is relegated to carrying big weapons wearing a big hat and muttering something about having bad dreams to a past he can't remember. Same goes for Beckinsale. The British actress was oh-so-cool on the other side of the fence playing the chic vampire Selene in Underworld cutting her way through a myriad of werewolves. As Van Helsing's heavily accented female counterpart Anna however she just runs around with her sword blurting out such pathetic dialogue such as "Dracula took everything away from me and now I'm alone in the world" while Roxburgh's Dracula--who can't hold a candle to other far more charismatic Draculas before him--wails about being so very alone as his luscious brides hang upside down in front of him. Give me a break. At least Australian actor David Wenham (The Lord of the Rings) provides much-needed comic relief as Van Helsing's sidekick Carl a Catholic friar who doesn't much like playing hero.
With the requisite dark mood and tone action sequences and snazzy CGI-creations including the winged vampire brides and formidable werewolves you can see exactly where writer/director Stephen Sommers (The Mummy) spent Van Helsing's nearly $150 million budget. But even all the bells and whistles can't tie together the film's vacuous nonsensical mumbo jumbo as Sommers attempts to bring classic movie monsters together in the same movie. Maybe in a tongue-in-cheek Abbott and Costello movie it could work but as a serious action-packed thriller clearly Dracula Frankenstein and the Wolf Man do not need to meet. On top of that Sommers steals from other movies as well such as recent films Underworld (the whole vampire vs. werewolf conflict) and The League of Extraordinary Gentleman (Van Helsing defeats a rather familiar-looking Mr. Hyde at one point). Whatever originality there is in the film leaves you either scratching your head--Dracula has kids?--or rolling your eyes--Anna needs to kill Dracula so her nine-generations of family can reunite in Heaven? Please.
Based on the best-selling prize-winning novel by Gail Carson Levine of the same title Ella of Frell (Anne Hathaway) lives in a magical world where ogres giants fairies elves and such live together in relative harmony. When Ella was born her fairy godmother Lucinda (Vivica A. Fox) gave her a special gift--obedience--which turns out à la Sleeping Beauty to be more like a curse. As the young beauty grows up she's unable to refuse any command which often leaves her at the mercy of unscrupulous personalities--in particular her new stepmother (Joanna Lumley) and wicked stepsisters who get a kick out of torturing her à la Cinderella. Before long the headstrong Ella has had enough. In a bid to regain control of her life she goes on a quest to find Lucinda and free herself from her burden. She picks up some friends along the way à la The Wizard of Oz including a know-it-all named Benny (Jimi Mistry) an elf named Slannen (Aidan McArdle) and the dashing soon-to-be-king Prince Charmont (Hugh Dancy). But Ella also encounters ogres giants and Charmont's uncle the egomaniacal Sir Edgar (Cary Elwes) who as the de facto evil despot has caused great discord in the land. Ella has to make the prince realize his uncle is a bad bad man help him own up to his kingly responsibilities restore peace in the land and--of course--fall in love. But first and foremost she has to get rid of that stinkin' gift.
Hathaway who was a breath of fresh air in the 2001 sleeper hit The Princess Diaries solidifies her reputation as a natural comedienne in Ella Enchanted. The sassy forward-thinking medieval lass forced to obey every command despite herself gets into some precarious situations (watch how her nasty stepsisters make her steal stuff from the medieval mall "Galleria of Frell") and Hathaway's endearing qualities--the expressive face the affinity for physical comedy--accentuate the charming story. As her love interest Prince Charmont Dancy (Black Hawk Down) clicks with Hathaway and has the looks and personality Teen Beat readers (or as the magazine's called in the film Medieval Teen) drool over. But it's the rest of the cast who truly complete the film--including Minnie Driver as Ella's fairy nursemaid Mandy who isn't very good at dispensing magic; Mistry (The Guru) as Benny the boyfriend Mandy accidentally turns into a talking book; Elwes who does a complete turnaround from his hero in Princess Bride; Lumley (Absolutely Fabulous) as the greedy stepmother; Heidi Klum (yes the model) as a fetching giant; and especially newcomer McArdle who as an elf supposedly destined to only make merry and sing songs really wants to be a lawyer.
In addition to its fresh storyline Ella Enchanted looks great too. In green magical Ireland director Tommy O'Haver (Get Over It) re-created the details of the enchanted medieval kingdom's thatched-roof houses tall castle spires and fields of poppies in colorful comically anachronistic sets and costumes. Die-hard fans of the novel however may feel slighted that O'Haver (along with a long list of writers) veered too far from the original source choosing to cater to the teen set with modern-day MTV touches not found in the more traditional book. The "Frell Galleria " for example with its man-powered wooden escalators is cute but not entirely necessary. Neither are the two musical numbers in the film one in which Ella is ordered to sing at a giant's wedding and bursts into a rousing rendition of Queen's "Someone To Love." But despite whatever targeted audience the movie's going for they'll all be completely entertained by the whole package.