Actor Edgar Ramirez performed an exorcism on his pal as part of his research for his new role in horror movie Deliver Us From Evil. The Wrath of the Titans star portrays a demon-chasing priest in the new Eric Bana movie and after reading up on exorcisms and chatting to clergy who had performed them, he decided to give it a go himself.
He tells WENN, "I tried to research as much as I could... There's a lot of crazy stuff out there, so we had to focus on what we would use in the movie. I had to stay open to embrace this process.
"I met with priests who performed exorcisms and then I performed an exorcism on my friend who thought that I was kidding and that it was a joke. But it wasn't. I think it went well. It was a mild evil spirit that he had inside him, so I think he will be fine."
Australian actress Teresa Palmer has been cast as the female lead in the upcoming Point Break remake. The Warm Bodies star is set to play the love interest for fellow Aussie Luke Bracey's Johnny Utah, an undercover Federal Bureau of Investigation agent trying to infiltrate a criminal surf gang.
Keanu Reeves portrayed Utah in the 1991 Kathryn Bigelow movie, while Lori Petty portrayed his girlfriend.
Ray Winstone and Zero Dark Thirty star Edgar Ramirez have also been cast in the film. Ramirez will play surfer criminal Bodhi, the character made famous by Patrick Swayze in the original film.
Ramirez was tapped to replace Gerard Butler in May (14) after the 300 actor dropped out of the project following a series of creative differences with director Ericson Core, and a scheduling conflict.
Production on the film is set to begin this month (Jun14).
Zero Dark Thirty star Edgar Ramirez will replace Gerard Butler in the Point Break remake. The Venezuelan actor has signed up to play surfer criminal Bodhi, the character made famous by Patrick Swayze in the cult 1991 film.
Butler recently dropped out of the project following a series of creative differences with director Ericson Core, and a scheduling conflict.
Ray Winstone and Luke Bracey are still on board to recreate characters originally portrayed by Gary Busey and Keanu Reeves.
A statement from producers Andrew Kosove and Broderick Johnson reads: "We consider Edgar one of the finest actors in the world today, and we are thrilled he will be creating a fresh new take on the iconic character of Bodhi."
Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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Chilean director Pablo Larrain is reportedly in talks to direct a planned Scarface remake. A revamp of the gritty 1983 drama, which starred Al Pacino as Cuban gangster Tony Montana, has been in the planning stages since 2011, but now movie bosses believe they have found their director, according to TheWrap.com.
The storyline will reportedly stay true to both the 1983 remake and the 1932 original, which starred Paul Muni, but the new movie will be set in modern day Los Angeles and the character will be of Mexican origin.
Producers are reportedly eyeing Oscar Isaac, Edgar Ramirez and Michael Pena to star in the movie.
Harry Potter filmmaker David Yates was previously linked to the film, but he was unable to sign on because of his commitments to the new Tarzan movie.
Larrain's films include the critically acclaimed No and Tony Manero.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Usher will be cutting out sweet treats this summer so he can lose 20 pounds (11.3 kilograms) to portray boxing great Sugar Ray Leonard in an upcoming Roberto Duran biopic. The singer/songwriter, who made his movie debut as a DJ in She's All That in 1999, is getting into fight-ready shape for the film, Hands of Stone, before shooting starts in October (13).
He tells Billboard.com, "You couldn't find a more stylised boxer than Sugar Ray Leonard. He was an incredible motion guy, the way he moved around the ring, and I think my dancing will make it easier for me to pick up his moves. I've been working on familiarising myself with the ring, sparring and just understanding how to move in the ring."
The biopic, which will chronicle Duran's journey from the slums of Panama to boxing greatness and his many encounters with Leonard after their WBC welterweight title fight in 1980, will also feature Robert De Niro, while Zero Dark Thirty star Edgar Ramirez will play Duran.
Usher is look forward to a first face-to-face meeting with Leonard after speaking to him about the film on the phone.
He says, "He had such incredible discipline and he was flashy and classy at the same time. I want to be as passionate and dedicated in preparing for this role as he was every time he stepped into the ring.
"I'm up for the challenge, and I'm looking forward to it. I think my overall feeling is one of anticipation. It seems like this is a real passion project. It's a film that everybody is so invested in, and I have the good fortune of having the character I'm playing still around."
Kathryn Bigelow is one of the premiere action directors working today, but while her 2008, Oscar-winning film The Hurt Locker is a lesson in tension, it's not about the action. As her lead character, a bomb diffuser, inches towards life or death with every wire snipped, we the audience are clenching our seats and breaking a sweat. A thriller of the muted kind.
Bigelow's has a similar aesthetic thanks to its Middle East location while being a whole other beast. Following the mission to hunt and kill Osama bin Laden — which only occurred in May of 2011 — Zero Dark Thirty collects an all-star cast of Jessica Chastain, Jason Clarke, Joel Edgerton, Mark Strong, Jennifer Ehle, Kyle Chandler, Edgar Ramirez, Chris Pratt, James Gandolfini, and Mark Duplass (just to name a few), and drops them in the middle of the momentous and seemingly impossible covert mission. Based on the first trailer, which you can check out below, Bigelow is playing in much more familiar action territory, with the true story elements adding an extra layer of awe and terror. Even a truncated glimpse looks exhilarating.Zero Dark Thirty arrives in theaters December 19.
[Photo Credit: Sony Pictures]
Follow Matt Patches on Twitter @misterpatches
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Much like its Greek mythological source material Wrath of the Titans is light on dramatic characterization sticking to blunt moral lessons and fantastical battles to tell its epic tale. That's perfectly acceptable for its 100 minute run time in which director Jonathan Liebesman (Battle: Los Angeles) unleashes an eclectic hoard of monsters upon his gruff demigod hero Perseus. The creature design is jagged gnarly and exaggerated not unlike a twelve-year-old's sugar high-induced crayon creations — which is perfect as Wrath is tailor made to entertain and enamor that slice of the population.
Clash of the Titans star Sam Worthington once again slips on the sandals to take on a not-quite-based-on-a-myth adventure a mission that pits Perseus against the greatest force in the universe: Kronos formally-incarcerated father of the Gods. A few years after his last adventure Perseus is grieving for his deceased wife and caring for their lone son but a visit from Zeus (Liam Neeson) alerts the warrior to a task even more urgent than his current seabass fishing gig. Irked that the whole Kraken thing didn't work out Hades (Ralph Fiennes) with the help of Zeus' disaffected son Ares (Edgar Ramirez) is preparing to unleash Kronos — and only Perseus has the required machismo to stop him. But Perseus enjoys the simple life and brushes off Zeus forcing the head deity to take matters into his own hands…just as Hades and Ares planned. The diabolical duo capture Zeus and having no one else to turn to Perseus proceeds into battle.
The actual reasoning for all the goings on in Wrath of the Titans tend to drift into the mystical realm of convolution but the ensemble and Liebesman's visual visceral directing techniques keep the messy script speeding along. As soon as one starts wondering why Perseus would ever need to hook up with battle-ready Andromeda (Rosamund Pike) or Poseiden's navigator son Agenor (Toby Kebbell) Liebesman and writers Dan Mazeu and David Johnson throw in another bombastic set piece another three-headed four-armed 10 000-fanged monstrosity on screen. Perseus' journey pits him against a fire-breathing Chimera a set of Cyclopses a shifting labyrinth (complete with Minotaur) and all the dangers that come with Hell itself. The sequences have all the suspense of an action figure sandbox brawl but on a towering IMAX screen they're geeky fun. If only the filler material was a bit more logical and interesting the final product would be the slightest bit memorable.
Liebesman reaps the best performances he possibly can from Wrath's silly formula Worthington again proves himself a charismatic underrated leading man. As the main trio of Gods Neeson Fiennes and Ramirez completely acknowledge how goofy shooting lightning bolts out of their hands must look on screen but they own it with campy fun tones. But the film's overwhelming CG spectacle suffocates the glimmer of great acting opting for slice-and-dice battle scenes over ridiculous (and fun) epic speak nonsense. If a movie has Liam Neeson as the top God it shouldn't chain him up in molten lava shackles for a majority of the time.
Wrath of the Titans is a non-offensive superhero movie treatment of classic heroes that feels more like an exercise in 3D monster modeling than filmmaking. Its 3D makeover never helps the creatures or Perseus pop turning Wrath into an even muddier affair than the single-planed alternative (although unlike Clash of the Titans you won't have 3D shaky-cam blur burned directly into your retinas). The movie reaches for that child sense of wonderment but instead cranks out a picture that may not even hold a child's attention.
First, they clashed. Now, they'll wrath. And we will always remember them.
I am talking, of course, about the Titans. A superhuman ancient race who challenged the gods of Greek mythology for ultimate power. In the 2010 film Clash of the Titans, Sam Worthington played Perseus, the demigod son of Zeus (Liam Neeson) whose destiny it became to defend against the combatting titan race. Now, in Wrath of the Titans, Perseus will rise again in a colossal battle that will determine the fate of all earthly races, including humans. Perseus must battle dangerous creatures, and even members of his own family, such as Ares (Edgar Ramirez) to maintain justice in the world...and beyond it.
Check out the new images of Perseus making the world a better place, then follow them up with the rock n' roll-infused trailer. Wrath of the Titans opens March 30.
Source: Kino Gallery