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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
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."
Chronicling nearly a decade's worth of investigations and an endless amount of headaches on the part of CIA operatives Kathryn Bigelow's Zero Dark Thirty burns slowly through America's turbulent search for Osama bin Laden. Where Hurt Locker brewed tension from red-or-blue-wire bomb scenarios and military action the Oscar winner's follow-up finds it in a maelstrom of intel the temperamental conditions of the Middle East and the bureaucracy of back home.
Jessica Chastain's Maya goes from bright newcomer to the obsessed soldier of justice giving Javert a run for his money in pursuit of a criminal in one's crosshairs. When Seal Team Six finally receives their infamous assignment Bigelow and writer Mark Boal continue to ask questions — imperative in a film that speaks to one of U.S.'s murkiest zeitgeists.
Maya is first introduced dressed up in a clean well-fitting suit preparing to witness her very first interrogation. The scene escalates quickly with her coworker Dan (Jason Clarke) employing the waterboarding technique against the close-lipped detainee Ammar (Reda Kateb A Prophet).
Zero Dark Thirty has come under fire for its portrayal of torture but nothing in Bigelow's film comes close to condoning the process. Instead the film focuses in on the ramifications. Months of pressure eventually breaks Ammar — and his interrogator. A distraught Dan heads back to Washington leaving Maya even more committed to chasing leads and finding bin Laden on her own.
The careful orchestration of details — names locations dates and any other shred of evidence that could lead Maya and her team to bin Laden — turns Zero Dark Thirty into a thriller by way of a New Yorker essay. Boal finds emotion in cut and dry information; Chastain's determination ferocity and at times exhaustion speak volumes — even when the dialogue is laying down facts.
Bigelow surrounds her with an inspired cast: Kyle Chandler as the dapper politico chief Jennifer Ehle as a intelligence officer who draws out Maya's last few drops of friendship and Mark Strong as a ball-buster who loses his stance above the team as Maya pours herself entirely into the operation and asserts dominance.
Bigelow has an eye for action and the Seal Team Six infiltration that caps the film is expertly crafted thanks to tactical movements lit dimly and paced with Alexandre Desplat's rumbling score. But Bigelow also respects the personalities of soldiers.
They speak like people act like people and in moments of bloodshed (decisions made in morally grey zones) they respond and react like people.
Zero Dark Thirty is awe-inspiring for its ability to chronicle a long-gestating investigation but it's one of 2012's best because it digs deeper and examines both sides of the coin. No decision is made without consequences even the ones that feel so right in the moment.
The death of Osama bin Laden was a momentous occasion in the United States. As Chastain reveals with unflinching elegance pulling it off cost more than anyone could ever know.
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
'Zero Dark Thirty': A First Look at the High-Intensity Hunt for Osama Bin Laden
Yo 'Mama' Trailer Is So Scary, It Even Made the Ghosts Hide
'Sinister' Mastermind Scott Derrickson and 5 Directors Who Returned to Indies
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
UPDATE: Apparently Edgerton isn't the only actor to be added to the film today: Deadline is reporting that Jessica Chastain, Mark Strong and Edgar Ramirez have all joined the Bin Laden movie.
EARLIER: Joel Edgerton has been rumored for some time to star in Kathryn Bigelow's long-in-the-works movie about Osama bin Laden. It's no longer a rumor.
The Aussie Warrior star has officially been cast in an as-yet-unannounced role, joining the recently added Jason Clarke in the movie, about the Navy SEALs' effort to find and ultimately kill the late bin Laden.
The still-untitled film will hit theaters Dec. 19, 2012, less than a week before the Christmas Day release of The Great Gatsby, in which the in-demand Edgerton will play Tom Buchanan.
With a name like Benedict Cumberbatch, you know you're going places. Places like war. The British Parliament. And SPACE. Cumberbatch has had a successful season, what with major roles in War Horse and Tinker, Tailor, Soldier, Spy. And now, he's getting in on one of the biggest films in development: Star Trek 2.
A few named previously attached to the Star Trek sequel in accordance with villain characters were Benicio del Toro and Edgar Ramirez. But peril will be doled out to the Enterprise via Cumberbatch, who has accepted a villainous role in the film.
The British actor started making his way into American cinema a few years back, and has major films like Atonement and The Other Boleyn Girl to his name. Cumberbatch will also be appearing in Peter Jackson's 2013 endeavor The Hobbit: There and Back Again (the second part of the upcoming The Hobbit: An Unexpected Journey, which will release at the end of this year.
A Spielberg saga, a Tolkien epic, and now a Star Trek film. Cumberbatch is certainly making his rounds in the big pictures.
Real Steel – the new sci-fi sports flick from Night at the Museum director Shawn Levy – is set in the year 2020. Its vision of the future looks remarkably similar to the present save for the fact that the sport of boxing has been taken over by pugilistic robots. There are no robot butlers taxi drivers or senators – just boxers. Apparently technology in 2020 has advanced enough to allow for the creation of massive mechanized beings of astonishing dexterity but humanity has found no use for them beyond the boxing ring.
Hugh Jackman plays Charlie Kenton a has-been boxer turned small-time robot-fight promoter. A consummate hustler who’ll do anything for a buck Charlie’s fallen on hard times of late. Opportunity arrives in the diminutive guise of 11-year-old Max (Dakota Goyo) his estranged son who turns out to be something of an electronics wunderkind. Together they work to fashion Atom an obsolete ramshackle “sparring robot” left to rot in a junkyard into a contender.
Anyone who’s seen an underdog sports movie – or any movie for that matter – made in the last half-century can fairly easily ascertain how this one plays out. (The story borrows tropes from The Champ Rocky and Over the Top wholesale.) Atom proves surprisingly capable in the ring compensating for his inferior technology with grit perseverance and an ability to absorb massive amounts of punishment. Under the guidance of Charlie and Max he makes an improbable run through the ranks eventually earning a one-in-a-million shot at the World Robot Boxing championship.
Real Steel was executive-produced by Steven Spielberg; it bears his unmistakable imprint. Levy judiciously deploys Spielberg’s patented blockbuster mix of dazzling special effects and gooey sentiment wrapping it all in a highly polished if wholly synthetic package. Still Real Steel might have amounted to so much glossy hokum were it not for its champion Hugh Jackman. Other actors might eye such a project as an opportunity to coast for an easy paycheck but damned if Jackman isn’t completely invested. The film’s underdog storyline isn’t nearly as inspiring as watching its star so gamely devote himself to selling material that will strike anyone over the age of 12 as patently ludicrous. His efforts pay off handsomely: Real Steel is about as rousing and affecting as any film inspired by Rock’em Sock’em Robots can expect to be. (The filmmakers claim lineage to a short story-turned-Twilight Zone episode but who are they kidding?)