UPDATE: According to Variety, Hammer has landed the titular role of The Lone Ranger in Disney's developing production. Filming should begin by the end of the year for a late 2012 release.
EARLIER: Hollywood is the land of opportunity for all who venture there. Well, not all, but if you're tall, blond and handsome you've got everything you need to succeed. Of course, having a commercial and critical hit on your resume certainly helps, so Armie Hammer is really sitting pretty. The 24-year-old actor, coming off of the stellar theatrical run of The Social Network, has picked up high-profile roles in Clint Eastwood's J. Edgar opposite Leonardo DiCaprio and Relativity's Snow White adventure. Just like that, he's one of the most in-demand male leads in the business and he's now circling a true star-making role opposite another major entertainment icon.
Variety reports that Hammer is the frontrunner for the titular part in Disney's update of The Lone Ranger. Johnny Depp has long been locked to portray Native American sidekick Tonto and the A-lister wrangled his Rango and Pirates of the Caribbean director Gore Verbinski to helm, reuniting the duo with their producer/friend Jerry Bruckheimer. Justin Haythe wrote the script for the film, which is adapted from the beloved radio program and golden-age TV show. The goal is to shoot the film later this year for a fall/winter 2012 release, but that all depends on Depp's ever-packed schedule; the Oscar-nominee is set to reunite with Tim Burton on the gothic drama Dark Shadows shortly, which would make said start date difficult for all involved.
The Lone Ranger is a combination of two of my favorite storytelling concepts: that of the masked vigilante and the hardened Western hero. While it's easy for anyone to don the black mask of the Ranger, I haven't seen anything from Hammer to suggest that he can deliver a genuine portrayal of the gritty law dog. That may not be the direction the filmmakers are taking the character in (this is a Disney production, after all), but I'm of the mind that The Lone Ranger needs to skew slightly older and more mature. Though Hammer's definitely got the physique, I'm not sure he's the best man for this job. I liked Ryan Gosling more, and believe it or not, George Clooney was a better pick for the part. Let's see where this goes.
Let’s be honest here, if Dwayne ‘The Rock’ Johnson snitches on your ass, he does not get stitches. That probably explains why he is willing to go undercover in Snitch. As the Hollywood Reporter correctly notes, Johnson seems to swing back and forth between action and family films, but right now, he seems to be in the action stage again. And in Snitch, he'll be the father of a jailed son who goes undercover to reduce his son’s sentence. Hopefully, many an elbow will be dropped in the name of the law and justice will be served ice cold. Ric Roman Waugh is directing and doing a rewrite on the Justin Haythe script.
Question: when can we start referring to Johnson as just Dwayne Johnson? How famous does he need to get before we can stop reminding people that he is/was The Rock? I bet he kind of gets tired of it because every time someone says The Rock in his name people automatically remember that he used to dress up in tights and wrestle with other oiled up monster men. I bet that isn’t exactly the image he wants in people’s minds when he’s trying to be a serious actor. I think a soft mumble-core performance followed by a tour across country promoting a country album would be enough for us to forget The Rock and accept him as Dwayne.
Source: Hollywood Reporter
Novelist Richard Yates tried for years to bring his 1961 story of marital trouble in ‘50s suburbia to the screen but died before seeing it finally come to fruition in the form of this scorching adaptation by writer Justin Haythe. April (Kate Winslet) and Frank Wheeler (Leonardo DiCaprio) are young marrieds living what appears to be the ideal life in the Connecticut of the 1950s. He has a nice job she is a mother of two with dreams of an acting career. But beneath the surface is a lingering dissatisfaction with their lives; Frank is having an affair with an office worker (Zoe Kazan) and April is terribly unhappy with the way her life is turning out. They engage in ferocious arguments constantly disproving the idea they are the perfect couple. One day April decides the answer to all their problems is to move to Paris and start over. Frank initially agrees but the relationship goes downhill even further from there and things spiral out of control. Revolutionary Road’s brilliant ensemble ignites and delivers on just about every level imaginable. Kate Winslet who seemingly can do no wrong these days is heartbreakingly good as a housewife who foreshadows the feminist movement. Her April is an ambitious confused woman tragically living a couple of beats ahead of her time. Leonardo DiCaprio gives his finest film performance as a man who knows he is not living up to his potential but seems to be in a state of denial trying almost pathetically to keep what’s left of his marriage and family together. It’s the subtext and unspoken words between them that really give power to these tremendously effective performances. After the first 10 minutes you will be so mesmerized by their raw naked acting you will forget you are watching the two young stars who first appeared together in Titanic a decade earlier. Kathy Bates as a cheerful real estate agent with her own family problems is also quite good as is Michael Shannon as her disturbed grown son who seems to know more about the sad state of the Wheelers home life than anyone realizes. He should be a frontrunner for the supporting actor Oscar if there is any justice. Also blending in nicely are Kathryn Hahn and David Harbour as neighbors who are the polar opposite of Frank and April. Sam Mendes who won an Oscar for directing yet another stinging view of suburbia with his Oscar-winning American Beauty does another great job of bringing out the essence of what Yates says about a generation hiding behind a façade of happiness but living on the cusp of great profound social change. Mendes lets long dialogue scenes play out packing them with riveting moments. His filmmaking style should be savored for the insights it provides and the emotional challenges it presents. Mendes also manages to get an extraordinary portrayal of suburban angst from his real-life wife Winslet. Not since Elizabeth Taylor and Richard Burton battled so brazenly in 1966’s Who's Afraid of Virginia Woolf has there been a wounded couple’s marriage so deeply and poignantly exposed on screen.