Steve Carell has revealed he and James Gandolfini were to reteam for a new movie. The funnyman was planning to shoot Bone Wars with his The Incredible Burt Wonderstone co-star next year (14).
Carell tells Britain's The Sun newspaper, "It's a huge loss. My thoughts go to his family. He was a great guy, really sweet, generous, kind and obviously a great actor. We were supposed to do something next year. It's a big shock."
The award-winning TV and film star suffered a heart attack and died in Italy on Wednesday (19Jun13) while vacationing with his teenage son.
It's rare that a sequel trumps the original but The Expendables 2 manages to do just that with a steady stream of one-liners and welcome weathered faces as well as a few new ingredients. E2 seems even more self-aware of its own silliness especially with Jean-Claude Van Damme as the villain (named Vilain of course) and Chuck Norris and Arnold Schwarzenegger popping up in smaller roles alongside previous Expendables Sylvester Stallone Jason Statham Jet Li Dolph Lundgren Bruce Willis Terry Crews and Randy Couture.
Then again The Expendables wasn't any sort of action classic; it was like writer/director/star Stallone threw a whole bunch of ideas at the wall to see which would stick then added massive amounts of weapons and the occasional hand-to-hand combat. It was popular but it definitely not the kind of awesome actioner that the stars were able to make 10 or 20 years ago. There's the rub actually; like women actors who have written or directed their own projects because nothing else was available or satisfactory Stallone created The Expendables because Hollywood didn't seem to know what to do with him and his fellow action stars as they got older. It's easy to criticize Stallone et al for not doing the same amount of stunt work or hand-to-hand fighting that for example Statham is capable of but the whole thrust of the movie is that they're expendable -- to themselves to the world and until Stallone kickstarted these movies to Hollywood.
E2 is still clumsy but it's a little more adventurous and a little more introspective. Two new additions to the crew seem to throw everyone for a loop in one way or another. Liam Hemsworth shows up as Bill the Kid a sniper who left the military after a raid in Afghanistan went horribly wrong; his age and hopefulness not to mention physical prowess is a foil the Sylvester Stallone's Barney Ross and one that Barney is well aware of. Nan Yu joins the team as Maggie who is apparently the only person who can disarm the safe that holds whatever secret thing Church (Willis) has sent them to retrieve. And if the Expendables don't get her back alive Church will make them pay because even though Maggie is some sort of multilingual computer genius with a vicious roundhouse she's a lady. On one hand perhaps we're supposed to gather that this group of old dogs is learning new tricks by having to deal with a smart capable woman in their midst; the attempts Gunner (Lundgren) makes to flirt with her are clunky and goofy and she's obviously way too smart for fall for that claptrap. On the other when she whips out some instruments of torture Barney cracks "What are you going to do give them a pedicure?" And of course her role also devolves into an incredibly stilted and unbelievable romantic interest for Barney. One point for trying but two points deducted for falling into the romantic interest trap.
At times it's hard to tell whether or not we're laughing with the crew or at them. Plus because of how jam-packed the cast is some actors get the short end of the stick. Statham is the most charismatic of the bunch and he also has the most impressive hand-to-hand fight scenes but the emphasis in E2 is sheer firepower so he doesn't get nearly enough screen time. Couture is fairly forgettable while Lundgren plays the lunkiest of lunkheads; the running joke is that he has a chemical engineering degree from MIT and was a Fulbright Scholar which is supposed to be funny... except it's also true. (We're to assume he's mended his evil ways between the first Expendables and the second.) Is Lundgren agreeably poking fun at himself the same way Schwarzenegger hams it up at every turn? Or does E2 have shades of JCVD which stars Van Damme was a washed-up action star? Are the emotional moments supposed to fall so hilariously flat on purpose? For some reason it seems important to tease out which parts of these movies are earnest and which are tongue-in-cheek.
There's a weird melancholy about watching this group of aging action stars that has the same tang as watching someone you love grow older especially as they try so very hard to fight the ravages of time. If you dig a little deeper maybe deeper than E2 warrants you could find a well of sadness below the back-slapping antics. The world has changed and even though Stallone and his crew have muscles so hard and juicy they could pop out of their skin like grapes they can't compete with Bill the Kid and Maggie and others like them. They know it and we know it and while it's good fun to see old friends or onscreen enemies kill scores of bad guys (led by JCVD sporting a truly horrible fake Baphomet-style neck tattoo) there are better smarter more exciting and more interesting action films on the horizon.
And there's also The Expendables 3.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.
Shelley Winters, the outspoken actress, best known for her Academy Award winning turns in films The Diary of Anne Frank and A Patch of Blue, has died, The Associated Press reports. She was 85.
Winters died of heart failure early Saturday at The Rehabilitation Centre of Beverly Hills, her publicist Dale Olson said. She had been hospitalized in October after suffering a heart attack.
The actress sustained a long career. She started as a nightclub chorus girl, advanced to supporting roles in New York plays, then became famous as a Hollywood starlet. But as a devotee of the Actors Studio, she got more serious about her craft.
Winters received her final Oscar nomination, for 1972's The Poseidon Adventure. Among her other notable films: A Place in the Sun, Night of the Hunter, Lolita and Alfie. Still working well into her 70s, she had a recurring role as Roseanne's grandmother on the 1990s TV show Roseanne.
"Shelley was idol of mine--and many--an extraordinary woman with powerful charisma, enormous talent and a keen, perceptive mind," longtime friend and actress Connie Stevens told AP.
Winters was also known for her flamboyant lifestyle. Her stormy marriages, her romances with famous stars—including Burt Lancaster and William Holden--as well as her forays into politics and feminist causes kept her name before the public. She delighted in giving provocative interviews and seemed to have an opinion on everything.
Her first marriage was to businessman Paul "Mack" Mayer on Jan. 1, 1942. They divorced in 1948. Winters' second and third marriages were brief and tempestuous: to Vittorio Gassman (1952-1954) and Anthony Franciosa (1957-1960), both volatile actors.
Winters is survived by a daughter, Vittoria, from her marriage to Gassman.
Well, the February sweeps are finally over.
Once the remainder of NBC's "10th Kingdom" is flushed from the system, it will all be just a distant memory. Regis Philbin won, if you were scoring along at home. If the February sweeps were like network TV's playoffs, Regis was Michael Jordan -- only shorter and dressed like a bootlegger from the 1920s.
The good news? Now that the quarter-hour numbers don't mean as much to the bean counters, you might find a few higher-quality shows on the air -- not that Fox's "Robbie Knievel: Head On Train Jump" wasn't "high quality" as head on train jumps go. ... But, um ... Hey, everybody, let's get ready for those mid-season replacements!
-- Right after HBO's "The Sopranos" airs today at 8 p.m. (this is old news, but yes, the series really is as good as everybody says it is), stay tuned for "If These Walls Could Talk 2" (9 p.m. EST/PST). It's a long overdue look at changing lesbian lifestyles from the 1960s through 1990s. Vanessa Redgrave, Sharon Stone, Ellen DeGeneres, Michelle Williams ("Dawson's Creek") and Oscar-nominee Chloe Sevigny ("Boys Don't Cry") star in the kind of film that portrays lesbianism in a more positive light than we are used to seeing on TV -- you know, minus the laugh track and drooling men. It's sort of "lesbianism for women," if that makes any sense. Howard Stern spoke the truth when he said "lesbians equal ratings." But we're not sure this is what he had in mind.
-- No longer afraid of losing good shows in the crush of all those February network "specials," cable's USA network premieres two pretty good "based on actual events" originals this week. Producer Shaun Cassidy, a former teen "heartthrob" who will never live down his past if we have anything to say about it and the creator of the intensely spooky but short-lived "American Gothic," is the scribe behind the first episode of "Cover Me" (8 p.m. EST/PST today). It's an hour-long drama about an FBI agent who feels that the best way to keep his family safe from the bad guys is to put the wife and kiddies to work on his cases -- so, um, they can be more directly in the line of fire. You know, that doesn't sound like the greatest plan in the world, but it might make a good TV show. ... Hey wait a minute! Oh, nevermind.
-- And Tuesday at 9 p.m. EST/PST, USA offers the made-for-cable movie "The Huntress." If the title alone hasn't sold you, it also stars Annette O'Toole! And if, like us, you're not sure who that is (actually she's very famous and was in "Nash Bridges"), it's also based on the true story of Dottie Thorson! And if, again, you're not sure who that is, either, you'll just have to take our word that this movie is pretty cool. When a (based-on-a-real-person) professional bounty hunter (Craig T. Nelson) explodes in his driveway, his (based-on-real-people) wife (O'Toole) and daughter (Aleksa Palladino) decide to press on with the family business. It's smart and funny in a seedy Quentin Tarantino kind of way ... the good Tarantino, before "Destiny Turns on the Radio" and that vampire movie.
-- Kevin Spacey takes the chair on Bravo's always interesting interview show "Inside the Actor's Studio" (8 p.m. EST/5 p.m. PST today). Count on the intrepidly probing host, James Lipton, to get a lot out of the Best Actor Oscar nominee (for "American Beauty") in this hour.
-- And an hour later (at 9 p.m. EST/PST), E! premieres another installment of its stately "True Hollywood Story" doc series. This time the subject is Burt Reynolds. From his days as a No. 1 box-office attraction (long before "Stroker Ace," and "Cop and a Half," if you're trying to remember) to Loni Anderson to Dinah Shore to ... You know, if Burt Reynolds hasn't actually done it all, he's certainly done most of it. This should be pretty good.
-- Fox reanimates "Family Guy" for another run Tuesday at 8:30 p.m. EST/PST. It's a funny toon and certainly deserves a regular spot in its struggling line-up (not that worth ever stopped a network from canceling anything before). Meanwhile, NBC finally moves into the 1990s (in the year 2000, no less) and joins the animation revolution by giving a prime spot (right behind "Friends") to the mid-season replacement "God, the Devil and Bob" (8:30 p.m. EST/PST Thursday). When all creation seems to have lost its luster, God (voiced by James Garner) gambles with the devil (Tony-winner Alan Cumming) that a guy named Bob ("3rd Rock from the Sun" co-star French Stewart) can restore his faith in humanity. If Bob isn't up to the task, then basically the universe becomes a "do-over." Don't knock "Bob," yet. It's got to be better than "Jesse."
-- Hoping to capitalize on the ratings success CBS had with the Grammys last month, VH-1 will televise the "Rock & Roll Hall of Fame Induction Ceremony" (9 p.m. EST/PST Wednesday). Inductees include Eric Clapton, the Lovin' Spoonful, and Earth, Wind and Fire. Unfortunately, Jennifer Lopez is busy (picking up boyfriend Puff Daddy at court is like a full-time job now), so Clapton has volunteered to "take one for the team" and wear the thin-strips-of-delicate-fabric-taped-to-the-breasts outfit.
-- And finally, the Sci-Fi Channel will be running the entire "Indiana Jones" trilogy on consecutive nights this week. If you don't know what we're talking about, the "Indiana Jones" movies are about an archeologist who travels around and digs for ancient artifacts. (They're a lot better than they sound). Anyway, "Raiders of the Lost Ark" airs Tuesday at 8 p.m. (EST/PST), followed by "Indiana Jones and the Temple of Doom" (8 p.m. EST/PST Wednesday) and "Indiana Jones and the Last Crusade" (8 p.m. EST/PST Thursday). As an extra-special treat, Sci-Fi is presenting the flicks in extra-special widescreen format. Sounds like hunkering down time in front of the television.