Last week, it was revealed that the upcoming Men in Black 3 would shake up tradition and not feature a rap from Mr. Fresh Prince aka star Will Smith—but it wouldn't quite do away with the musical keystone either. Taking on the alien-infused hip-hop duties from Smith was it-performer Pitbull, who, like his rapper/actor predecessor, delivers equal doses charisma and melody into his pop chart hits. But the question reamined: could a newcomer really maintain the danceability and silliness that made the original 1999 hit "Men in Black" a huge hit?
Now, Sony has released the singer's Men in Black single "Back in Time," which gives Smith's late '90s tie-in masterpiece a run for its money (and washes away any bad tastes left over from Men in Black 2's "Black Suits Comin'"). The song, written by Pitbull (aka Armando C. Perez), Marc Kinchen, Adrian Trejo and Urales Vargas, features a sample of the 1950s R&B hit "Love is Strange" by Mickey & Sylvia and plenty of plot-informed references (in the movie Smith's J travels back-in-time to save the life of his partner K).
Listen to the single in the player below, and begin speculation on whether or not Huey Lewis and the News should sue Pitbull for stealing the title of their Back to the Future tie-in song of the same!
What say you? Find Matt Patches directly on Twitter @misterpatches and remember to follow @Hollywood_com!
In the spirit of the Fourth of July, Hollywood.com has put together a list of fifty movies with the word "America" in the title. Movies that have truly exemplified what our country is about. Movies that have made us appreciate our history and freedom. Movies about love, passion, overcoming obstacles... and a talking can of vegetable soup
AIR AMERICA Mel Gibson and Robert Downey Jr. debate the morality of flying drugs to Laos during the Vietnam War
AMERICA, AMERICA A Greek kid loses a lot of money and wants to come to the U.S.
AMERICA’S SWEETHEARTS Julia Roberts and John Cusack like each other
THE AMERICAN George Clooney is involved with assassinry
AN AMERICAN AFFAIR A young kid works in the Kennedy era for a woman who has great semblance to Marilyn Monroe
AMERICAN ANTHEM Some girl convinces a retired gymnast to do gymnastics again
AMERICAN BEAUTY Kevin Spacey wants to sleep with a teenager; his neighbor films litter
THE AMERICAN CAN Will Smith’s upcoming film on Hurricane Katrina
AN AMERICAN CAROL Michael Moore and Charles Dickens are treated with contempt
AMERICAN COWSLIP They actually misspelled “loser” in the trailer for this movie
AN AMERICAN CRIME Catherine Keener holds Juno hostage for some reason
AN AMERICAN DREAM Police and gangsters pursue a murderous talk show host
AMERICAN DREAMER A writer goes to Paris and becomes delusional
AMERICAN DREAMZ A misguided melding of terrorism and televised singing competitions
AMERICAN FLYERS Kevin Costner and his crazy brother ride bikes in the mountains
AMERICAN FUSION A Chinese immigrant with a crazy family falls for a Mexican doctor
AMERICAN GANGSTER Denzel Washington gets rich doing bad things
AMERICAN GIGOLO Richard Gere paves the way for Rob Schneider’s career
AMERICAN GRAFFITI The 60s were better than other times
AMERICAN HISTORY X Edward Norton is a pretty big racist for a while
AMERICAN IDIOT They’re making the Green Day album into a movie now
AMERICAN OUTLAWS Colin Farrell is a very modernized Jesse James
AN AMERICAN IN PARIS Gene Kelly is involved in a love triangle, for a change
AMERICAN PIE A bunch of kids try to lose their virginities
AMERICAN PIE 2 Those same kids get a house on Lake Michigan
AMERICAN PIE 3 / AMERICAN WEDDING The main kid gets married to the girl who started as a one-off joke
AMERICAN PIE 4 / AMERICAN REUNION One of the kids is probably going to get caught in a compromising position
THE AMERICAN PRESIDENT President Michael Douglas loves Lobbyist Annette Bening
AMERICAN PSYCHO Christian Bale wears suits, likes Huey Lewis, and kills people
AMERICAN SPLENDOR Paul Giamatti as Harvey Pekar in the cartoonist’s biopic… which also stars Harvey Pekar
AMERICAN STRAYS Ten nut jobs drive through the Midwest; there’s a lot of killing
AN AMERICAN SUMMER Modern reimagining of Tom Sawyer, sort of
AMERICAN TABOO A photographer prefers to take pictures than to talk to people
AN AMERICAN TAIL Fievel makes us all believe in hope
AMERICAN VIOLET A black single mom is racially-profiled for dealing drugs in Texas
AN AMERICAN WEREWOLF IN LONDON There’s an American werewolf in London
BIRDS OF AMERICA Matthew Perry’s siblings are out of their minds
CAPTAIN AMERICA: THE FIRST AVENGER Skinny Brooklynite will become the ultimate soldier and save the world
COMING TO AMERICA Eddie Murphy in whiteface tells a joke about spoons
IN AMERICA Family of Irish immigrants adjust to American life
KIDS IN AMERICA Claire Dumphy is an unreasonable high school principal who incurs the wrath of her students
KIT KITTREDGE: AN AMERICAN GIRL Abigail Breslin proves that all kids are smarter than all adults
KNUTE ROCKNE, ALL AMERICAN Ronald Reagan makes the most parodied movie speech ever
THE LAST AMERICAN HERO Jeff Bridges drives past and makes his own liquor
THE LAST AMERICAN VIRGIN A group of friends fight, do drugs, have sex, and maybe learn a little something
ONCE UPON A TIME IN AMERICA Robert DeNiro plays against type as a conflicted gangster
TEAM AMERICA: WORLD POLICE Puppets fight al Qaeda, Kim Jong Il, and Matt Damon
THE QUIET AMERICAN Michael Caine is a reporter in the adaptation of a book I was supposed to read in college
THE UGLY AMERICAN Marlon Brando goes to Southeast Asia and takes offense to Communism
WET HOT AMERICAN SUMMER Christopher Meloni fondles is sweaters
Set in late-‘60s/early-‘70s Harlem Frank Lucas (Denzel Washington) is a relative nobody an underling driver existing well beneath his gangster mentor Bumpy Johnson (Clarence Williams III). But when Bumpy dies that all changes. Likewise street cop Richie Roberts (Russell Crowe) is small-time best known for having turned over a boatload of found cash out of the goodness of his heart. But in a way his status also begins to ascend around the time of Bumpy’s death. And so Lucas and Roberts both quickly rising through the ranks of their respective law-breaking and abiding hierarchies are on a collision course—each without the knowledge the other even existed. Frank doesn’t waste any time asserting himself once Bumpy dies and he will go on to become the only kind of drug peddler with a shot at staying power: opportunistic ruthless and not one to consume his own product. Lucas’ get-rich-quick scheme of importing Vietnamese heroin via U.S. soldiers’ caskets eliminates the middleman and nets him millions. But as is always the case one lapse in vigilance puts him at risk and Roberts is there waiting. Behold moviegoers the mother lode of acting duos—only we saw Denzel Washington and Russell Crowe together on screen 12 years ago in Virtuosity. Oh well. Truth be told the short time in which they share scenes has nothing on its buildup thereof but these two are a marvel in their own separate arcs. Denzel is the gaudier of them relishing his Scarface-sized villain even more than he did Alonzo in Training Day. It’s a top-notch performance to add to a career full of them and there are a plethora of scenes from which to choose for his Oscar reel. Crowe meanwhile isn’t quite as riveting as he was a few months ago in 3:10 to Yuma but that's partly because cinematic good guys always finish second in terms of watchability. And when the climactic confrontation nears Crowe dials up the tension a few notches. The marquee names though are but the tip of the iceberg in this star-studded affair which also boasts the likes of Chiwetel Ejiofor (who recently co-starred with Denzel in Inside Man) Cuba Gooding Jr. Common Carla Gugino RZA John Hawkes Ted Levine and the legendary Ruby Dee. But Gangster’s (no longer hidden) gem is Josh Brolin currently enjoying a major resurgence. With apologies to Denzel Brolin’s deliciously hateful corrupt cop might be the best performance here. Ridley Scott--semi-legendary for his sci-fi (Alien Blade Runner) action (Gladiator) and feminism (Thelma and Louise)--is not the first director who would come to mind for a gritty talky urban period drama but he displays unforeseen versatility with Gangster. Nothing feels inauthentic here from the look of Vietnam-era New York City and its inhabitants to the documentary-style feel of the sparse action and it’s a surprisingly restrained effort from Scott that allows for such realism. Other filmmakers might’ve been tempted to deflect Gangster into shoot-‘em-up territory with say an action-centric take on the size of villainry possessed by Lucas but Scott does well in staying true to what this story is and is not about. And while there’s nothing especially groundbreaking or unforgettable about his effort Scott keeps the two and a half hours pretty compelling. Gangster’s unsung hero however is its real subject Lucas and his true story even more so than the one adapted by Steven Zaillian (Schindler's List) from Marc Jacobson’s New York Times article. It’s a fascinating tale of everything that makes for good movies—race class money drugs corruption—brought to the screen vividly by a director who could potentially be in line for his first Oscar.
Like Madagascar the story starts at the New York Zoo. Samson (Kiefer Sutherland) the lion is once again the star of the show but unlike Madagascar’s Alex Samson claims he came from the wild. He regales the other odd assortment of zoo denizens--including a talkative giraffe (Janeane Garofalo) a lisping anaconda (Richard Kind) a snarky Koala (Eddie Izzard) and a take-charge squirrel (Jim Belushi)--with tales of danger and excitement abroad. Of course Samson can’t tell the real truth that he was actually born in captivity and is making it all up because everyone including his rebellious teenage son Ryan (Greg Cipes) would think less of him. But when Ryan runs away thinking he can’t live up to his dad’s reputation and is mistakenly shipped off to the wild Samson has keep up the charade as the gang embarks on a dangerous mission to rescue him. The lion does come clean at some point in case you were wondering. Another vocal roster of big names another dollar. This time around we’ve got Sutherland Garofalo Belushi all doing the animal thing. There’s also William Shatner as a villainous wildebeest headed for the loony bin after deciding he’s tired of being the prey and turns predator. He’s even got his herd of wildebeest dancing a Busby Berkeley number around a volcano á la Lion King. Sigh. Luckily there is one saving grace--sort of: Izzard as the wisecracking Koala bear Nigel who gets mistaken for a god by the wildebeest and milks it for all its worth which isn’t a whole lot. Still if anyone has seen the British comedian’s hilarious HBO special Eddie Izzard: Dressed to Kill you can just imagine him strutting around as a Koala dressed in women’s clothing and doing his shtick. The Mouse House once again proves it doesn’t have an inventive bone in its body--or even the gumption to realize that had something with potential. Apparently the pitch from writers Mark Gibson and Philip Halprin had been mulling around Disney for about nine years before it got made giving the likes of Nemo and Madagascar a head start (I’d be peeved if I were those writers). But even if The Wild did come first it still wouldn’t be able to measure up mostly because the story is insipid. Wildebeest turning into predators? What’s THAT all about? The CGI-animation is spot on of course but we are definitely taking all of that for granted these days. No now what we want is a good compelling story. If not that then at least we should have a couple of really funny characters--like commando penguins or a fish with short-term memory--to help things move along. The Wild doesn’t have either so while children may be left mildly entertained for an hour and a half parents will be left twiddling their thumbs waiting for it to be over.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.
HOLLYWOOD, Sept. 15, 2000 – Julia Roberts revoluntonizes?! The Hollywood Reporter says today that Revolution Studios, headed by former Disney top brass Joe Roth, has bought the tentatively titled "Project 3," a psycho thriller that would star Julia Roberts.
Directed by Gore Verbinski, who worked with Roberts on the upcoming "The Mexican," the film is said to be similar to the story of "Gaslight," where a man tries to drive his wife insane.
SPIKE TV: Director Spike Lee will direct "A Huey P. Newton Story" for BET cable channel. The TV flick, starring Roger Guenveur Smith in the title role, will chronicle the life of Smith, the late co-founder of the Black Panther Party.
Before this, Lee has directed one other project for television, "Freak" with John Leguizamo for HBO in 1998.