San Diego Comic-Con: the annual gathering of comic book nerds, blockbuster action movie fans and the slightly terrifying people who still watch Supernatural religiously. It's the biggest pop culture event of the year, a time when studios bring the biggest and most shriek-inducing stars together to unveil new projects and showcase the exciting things fans will eventually be camped out all night for. And even though not all of us are lucky enough to experience Comic-Con in person, that doesn't mean we don't deserve to get all the up-to-the-minute news, reports and surprises. Since we here at Hollywood.com don't want you to miss out on all the excitement happening in Hall H or the surprises being unveiled over the weekend, we're running down the biggest news to come out of San Diego during the convention to ensure you can stay on top of everything, whether you're stuck in the office or waiting in line for another sold out panel.
Guess Who's Set For a Bloody ReturnIt’s difficult to imagine anyone bouncing back from the tense bloodbath that capped off the second season of Hannibal, but Bryan Fuller doesn’t want you to worry about the state of your favorite characters, because several of them made it out of there – although not all of them made it out alive. Deadline reports that Raul Esparza’s Dr. Chilton did, however, and he will appear next season, presumably to get revenge for being shot in the face. Eddie Izzard and Kacey Rohl will also be making an appearance or two, but while he did say the former would only pop up in flashbacks, he declined to reveal whether Abigail is still in one piece. (The series also unveiled the second season blooper reel, which is exactly as delightful as you’d expect.)
Advanced Television Resurrection Now that Community’s sixth season is under way, it’s time to ask the most important question of all: When are the Greendale Seven coming back? At a panel Thursday night – appropriately titled “Communty: REBORN” – show runner Dan Harmon and the cast revealed that fans should see the Study Group back in action sometime after Christmas (via CinemaBlend). But don’t call into work to binge watch just yet, as Yahoo! will be released episodes on a weekly basis, just the same as if it were still on NBC. Still, you can expect some changes thanks to the change in platform, as Harmon has said that the writers are interested in testing the limitations of their new format. (Although we know how well Abed does with change…)
Teen Wolf Howls On… Teen Wolf might be in the middle of its fourth season at the moment, but the panel in Ballroom 20 only had eyes for the future, and with good reason: creator Jeff Davis revealed that the show already been renewed for a fifth season. According to EW, the upcoming season will also be the longest yet, with the episode count bumped up to 20 from season four’s 12. Of course, it will run in two parts and your favorite characters will probably be killed, but nobody said living in Beacon Hills was easy.
Incredible Interstellar After single-handedly revitalizing the Batman franchise and confusing people everywhere with Inception, Christopher Nolan finally made his Comic Con debut to talk about his upcoming film Interstellar, alongside Matthew McConaughey (via EW). Although they didn’t reveal much about the movie, they did showcase a new trailer that gives a better look at the mysteries it contains (which, unfortunately, the rest of us won’t get to see for a while), and Nolan revealed what inspired him to explore outer space. A little disappointingly, it was physics.
TMNT Needs Less Pizza, More Girl Power At least, according to Megan Fox. The actress has been making the rounds at Comic Con to promote the film, which hits theaters in mid-August, and in an interview with HitFix, she revealed that her April O’Neill will kick a little less butt than she had hoped: "A lot of girl power ended up on the cutting room floor, unfortunately. I had a really awesome scene where I was fighting The Foot Clan, but I think they were like, 'Why would a tiny journalist be able to kick so much ass?’” Silly producers, we writers have plenty of pent up anger. Let the girl fight!
Kelly Osbourne has fuelled rumours she is dating again by posing for a provocative picture with male model Ricki Hall. The TV presenter was first linked to the bearded hunk at the end of June (14) and they sparked further gossip about their relationship status when he accompanied her to Ozzy Osbourne's Black Sabbath gig at London's Hyde Park on Friday (04Jul14).
They seemingly confirmed their romantic involvement on Monday (07Jul14) when Osbourne posted a snap on her Instagram.com page showing her touching tongues with Hall.
The accompanying caption reads, "TasteGood (sic)."
Osbourne split from her fiance Matthew Mosshart in January (14) and subsequently swore off men, insisting she planned to remain single for the immediate future, saying, "I plan on being single for a very, very long time. No, I don't think it's possible for someone to sweep me off my feet right now."
Firefighters were called to Claudia Schiffer's English countryside home on Monday (26May14) after a blaze broke out in the building. Around 50 emergency workers spent two hours battling to extinguish the flames at the German supermodel's mansion, which she shares with moviemaker Matthew Vaughn and their three children.
The 16th century hall near Bury St Edmunds, in Suffolk, England suffered major damage to outbuildings, but firefighters managed to stop the blaze spreading to the main part of the house.
Pictures taken on the day of the fire appear to show Schiffer and Vaughn standing by watching the crews battle the flames.
A spokesperson for the Suffolk Fire and Rescue Service tells Britain's Daily Mail newspaper, "A fire investigation concluded that it was started accidentally."
Hairspray stars Ricki Lake, Marissa Jaret Winokur and Nikki Blonsky came together for a rare appearance in New York on Monday (28Apr14) to pay tribute to the hit musical's composers Marc Shaiman and Scott Whitman. The three actresses, who have all played the leading lady Tracy Turnblad on stage and screen, were guests of the New York Pops orchestra as part of of an event celebrating the work of Shaiman and Whitman.
Lake, who starred in John Waters' 1988 film, Winokur, who originated the role on Broadway in 2002, and Blonsky, who took on the part in the 2007 film adaptation of the musical, belted out a version of the musical's opening song, Good Morning, Baltimore.
Winokur also joined the other members of the original Broadway cast, including Glee's Matthew Morrison and Laura Bell Bundy, as they performed the hit song, You Can't Stop the Beat.
Also taking the stage to sing Shaiman/Whitman tracks from film and stage were Patti LuPone, Les Miserables' Aaron Tveit, Katharine McPhee, Broadway veterans Will Chase and Jane Krakowski, and comedian Martin Short.
Country music icon Willie Nelson has been given double the reason to celebrate his birthday this week (begs28Apr14) after receiving a fifth-degree black belt in the Korean martial art of Gong Kwon Yu Sul. The veteran singer, who turns 81 on Wednesday (30Apr14), was presented with the accolade and a special scroll from his instructor, Grand Master Sam Um, during a ceremony in Austin, Texas on Monday night (28Apr14).
Nelson, who is also an expert in the martial arts of kung fu and tae kwon do, did not show off his self-defence skills at the presentation, but admitted he had never imagined achieving such a high standard when he first started studying the martial art two decades ago.
He said, "Honestly, I was surprised to be getting this degree. I don't know what else is out there. I never thought about anything beyond second-degree black belt."
And he has credited his longterm training for helping him stay in tip-top shape: "I'm pretty healthy at 81. I think martial arts is one of the best exercises you can do. Mentally, spiritually, physically, everything. I'm sure that's helped."
The black belt was Nelson's latest honour - he was inducted into the Austin City Limits Hall of Fame by actor Matthew McConaughey on Saturday (26Apr14) in recognition of his career achievements.
Hollywood actor Matthew Mcconaughey honoured his idol Willie Nelson by inducting the country music star to the Austin City Limits Hall of Fame in Texas on Saturday night (26Apr14). The Oscar winner was on hand to fete fellow Texas native Nelson at the glitzy ceremony, saying of the veteran musician, "There would be no Austin City Limits without Willie Nelson."
The show, held at the University of Texas at Austin campus, also featured tributes to Nelson from fellow country stars Emmylou Harris and Lyle Lovett, who performed a number of his hits, while other inductees included the late Stevie Ray Vaughan and blues rock band Double Trouble.
The night ended with Nelson performing Texas Flood with Buddy Guy and Kenny Wayne Shepherd.
Paramount via Everett Collection
We all know the saying about how you can't pick your relatives but you can pick your friends. Unfortunately, in high school, most people are limited to those other poor souls that are slouching through the halls to get from class to class.
Every teen movie made has seemingly adhered to some form of the cliques that occur in high school, those groupings based on looks, interests or intelligence that make up the social caste system. What if, however, you could make your own clique, using characters from those films that fit into those stereotypical profiles? It would certainly have made for a more entertaining high school experience, as well as at least one killer party. Who would we pick? Here's our choices...
VIEW GALLERY: The Ultimate Teen Movie High School Clique
Writer-director John Hughes was the master of the teen movie in the '80s, scoring hits with The Breakfast Club, Ferris Beuller's Day Off, and Weird Science, and working with a veritable "who's who" of young '80s actors (Matthew Broderick, Kevin Bacon, Robert Downey Jr., John Cusack, Bill Paxton, Charlie Sheen, etc.).
His teen muse, however, was Molly Ringwald. The young redhead was the star of his directorial debut, Sixteen Candles, and was the inspiration behind Pretty in Pink, which Hughes' wrote and produced. It's been 30 years since the release of Sixteen Candles and 28 since Pretty in Pink, yet each movie has maintained an audience across the decades. Which one, though, is more relevant if you were seeing it for the first time right now?
Ringwald's Samantha Baker is having a terrible 16th birthday. Her parents forgot it entirely. Her grandparents, who are in town for her sister's wedding, are commenting about her "boobies" and bring along a horndog foreign exchange student (Gedde Watanabe). She's got a freshman geek (Anthony Michael Hall) chasing after her, and in exchange for leaving her alone takes a pair of her panties to show off to the other nerds... for a dollar apiece. Worse than all of the other indignities, though, is the fact that she's totally in love with a senior (Michael Schoeffling) who's dating the most popular girl in school (Haviland Morris).
In other words, it's just about every teen girl's worst nightmare, something that really hasn't changed much in the ensuing years. The film is fanciful and fun, with jokes that are both clever and corny. It's the sort of movie that provides mothers and daughters talking points for everything from love to sex to body image issues. Feeling like you're completely on your own as a teenager and that nobody really cares about or appreciates you is a rite of passage for everyone, as are those first heart-stopping crushes. Youthful insecurity is fairly timeless.
Pretty in Pink
Hughes took a (slightly) more grounded view of a young girl's high school experience in Pink. Ringwald plays Andie, a girl from the poor side of town who makes her own clothes and has to take care of her down-on-his-luck father (Harry Dean Stanton). She works in a music store and hangs out with an eccentric friend named Duckie (Jon Cryer), as she tries to just make it through until she can go to college for fashion design. But then she falls for one of the rich kids (Andrew McCarthy), and has to deal with the very obvious class distinctions that are continually pointed out by his obnoxious friend (James Spader). Unlike the lead in Sixteen Candles, Andie doesn't need recognition from anyone, definitely doesn't want to be pitied ,and is perfectly capable of standing up for herself. She's conscious of Duckie's feelings, but she neither patronizes him nor leads him on. When McCarthy's Blane backs out of their prom date, she goes it alone (and, okay, with a little help from the Duck).
Essentially, Andie is that quiet girl in high school who blossoms in college and doesn’t go to reunions because she's too busy with a great career. It's a little hard to get past the very '80s wardrobe, although it has a killer soundtrack (OMD's "If You Leave" still makes anyone over 40 nostalgic for their own prom). In the end, though, Andie is a realistic teen heroine who, unlike say Jennifer Lawrence in The Hunger Games, navigates through a world that is not terribly different from the present and does it by empowering herself. That's not a bad lesson for any young woman to learn.
Both of the teen classics have relevance to a modern audience in their own way, although the jokiness of Sixteen Candles probably helps it translate a little bit easier. That’s what we think, but now it's your chance. Vote below to tell us which of Hughes' teen comedies has remained more relevant.
A24 via Everett Collection
Jose Saramago’s acclaimed novel The Double is a twisting, stream-of-consciousness narrative about a man who accidentally stumbles across his doppelganger. Full of long-winded passages designed to keep the reader confused as to what is real and what is imagined, it’s the kind of story that requires multiple readings in order for anyone to follow the abrupt and opaque turns the plot takes. It’s fitting, then, that Enemy, Denis Villenuve's loose adaptation, is equally as confusing and enthralling. It might not be entirely faithful to the text, as there are some significant changes (including the addition of a disorienting recurring spider motif), but it’s extremely faithful to the trippy and suspenseful tone of Saramago’s work.
Only Villeneuve’s second English-language film, the director has been making his mark in Hollywood with dark psychological dramas, and Enemy might be the film that makes studios finally sit up and take notice. Jake Gyllenhaal stars as Adam Bell, a mopey, rumpled mess of a history professor, who spends his days lecturing to a hall filled with uninterested students, and his evenings in a quiet, repetitive stupor with his girlfriend, Mary (Melanie Laurent). On the recommendation of a colleague he decides to break out of his routine by renting a movie, where he discovers that one of the actors looks exactly like him. From there, he devotes his free time to tracking down Anthony Clair, a decision that results in Adam getting trapped in a web of secrets, lies and mistaken identities.
However, the film holds on tightly to whatever the truth is, and keeps its buried somewhere underneath all of that creepy spider symbolism. At a few points, it seems as if something is about to unravel the whole affair – we're on edge through visits to Adam’s mother (Isabella Rossellini) and conversations between the academic and Anthony’s wife Helen (Sarah Gadon). The film's central design seems to be one of confusion and disorientation, but in a rewarding way.
That seems to be the goal of Enemy as a whole, and if it is, then it succeeds. The mystery of the film unfolds slowly, and both Gyllenhaal and Villeneuve draw out every scene in order to ratchet up the tension. Even then, though, the film gives off more of a constant feeling of unease than anything resembling a traditional thriller, which is heightened by the sickly yellow color palate that Villeneuve uses. Everything in the movie feel awkward and off, and forces the audience to attempt to break out of the twisted plot in the same way as Adam does.
There are times when the drawn-out, off-kilter nature of the film becomes frustrating, especially when the characters run away just as it seems like Enemy is about to show its hand. But even with the lack of answers, it still manages to present a riveting, suspenseful story. Much of this is due to Gyllenhaal’s two-faced performance, in which he relies heavily on elements like posture and clothing in order to differentiate between Adam, Anthony, Anthony-as-Adam and Adam-as-Anthony. He slips effortlessly between being a sad-sack and an arrogant jerk – a feat which the characters themselves, interestingly enough, are never quite able to achieve. It’s a tour-de-force performance, albeit a quiet one, and as the two men become more and more entwined, Gyllehaal adds layers and depth to both of them.The film doesn’t ask much of its supporting ladies, however, with Gadon, Laurent, and Rossellini playing one not characters who are tortured, confused and aloof, respectively. They exist mostly as plot devices that Gyllenhaal can play off of, there to remind the audience whether we’re watching Adam or Anthony.
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At only 90 minutes long, Enemy feels longer, which is meant in both a good and a bad way. Even when Adam and Anthony spend an uncomfortably lengthy scene circling each other, waiting for the other to make a move, the film is tightly paced, and packs a lot into a short amount of time. If it were any longer or any shorter, Enemy might be more of a let-down, but an hour and a half is just enough time to keep you squirming in your seat before releasing you back into the world with more questions than you came in with.
Gun to my head, I might be able to say something positive about 300: Rise of an Empire. In a vacuum, I suppose I'd call its aesthetic appealing, its production value impressive, or its giant rhinos kind of cool. But these elements cannot be taken alone, embroidered on a gigantic patch of joyless pain that infests your conscious mind from its inceptive moments on.
It's not so much that the 300 sequel fails at its desired conceit — it gives you exactly what it promises: gore, swordplay, angry sex, halfwit maxims about honor and manliness and the love of the fight. It's simply that its desired conceit is dehumanizing agony. Holding too hard and too long to its mission statement to top its Zack Snyder-helmed predecessor in scope, scale, and spilled pints of blood, Noam Murro's Rise of an Empire doesn't put any energy into filtering its spectacular mayhem through whatever semblance of a humanistic touch made the first one feel like a comprehensive movie.
Now, it's been a good eight years since I've seen 300, and I can't say that I was particularly fond of it. But beneath its own eye-widening layer of violence, there was a tangible idea of who King Leonidas was, what this war meant, and why Sparta mattered. No matter how much clumsy exposition is hurled our way, all we really know here is that there are two sides and they hate each other.
When Rise of an Empire asks us to engage on a more intimate level, which it does — the personal warfare between Sullivan Stapleton (whose name, I guess, is Themistokles) and Bad Guy Captain Eva Green (a.k.a. Artemisia) is founded on the idea that she likes him, and he kind of digs her (re: angry sex), and they want to rule together, but a rose by any other name and all that — we're effectively lost. With characters who don't matter in the slightest, material like this is just filler between the practically striking battle sequences.
But when the "in-between material" is as meaningless as it is in Rise of an Empire, the battles can't function as much more than filler themselves. Filler between the opening titles and closing credits. A game of Candy Crush you play on the subway. Contemptfully insubstantial and not particularly fun, but taking place nonetheless.
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Without even a remote layer of camp — too palpably absent as Rise of an Empire splashes its screen with so much human fluid that "The End" by The Doors will start to play in your head — there's no victory in a movie like this. No characters to latch onto, no story to follow, no joy to be derived. Yes, it might be aesthetically stunning (and really, that's where the one star comes in... well, half a star for that and half for the giant rhinos), but the marvel of its look shrinks under the shadow of the painful vacancy of anything tolerable.
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