Gone Girl and The Imitation Game were the big winners at the 2014 Hollywood Film Awards on Friday night (14Nov14) after taking home seven honors between them.
The David Fincher thriller, starring Ben Affleck as a cheating husband who is suspected of killing his wife, earned the top prize of Hollywood Film, while Gillian Flynn took home the Hollywood Screenwriter award for turning her bestselling book into a movie of the same name.
The Imitation Game was a quadruple winner, earning Benedict Cumberbatch Hollywood Actor and Keira Knightley Hollywood Supporting Actress for their portrayals of famous World War Two encryption specialists Alan Turing and Joan Clarke, while filmmaker Morten Tyldum was named Hollywood Director and Alexandre Desplat earned the title of Hollywood Film Composer.
New dad Robert Downey, Jr. took time out of diaper duties to celebrate his The Judge co-star Robert Duvall as Hollywood Supporting Actor, the first award of the night, while Angelina Jolie honored Jack O'Connell with the New Hollywood award for his performance as Olympian-turned-war hero Louis Zamperini in Unbroken.
The Hollywood Film Awards, which recognize "excellence in the art of cinema and filmmaking", serves as the official launch of the Hollywood awards season. The ceremony was hosted by Queen Latifah from the Hollywood Palladium and featured appearances from Jennifer Lopez, Johnny Depp, Laura Dern, Amy Adams, Christoph Waltz, Robert Pattinson, Hilary Swank, Jonah Hill and Geena Davis.
The main list of winners at the 2014 Hollywood Film Awards is:
Hollywood Film - Gone Girl
Hollywood Blockbuster - Guardians of the Galaxy
Hollywood Actor - Benedict Cumberbatch, The Imitation Game
Hollywood Actress - Julianne Moore, Still Alice
Hollywood Supporting Actor - Robert Duvall, The Judge
Hollywood Supporting Actress - Keira Knightley, The Imitation Game
Hollywood Breakout Performance, Actor - Eddie Redmayne, The Theory of Everything
Hollywood Breakout Performance, Actress - Shailene Woodley, The Fault In Our Stars
Hollywood Director - Morten Tyldum, The Imitation Game
Hollywood Breakthrough Director - Jean-Marc Vallee, Wild
Hollywood Screenwriter - Gillian Flynn, Gone Girl
Hollywood Ensemble - Foxcatcher
Hollywood Career Achievement - Michael Keaton
New Hollywood - Jack O'Connell, Unbroken
Hollywood Documentary - Supermensch: The Legend of Shep Gordon
Hollywood Comedy Film - Top Five
Hollywood Animation - How To Train Your Dragon 2
Hollywood Cinematography - Emmanuel Lubezki, Birdman
Hollywood International - Jing Tian
Hollywood Visual Effects - Scott Farrar, Transformers: Age of Extinction
Hollywood Film Composer - Alexandre Desplat, The Imitation Game
Hollywood Song - Janelle Monae, Rio 2
Hollywood Costume Design - Milena Canonero, The Grand Budapest Hotel
Hollywood Editor - Jay Cassidy and Dody Dorn, Fury
Hollywood Production Design - Dylan Cole and Gary Freeman, Maleficent
Hollywood Sound - Ren Klyce, Gone Girl
Hollywood Makeup and Hairstyling - David White and Elizabeth Yanni-Georgiou, Guardians of the Galaxy.
LucasFilm via Everett Collection
It might seem like Disney is taking some big risks with its most precious property, the Star Wars universe. Gareth Edwards — slated to direct a yet unspecified standalone character feature for the franchise — turned in an exceptional Godzilla movie, but still only has one additional directing credit to his name. Chronicle's Josh Trank, recently saddled with a similar gig, was an even more surprising choice for the studio. And now, the coup de gracie: Rian Johnson, one of the most interesting filmmakers playing the genre game these days, will take on writing and directing duties for Star Wars: Episode VIII and Star Wars: Episode IX (per Deadline). It's the biggest task that Disney has yet to bestow upon any of its Star Wars folk, with sci-fi frontman J.J. Abrams only earning the one film, but perhaps the lowest risk of the bunch. If you take a look at Johnson's complete filmography, you'll see what we mean.
Johnson's debut feature — a pitch black neo-noir mystery that follows a pre-resurgence Joseph Gordon-Levitt around the underbelly of his high school community looking for the answers to a spiraling mystery. The biggest strength of Brick, beyond some dynamite performances all around (Gordon-Levitt most of all) is a script that reads practically like music. Compare Harrison Ford bemoaning George Lucas' 1977 Star Wars dialogue ("George, you can type this s**t, but you sure as hell can't say it!") with JGL singing the praises of Johnson's poetry ("Brick was a good script just to read. It was like, 'Oh my God, these words feel so good in my mouth.' A lot of movies try to set up a world with cool sets, costumes, camera work. In Brick, the world is born from the words.") and you'll see that maybe a talented wordsmith is exactly what the franchise needs.
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Johnson reteamed with Gordon-Levitt in 2012 for his first science fiction feature, and perhaps the first of his movies to earn something close to widespread recognition. Admittedly, Looper got its share of flack for "time travel problems," as any movie that plays fast and loose with the rules of such a delicate sci-fi staple is bound to. But Looper isn't a bastardization of the tradition, it's a celebration of it: of what makes it fun, interesting, a valuable storytelling device, and worth watching a movie about. Instead of being didactic to the impossible logic of timeline continuity, Johnson was devoted chiefly to the spirit of time travel. This is what we want in a Star Wars director — someone who loves that galaxy far, far away but won't let it arrest his imagination.
Johnson directed three episodes of Breaking Bad, each a memorable entry in the series' five season run. The first was "Fly" (represented above, as even those unfamiliar might have guessed), Breaking Bad's take on the small screen tradition of the bottle episode, trapping Walter White literally inside of his laboratory and figuratively inside of his decaying mind. Two years later, Johnson helmed "Fifty-One," famous primarily for the climactic scene in which Skyler attempts suicide by jumping into the family's swimming pool. And finally, "Ozymandias," the third-to-last episode of the series and top contender for most celebrated Breaking Bad episode of all.
The director exemplifies such completely different strengths in "Fly" and "Ozymandias" that you'd have to be startled upon learning they were brought to screen by the same artist. In the former, Walt's turmoil reaches out from in, poisoning him (and Jesse) slowly and steadily over the course of the 45-minute ep. "Ozymandias," on the other hand, is a deep dish of adrenaline. From minute one, things are edge-of-your-seat tense, incurring shoot-outs, killings, high speed chases, kidnappings, domestic chaos, the works.
Both sorts of dramatic expertise are needed for any good adventure piece. Johnson can handle subdued tension, internalized drama, and psychological horror. But he also knows what he's doing when it comes to action, adrenaline, and guttural excitement. If nothing else has convinced you that he's a shoe-in for a good Star Wars picture, Breaking Bad has got to do the trick.
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Sting, Patti Labelle and Gladys Knight have been confirmed among the performers at the Tony Awards next month (Jun14). Alan Cumming, Idina Menzel, Neil Patrick Harris and Sutton Foster and the casts of Aladdin and Les Miserables will also take the stage at New York City's Radio City Music Hall on 8 June (14), and the original Wicked cast will regroup for a 10th-anniversary tribute.
Sting will share a song from his upcoming musical, The Last Ship.
The 2014 Tony Awards will be hosted by Hugh Jackman.
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.
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Stephen King's The Stand needs to be made into a big-budget film. There was a decently made mini-series that included some notable actors. That version was even produced by King himself. However, the television medium doesn't allow the story to explore the haunting parts of King's vision of the end of the world. The mini-series also felt a little bland at times. The film may have lost Ben Affleck to his infamous run as Batman and may end up casting Christian Bale, but here's our fantasy casting for the film series.
Johnny Depp as Randall Flagg
Randall Flagg is charming, attractive, and can seduce people out of their souls. Yet, in the next moment beat them mercilessly to death or make them go mad with just a look. Depp has the good looks and the convincing darkness to portray an agent of the devil. His roles in films like Dark Shadows and Sweeney Todd show he can be dark and twisted while still maintaining his charm, humor, and sex appeal. He also created the definitive anti-hero in Jack Sparrow.
Walt Disney Co via Everett Collection
Cicely Tyson as Mother Abigail
Mother Abigail is a 108-year-old woman, the oldest living human being, and a prophet of God. She becomes a lightning rod for all the good people left in the world to gather together. At 80 years old, Tyson just won a Tony for her role in The Trip to Bountiful. She is an amazing actress and her recent role in The Help has proven that nothing can stop her.
Summit Entertainment via Everett Collection
Emma Stone as Frances Goldsmith
Frannie is pregnant and in her early twenties. As the flu strikes, she questions if she should keep the baby. She’s smart, funny, and attractive enough to get a bit of a love triangle going. Stone is attractive, quirky, and has already seen the apocalypse starring in Zombieland. While most of her films have been comedies, she did show her dramatic muscles in The Help. She also has shown she has the edge to potentially kick ass and it would be great to see her actually do it on screen.
Walt Disney Co via Everett Collection
Matthew McConaughey as Stu Redman
Stu is affectionately known as East Texas. He is one of the first known survivors of the super flu. He plays a major part in the story and the survival of Mother Abigail's followers. When you think of Texas you think of McConaughey. His recent success and Oscar buzz with Dallas Buyer's Club show that the dramatic actor is back along with the comedian we remember from movies like Magic Mike. He has the right level of folksy charm that would encourage a community of survivors to rally behind him.
Millennium Entertainment via Everett Collection
Ryan Gosling as Larry Underwood
Larry Underwood is a sexy rockstar. He spends the bulk of the story with multiple women who want the best for him but sadly he disappoints them. Tons of women in America would love to see Gosling in this role. He has the huge fan following to be believable as a rock star. His role as a ne'er do well stunt driver in Drive and as a lothario in Crazy Stupid Love make him well suited for this role.
FilmDistrict via Everett Collection
Taylor Schilling as Nadine Cross
Nadine Cross is a former school teacher that meets Larry on the road. They connect and bond but she's a virgin and can't be with him. Who is she saving herself for ... who do you think? Randall Flagg. Schilling is huge right now given the success of Orange is the New Black. In the show, she's able to play a virginal innocence while still maintaining a slightly dark and twisted edge. After all, how pure can you be in prison?
Warner Bros. via Everett Collection
Joseph Gordon-Levitt as Nick Andros
Nick Andros is a deaf-mute that is introduced to the audience when he is savagely beaten. He becomes a major player in Mother Abigail's society despite being only able to communicate by writing notes. Levitt has the acting chops to breathe life into this challenging role. He has played off-beat characters in films like Hesher and Don John.
Relativity Media via Everett Collection
Helen Mirren as Glen Bateman
Glen Bateman is a retired sociology professor that loves painting and Kojack the dog. In the book, Bateman is a man. However, given her success in the Red films, Mirren proves she is part of the boy's club. Also, the book is a little light on female characters so it would be great to have such a dynamic actor as Mirren in such a pivotal role. Bateman helps re-establish society in the post-flu community. Plus, in an alternate life, couldn't you imagine Mirren as a ballsy sociology professor. We can pretend Teaching Mrs. Tingle never happened.
Focus Features via Everett Collection
Jonah Hill as Harold Lauder
Harold Lauder is a chubby, know-it-all teenager with some pretty dark thoughts. Now, Hill isn't that chubby anymore, however he is really stretching into dramas. He also proved in 21 Jump Street that he can play a believable teenager, even if its a grown man playing a grown man pretending to be a teenager. He'd be great as this slightly homicidal genius that becomes obsessed with Frannie.
Columbia Pictures via Everett Collection
John Cho as Lloyd Henreid
Lloyd Henreid is a petty criminal that gets caught in a murder spree right before the flu breaks. Flagg rescues him from prison and makes Lloyd his right-hand man. Given his recent run as a villain in Sleepy Hollow, Cho clearly can play bad. Also, it would be great if the film adaptation could not only break convention by having a male character played by an actress like Mirren but also to have a criminal played by an Asian-American actor. Stereotypes have to be broken somewhere.
New Line Cinema via Everett Collection
Give Martin Freeman an empty room and he'll give you comedy. The best parts of The Hobbit: An Unexpected Journey — an admittedly mishandled movie in large — involved his subdued grimaces, his Chaplinian waddling, and the way he carried himself with equal parts neurosis and snark in every scene. If there is one primary misstep of An Unexpected Journey's terrifically improved sequel, The Desolation of Smaug, it is the spiritual absence of Bilbo Baggins.
Freeman's good-natured but disgruntled Hobbit takes a backseat to the Dwarf team in this chapter of Peter Jackon's three-part saga, distributing the heavy lifting among the front lines of the bearded mooks. Thankfully, we're not shafted with too much "Thorin's destiny" backstory, instead focusing on the trek forward, through far more interesting terrain than we got last time around. The Dwarves voyage through a trippy woodland that'll conjur fond memories of The Legend of Zelda's unnavigable forest levels and inside the borders of Lake-town, a man-occupied working class monarchy that is more vivid and living than any place we have seen yet in the series. And while Unexpected Journey's goblin caverns might have been cool to look at, none of the quests in Desolation feel nearly as close to a tangential detour. Every step the Dwarves take is one that beckons us closer to the central, increasingly engaging story.
Desolation is not entirely without its curiosities. While Gandalf's mission to meet the Necromancer serves to connect the Hobbit trilogy to the Lord of the Rings movies, the occasional cuts over to the wizard's pursuits are primarily distracting and just a bit dull. Although we're happy to welcome the Elf race back into our Middle-earth adventures, it's easy to imagine a version of this story that didn't involve side characters like Legolas and Kate... I mean, Tauriel... and still felt whole (perhaps even more cohesive). The latter's love affair with hot Dwarf Kili seems like a last minute addition to the canon, and one not built on anything beyond the cinematic rule that two sexually compatible attractive people should probably have something brewing alongside all the action.
But the most egregious of crimes committed by Desolation is, unquestionably, the shafting of Bilbo Baggins to secondary status. Yes, he proves himself a savior to his fellow travelers four times in the film, but long stretches of action go by without so much as a word from the wide-eyed burglar. When he finally takes center stage in his theatrical face-off with Smaug — an exercise in double-talk reminiscent of Oedipus outsmarting the Sphinx — the film picks up with a new, cool energy, with a chilling fun laced around the impending doom of their back-and-forth. We've been waiting since the first frames of Unexpected to see how the dragon material will pay off, and it does in spades... albeit in the final third of Desolation, but with equal parts gravitas and fun, to reunite us with our Tolkien passions once more.
Benedict Cumberbatch's dragon doesn't do much to subvert expectation — he's slithering, sadistic, vain, manipulative, and vaguely Londonian. But tradition feels good here. Smaug's half hour spent toying with the mousey Bilbo (who does get a chance to showcase his aptitude at small-scale physical comedy here) is terrific in every way.
Its Hobbit problem aside, Desolation proves itself worthy of Bilbo's past proclamation. "I'm going on an adventure!" more than pays off here, in the form of mystifying boat rides, edge-of-your-seat efforts in dragon slaying, and the most joyful action set piece we've seen in years. Twelve Dwarves, twelve barrels, and one roaring river amounts for enough fun to warrant your trip to the theater for this latest outing into Middle-earth.
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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Alan Rickman was stunned to learn his Cbgb co-star Keene Mcrae was from Alabama at the end of the movie, because the newcomer mimicked rock star Sting so well the veteran was convinced he was British. Rickman, who plays CBGB club boss Hilly Kristal in the new movie, is friends with the former The Police frontman and he complimented McRae on perfecting the singer's soft-spoken Geordie accent.
But director Randall Miller admits the young star with a bright future wasn't all he appeared to be.
He tells WENN, "Keene McRae, who plays Sting, was a casting call guy who was amazing and came from Alabama. Alan is actually friends with Sting in real life and Keene came in and did an amazing accent.
"He said he was from Birmingham, Alabama and we said, 'No you're from Birmingham, England, and you're never gonna say you're not,' so he kept that accent until he finished shooting.
"On his last day we said, 'Now you can tell Alan now where you're really from!' He was astonished."
The new film captures the sights and sounds of the New York punk mecca during its late 1970s heyday and features Foo Fighters star Taylor Hawkins as Iggy Pop, Malin Akerman as Blondie star Debbie Harry, Justin Bartha as Dead Boys frontman Stiv Bators and Joel David Moore as Joey Ramone.
There has been nothing short of an avalanche of comic book properties making there way to television sets, and the deluge continues with Constantine. According to Deadline, Warner Bros. TV has announced that it will be creating the new television series based on the DC Comics character. John Constantine is a supernatural detective and con man that battles the forces of hell as well as heaven to protect humanity. The drama was sold to NBC and will be written and executive-produced by Daniel Cerone and David S. Goyer, who wrote Man of Steel.
We've already seen Constantine developed for film in the 2005 flick with Keanu Reeves playing the occult P.I., but Keanu, for all his good will, lacked the dark charisma and blonde locks necessary to impress longtime fans of the anti-hero. The character John Constantine was created by Legendary Comic Book writer Alan Moore, whose most famous works (The Watchmen, V for Vendetta, and The League of Extraordinary Gentlemen) have all been adapted to film with varying levels of success. Hopefully, this Constantine television series will be able to take advantage of television's ability to tell long form stories in a way similar to a monthly comic book series. A cable network like Showtime or AMC would probably be better suited to really revel in the darker and grittier moments that the character's stories are known for, but NBC did embrace the darker side of televison with its critical hit Hannibal and can hopefully do the same with Constantine. John Constantine is also rumored to appear in the developing Guillermo Del Toro project, Justice League Dark.
This news comes on the heels of a Gotham City series staring Batman's Comissioner Gordon starting production at Fox, as well as the Flash spin-off set to accompany Arrow on the CW. While Marvel has completely walloped DC at the movies, it seems that DC is honing in on television production at a faster pace than their rival comic publisher.
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Focus Films/Everett CollectionWith Big Fish and Little Miss Sunshine opening on Broadway in the fall, American Psycho debuting in London to droves of lucky Brits and rumors of Mean Girls casting (how fetch), the Great White Way is getting the silver screen treatment. Read on for more movies that we think should be infused with jazz hands and soprano.Brokeback MountainGay men and the women who love them – Broadway's biggest draw – will flock to the theaters to see this sweeping story come to life. Complete with tension, tumbleweeds, sensuality and a harrowing first act ballad when Alma realizes her husband prefers cowmen. Our dream casting: Benjamin Walker and Neil Patrick Harris, with Anne Hathaway reprising her film role and her topless-ness.Forrest GumpThis four-act operetta will take us through three decades of song as we follow our fabled hero through 'Nam and heartache. Not since Les Mis's "Castle on a Cloud" will a song performed by a wispy 8-year-old girl stir us more emotionally than Jenny's "I Wish I was a Bird." We predict Tony Awards for Joseph Gordon-Levitt as best actor, and Twyla Tharp for her inspired choreography of tapping truffles during Forrest's show-stopping, "Life Is Like a Box of Chocolates: 'Naw Mean?"Desperately Seeking SusanThe campy 80's pop musical Broadway has been waiting for (since Rock of Ages). Dream casting: Madonna (obviously).A League of Their Own
Cue the chorus boys in uniform! Rosie O'Donnell returns to headline this feel-good feminist period piece. We’d cast Alan Cumming as Jimmy Dugan, the craggly team manager. Just because.Overboard
When entitled rich-chick Joanna falls off her yacht and comes down with a wickedly funny case of amnesia, swash-buckling hilarity ensues as she starts a new life as a pauper mom and, for the first time, discovers true love. We’ll bring Randy Newman back to write a few ditties. Hey, it worked for Anything Goes and Titanic.
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