Funnyman Will Ferrell is to be feted at the Deauville American Film Festival in France for his contribution to comedy. The Anchorman star joins Jessica Chastain and director James Cameron as honourees at the annual event.
Organisers of the festival, which celebrates American cinema, will show a retrospective of Ferrell's work throughout its run in September (14).
Festival director Bruno Barde calls Ferrell "a king of comedy" and adds, "The Deauville American Film Festival is, as its name suggests, the festival of all kinds of cinema, of every genre, and therefore considers nothing off-limits... Zany, caustic, satirical, off-the-wall and over-the-top, he is all that and more - a pure delight for the audience."
Previous Deauville honourees include Susan Sarandon and Julianne Moore.
Actor Tony Danza is officially heading back to Broadway for the first time in 13 years with a musical adaptation of 1992 movie Honeymoon In Vegas. The Taxi star will take on the role of gambler Tommy Korman, the character made famous by James Caan in the film, about a man who falls for a young woman while she is in Las Vegas to wed her boyfriend.
Actress Brynn O'Malley will play the bride-to-be, depicted by Sarah Jessica Parker on the big screen, while Rob McClure will take on the role Nicolas Cage played in the early 1990s.
Gary Griffin will direct the show, which will begin previews on 18 November (14) at the Brooks Atkinson Theatre, ahead of its official opening on 15 January (15).
Danza last appeared on the Great White Way in a 2001 production of The Producers, while he previously featured in The Iceman Cometh in 1999 and A View From the Bridge in 1997.
Rumours about Danza's Broadway return first surfaced in 2011, before producers decided to give the Honeymoon in Vegas musical a trial run at New Jersey's Paper Mill Playhouse last year (13).
"Jessica Alba would be able to capture the intensity that (heroine) Fallon Opal has and (James Franco). I mean he's just cute, and he's smart. He could be a part for sure." Reality TV star-turned-porn actress Farrah Abraham dreams up a cast for the adaptation of her new erotic novel Celebrity Sex Tape: In the Making.
Australian actress Jessica Marais has been battling bipolar disorder since the age of 12. The former Packed To The Rafters star opened up about her condition in an interview with The Australian Women's Weekly, revealing she has been coping with the illness since she was a child, but has chosen to manage it without medication.
She tells the publication, "There's a history of bipolar in my family and I was diagnosed at one point with bipolar. I've had cognitive therapy training, so I choose not to be medicated. I have developed ways to talk myself down from any ledges I find myself on. And I am very lucky that I have a very patient partner (actor James Stewart) who supports me... There's probably one day a month when I am an absolute mess."
Marais adds of the condition, "It's hard to separate what is due to trauma or stress and what is due to a simple chemical imbalance. Suffice to say, it's become a manageable part of my life. I acknowledge it, I know when an episode is coming on and I work hard to manage it."
With the final season of True Blood hitting television screens this summer, our heroine Sookie (Anna Paquin) will be tasked with fighting a new kind of evil: zombie-like vampires. Though we may be sad to see True Blood finally bite the dust, there have been six seasons worth of fantastic villains. We’re taking the time to appreciate some of them before the true death of HBO’s vamp show.
Maryann Forrester (Michelle Forbes)
Maryann’s crimes include hosting huge orgies, creating chaos, forcing humans to do her bidding, and attempting to sacrifice a magical creature. She may not be the most evil of True Blood’s villains — she also, arguably, did have some people’s interests at heart — but let’s not forget the whole sacrifice/mind control thing.
Antonia Gavilán (Paola Turbay/Fiona Shaw)
As far as the reasoning behind villainous intentions, Antonia’s may be the easiest to understand. Though she is overcome with a need for vengeance and possesses Marnie Stonebrook’s (Fiona Shaw) body in an attempt to seek revenge, can you blame her? She was tortured by vampires; given the laundry list of evil vampires we’ve seen on True Blood it’s almost understandable.
Lorena Krasiki (Mariana Klaveno)
For most of her time on True Blood, Lorena is more of a jealous ex-girlfriend than an actual villain. That’s not to say that ex-girlfriends can’t be evil, because Lorena certainly is. However, she’s not that much worse than some other vampires on True Blood, though she does help give the species a bad name.
Macklyn Warlow (Rob Kazinsky)
Warlow — or Ben, as we first knew him — was the main antagonist of the most recent season, but he had been teased for most of the show’s lifespan. Warlow was the vampire that murdered Sookie’s parents. He also tried to force Sookie to marry him, which was as creepy as it was evil. However, as far as nefarious villains, he spent most of the season (literally) tied up which wasn’t very good for his bad guy reputation.
Rene Lenier/Drew Marshall (Michael Raymond-James)
Though Rene — or should we call him Drew — was more species-ist than outright evil, his psychopathic tendencies really don’t help his case. As the first season’s big bad, the vampire and vampire-sympathist murderer made for a great mystery and thrilling season. Plus, anyone who can kill a nice old women like Adele Stackhouse must be at least 89 percent evil.
Steve and Sarah Newlin (Michael McMillian & Anna Camp)
As religious fanatics, Steve and Sarah Newlin commit some cruel atrocities against vampires in the name of their god. However, even though they may have thought what they were doing was right, it wasn’t. Their delusion makes them pretty darn evil, especially Sarah’s testing facility in the sixth season.
Franklin Mott (James Frain)
Though Franklin wasn’t around for a long time, he managed betray some of our beloved characters Tara and Jessica. To make matters worse for himself, he has no redeeming qualities and many viewers were glad to see him die.
Russell Edgington (Denis O’Hare)
By far the most evil vampire on True Blood, Russell has little to no regard for human life, he is a crazed lunatic who just wants to watch the world burn, and his proper Southern accent makes him all the more menacing. Plus, he comes back from being buried under massive amounts of concrete. He’s the biggest bad True Blood has seen yet.
Jessica Alba was such a good girl when she became a teenage star she lied about her sexuality to appear more interesting in interviews. The actress admits she wasn't prepared to become a sex symbol when director James Cameron cast her as his leading lady in hit TV action drama Dark Angel, and her strict Catholic upbringing left her inexperienced for questions about her personal life.
She tells Entertainment Weekly, "They (reporters) would always ask me provocative questions about my sexuality, my this or that. Sometimes I would lie and say something that wasn't true to make myself seem more interesting than I was.
"I mean, I didn't even know how to walk in heels until I went to the Golden Globes for the first time."
ABC Television Network
The worst kept secret on this season of Grey's Anatomy finally finished up: Cristina Yang (Sandra Oh) left Grey Sloan Memorial Hospital. But how would she exit? And would she make it out alive?
Season finales of Grey's have a way of scaring the hell out of fans as cast members have been killed off with little or no notice. In the past, a gunman invaded the hospital, a plane crash turned numerous lives asunder and last season a bus accident and blackout threatened the future of many. Season 10's major threat was a potential terrorist attack at a local mall. Yang narrated the beginning and end of this episode, a task usually reserved for best friend Meredith Grey (Ellen Pompeo). We all knew it was Yang's last day there, yet her narration hinted at the worst: what if she got hit by a bus? Considering that her good pal George O’Malley (T.R. Knight) died in Season 6 by this fate, that wouldn't seem too far fetched.
Yang's final episode wasn't sudden. Her exit was milked by Grey's this entire month. Commercials and teasers on ABC gave us the hint: "Hey, you better tune in, Cristina is leaving." Finally, Yang, the surgeon with the elite skills and even better potential, earned the exit necessary for someone of her talents: she zipped off to Switzerland to run a hospital, at last becoming the cardiothoracic surgeon god she had longed to be even as an intern.
Thankfully, Yang made it through the finale, but not before too-brief goodbyes with her co-workers. The most difficult of all was with Owen Hunt (Kevin McKidd), Yang's on again-off again lover. This couple never really had a chance; Hunt wanted to settle down while Yang yearned to climb whatever ladder she could to become the best surgeon possible. Their last encounter wasn't a strong hug or deep kiss. Hunt was busy operating and all Yang could do was watch from the viewing room, waving and saying goodbye in the easiest way possible, kind of like ripping a Band-Aid off. Before officially leaving, Yang had to dance it out with Grey, her closet friend. "You're my person," they would always say. They hadn't called each other that in a while as their lives took different routes, but that final dance was a proper sendoff for the best friends, who may or may not see each other again.
The Season 10 finale tied up some story lines and brought some cliffhangers for next season. Here are the biggest questions for Season 11:
Grey vs. Shepherd: Who Wins?
All of Derek Shepherd's (Patrick Dempsey) neurosurgeon work paid off as the White House had asked for his help. Shepherd had been consumed with work so family life and normal hospital duties sometime suffered. The solution? Move to Washington D.C.
Grey, however, realized she didn't want to move across the country. Her life, friends and work were in Seattle. This stalemate looks to be ugly next season, especially since Shepherd had accepted the job and even got his wife a position too. They won't move. They can't; how could Grey's take place in two locations?
Who Gets the Empty Board Seat?
Yang's exit leaves an opening on the board of directors. Initially, Richard Webber (James Pickens, Jr.) told Miranda Bailey (Chandra Wilson) that it would be a done deal and she would take that seat. But wait, what wrinkle do we get at the end? Yang left Alex Karev (Justin Chambers) a package, which basically gave him the empty seat. Can she do that? Bailey needs that seat to continue her research, which will get cut because of budget issues. Karev doesn't need it, however, he does thrive when added responsibility comes his way.
How's the Baby?
The entire hospital now knows that April Kepner (Sarah Drew) is pregnant. She had kept it a secret for some time. She had kept her marriage to Jackson Avery (Jesse Williams) a secret too. What other secrets does she have? Arizona Robbins (Jessica Capshaw) and Callie Torres (Sara Ramirez) plan to have a baby, but which one of them will carry? Or will they use a surrogate? Anytime a baby is expected, dramatic events are bound to unfold.
British singer James Arthur's girlfriend took the heat off the controversial star at the X-Men: Days Of Future Past premiere in London when she suffered a wardrobe malfunction on the red carpet. The former X Factor winner was among the celebrities invited to attend the screening in Leicester Square on Monday night (12May14) alongside the movie's stars James McAvoy, Michael Fassbender, Sir Patrick Stewart and Sir Ian McKellen.
But it was Arthur's girlfriend Jessica Grist who caused a stir in front of photographers after her revealing black dress fell back to expose part of her left nipple.
It is usually Arthur who hits headlines in his native U.K. - he entered crisis talks with record label boss Simon Cowell last month (Apr14) after causing a storm when one of his tracks allegedly featured lyrics about terrorism. He has also come under fire for using homophobic language in a rap.
Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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The Weinstein Company
In an era where every franchise gets a two-part finale, The Weinstein Company is taking a different approach to releasing Ned Benson's film duality The Disappearance of Eleanor Rigby. Retitled as The Disappearance of Eleanor Rigby: Them, the two distinct films (Hers and His) will be edited into one for a wide-release on September 26, while the individual installments will get a limited release later that fall. Starring Jessica Chastain and James McAvoy, The Disappearance of Eleanor Rigby attempts to tell the story of a failing marriage from two different perspectives, with the audience finding the "truth" of the situation somewhere in the middle.
The original, two-part cut premiered to rave reviews at the Toronto International Film Festival last year, but when Harvey Weinstein acquired it for distribution shortly afterwards, he approached Benson about cutting them together into one film. The result, Them, will premiere at Cannes before arriving in theaters in the fall. From a distribution standpoint, it makes a great deal of sense to combine the film, as the average moviegoer would be less likely to see two separate films that tell the same story than one coherent take on it.
Though studios often split films up in order to make double the profit at the box office, in this instance, it's a smarter move for Weinstein to release just one film, since there's no guarantee that a mainstream audience will flock to see one installment of the story, let alone two. Chastain and McAvoy are both well-known and well-respected actors, but neither one of them has established themselves as a major box office draw yet, and so Weinstein can't simply rely on their star power to bring in audiences to both parts of the movie.
And since it's easier to get people to watch one film instead of two, it will likely also help Weinstein earn the film some awards attention. The Disappearance of Eleanor Rigby's mission to tell the same story from different perspectives helps it stand out from the other movies being released in the run-up to Oscar season, but having a single, two-hour cut of it will help encourage voters and critics to see it.
However, Benson's story was designed to be told in two parts, so cutting it into one might mean that Them loses some of the impact that the two-part film would have. Since the director himself is the one who edited it, much of his vision for the film will likely stay intact, but the additional editing a release plan means that the audience who will get to experience the film the way he intended will be much smaller.
We'll have to wait until the Them premieres at Cannes to find out whether or not a single film is the best way to present the story, but in the meantime, here's hoping Peter Jackson has learned a thing or two from this situation.
Of course, the real issue is the incongruity in the function of the pronouns at the end of the titles. Hers and His are possessive, Them is not.