The American Pie star was driving through Los Angeles when his car was pulled over by police last month (Jun10).
He was arrested after failing a sobriety test and was later charged with two misdemeanours which could land him a stint in jail.
Klein checked into the Cirque Lodge rehab facility in Utah, which previously housed Lindsay Lohan, to seek professional help for his problems. He signed up for a 30-day program and his rep, Jaime Primak, has now confirmed he will be staying a while longer.
Primak tells People.com, "Chris, along with his support team, has decided to extend his treatment. He is doing fantastic and is optimistic about his future. He thanks everyone for their continued support."
Christopher Nolan has signed on to produce the much-anticipated superhero film and now GeekTyrant.com reports he has asked his brother Jonathan to take over directing the film so he can concentrate on the next Batman movie.
The less famous Nolan brother is already working closely with his sibling - Jonathan is among the writers on Batman 3.
A studio source tells MovieHole.net, "Jonathan Nolan is not onboard yet, but it looks like he will get the job. He wants to direct, Chris wants to land him that gig... That said, it is far from a done deal."
The always entertaining Thomas Lennon is one of those guys you may recognize but aren't necessarily sure where from. You really should know more about him, since you've probably seen more of his work than you are aware of. As a screenwriter, he's brought the masses Night At The Museum and it's sequel, Taxi, The Pacifier and other hit films, and as an actor he's left you hiccuping with laughter in Reno 911!, I Love You, Man, Balls of Fury and countless Funny or Die sketches. Next year, you'll be lucky enough to get a double dose of Lennon as he joins a pair of productions that are currently filming.
First, he'll shoot scenes for 20th Century Fox's upcoming rom-com What's Your Number? The film stars Anna Faris as a woman who looks back at the past twenty men she's had relationships with and wonders if one of them might be her one true love. He'll play one of the ex-lovers, joining Chris Evans, Zachary Quinto, Matthew Bomer, Andy Samberg, Chris Pratt, Joel McHale and others. Mark Mylod (Entourage) began shooting the film in May and will wrap soon, giving Lennon just enough time to craft his character before jumping into another "high" profile comedy.
New Line Cinema is lucky to land Lennon for their stoner threequel A Very Harold and Kumar Christmas, which is also currently shooting in Michigan. The film reunites Kal Penn and John Cho as best buds on a nutty-as-usual adventure that takes place ten years after they Escaped From Guantanamo Bay. Lennon will play the suburban neighbor of Harold Lee.
In my book, more Lennon can only mean more fun in a film, so needless to say I'm amped to see these two 2011 comedies. For even more laughter by Lennon, you'll be able to catch him in the Cameron Diaz vehicle Bad Teacher, also due next year.
By both critical and commercial measures live-action anime adaptations boast a record of futility second perhaps only to videogame adaptations. Some essential aspect of the source material is irretrievably lost during the process of translating Japanese cartoon to Hollywood tentpole something that even the most bloated visual effects budget can’t conceal. Think Dragonball Evolution and Speed Racer.
And yet Hollywood keeps trying lured by tantalizing visions of cash-cow franchises fed by loyal built-in — and most importantly international — audiences. The latest casualty of this misguided ambition is The Last Airbender based on the hit Nickelodeon series Avatar: The Last Airbender. To be fair Avatar isn’t anime in the orthodox sense in that it was conceived and produced in the States but its style and soul are almost exclusively anime-inspired. As such its big-screen fate is similarly sealed.
Who could possibly break such a rueful trend? For some reason the minds at Paramount thought M. Night Shyamalan that notorious purveyor of ponderous and increasingly shlocky supernatural thrillers might succeed where so many other directors had failed. Even worse they saw fit to hire him to pen the screenplay as well ensuring that every vital aspect of the film would feel the crushing weight of his heavy hand. With such a hacky burden to bear it comes as no surprise that The Last Airbender never really takes flight.
The film's story is set in a world divided into four tribes each aligned to an element: Air Earth Water and Fire. Certain gifted tribe members known as a “benders ” can manipulate the properties of their assigned element to suit their ends. In order to do so they must first perform an elaborate and utterly ridiculous kung fu dance after which a torrent of fire water or whatever arises to obey their command.
For the better part of a century the oppressive and warlike Firebenders have besieged the other nations gradually thinning their respective ranks. The Air Nomads have faired the worst of the lot and are presumed to be extinct until Water peeps Katara (Nicola Peltz) and Sokka (Jackson Rathbone) discover a boy named Aang (Noah Ringer) trapped in a giant ball of ice. Not only is Unfrozen Kung Fu Warrior the last remaining Airbender (thus the title) he is also an Avatar the only being on the planet capable of wielding all four elements. And only he can bring an end to the Firebenders’ evil reign.
Blessed with an opportunity to reinvent himself in a new genre and with a new demographic Shyamalan can’t avoid falling back on old habits most notably his penchant for awkward and cumbersome dialogue. It’s difficult enough for adults to deliver his lines but it’s absolute hell for The Last Airbender’s youthful protagonists whose not yet fully-developed temporal lobes can’t hope to adequately process the inanities of Shyamalan-speak. One can almost see the smoke coming from little Noah’s ears as he labors to complete each portentous sentence. Poor kid. Where are the Child Labor people when you need them?
But bad dialogue is only one of a litany of problems that plagues The Last Airbender which suffers from mediocre CGI inexplicable casting decisions (caucasians actors none of whom are especially talented are tabbed for asian roles when sufficiently mediocre race-appropriate actors were surely available) and a plot comprehensible only to the most ardent fans of the Nickelodeon series. Much as Aang bends the air Shyamalan tries to bend the laws of quality cinema to his will but they refuse to yield to the force of his ego. I only wish the execs at Paramount had been as stalwart.
Rock admits he set up home in the neighbouring state of New Jersey because he can get a lot more land for his money, so he was surprised when his relative reached out for financial help after years of living in the heart of New York.
He says, "One of my uncles called me up for money because he was losing his apartment in the city and I was like, 'Yo man, I don't have an apartment in the city!' I live in Jersey!"
"To live like a rich person in the city, you gotta spend like $20 million."
The comedian was captured on camera trying to share a joke with Bryant during a recent NBA Finals clash between the Lakers and Boston Celtics - and the sports star was doing his best to ignore him.
Jackson decided enough was enough and walked over to Rock to tell him to shut up.
He says, "Phil Jackson screamed at me, man, and I was scared. He was like my dad. I thought he was gonna put his big Phil Jackson foot in my a**."
Pal David Spade, who was with Rock at the game, admits it's difficult to land the best seats at a basketball game and not chat to the players: "We're two feet away from the guys and we feel dumb sitting there because you know they don't like it because every week it's four new idiots from some TV show... It's the same jokes to the players."
Hollywood has always been an insular place its peculiar rhythms largely indifferent to those of the outside world. Nowhere is this more achingly evident than in Sex and the City 2 a movie so staggeringly tone-deaf it appears as if constructed in some decadent biosphere its filmmakers unaware that they were constructing not only one of the worst studio films in recent memory but arguably one the most misogynist as well.
Whereas the close of 2008’s Sex and the City found heroines Carrie (Sarah Jessica Parker) Miranda (Cynthia Nixon) Charlotte (Kristen Davis) and Samantha (Kim Cattrall) more or less getting everything they’ve ever wanted the sequel finds them faced with the inconveniences that come along with having everything they’ve ever wanted. Patrician Charlotte despite the aid of both of a full-time nanny and a housekeeper is overwhelmed by the demands of being a stay-at-home mom to two children while high-powered executive Miranda is too ensconced in boardroom politics to attend her genius second-grader’s science faire (though to be honest the child is probably better off without her around).
Superstar publicist Samantha now 52 her familiar bawdiness nearing its awkward creepy-uncle stage is in the throes of peri-menopause swallowing pills by the handful to boost her sex drive and forestall her inevitable descent into cat-hoarding spinsterdom. And Carrie two years into her marriage with Mr. Big (Chris Noth) a man whose positive qualities are limited to his massive bank account and his supply of clever entendres (each delivered in his trademark dulcet monotone) is frustrated that her husband is more interested in spending weeknights watching TV on the couch than squiring his prized thoroughbred around to glitzy movie premieres.
Wilting under such stifling affluence the four gal pals opt to flee on a whirlwind trip to the Abu Dhabi to recharge their collective engines — but not before a nearly hour-long first act involving a gay wedding which allows writer/director/producer Michael Patrick King to get his fill of gay jokes and throw in a superfluous performance of Liza Minnelli singing Beyonce’s All the Single Ladies. And it’s just as disturbing as you'd expect.
The choice of Abu Dhabi as the girls’ destination is not as counter-intuitive as it seems: The famously oil-rich Arab Emirate is one of the few places on earth capable of providing the girls with a level of luxury beyond which they’ve already grown accustomed. Justice (and compelling storytelling) would find their plane hijacked and re-routed to Mogadishu where they’d be forced into the employ of Somali pirates. But no they land safely in Abu Dhabi where they’re given individual Maybachs a throng of dutiful manservants and a $22 000/night hotel suite — all the accoutrements required to gain the proper perspective on things.
By this point King has clearly lost his perspective unaware of how monstrously self-absorbed and entitled he's allowed his film's four protagonists to become or how their unapologetic opulence might appear to a world still struggling to emerge from economic armageddon. He's too preoccupied with mounting his female version of Ishtar — replete with awful puns involving camel toes and "Lawrence of my labia" and an atrocious karaoke performance of the feminist anthem "I Am Woman Here Me Roar" — to notice how badly things have gone awry and how badly his film reflects upon women.
And it gets worse. Before leaving Abu Dhabi the increasingly loathsome quartet become involved in a mishap that ends with Samantha (now effectively reduced to a walking hormone joke) in the middle of a busy town square holding up a package of condoms thrusting her hips and shouting "I have sex!!!" as the Muslim call to prayer is sounded. Sex and the City 2 won't win any awards (save for a few Razzies) but it could become an effective inspirational video for suicide bombers — provided they can endure the film's two-and-a-half hour running time of course.
The duo has snagged honours at the 66th annual Theatre World Awards, and will pick up the prizes at an invitation-only gala on 8 June (10).
Johansson was honoured for her role in A View from The Bridge and Urie claimed his prize for The Temperamentals.
Other actors singled out include: Nina Arianda (Venus in Fur), Chris Chalk (Fences), Bill Heck (The Orphans' Home Cycle) and Jon Michael Hill (Superior Donuts).
The race to land the coveted role has been a two-year marathon, with many comic book fans urging movie chiefs to sign up Mad Men star Jon Hamm for the lead.
Some critics have slammed the decision to hire Evans, insisting the 28-year-old actor is too young to play Captain America, but the comic giant's editor-in-chief is adamant he's the best man for the job.
Quesada tells Comic Book Resources, "Here you have a guy who absolutely embodies every aspect of Cap (Captain America), including the look and feel of the character. (Producer) Kevin Feige was absolutely beaming after meeting with Chris and seeing what he could do, and I've got to tell you, I think he's perfect as well.
"That to me is the beauty of the movies that we at Marvel produce. We know the characters better than anyone outside of our fans, and we know how important it is to cast just that right person. We aren't a bunch of Hollywood execs who don't understand the source material or its history.
"It's Marvel guys and gals making Marvel movies, and that's a huge difference."
The actor was among the favourites to land the coveted role, and now The Hollywood Reporter is reporting that Evans will be the colourful character.
The news is sure to upset comic book purists, who wanted a more mature actor to play the role.
Alex Ross, the artist who redesigned Captain America for Marvel Comics, recently went public with his thoughts on who should play the character.
He told Entertainment Weekly magazine, "We've been saying for years, if you don't sign Jon Hamm to play this part, you're crazy.
"Captain America is supposed to be the patriarch of the Marvel universe. To get a guy in his early to mid-20s is only thinking about where the character began, not what he ultimately needs to become."
Evans will reportedly battle The Matrix and The Wolfman villain Hugo Weaving in the first Captain America movie.