The Alfie star and busty beauty Brook will tackle Spacey's 24 Hour Plays Celebrity Gala at the British capital's Old Vic theatre, where he serves as artistic director.
The event, to be hosted by funnyman John Cleese, sees performers write, direct and stage short plays in the space of one day.
Spacey says, "We are thrilled to be working with such a remarkable collection of artists again this year and that John Cleese has agreed to host this unique event. It's a high-adrenaline evening but every year some great work is born on that stage."
Ronni Ancona, Samuel Barnett and Niamh Cusack will also participate in the challenge, which takes place on 21 November (10).
Mixing the boys-will-be-boys camaraderie of Dead Poets Society with the veddy British tang of The Prime of Miss Jean Brodie and Goodbye Mr. Chips The History Boys follows eight working-class English grammar school students vying for competitive scholarships to Cambridge and Oxford in 1983. Challenged and mentored by two very different teachers--quixotic larger-than-life knowledge-hound Hector (Richard Griffiths) and focused competitive strategist Irwin (Stephen Campbell Moore)--the class grapples with questions about everything from their sexuality to the causes of World War II. The film takes place over the course of the boys' final term as they prepare for the crucial exam that will determine the direction their lives will take--and their teachers are forced to deal with personal truths that don't belong in the classroom. The stars of The History Boys are exceptionally at home in their roles and for good reason: The core cast members all starred in the hit stage version first in London and then on Broadway. Some of the boys' parts are flashier than the others--Dominic Cooper and Samuel Barnett are clear stand-outs as brashly sexy smart-aleck Dakin and wry lovelorn Posner respectively--but all are integral members of the group. On the other side of the lectern Griffiths (Uncle Vernon in the Harry Potter movies) and Campbell Moore are both outstanding. Campbell Moore gradually reveals Irwin's underlying insecurity and vulnerability while Griffiths' blustery Hector is simultaneously the best teacher you never had and the one you'd least want to put in charge of a roomful of eager young men. Their characters seem to be total opposites but ultimately they find they have more in common than they suspected. The movie was shot quickly during the six weeks between the play's London engagement and world tour and it shows. Boom mikes are visible in several shots and none of the filming is particularly artful. But The History Boys is much less about lighting and composition than it is about Bennett's sharp insightful script. Some stage-to-film adaptations end up stilted and wordy but director Nicholas Hytner and the cast do an excellent job of making even the movie's preachiest speeches seem organic. Sure the boys can be pretty glib for 18-year-olds but once you realize how well they've been educated it doesn't seem outside the realm of possibility. Plus their droll wit helps The History Boys avoid the trap of sentimentalism that so many other "inspirational teachers" stories fall victim to. Even Hector with his penchant for Hollywood melodrama wouldn't want that.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.