No, your eyes aren't playing tricks on you. Evan Rachel Wood is starring in 10 Things I Hate About Life, the "we... don't know how to feel about this" followup to the classic 10 Things I Hate About You. The film will be helmed by the original's director Gil Junger, and produced by the producer of the 1999 teen movie classic, Andrew Lazar.
According to Deadline, the Golden Globe-nominated star, last seen on the big screen in 2011 alongside Ryan Gosling and George Clooney in the political drama The Ides of March, has nabbed the female lead in the film "about a young man and woman who meet while each is attempting to commit suicide, and they find in each other some great reasons to keep on living." Captain American star Haley Atwell was first name attached to the project. Hollywood.com reached out to Wood's rep for confirmation of the news, but they could not be reached for comment.
There's no word yet on who would be playing the male lead opposite the 25-year-old True Blood actress in the film, which will reportedly begin production soon in Los Angeles. Might we suggest her husband Jamie Bell?
Wood will next be seen in the action comedy The Necessary Death of Charlie Countryman with Rupert Grint, Aubrey Plaza, Shia LaBeouf, Melissa Leo, and Mads Mikkelsen, which is slated for a 2013 release.
[Photo credit: Ian Wilson/WENN]
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The actors are enjoying a low-key honeymoon after exchanging vows in an intimate ceremony in California last week (30Oct12), but Sunday (04Nov12) will be a day they will want to forget after a number of belongings were stolen.
Taking to her Twitter.com blog, Wood writes, "Dude!! @1jamiebell and i just got robbed!! Found our room ransacked. We are safe and have everything we need. So all is well. damn".
The Wrestler star stopped short of giving out any further details about where the incident took place or what was taken, and it is not yet known whether the couple filed a police report over the matter.
The screen stars wed in an intimate California ceremony, just one day after they sparked rumours they had secretly become man and wife by sporting matching wedding bands in Los Angeles.
A representatiave for Wood tells JustJared.com, "Evan Rachel Wood and Jamie Bell were married on October 30 in California. The bride wore a custom dress by Carolina Herrera. It was a small ceremony with close family and friends."
Wood took to Twitter.com on Wednesday (31Oct12) to express her delight, writing, "Words cannot describe the happiness i am feeling. Overwhelming."
She met the Billy Elliot star in 2005 while they filmed a music video for Green Day's Wake Me Up When September Ends.
The screen stars wed in an intimate California ceremony in front of their loved ones, seven years after they met while filming a music video for Green Day's Wake Me Up When September Ends.
The Social Network star Minghella was delighted to be on the guest list and he shared his joy about the wedding with his Twitter.com followers on Wednesday night (31Oct12).
In a post, he writes, "Yesterday I got to see my best friend exchange vows with the love of his life. Still coming down from high... True Romance."
Looks like Evan Rachel Wood is a married woman these days. The actress tied the not with fellow actorperson Jamie Bell (also known as Billy Elliot himself!) on Tuesday, according to People. Bell and Wood, who first met and dated in 2005 after co-starring in the music video for Green Day's "Wake Me Up When September Ends," got coordinating tattoos with each other's first initials because that's a thing that young cool couples do!
"The bride wore a custom dress by Carolina Herrera," the rep said in a statement. "It was a small ceremony with close family and friends." Which, it would've had to have been small—who gets married on a Tuesday?
It is reported that Wood and Bell have been engaged since January of this year. Hollywood.com has reached out for a comment, but did not hear back at the time of publication.
Mazels all around for the happy couple!
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The screen stars were spotted last week at the Los Angeles County Recorder's Office, where they reportedly obtained a wedding licence.
And this week (begs29Oct12) Wood and the Billy Elliot star fuelled further speculation they have secretly become husband and wife by arriving at the Los Angeles International Airport with matching gold bands on their ring ringers.
Wood rekindled her romance with the actor, who she first dated in 2006, last year (11) after splitting from fiance Marilyn Manson in 2010.
The couple has yet to respond to the wedding reports.
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
The screen stars were spotted at the Los Angeles County Recorders Office on Tuesday (16Oct12) and E! News reports the couple took out a licence to allow them to wed.
Wood and Billy Elliot star Bell, who have not commented on the report, dated for a year before splitting in the mid-2000s, but they rekindled their romance last summer (11).
Earlier this year (12), the couple prompted speculation they had married in secret when they were spotted with wedding bands on their fingers.
With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.