Do you feel that change in the wind, readers? Because — largely thanks to Mindy Kaling, Amy Poehler, Lena Dunham and the like — ladies are killing it behind the scenes on television right now. Today, it was announced that Hollywood mega-starlet Reese Witherspoon would join Sofia Vergara in the 'hot ladies tapped to executive produce new dramas for the upcoming pilot season' category. Excited? We certainly are. Today also brought good news for fans of Syfy's Face-Off, and the sexiness that is Demian Bichir. Read on, and try not to get too excited for 2013. It's not here yet. Live in the moment, people.
Reese's Great Expectations: We bet the CW has some high expectations for this one: The network has put Expectations — a modern take on Charles Dickens' classic Great Expectations — in development, with none other than new mom Reese Witherspoon tapped to executive produce. Expectations will center on a small-town girl who moves to San Francisco. She totally hates it there (ugh, who wouldn't) until her fortunes turn thanks to an anonymous benefactor. Meghan Lyvers and Evelyn O’Neill will also executive produce. [Deadline]
More Like Face-On: Sorry, we just couldn't resist. Syfy's special-effects make-up competition series (say that five times fast!) Face Off has been picked up for a fourth season. This season, Face Off has averaged 986,000 million viewers in the 18-49 demo, and 1.7 million total viewers. Not too shabby for a show about make-up — but having the likes of Brian Grazer guest star (as he is tomorrow night) certainly can't hurt. [Deadline]
Demian Bichir Crossing the Bridge to TV: FX's upcoming drama pilot The Bridge — which, as we already announced, will star Diane Kruger as one of two detectives hunting down a border-crossing serial killer — has found its male lead. Oscar nominee Demian Bichir will play Marco Ruiz, a Mexican detective who teams up with Kruger's character to bring down a major criminal. Ruiz is a family man, and one of the last detectives in the force that hasn't been corrupted by the nearby cartels. Annabelle Gish has also joined the cast, as a wealthy, widowed ranch wife whose husband most likely had something to do with the case Bichir and Kruger are investigating. [Deadline]
Even the Devil Has a Mother: Now this should be fun: looks like Emily Van Camp's Emily Thorne won't be the only Revenge cast member gaining a mom this season. Victoria Grayson's (Madeline Stowe) wicked ways will be put under the microscope when Maude alum Adrienne Barbeau shows up as her mother, whom creator Mike Kelley says is "somebody who knows how to use people." Hm, sound familiar? Apparently, her devious behavior helped shape the monster that is now commonly known as Victoria Grayson. [TVLine]
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On the outside Charlie Bartlett (Anton Yelchin) couldn’t be further from the mold of a “normal teenager.” He wears a suit everywhere he is precocious and he has a spring in his step that suggests oblivion to his high school surroundings. Of course Charlie isn’t really at all oblivious and at his core is very much that “normal teenager”: He wants only to be popular. After starting anew at a public school--because he got kicked out of yet another private school for distributing fake IDs--Charlie is promptly pummeled for the way he dresses by the school’s bully (Tyler Hilton). He complains to his psychiatrist whom his mother (Hope Davis) keeps on retainer. The shrink decides to put Charlie on Ritalin. Ever the entrepreneur Charlie tries to parlay his easy access to drugs into popularity and it works like gangbusters. Before long “Dr. Charlie” is listening diagnosing and prescribing drugs to the entire student faculty. He’s got the popularity the trust and the girl (Kat Dennings) the latter of which just happens to be the principal’s (Robert Downey Jr.) daughter. And that relationship--not to mention the slight legality issue of prescribing controlled substances to minors--threatens to ruin his whole operation. Yelchin (Alpha Dog) is a Hollywood rarity: He’s an ‘it’ boy because of his acting not his looks (sorry Anton). Rarer still is the fact that Yelchin’s actual age is near that of Charlie Bartlett and not since the days of Freaks and Geeks has that industry taboo been broken so successfully. It’s all a credit to the young actor who in the span of Bartlett oozes everything from vulnerability and precociousness to Ritalin-induced mania and the theatricality of a much older actor. There’s nothing he can’t do in this movie; the same goes for his acting future. And the same goes for his adversary in Bartlett Downey Jr. although that’s been abundantly clear for decades now. Downey Jr. is famous for making seemingly effortless work of a complex character which is precisely what he does with Principal Gardner--a concerned parent recovering alcoholic and dutiful high school enforcer/villain. He’s a force to be reckoned with on screen and when Yelchin’s Charlie finally squares off with him the scene is a thing of beauty. As an essential link between those two characters Dennings (40-Year-Old Virgin) is a credible charmer and refreshingly the rare non-ditzy non-clichéd high school-portrayed girl we’re used to seeing. Rounding out the cast is Davis (American Splendor) aka Laura Linney-in-waiting. Her clueless alcoholic mom is a source of laughs and ultimately sobriety--for the character and us. For the first time in his decades-long career Jon Poll trades the editing room for the director’s chair. And after seeing Bartlett it makes sense that Poll who has edited movies like Austin Powers in Goldmember and Meet the Parents/Fockers is a behind-the-scenes veteran but a rookie helmer. His debut is fresh and loose but also very sure-handed. The movie is constantly a pleasant unclassifiable surprise spurning both the raunchiness of teen comedies and the pretention of psychology dramedies. The result is something far less precious and opaque than Wes Anderson’s Rushmore--to which Bartlett bears a broad thematic resemblance--yet a sharp commentary nonetheless. To that end Gustin Nash’s debut screenplay is just as impressive as his director’s rookie effort. His writing is clearly steeped in satire namely how loose today’s doctors are with the prescription pads--especially when it comes to our children--but it’s also able to be sweet and real when necessary. It’s the most impressive screenplay debut we’ve seen in a while--gold standard Juno notwithstanding--and the directorial one isn’t too shabby itself.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.