Paramount via Everett Collection
They're creepy and they're kooky, mysterious and spooky, they're back for one more movie, the Addams Family. According to Variety, the spooky family is being rebooted as an MGM animated movie.
The final negotiations are still underway, but Pamela Pettler (Corpse Bride and Monster House) is set to pen the screenplay, and BermanBraun's Gail Berman and Lloyd Braun are in talks to produce the film. Earlier in the year, it was expected that a Tim Burton-led stop-motion Addams Family movie would be made, but the project was put to rest in July.
While we're not a fan of all of the reboots that are being announced as of late (we're looking at you, Charmed), we're pretty excited that our favorite Halloween-esque family is inviting us back into their mansion. When you've got a set of characters — especially one that has a family dynamic — that are off-kilter (in the best way possible), it's not a bad move to reincarnate them for another go-around.
The Addams Family has been around since 1938 when the family came to life in Charles Addams' comic strip, and 75 years later, it's seen its fair share of air-time. The family came to the masses via ABC's sitcom, which aired from 1964 to 1966, and then was the basis for a handful of other TV series (one being an animated version), two Paramount live-action films (The Addams Family and Addams Family Values), a musical, and the straight-to-video reboot Addams Family Reunion (which we like to pretend never happened). Suffice it to say, the black-clad family certainly has enough of a fanbase — one that loves a dose of nostalgia every now and then -- to warrant another reboot.
Plus, we're just super psyched to see which version of Wednesday is going to come out to play: the sweet-natured girl who loved her pet spiders (a la the '60s TV series) or the morbid girl with a deadpan wit and an urge to murder her brother (also known as Christina Ricci in the 1991 live-action film). We're definitely hoping it will be the diabolical Wednesday.
Jesse Tyler Ferguson and Sutton Foster took the stage together. No, they haven't teamed up for a Broadway show, a new television series, or a Modern Family/Bunheads crossover (which would be awesome). But the theater-loving stars came together Tuesday to announce the nominations for the 2013 Tony Awards. (They are the hosts for this year's show, after all, so it only made sense that these two would have the honors of making the big announcement.)
Check out which plays and actors are nominated for Tony Awards for their work on the stage this year.
2013 Tony Awards Nominations:
Best Play:The Assembled PartyLucky GuyThe Testament of MaryVanya and Sonia and Masha and Spike
Best Musical:Bring It On: The MusicalKinky BootsMatilda The MusicalA Christmas Story, The Musical
Best Book of a Musical:A Christmas Story, The MusicalKinky BootsMatilda The MusicalRodgers + Hammerstein's Cinderella
Best Revival of a Play:Golden BoyOrphans The Trip to BountifulWho's Afraid of Virginia Woolf?
Best Revival of a Musical: AnnieThe Mystery of Edwin DroodPippinRodgers + Hammerstein's Cinderella
Best Performance by an Actress in a Leading Role in a Play: Laurie Metcalf, The Other PlaceAmy Morton, Who's Afraid of Virginia Woolf?Kristine Nielsen, Vanya and Sonia and Masha and SpikeHolland Taylor, AnnCicely Tyson, The Trip to Bountiful
Best Performance by an Actor in a Leading Role in a Play: Tom Hanks, Lucky GuyNathan Lane, The NanceTracy Letts, Who's Afraid of Virginia Woolf?David Hyde Pierce, Vanya and Sonia and Masha and SpikeTom Sturridge, Orphans
Best Original Score (Music and/or Lyrics) Written for the Theatre: A Christmas Story, The Musical Music and Lyrics: Benj Pasek and Justin Paul Hands on a Hardbody Music: Trey Anastasio and Amanda Green Lyrics: Amanda Green Kinky Boots Music & Lyrics: Cyndi Lauper Matilda The Musical Music & Lyrics: Tim Minchin
Best Performance by an Actress in a Leading Role in a Musical: Stephanie J. Block, The Mystery of Edwin Drood Carolee Carmello, Scandalous Valisia LeKae, Motown The Musical Patina Miller, Pippin Laura Osnes, Rodgers + Hammerstein’s Cinderella
Best Performance by an Actor in a Leading Role in a Musical: Bertie Carvel, Matilda The Musical Santino Fontana, Rodgers + Hammerstein’s Cinderella Rob McClure, Chaplin Billy Porter, Kinky Boots Stark Sands, Kinky Boots
Best Performance by an Actress in a Featured Role in a Play: Carrie Coon, Who’s Afraid of Virginia Woolf? Shalita Grant, Vanya and Sonia and Masha and Spike Judith Ivey, The Heiress Judith Light, The Assembled Parties Condola Rashad, The Trip to Bountiful
Best Performance by an Actor in a Featured Role in a Play:Danny Burstein, Golden Boy Richard Kind, The Big Knife Billy Magnussen, Vanya and Sonia and Masha and Spike Tony Shalhoub, Golden Boy Courtney B. Vance, Lucky Guy
Best Performance by an Actress in a Featured Role in a Musical:Annaleigh Ashford, Kinky Boots Victoria Clark, Rodgers + Hammerstein’s Cinderella Andrea Martin, Pippin Keala Settle, Hands on a Hardbody
Best Performance by an Actor in a Featured Role in a Musical:Charl Brown, Motown The Musical Keith Carradine, Hands on a Hardbody Will Chase, The Mystery of Edwin Drood Gabriel Ebert, Matilda The Musical Terrence Mann, Pippin
Best Costume Design of a Play: Soutra Gilmour, Cyrano de Bergerac Ann Roth, The Nance Albert Wolsky, The Heiress Catherine Zuber, Golden Boy
Best Costume Design of a Musical: Gregg Barnes, Kinky Boots Rob Howell, Matilda The Musical Dominique Lemieux, Pippin William Ivey Long, Rodgers + Hammerstein’s Cinderella
Best Direction of a Play:Pam MacKinnon, Who’s Afraid of Virginia Woolf? Nicholas Martin, Vanya and Sonia and Masha and Spike Bartlett Sher, Golden Boy George C. Wolfe, Lucky Guy
Best Direction of a Musical:Scott Ellis, The Mystery of Edwin Drood Jerry Mitchell, Kinky Boots Diane Paulus, Pippin Matthew Warchus, Matilda The Musical
Best Choreography:Andy Blankenbuehler, Bring It On: The Musical Peter Darling, Matilda The Musical Jerry Mitchell, Kinky Boots Chet Walker, Pippin
Best Orchestrations:Chris Nightingale, Matilda The Musical Stephen Oremus, Kinky Boots Ethan Popp & Bryan Crook, Motown The Musical Danny Troob, Rodgers + Hammerstein’s Cinderella
Best Scenic Design of a Play:John Lee Beatty, The Nance Santo Loquasto, The Assembled Parties David Rockwell, Lucky Guy Michael Yeargan, Golden Boy
Best Scenic Design of a Musical:Rob Howell, Matilda The Musical Anna Louizos, The Mystery of Edwin Drood Scott Pask, Pippin David Rockwell, Kinky Boots
Best Lighting Design of a Play: Jules Fisher & Peggy Eisenhauer, Lucky Guy Donald Holder, Golden Boy Jennifer Tipton, The Testament of Mary Japhy Weideman, The Nance
Best Lighting Design of a Musical:Kenneth Posner, Kinky Boots Kenneth Posner, Pippin Kenneth Posner, Rodgers + Hammerstein’s Cinderella Hugh Vanstone, Matilda The Musical
Best Sound Design of a Play:John Gromada, The Trip to Bountiful Mel Mercier, The Testament of Mary Leon Rothenberg, The Nance Peter John Still and Marc Salzberg, Golden Boy
Best Sound Design of a Musical:Jonathan Deans & Garth Helm, Pippin Peter Hylenski, Motown The Musical John Shivers, Kinky Boots Nevin Steinberg, Rodgers + Hammerstein’s Cinderella
Special Tony Award for Lifetime Achievement in the Theatre:Bernard GerstenPaul LibinMing Cho Lee
Regional Theatre Award:Huntington Theatre Company, Boston, MA
Isabelle Stevenson Award:Larry Kramer
Tony Honors for Excellence in the Theatre:Career Trainsition For DancersWilliam CraverPeter LawrenceThe Lost ColonyThe four actresses who created the title role of Matilda The Musical on Broadway: Sophia Gennusa, Oona Laurence, Bailey Ryon, and Milly Shapiro
Follow Lindsey on Twitter @LDiMat.
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The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.