Biblical epics are so hot right now in Hollywood, and according to Deadline, Will Smith wants in ... as a director!
The film, tentatively titled The Redemption of Cain — about Adam and Eve's sons, Cain and Abel — would mark Smith's directorial debut and would also star him.
Smith, who has a trio of surefire blockbuster sequels coming up (not to mention the recent Men in Black 3, which is already a hit for Sony) as well as the M. Night Shyamalan-directed After Earth next summer, would join a suddenly burgeoning sub-genre that includes Darren Aronofsky's frequently-in-the-news biblical epic Noah and upcoming Moses projects from Steven Spielberg and Ridley Scott.
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In a new, exclusive clip from the upcoming dramatic thriller 360, we're treated to a brief masterclass in subtle, subdued acting courtesy of Anthony Hopkins.
The brief video features a somewhat downbeat, decidedly non-Hannibal Lecter-esque Hopkins explaining to a woman named Laura (Maria Flor) why he's headed to Phoenix — he suspects his daughter has died and that her bodied has been found — before someone awkwardly asking her on an airport-dinner date.
In the film — which interweaves the lives of disparate strangers via their personal relationships — Hopkins is part of an all-star cast that includes Rachel Weisz, Jude Law, and Ben Foster, with Oscar-nominated director Fernando Meirelles behind the camera. Check out the clip below, and catch 360 in theaters Aug. 3 and currently On Demand and iTunes.
Anthony Hopkins Nearly Unrecognizable as Alfred Hitchcock - PHOTO
Fernando Meirelles and Peter Morgan to Go '360'
Jude Law Goes '360'
The Danish Casino Royale star will take on the role previously played on the big screen by Brian Cox and Sir Anthony Hopkins.
Mikkelsen will star opposite Hugh Dancy in the TV adaptation of writer Thomas Harris' concept.
When one of your favorite things from the previous decade teams up with one of your favorite things from this decade, there exists a fleeting, but quite powerful resurgence in your faith that everything in the universe is somehow working just the way it should. This feeling doesn't come easy, but something in the vein of a Dawson's Creek cast reunion happening on an episode of Cougar Town might do the trick. According to Busy Phillips, star of Bill Lawrence's ABC sitcom and vet of the WB drama, her former Creek costar Michelle Williams has been interested in making a guest appearance for some time.
Phillips tells E!, "This is not a joke. We can give Bill Lawrence all the s**t we want for it. At the beginning of the show, in the first season, I told him, 'My friend Michelle Williams wants to guest star on the show.' And he's like, 'Yeah, yeah, yeah.' And they never did anything with it! And then she was nominated for her third Academy Award and they're like, 'Hey, maybe one of your friends would wanna…?' I said, 'I told you Season 1 that she would do it! You lost her now to the third Academy Award nomination.'"
But apparently, Phillips is still optimistic for a Williams appearance on the Florida-set sitcom. Phillips plays Laurie Keller, who, though good-hearted and loyal, has been shown to harbor violent and promiscuous tendencies that lead Christa Miller's character Ellie to frequently refer to her as "trashy." Phillips has quite a different image for the character Williams could play on the show: "I want her to play my bookish sister who hates me."
Williams on Cougar Town would be a treat, but why stop there? How about Katie Holmes as Courteney Cox's younger, trouble-making cousin? Joshua Jackson as Josh Hopkins' more accomplished brother? Or perhaps James Van Der Beek himself as Brian Van Holt's estranged illegitimate son? They do look eerily alike...
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Hollywood has gotten quite a bit of mileage out of exorcism over the decades, and audiences’ fascination shows no signs of waning. Exhibit A: this week’s The Devil Inside, a highly anticipated horror film (with a poster that we can’t seem to unsee) about, you guessed it, possession and exorcism. Here are our favorite such films that came before it. For more, check out our brief history of cinematic exorcisms!
The Exorcism of Emily Rose
Surprising in both its quality and drama, The Exorcism of Emily Rose is part of a new breed of exorcism films – and possibly the best. Director Scott Derrickson very adeptly blended genres, combining Law & Order-type drama with scenes of genuine horror, to often great results.
Although not quite as horrifying as Silence of the Lambs – OK, not even close – this 2011 Anthony Hopkins-starring thriller gets bonus points for its great performances and, more importantly, the fact that it, like the book from which it is adapted, is based on real events. Sorta.
The Last Exorcism
This “found footage” take on the exorcism theme – which, in a way, sums up this week’s The Devil Inside – is in the vein of Paranormal Activity: small budget, big profits, even bigger scares. Also like PA, its starlet, Ashley Bell, was nominated for the prestigious Best Scared-As-Shit Performance award at MTV’s VMAs.
The undisputed king of exorcism movies, if not the entire horror genre, The Exorcist kicked things off in earnest and launched a ton of followers that continue to this day. (Sadly, it also launched subpar sequels, prequels, miniseries and more.) The William Friedkin-directed Oscar winner is as scary today as when it was released in 1973, as horrifying on its 50th viewing as its first. At least for me.
Repossessed is pretty terrible, sure, but we’re all guilty of enjoying the occasional undeniably terrible movie. Plus, by 1990, levity was very necessary for The Exorcist and what was becoming a stale subgenre overall – and who better to send it up than onetime spoof king himself, Leslie Nielsen, and one-time Exorcism poster child (quite literally) Linda Blair?
Best Quasi-Exorcism Movies
REC 2: A chilling follow-up to the original Spanish horror film (or Quarantine to American moviegoers) that mixes in some exorcism-ish drama.
Constantine: Keanu Reeves can’t exorcise (hehe) his bad-acting demons, but this based-on-a-comic-book sorta-exorcism thriller is worth watching for the visuals alone.
Poltergeist: Who said exorcisms can’t be performed on houses possessed by ghost-like entities?! Hey, any excuse to include this Spielberg-produced masterpiece on our list. Also …
Beetlejuice: Ditto our above rationalization: One of Tim Burton’s all-time greats can make the cut. Can’t it?? After all, Beetlejuice himself was a "bio-exorcist."
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
The gruesome character, created by Thomas Harris in his book series, has been played by Brian Cox in 1986's Manhunter and most famously by Sir Anthony Hopkins, who won an Oscar for his role in 1991 thriller The Silence of the Lambs.
Other films featuring the character include 2001's Hannibal and 2002's Red Dragon.
TV bosses have now revealed plans to bring Hannibal back in a small screen show, according to EW.com.
The website reports executives at American network NBC are working with Pushing Daisies creator Bryan Fuller on the series.
The man-child: a staple character for modern comedy and notoriously known for being played one-note. They get the laugh they get out.
But turning the lovable goofball or zoned-out knucklehead into something more is no easy task—which makes Paul Rudd's work in Our Idiot Brother that much more impressive. Rudd's Earth-friendly farmer Ned (the closest thing to a new Lebowski we've seen since the original) finds himself down on his luck after being entrapped by a police officer looking for pot. After a stint in jail he abandons his rural hippie commune for the big city to take shelter with his three sisters. Unfortunately for Ned his three siblings Liz (Emily Mortimer) Miranda (Elizabeth Banks) and Natalie (Zooey Deschanel) are as equally displaced and confused from the ebb and flow of life—albeit with severely different perspectives of the world.
Liz struggles to put her kid in private school and keep her marriage to documentary filmmaker/scumbag Dylan (Steve Coogan) intact. Miranda claws her way to the top of Vanity Fair's editorial staff and shuns her flirtatious neighbor (Adam Scott). Natalie stresses over her commitment issues with girlfriend Cindy (Rashida Jones) leaving little time or patience for Ned's bumbling antics. Sound like a lot of plot? While the manic lives of Ned's sisters click symbolically with his journey to get back on his feet it makes for one sporadic narrative.
Like a series of vignettes Our Idiot Brother never gels but when director Jesse Peretz finds a moment of unadulterated Nedisms to throw up on screen the movie hits big. Whether it's Ned teaching his nephew how to fight accidentally romancing his sister's interview subject or infiltrating his ex-girlfriend's house to steal his dog Willie Nelson the movie relies heavily on Ned's antics and its smart to do so. But thin throughlines for its supporting don't hold a candle to Rudd doing his thing.
And its a testament to Rudd's versatility—the man has done everything from Shakespeare and raunchy Judd Apatow comedies after all—that makes the movie watchable. Rudd gives dimensionality to his nincompoop character allowing darker emotions to creep in when necessary. There's a point in the film when Ned gives up fighting for his type-A sisters' affection and it's some of the best material Rudd's ever delivered. But like one of Ned's lit joints Our Idiot Brother can quickly fizzle out leading to plodding plot twists and sentimental conclusions. Mortimer Banks and Deschanel are great actresses—here they drift through their scenes and come out in the end changed. Because they have to.
Our Idiot Brother tries to take the Apatow model to the indie scene and comes through with so-so results. Only Rudd's able to find something to latch on to to build upon to warm up to. In an unexpected twist it's the man-child who seems the most grown up.