If your favorite part of Girls was Andrew Rannells' bitingly humorous Elijah, Hannah's gay ex-boyfriend slash roommate, then your life is about to get a whole lot better. HBO just gave the go-ahead to a project that sounds just like Girls except all of the characters are guys...and gay...and live in San Francisco.
According to The Hollywood Reporter, the network ordered eight episodes of an untitled show from producer Sarah Condon (Bored to Death), David Marshall Grant (Brothers & Sisters) and writer/producer Michael Lannan. The show stars Glee's Jonathan Groff as one of a trio of gay dudes who live in San Fran and get up to wacky antics and explore the world of the modern gay man. That sounds like there is going to be a Grindr subplot! The pilot, which HBO obviously loved, was directed by Andrew Haigh who made critically-loved gay indie Weekend, so I have high hopes.
The show doesn't have a name, but I don't think I'll be the first to suggest Boys. Or Gays. Gay Boys? Gurls?
Follow Brian Moylan on Facebook and Twitter @BrianJMoylan
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Earlier in the day Wednesday, a big piece of the Twilight puzzle was unveiled to Twihards everywhere: Renesmee, the half-human, half-vampire offspring of Edward (Robert Pattinson) and Bella (Kristen Stewart).
Now, naturally, everyone's attention has shifted from the fame-allergic (off-screen couple?) Pattinson and Stewart to the actress who plays their child. Her name is Mackenzie Foy, and although she isn't a newcomer, she's probably not the A-list child star (for obvious, strategic reasons) some fans were expecting for such a pivotal role in November's franchise finale, Breaking Dawn Part 2. Here's a little bit more about the young — but not that young — actress.
1. Foy is 11 years old (she'll turn 12 the week before Breaking Dawn 2 hits theaters!), while the Renesmee in Stephenie Meyer's novel of the same name only reaches age 3 or 4. Translation: Expect the unexpected (read: plot twists) from Bill Condon's movie version.
2. Breaking Dawn Part 2 will mark Foy's big-screen debut, but she has appeared in TV series since 2009, including a 2010 episode of Hawaii Five-0.
3. Her modeling career dates back to 2004; she has appeared in ads for Polo Ralph Lauren, The Walt Disney Company, Target, Gap, and many more.
4. She might be one of the only teenagers without a personal Twitter OR Facebook page (at press time), but her loyal fan base took care of both even before Wednesday's Twilight coming-out party.
5. Not long after Dawn breaks, on Nov. 16, we'll see some more of Foy. She stars in the already-wrapped indie Plastic Jesus, as well as The Warren Files, the next horror flick from Saw maestro James Wan.
More: It's Renesmee, Bella, and Edward in Cullen Family Pic Kristen vs. Rob. vs. Taylor: The Post-'Twilight' Battle Maggie Grace, Mackenzie Foy Join 'Breaking Dawn'
This week marks the release of Hugo, a quasi-kids movie that, surprisingly, Martin Scorsese directed (in 3D!). Almost as oddly, last week’s big release, the teen-angst adaptation The Twilight Saga: Breaking Dawn - Part 1, was helmed by the very “adult” Bill Condon. They’re the latest examples of filmmakers surprising audiences by taking jobs that we’d never expect them to based on careers and expectations they’ve built. Here are some others.
Kenneth Branagh, Thor
Branagh was probably just about the last person we would’ve ever expected to direct summer 2011’s Blockbuster Tour kickoff, but he turned in maybe the best – even if not the most lucrative – film of the season in Thor. The closest Branagh had ever come to a Thor-size affair was Frankenstein in 1995, and that wasn’t even on the same planet as the Marvel adaptation in terms of budget and expectations. Aside from his much more prolific acting resume, Branagh had made a career, directorially, out of Shakespeare adaptations. Perhaps he found the Bard in Thor, which was undoubtedly better because of his involvement.
Francis Ford Coppola, Jack
Apocalypse Now. The Godfather. The Conversation. Jack?? The obscenely, almost incomprehensibly awful PG-13 dramedy is probably the most out-of-character entry on any director’s resume, ever, and it signaled where Coppola was in his career: the trough. The Robin Williams-starrer had themes that Coppola had previously mined into gold, but it’s almost as if the worst director in Hollywood helmed Jack and put Coppola’s name on it.
Alfonso Cuaron, Harry Potter and the Prisoner of Azkaban
It’s no wonder that the great Cuaron is behind the darkest entry in the Harry Potter franchise, but it is a wonder that he took/landed the job in the first place – and it’s the ultimate testament to his ability and range as a filmmaker. Up to that point, Cuaron was a relatively little-known – certainly unknown to the Potter target audience – aside from his stylized update of Dickens’ Great Expectations and his art-house hit (to put it oxymoronically) Y Tu Mama Tambien, a controversial film because of its explicit sexual content. So … yeah, bold pick by Potter producers! And right after Azkaban, Cuaron returned to his routine activities with the dystopian masterpiece Children of Men.
Spike Lee, Inside Man
A perusal of Lee’s vast filmography quickly reveals the clear-cut anomaly: Inside Man. Almost all of his other films center around race or feature the theme prominently. Only Summer of Sam and to a lesser degree 25th Hour do not subscribe to Lee’s trademark focal point, but neither comes close to Inside Man in terms of being a full-on genre film, in this case a hardboiled, somewhat by-the-numbers (in the best way possible) whodunit. It also turned to be one of Lee’s best films, proving that he has a lot more to offer behind the camera than might’ve been previously thought.
David O. Russell, The Fighter
Once upon a time, David O. Russell seemed destined to become a beloved indie auteur a la Paul Thomas Anderson, thanks to his early, offbeat work, especially Flirting with Disaster and Three Kings. Then came the debacle on the set of I Heart Huckabees, and then … banishment – be it self-imposed or not – from Hollywood. When he finally returned after six years, clearly something had changed, probably for the better, because as solid as the movie was, it was a very linear, straightforward, almost conventional production (with no reports of on-set turmoil!) that seemed more Ron Howard than David O. Russell.
Steven Soderbergh, Ocean’s Franchise
Soderbergh had dabbled in mainstream fare before 2001’s Ocean’s Eleven – and it’s been probably more so since then that he has tackled more exploratory, out-there projects – but the fact that he will be forever associated with the biggest A-lister cash-grab maybe ever is the ultimate irony for someone who is otherwise very indie-inclined, if not altogether impossible to pin down. At least Soderbergh seemed like he was trying with Ocean’s Eleven, though; Twelve and Thirteen must’ve been vacations too extravagant to pass up.
Robert Rodriguez, Spy Kids Franchise
The fact that Rodriguez, purveyor of cartoonish violence (Sin City, Planet Terror, et al.) and R-rated revenge (Desperado, et al.), directed anything with the word Kids in its title is shocking; the fact that he made a fairly lucrative franchise out of it? Shocking, and kinda impressive. It’d be like his buddy Quentin Tarantino directing the next Pixar movie. Actually, that’d be pretty awesome.
Sam Raimi, Spider-Man Franchise
Raimi turned out to be a very wise choice indeed for the Spidey franchise (at least for two out of the three films), but it initially seemed a bit of an odd fit. Before landing in the driver’s seat of one of the biggest properties in Hollywood, Raimi wasn’t exactly an A-list director; rather, he had more or a cult following, thanks primarily to his beloved Evil Dead movies, and in the years leading up to Spider-Man – post-Evil Dead trilogy – his output (i.e., The Quick and the Dead, For Love of the Game and The Gift) and its quality was more all-over-the-map than ever.
The rumor had almost become fact recently -- and now it’s official: Bill Condon will direct the next Twilight movie, Breaking Dawn.
Summit Entertainment made the announcement today that the Dreamgirls director -- and recent producer of the Academy Awards telecast -- would helm the fourth installment: “Bringing Stephenie Meyer’s Breaking Dawn to the screen requires a graceful and intelligent hand and we believe Bill Condon is exactly the right steward, having shown equal and abundant talents of immense creativity and subtle sensitivity,” said Erik Feig, President of Production and Acquisitions, for Summit Entertainment.
Twi-hards will have to wait a little longer, however, to learn whether or not Meyer’s final book would be split into two movies.
Aside from Condon’s Oscar-nominated Dreamgirls, which was his last big-screen outing, he has directed Kinsey and Gods and Monsters, among others, and he is signed up for the forthcoming Richard Pryor biopic.
Set in the early 1960s Detroit is just starting its reign as America’s music headquarters. One of countless groups to dare dream of fame in the Motor City is the Dreamettes—consisting of lead singer Effie (Jennifer Hudson) Deena (Beyonce Knowles) and Lorrell (Anika Noni Rose). And one of countless opportunists to try and capitalize on realized dreams is car salesman Curtis Taylor (Jamie Foxx). Before long all four are well on their way once Curtis signs the trio after seeing them at a talent show and lands them a coveted gig backing up singing sensation James “Thunder” Early (Eddie Murphy). With their ascension in full swing there is but one minor tweaking in order to help the group’s mainstream appeal: Effie is to be demoted to back-up singer in favor of the gorgeously svelte Deena who admits her voice doesn’t measure up to Effie’s. It marks the beginning of Curtis’ commandeering of the product that is now the Dreamgirls—as well as the beginning of the end of the dream. Even worse than trying break into showbiz out of nowhere is trying to do so as a onetime American Idol castoff. But when someone has as much talent as Jennifer Hudson clearly does there are no barriers. Hudson explodes onto the acting scene with maybe the best debut performance of the generation despite the studio’s apparent decision to tout Beyonce over Hudson as the lead actress (for awards/financial/popularity purposes)—which irony would have it happens to mimic uncannily the film’s plot. Luckily it doesn’t matter. Hudson’s singing scenes will leave even the staunchest musical-phobes breathless. It becomes clear as she sings and acts circles around everyone else and with such raw emotion that this is no one-hit wonder—she’s the real deal. Knowles gives easily her best performance to date displaying more than her just her pipes and other er assets. She shows a strong acting side but it’s still not yet Oscar-strong. Could be a different story for Murphy. After his long string of money-driven roles Murphy as a James Brown-type character reminds us why he shot to stardom so many years ago: unparalleled energy and charisma. And Foxx continues to show off his astounding versatility this time singing and playing the villain of sorts. Betcha can’t name another actor who wouldn’t draw giggles from the audience if he were to suddenly break into song. Movie musicals are just a whole different beast. Assuming a musical is being adapted from a stage production—Dreamgirls was a Tony-winning Broadway hit directed by the late Michael Bennett—the director must above all else possess keen attention to detail. That’s only the tip of the iceberg for someone trying to bring Broadway to the big screen. In short the director must strike a balance between integrity and the box office unlike ever before. Enter Bill Condon beloved director of Kinsey and Gods and Monsters and most importantly writer of Chicago—and possessor of all the aforementioned prerequisites. He had the pedigree going in as well as the Broadway contingency on his side. In the end he succeeds in all areas while occasionally falling victim to the usual traps of movie musicals such as storyline and ambition overkill. As always however Condon doesn’t neglect anything and manages to bring us to the stage all of its splendor intact. As for the ol’ song and dance it comes early often and with a bang. Those not in the mood for all that jazz...still might have no choice but to love the movie! And rightfully so the musical numbers for which we can thank Condon (and the choreographer) are what will net Dreamgirls the Oscar(s)—that and the powerful performances.
Danny (Li) has lived his life with his "Uncle" Bart (Bob Hoskins) a fiery gangster who has trained Danny to be an enforcer and do his dirty work for him. In truth Bart has basically treated Danny like an animal--a dog to be exact collar and all--not a person. As soon as Danny's job of savagely beating those who had "wronged" his uncle is complete he goes back to his dark dank quarters. One day upon finding a benevolent blind man Sam (Morgan Freeman) playing a piano Danny discovers that he's more than merely a dog. Sam takes Danny into his home and teaches him about the piano and human relationships with the help of his step-daughter (Kerry Condon). All seems to be going well but the collar wrapped around Danny's neck is a link to his former violent life--and of course Bart. Heading down that path of redemption Danny winds up reluctantly going back to his uncle albeit in a different frame of mind. The tension builds as a massive showdown between Danny and Bart becomes imminent. It is only after his collar is taken off that Danny is unleashed.
It's usually not Jet Li's job to exude acting chops just execute the karate kind. But while the main thrust of Unleashed is the highly choreographed and entertaining fight sequences that show off his unbelievable skills the actor still tries his hand at keeping it real. Thankfully Unleashed is a decided improvement over most of Li's other nonsensical American movies (Cradle 2 the Grave anyone?) and is tailor-made for his broken English and acting range. Freeman on the other hand lends such an air of authenticity and workmanship to Unleashed that one wonders how the they were able to reel in the venerable actor hot off his Oscar-winning performance in Million Dollar Baby. He is simply perfect as the soft-spoken mild-mannered Sam. Then there is Hoskins. The robust British actor has had his fair share of Freeman-like success and has rightfully earned that same class of respect. But lately he seems to be taking any roles he can get no matter the size (see Son of the Mask. On second thought don't). It's clear playing Bart is a no-brainer for him but he tends to go unnecessarily over the top.
Director Louis Leterrier shows a knack for the action suggestive of a veteran filmmaker even though he's only made two movies. His first film 2002's The Transporter was a relative hit and as far as straight action movies and directorial debuts go it was a thing of beauty. The same can more or less be said for Unleashed. Simply put if this movie fails on any front it will not be due to a lack of blood sweat and tears from Leterrier. He captures both the fight sequences and the occasional poignancy with stark eloquence with every little detail in place. And the theatrics of it all--i.e. special effects loud-as-hell sound effects--doesn't hurt either. The Japanese-revenge genre is executed to a tee but he doesn't let it overstep its boundaries and turn the film into a cliché. It's not an easy thing to do and many directors would be unable to solve that conundrum. The only disparity between this project and his last is that he has probably less to work with this time around yet he has much more to lose. It's safe to say he does not crack under the pressure.
The Writers Guild of America has announced its nominations for outstanding achievement in screen in 2002.
Antwone Fisher, Bowling for Columbine, Far From Heaven, Gangs of New York and My Big Fat Greek Wedding have been nominated for the WGA's best original screenplay award.
About a Boy, About Schmidt, Adaptation, Chicago and
The Hours meanwhile will contend for best adapted screenplay.
Antwone Fisher, Written by Antwone Fisher; Fox Searchlight
Bowling for Columbine, Written by Michael Moore; United Artists/Alliance Atlantis/Salter Street Films/Dog Eat Dog Films
Far From Heaven, Written by Todd Haynes; Focus Features
Gangs of New York, Screenplay by Jay Cocks and Steven Zaillian and Kenneth Lonergan, story by Jay Cocks; Miramax Films
My Big Fat Greek Wedding, Written by Nia Vardalos; Gold Circle Films/HBO/MPH Entertainment/Playtone
About a Boy, Screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby; Universal Pictures/Studio Canal/Working Title Films/Tribeca Productions
About Schmidt, Screenplay by Alexander Payne & Jim Taylor, based on the novel by Louis Begley; New Line Cinema
Adaptation, Screenplay by Charlie Kaufman and Donald Kaufman, based on the book The Orchid Thief by Susan Orlean; Columbia Pictures
Chicago, Screenplay by Bill Condon, based on the musical play, book by Bob Fosse and Fred Ebb and the play by Maurine Dallas Watkins; Miramax Films
The Hours, Screenplay by David Hare, based on the novel by Michael Cunningham; Paramount Pictures/Miramax Films
Animation--any length--one airing time (new category)
"The Bart Wants What It Wants" (The Simpsons), Written by John Frink & Don Payne; Gracie Films in association with 20th Century Fox Television; Fox
"Blame It on Lisa" (The Simpsons), Written by Bob Bendetson; Gracie Films in association with 20th Century Fox Television; Fox
"Godfellas" (Futurama), Written by Ken Keeler; 20th Century Fox Television; Fox
"Jaws Wired Shut" (The Simpsons), Written by Matt Selman; Gracie Films in association with 20th Century Fox Television; Fox
"My Own Private Rodeo" (King of the Hill), Written by Alex Gregory & Peter Huyck; 20th Century Fox Television Productions in association with Deedle-Dee Productions, Judgmental Films and 3 Arts Entertainment; Fox
Santa Baby! Written by Peter Bakalian & Suzanne Collins; Rankin/Bass; Fox
Original Long Form--over one hour--one or two parts, one or two airing times
Dor to Door, Written by William H. Macy & Steven Schachter; Turner Pages, Inc.; TNT
The Gathering Storm, Teleplay by Hugh Whitemore, Story by Larry Ramin and Hugh Whitemore; a Scott Free Production in association with HBO Films; HBO
Sins of the Father Written by John Pielmeier, based on the magazine article that appeared in Texas Monthly by Pamela Colloff; Artisan; FX
Strange Relations, Written by Tim Kazurinsky; Showtime; Granada Entertainment; Showtime
Adapted Long Form--over one hour--one or two parts, one or two airing times
"Batogne" (Band of Brothers), Written by Bruce C. McKenna, based on the book by Stephen E. Ambrose; DreamWorks/Playtone/HBO; HBO
Hysterical Blindness, Teleplay by Laura Cahill, based on the play by Laura Cahill; Hysterical Films, Inc.; HBO
Last Call, Screenplay by Henry Bromell, based on the memoir Against the Current: As I Remember F. Scott Fitzgerald by Frances Kroll Ring; Room 520/Barnstorm Films; Showtime
Mark Twain's Roughing It, Teleplay by Steven H. Berman, based on the book Roughing It by Mark Twain; Larry Levinson Productions; Hallmark Channel
Episodic Drama--any length, one airing time
"Game On" (The West Wing), Written by Aaron Sorkin & Paul Redford; John Wells Productions in association with Warner Bros. Television; NBC
"In Place of Anger" (Six Feet Under), Written by Christian Taylor; Six Feet Productions; HBO
"Nino Del Polvo" (Resurrection Boulevard), Written by Robert Eisele; Showtime; Viacom Productions, Inc.; Patagonia House; Showtime
"On the Beach" (ER), Written by John Wells; Constant C Productions; Amblin Television; Warner Bros. Television; NBC
Pilot (The Education of Max Bickford), Written by Dawn Prestwich & Nicole Yorkin; 20th Century Fox Television; CBS
"Whoever Did This" (The Sopranos), Written by Robin Green & Mitchell Burgess; Soprano Productions, Inc.; HBO
Episodic Comedy--any length, one airing time
"Change of Address" (Sex and the City), Written by Julie Rottenberg & Elisa Zuritsky; Darren Star Productions in association with HBO Original Programming; HBO
"I Heart NY" (Sex and the City), Written by Michael Patrick King; Darren Star Productions in association with HBO Original Programming; HBO
Pilot (The Bernie Mac Show), Written by Larry Wilmore; Regency Television in association with 20th Century Fox Television; FOX
"My First Day", (pilot, Scrubs), Written by Bill Lawrence; Touchstone Television Productions; NBC
"Plus One is the Loneliest Number" (Sex and the City), Written by Cindy Chupack; Darren Star Productions in association with HBO Original Programming; HBO
"Rooms With a View" (Frasier), Written by Dan O' Shannon & Lori Kirkland & Bob Daily; Grub Street Productions in association with Paramount Pictures; NBC
"The Wedding" (Ed), Written by Rob Burnett & Jon Beckerman; Viacom Productions in association with Worldwide Pants, Inc. and NBC Studios; NBC
Comedy/Variety---Music, Awards, Tributes--Specials--any length
The Kennedy Center Honors Written by Don Baer and George Stevens, Jr., Film Sequences Written by Sara Lukinson; A George Stevens Jr. Presentation - Kennedy Center Television Productions, Inc.; CBS
NBC 75th Anniversary Special, Written by Doug Abeles, James Anderson, Robert Carlock, Tina Fey, Charlie Grandy, Steve Higgins, Lorne Michaels, Paula Pell, Herb Sargent, Michael Schur, Michael Shoemaker; Broadway Video in association with NBC Studios; NBC
Comedy/Variety--(including talk) Series
Dennis Miller Live, Written by Eddie Feldmann, Jose Arroyo, Richard Dahm, David Feldman, Jim Hanna, Rob Z. Kutner, Kirsten McFarland, Dennis Miller, Jacob Sager Weinstein; Happy Family Productions; HBO
Late Night With Conan O'Brien, Written by Mike Sweeney, Chris Albers, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; Broadway Video; NBC
Mad TV, Writing Supervised by Scott King, Written by Dick Blasucci, Garry Campbell, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, Devon Shepard, Rich Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos; QDE/Girl Group; FOX
Saturday Night Live, Written by Tina Fey, Doug Abeles, Leo Allen, James Anderson, Max Brooks, James Downey, James Eagan, Hugh Fink, Charlie Grandy, Jack Handey, Steve Higgins, Erik Kenward, Dennis McNicholas, Lorne Michaels, Corwin Moore, Matt Murray, Paula Pell, Matt Piedmont, Ken Scarborough, Michael Schur, Frank Sebastiano, T. Sean Shannon, Eric Slovin, Robert Smigel, Emily Spivey, Andrew Steele, Scott Wainio, Jerry Collins, Tom David; Broadway Video in association with SNL Studios; NBC
Guiding Light, Written by Millee Taggart, Lucky Gold, Christopher Dunn, Tita Bell, Jill Lorie Hurst, Penelope Koechl, David Kreizman, Eleanor Labine, Alan Madison, Danielle Paige, A.J. Pierce, Janet Reed Ahearn, Susan Rice, David Rupel, Melissa Salmons, Eddie Sanchez, Lisa Seidman, David Smilow; Procter & Gamble; CBS
The Young and the Restless, Written by Kay Alden, Trent Jones, John F. Smith, Jerry Birn, Jim Houghton, Natalie Minardi, Janice Ferri, Eric Freiwald, Joshua McCaffrey, Michael Minnis, Rex M. Best; Columbia TriStar; CBS
Elmo's World: Happy Holidays!, Written by Christine Ferraro; Sesame Workshop; PBS
Off Season, Written by Glenn Gers; Showtime Networks, Inc.; Showtime
Our America, Teleplay by Gordon Rayfield, Based on the book "Our America: Life and Death on the South Side of Chicago" by Lealan Jones, Lloyd Newman and David Isay; Joseph Stern Productions; All Media, Inc.; Showtime
The Red Sneakers, Teleplay by Mark Saltzman, Story by Jeffrey Rubin; Lynch Entertainment, Tom Lynch Company, RS Productions, Ltd., Showtime Networks, Inc.; Showtime
Bioterror (Nova), Written by Matthew Collins; A Nova Production by the New York Times/ Granada Factuals USA and Lone Wolf Pictures, Inc., for WGBH/ Boston in association with Channel 4 Television; PBS
The Man Who Knew (Frontline), Written by Michael J. Kirk, Kirk Documentary Group; PBS
9/11, Written by Tom Forman & Greg Kandra; Goldfish Pictures, Inc.; CBS
Rollover: The Hidden Story of the SUV (Frontline), Written by Marc Shaffer & Barak Goodman; 10/20 Productions; PBS
Documentary--Other Than Current Events
America's First River, Part One, Written by Tom Spain; WNET/Educational Broadcasting Corp.; Public Affairs Television; PBS
Empire State Building Ironworker (A Day in their Lives), Written by Peter Hankoff; Termite Art Productions; History Channel; History Channel
Evolution of a Revolution (Founding Brothers), Written by Kelly McPherson and Melissa Jo Peltier & Allison MacEwan; MPH Entertainment Inc.; History Channel; History Channel
Monkey Trial (American Experience), Written by Christine Lesiak; WGBH Educational Foundation; PBS
News--Regularly Scheduled, Bulletin or Breaking Report
Attack on America Written by Jerry Cipriano, Paul Fischer, Thomas Harris, Hugh Heckman, Bruce Meyer; CBS Evening News; CBS
September 11th Controllers, Written by Jonathan W. Kaplan; CBS