Boasting the likes of Philip Seymour Hoffman, Tom Hardy, Noomi Rapace, and Gary Oldman, the cast of Child 44 is already quite impressive, and now it's about to become even more so. According to The Hollywood Reporter, Jason Clarke is in talks to sign on to the Soviet-era thriller. The Zero Dark Thirty star has had quite a breakout year, appearing in Baz Luhrmann's adaptation of The Great Gatsby and this summer's blockbuster action White House Down. This Child 44 role promises to keep the buzz surrounding the actor alive.
Child 44 tells the story of a Soviet military policeman (played by Tom Hardy, beside whom Clarke starred in Lawless) who investigates serial killer crimes after the government chooses to ignore a number of child murders. As he continues this work, however, the government begins to suspect that he is the culprit in question. The film is directed by Swedish filmmaker Daniel Espinosa, and producers include Ridley Scott and Michael Schaefer. Clarke is in talks to play a character named Brodsky, who is accused by Hardy of being a traitor.
Production on Child 44 began in June in Prague, and the film is slated for a late 2014 release.
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On the eve of his first novel's publication San Francisco writer Amir (Khalid Abdalla) is called back to the Middle East for a chance to make childhood wrongs right. An extended flashback set in late-'70s Kabul Afghanistan introduces young Amir (Zekeria Ebrahimi) the bookish son of a forceful respected businessman (Homayoun Ershadi) who despairs over his son's tendency to let his loyal friend/servant Hassan (Ahmad Khan Mahmidzada) fight his battles for him. On the fateful day of the citywide kite-fighting tournament Amir's inability to stand up to bullies has heartbreaking consequences for both him and Hassan. Soon after Amir and his father flee the invading communists eventually ending up in California. Time passes but Amir's guilt doesn't fade--so when a long-lost family friend offers him the chance to redeem himself he returns to the city of his birth to face many difficult truths. One of the best things The Kite Runner has going for it is its cast of virtual unknowns; since none of them are familiar faces to American audiences it's much easier to become wholly absorbed in their story. Abdalla is earnest and solemn as grown-up Amir. Both haunted by and determined to forget about his terrible betrayal he's often hesitant and unsure of himself (except when he meets the woman who will become his wife and courts her in a series of charming scenes). More charismatic is Ershadi who imbues Amir's father with the perfect mix of honor ferocity and sentiment. And top honors go to the boys who play young Amir and Hassan. Making their screen debut (along with co-star Elham Ehsas who's coldly menacing as bully Assef) Ebrahimi and Mahmidzada are natural genuine performers who make their characters' complicated friendship both believable and heart-wrenching. With a resume that includes the tragic (Monster's Ball) the sentimental (Finding Neverland) and the surreal (Stranger Than Fiction) it's clear that Marc Forster isn't wedded to any particular style or genre. Which is fitting since The Kite Runner is so many things at once: a coming-of-age story a sweet romance a gripping war drama. Forster does a good job of balancing the story's many needs staying faithful to Khaled Hosseini's novel while also streamlining it to keep things moving. As in the book the movie's glimpses of a (relatively) liberal prosperous '70s Afghanistan are particularly compelling; audiences who only think of the country in the context of the ultra-conservative Taliban rule (and subsequent U.S. occupation) will be entranced. Later when Amir returns home to find fear despair and dusty emptiness it's impossible not to mourn right along with him.
After starting what he thinks is just another day by methodically brushing his teeth the way he always does IRS Agent Harold Crick (Will Ferrell) gets a visit from an uninvited auditory guest--Kay Eiffel (Emma Thompson) the author of his life. Little does she know while writing a book about a character named Harold Crick that the real Harold can hear her narrations loud and clear; little does Harold know that her novels don't have happy endings--that is until he hears it in her narration which states that he is to die. Luckily she's in the midst of writer's block so he has some time to find out well how much time he has to live. He immediately consults a literary professor (Dustin Hoffman) who instructs Harold to further pursue a relationship with an anarchistic baker (Maggie Gyllenhaal) he is currently auditing in order to learn more about the course the novel will take. The relationship flourishes and he’s happy for the first time in a long time but will art imitate--or end--his life? Ferrell seems to be mimicking the exact path of his direct comedic-superstar predecessor Jim Carrey even down to his first serious-ish role: Carrey’s first dramatic foray was the equally quasi-existential though much better Truman Show. Ferrell has no problem whatsoever making the transition--that’s just what abundant natural talent affords certain actors. But his crossover attempt should’ve been more subtle since audiences have come to expect at least one “streaking” scene per Ferrell film. As Ferrell’s heavily tattooed love interest the ubiquitous Gyllenhaal scores again. Fresh off roles as a stripper single mom (Sherrybaby) and a frantic pregnant 9/11 wife (World Trade Center) she proves that no matter her character’s physical appearance or mindset she can do no wrong. Ditto for Thompson who spends much of the film in pajamas and the throes of writer’s block--the "writer" prototype--much to the dismay of her publisher-appointed assistant played well by Queen Latifah. Rounding out the cast is Hoffman whose professor isn't totally unlike his answer provider in like-minded I Heart Huckabees. His character’s quirky humor is child’s play at this point for the veteran but a select few scenes between him and Ferrell are extremely satisfying. To liken Stranger Than Fiction to a Charlie Kaufman (Eternal Sunshine of the Spotless Mind Adaptation et al) script/movie is not totally without merit. Fiction captures the “vivid yet distant” essence that is common with Kaufman’s stories and subsequent movies. But whereas Kaufman doesn’t go out of his way to coddle audiences’ minds amidst his often obtuse movies writer Zach Helm and director Marc Forster seem to have audience appreciation (read: box office) on the brain. Helm’s idea is nothing short of genius in a way that’s different from the oft-mentioned screenwriters he’s compared to but somewhere en route he and/or Forster (Finding Neverland) compromised the vision. Because what starts out as a complex intriguing movie turns stale quickly especially given the inexplicable ease with which it transitions from a metaphysical story into a straightforward one. And Forster's tendency in the movie to undercomplicate is just as detrimental as the opposite extreme. The dialogue also falls somewhat flat often neither funny nor off-kilter enough buoyed only slightly by superb cinematography set direction and indie music featuring Spoon (whose frontman Britt Daniel reworked some of their best songs for the movie)--but we’ve come to expect that trifecta from similar movies.
Joe Bowers (Luke Wilson) is about as average as one can get. He’s an electrician working for the Army doesn’t have any family. In other words he is perfect for playing a guinea pig in the government's new Human Hibernation Project. Joined by Rita (Maya Rudolph) a street-smart hooker who needs to hide out for a while they are to be kept on ice and revived a year later. But when they awaken they find out that they're almost a thousand years into the future. The project was forgotten and scrubbed their hibernation pods became landfill--and now Bowers is the smartest man on Earth. They meet Dizz (Dax Shepard) who's addicted to a lounge chair a bungling doctor (Justin Long) and the president/pro-wrestler (Terry Crews). Guess this means prognosticators--hoping for a better more intelligent future--are dead wrong.. Idiocracy effectively becomes a bunch of one-liners spliced together which really doesn’t do any of the comic talent justice. Still all the performers play rather believable idiots. Wilson turns on his easy-going charm as the least dim-witted bulb in the bunch (but never quite gets what Rita does for a living). The affable actor always shines brighter in a movie that doesn’t have “romantic comedy” in its description. Rudolph does her usual Saturday Night Live shtick while Long (Accepted) as the doctor who checks people in and out as if they were in a Jiffy Lube is hysterical even if the one-note hospital gag gets a tad tiresome. Crews is also pretty clever in his role as the dunderhead president who can't figure out how to save his planet from starvation. Why haven't you heard about this movie? Well that's the true Idiocracy. Fox seems to have rushed this little gem out failing to promote it in anyway much like they did with the cult hit Office Space. Ironically both are directed by Mike Judge (of Beavis and Butthead fame). Judge has put his finger on the pulse of what's wrong with this world and gives a bleak social commentary about our future. For example his version of the classic film of the future is a giant naked butt expelling intermittent gas every few minutes. That kind of fart film is the wave of this future run by live-action Beavis and Buttheads. Maybe Judge means to say that the people of Idiocracy’s future--who watch the Masturbation Channel and Fox News (yes that survives) and shop at stores bigger than small cities--are the descendants of those who run the studios today. Or maybe not.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.