Alan Rickman was stunned to learn his Cbgb co-star Keene Mcrae was from Alabama at the end of the movie, because the newcomer mimicked rock star Sting so well the veteran was convinced he was British. Rickman, who plays CBGB club boss Hilly Kristal in the new movie, is friends with the former The Police frontman and he complimented McRae on perfecting the singer's soft-spoken Geordie accent.
But director Randall Miller admits the young star with a bright future wasn't all he appeared to be.
He tells WENN, "Keene McRae, who plays Sting, was a casting call guy who was amazing and came from Alabama. Alan is actually friends with Sting in real life and Keene came in and did an amazing accent.
"He said he was from Birmingham, Alabama and we said, 'No you're from Birmingham, England, and you're never gonna say you're not,' so he kept that accent until he finished shooting.
"On his last day we said, 'Now you can tell Alan now where you're really from!' He was astonished."
The new film captures the sights and sounds of the New York punk mecca during its late 1970s heyday and features Foo Fighters star Taylor Hawkins as Iggy Pop, Malin Akerman as Blondie star Debbie Harry, Justin Bartha as Dead Boys frontman Stiv Bators and Joel David Moore as Joey Ramone.
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.
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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The age-old debate over fate vs. free will has been and always will be a tough theme to crack in any medium but with the benefits of modern filmmaking technology the theory can be explored in ways that Philip K. Dick never imagined. However when one relies too heavily on spectacle to tell a story a piece of cerebral science fiction can quickly become just another action extravaganza. In this day and age there’s a fine line between the two; The Matrix walked that tightrope with style and grace while Next never found its footing in the first place. Fortunately the precious work of novelist Dick has for the most part been treated with respect by Hollywood (the aforementioned Nic Cage dud notwithstanding) but that doesn’t necessarily mean movies based on his stories are completely faithful to his vision.
Case in point: George Nolfi’s directorial debut The Adjustment Bureau an adaptation of Dick’s short story “Adjustment Team.” The film stars Matt Damon as David Norris a successful businessman and rising political candidate who after a chance encounter with the girl of his dreams (Emily Blunt) loses a crucial election. He happens to run into her on a Manhattan bus the following week before finding his office swarming with masked men who are “adjusting” everyone inside. Richardson (John Slattery) the man in charge captures Norris who unsuccessfully flees the scene after seeing behind “a curtain he wasn’t even supposed to know existed” as the enigmatic figure puts it. From that point on Norris must live with the knowledge that he (and we for that matter) is not in control of his own life. Rather the choices he makes fit perfectly into “The Plan” that’s been written by “the Chairman”.
In relation to my earlier statement I have to say that Nolfi’s picture looks stunning but his natural urban aesthetic doesn’t overpower the story. Sleek contemporary production design and elegant costumes characterize the high-concept story and the wraithlike agents who shape our destinies. Topically we’re dealing with some heavy material but Nolfi and editor Jay Rabinowitz move the action along at a brisk pace that keeps you engaged and entertained without having to try. The film is properly proportioned as a chase thriller romantic adventure and sci-fi fantasy and thankfully no component overshadows another.
Setting the film in the world of politics and big business helps make its larger-than-life revelations a bit more accessible (as do appearances from Michael Bloomberg Jon Stewart and Chuck Scarborough) while providing sub-text about the corruption involved in elections and campaigns (there are conspicuous shades of The Manchurian Candidate in the movie) but the writer-director often tries too hard for broad appeal. For a film with existential implications as severe as they are here the dialogue is at times hokey and superficial. Dick’s source material is far more abstract and Nolfi for the sake of commercial success panders to the palette of soccer moms and mallrats.
What’s worse is his unwarranted exposition of the Bureau a shadowy organization whose major allure is anonymity. Some secrets are best kept and less can be so much more when crafting a mysterious atmosphere; Nolfi reaches that level of magnetic curiosity but squanders it as he reveals the truth about the Bureau and its grand scheme. On the other hand he brushes over the technical lingo between agents Harry Mitchell (Anthony Mackie) McCrady (Anthony Ruivivar) and others without explanation perhaps hoping that the ambiguous terminology will fool you into thinking that his script is smarter than it really is.
Even though Nolfi’s allegorical conclusions are uncomfortably ham-fisted the chemistry between Damon and Blunt alone is enough to enchant you; this is one highly watchable cinematic pairing that should be revisited as soon as possible. Their innocent relationship blossoms organically and together they make it seem as natural on screen as it is for their star-crossed characters. Even if you have a hard time believing in higher powers or manipulative Orwellian forces you’ll have faith in David and Elise’s fated relationship one of the most captivating couplings I’ve seen on the big-screen in some time.
As the under-18 female world continues to mourn the loss of bachelorhood for Backstreet Boys (and cousins) Kevin Richardson and Brian Littrell, we've hunted down who we think are their blond, lucky fiancées, or as Backstreet fans know them, The Witches Who Stole Our Future Husbands.
Richardson and Willits Richardson, 28, is engaged to Kristin Willits, a dancer for Cher, says USA Today. The two met in a Disney World cafeteria when Richardson was working as a Ninja Turtle and have been dating off and on for seven years.
As for 24-year-old Littrell, we say his betrothed is longtime girlfriend Leighanne Wallace, a budding actress whose credits include "Wild America," "My Fellow Americans" and two Backstreet videos. She has a few Web sites of her own out there (whether they're hateful or supportive sites is another story). She's 30, which already puts her two decades ahead of most Backstreet fans and as far as they're concerned, dangerously close to Michael Douglas cradle-robbing territory.
Spurned fans, meanwhile, are pouring their hearts out on chat boards across the world, some slamming the Backstreet fiancées as "Yoko Onos" (how do prepubescents even know that reference?) and warning that the group "probably won't be number one or number two on [MTV's 'Total Request Live'] I'll tell you that." Others, who say they have met Wallace, call her everything from "really sweet" to "trash." On MTV Online, another fan wrote: "Now they're just throwing us away like a piece of trash."
Leighanne Wallace But others, bless their hearts, take comfort in knowing the other three Boys -- young blond heartthrob Nick Carter, tattooed, follicularly challenged A.J. McLean and bearded, ponytailed Howie Dorough -- are still single, and their Meaty Cheesy-inspiring music lives on. But one fan dared to speculate, "With all this negativity looming around with those who are obviously fair-weather fans, I wonder what will happen when ANY of the guys from 'N Sync become engaged."
Okay, now that's not funny.
THE BIRTH ACCORDING TO TRAVOLTA: John Travolta's about to become a father again, and reveals that he and wife Kelly Preston plan to introduce the unborn child to Scientology right out of the womb. According to "Entertainment Tonight" and the New York Daily News, Travolta, 45, says Preston, who is eight months along, will have a "quiet birth."
"We do the traditional French Lamaze, but in Dianetics [the teachings of Scientology founder L. Ron Hubbard], you try and keep the delivery room quiet so there's nothing recorded in the child's mind that shouldn't be there while there's pain going on," Travolta explains.
It's not completely quiet, though. Preston, 37, is allowed to moan in pain -- thank goodness -- but "any people saying any kind of negative verbiage may adversely affect the baby later on," says Travolta. Does this mean no discussing around the kid why Travolta agreed to star in "Michael"?
AGE MADE HIM DO IT: Film critic Rex Reed has been working to lift the negative reviews he's gotten since his shoplifting arrest last week. In a column for the Feb. 21 edition of the New York Observer, Reed, 61, claims a "senior moment" caused him to take three CDs from a Manhattan Tower Records store. When he was caught with the compact discs (by Mel Torme, Peggy Lee and Carmen McRae) in his pocket, he offered to pay by credit card, "or the $500 in cash I had in my wallet," but was rejected. "I don't consider myself guilty of anything but careless stupidity," Reed says.
But all is not lost. Reed got a call from Lee's press agent, who said the pop-jazz legend "was so thrilled I wanted one of her CDs enough to put myself through so much hell that she was sending me an entire collection. I hope none of the songs is 'My Funny Valentine.' "
MUSIC BEAT: Carlos Santana, closing in on his likely Grammy sweep on Wednesday, retook the top spot on Billboard's album chart this week. "Supernatural" was followed by: Dr. Dre's "Dr. Dre 2001" and Celine Dion's "All the Way: A Decade of Song," which each moved up one spot. D'Angelo's "Voodoo," which held at No. 1 for two weeks, slipped to No. 4, and Christina Aguilera's self-titled debut stuck to No. 5.
The Top Five singles in the country are as follows: "I Knew I Loved You," Savage Garden; "Thank God I Found You," Mariah Carey featuring Joe and 98 Degrees; "Amazed," Lonestar; "What a Girl Wants," Christina Aguilera; and "Breathe," Faith Hill.
QUICK TAKES: A court has dismissed a bid by the undercover Los Angeles policeman who arrested George Michael in a public restroom in 1998 to sue the British pop star for $10 million on the grounds of emotional distress. Marcelo Rodriguez claimed emotional and mental distress and slander after Michael released the music video for "Outside" shortly after his arrest. The video was shot partly in a lavatory and features two policemen kissing. A Los Angeles Superior Court judge dismissed the case on Monday, saying Rodriguez was a public official and could not under law recover damages for alleged emotional distress ...
... "As the World Turns" star Michael Park, who plays Jack Snyder, and wife Laurie welcomed 7-pound daughter Kathleen Rose into the world Monday in New York ...
... Universal Studios president Ron Meyer threw an engagement/baby party for Michael Douglas and Catherine Zeta-Jones last weekend, according to the New York Daily News. Sean Connery and Danny DeVito were among those in attendance ....
... So Leo and Brad won't be there, but you can always count on Arnold Schwarzenegger. The Terminator himself has been tapped as a presenter for the 72nd Annual Academy Awards. Same goes for "Austin Powers" groovester Mike Myers. Look for both dudes at the big show, happening March 26 at the Los Angeles Shrine Auditorium.
... After playing God (literally) in "Dogma," rocker Alanis Morissette will make her Broadway debut in "The Vagina Monologues" March 21-April 2 at Los Angeles' Westside Theater, says Variety. Morissette filled in for Calista Flockhart Wednesday night in Los Angeles for a V-Day 2000 benefit performance.