Source: Deadline New York
Deadline New York reports that Channing Tatum has been approached by Marvel Studios and director Joe Johnston for the lead role in The First Avenger: Captain America.
He joins the latest group of actors in the mix, including Chris Evans, Mike Vogel, Garrett Hedlund and Wilson Bethel.
Meanwhile, the studio is also testing leads for the female role of Peggy. So far, they're looking at Keira Knightley, Alice Eve and Emily Blunt.
We wonder if the audition went anything like this?
Source: Heat Vision Blog
Yesterday, we reported that John Krasinski is the frontrunner for The First Avenger: Captain America, but that doesn't appear to be the case.
Today, Heat Vision has received an update on who Marvel Studios is looking at now for the coveted role. According to them, Wilson Bethel (HBO's Generation Kill, The Young and the Restless), Mike Vogel (Cloverfield), Chris Evans (Fantastic Four movies) and Garrett Hedlund (upcoming Tron Legacy) are reading for the role, have tested or have received test offers.
Actors previously reported as testing including Krasinski, Michael Cassidy, Chace Crawford, Scott Porter and Patrick Flueger are no longer under consideration, say the sites. The part calls for a nine-picture deal, the second of which would be The Avengers
To be directed by Joe Johnston, The First Avenger: Captain America is scheduled for a July 22, 2011 release.
The revered animator will be feted at the 21st annual ceremony in Hollywood on 24 January (10).
The Selznick Award is given "in recognition of an outstanding body of work in motion pictures."
Past recipients include Stanley Kramer, Saul Zaentz, Clint Eastwood, Robert Evans, Brian Grazer and Jerry Bruckheimer.
Thrilled Lasseter, a two-time Oscar winner, says, "David O. Selznick was one of Hollywood's legendary producers and master showmen, and it's a privilege to be in the company of so many other fantastic filmmakers who have received this award... I am thankful to the Producers Guild for this wonderful honour."
Kennedy was most familiar to British audiences for his work as a newsreader and television presenter, which spanned six decades. He also wrote more than a dozen books and television films, often about miscarriages of justice - most notably his 1961 book Ten Rillington Place.
That project argued the case of Timothy Evans, who was executed for the murder of his baby daughter. The culprit was later uncovered as serial killer John Christie.
Evans was later posthumously pardoned.
Kennedy's book was turned into a 1970 movie starring Richard Attenborough and John Hurt.
According to his family, Kennedy died in a nursing home in Salisbury, England on Sunday (18Oct09) - just a month before his 90th birthday. He had been ill for some time after contracting pneumonia following a fall.
Jackson has been spotted on the Vancouver, Canada set of the film and one reporter for the Vancouver Sun has seen the fighter sporting the chains Mr. T wore as the tough-talking TV character.
The much-anticipated new film features Bradley Cooper as Templeton 'Faceman' Peck and Liam Neeson as A-Team leader John 'Hannibal' Smith.
Jackson reportedly won the role of Baracus after a casting fight with rapper and Terminator Salvation star Common. He recently confirmed on late-night U.S. TV he was in the running for the role.
According to website MMAFrenzy.com, the A-Team role is the reason why Jackson has postponed a December (09) fight with Rashad Evans at UFC 107.
WHAT IT’S ABOUT?
In the late '50s a group of elementary students put futuristic drawings in a time capsule that is then buried on school grounds. One overly obsessed kid Lucinda goes her own way by writing hundreds of mysterious seemingly non-sensical numbers on her entry. Fifty years later it’s dug up and comes into the possession of Caleb the young son of John Koestler a recent widower and astro-physics professor who becomes obsessed with the papers Caleb has brought home from class. He soon discovers the random digits are actually not-so-thinly disguised dates (including 91101 of course) for “future” disasters and there are clearly three of those dates yet to come. Although nobody believes his ramblings about this code for impending doom a nearby plane crash proves he is on to something so ominous the fate of the world could be in jeopardy. With all hell about to break loose the prof takes matters into his own hands.
WHO’S IN IT?
Just a couple of years ago Nicolas Cage starred in Next as a magician who could see into the future and had to prevent a nuclear attack. Now he’s at it again as an MIT professor who also has clues to future catastrophes and also is out to prevent the inevitable. And of course in the National Treasure films he latched on to maps that had contained similarly dark deeply held secrets. Nic clearly likes “knowing” stuff before the rest of us and he’s quite believable even if some of the circumstances in his latest sci-fi adventure are really out there -- literally. Cage somehow makes you buy into this stuff which is key to the ultimate success of the flick. As the key kids Chandler Canterbury as Caleb and Lara Robinson as Lucinda (and later Abby Lucinda’s granddaughter) are properly eerie and haunted-looking. Rose Byrne is also along for the ride as Lucinda’s grown daughter who is able to provide goosebump-inducing information that the numbers alone can’t. There’s also some dead-on creepy emoting from D.G. Maloney as a quietly foreboding stranger who seems to be following Caleb.
Unlike some recent movies of this type with nothing on the agenda but pure mayhem “Knowing” delves into the bigger issues of why we are all here providing something other than just big explosions to talk about on the way home from the multiplex. Director Alex Proyas (I Robot Dark City The Crow) certainly knows how to pull off complex action set-pieces but he and his screenwriters also seem to be genuinely interested in exploring the meaning behind the madness.
Some of the more pedantic dialogue Cage is given can be groan-inducing but since he plays John as a total believer we can forgive it. Also the film falls victim to a final act that veers into typical disaster movie territory and isn’t as compelling as the first two thirds which try to keep the premise at least marginally credible. At two hours it probably could have been tightened anyway.
The rain-soaked plane crash sequence with its gritty hand-held photography is riveting to watch and one of the most frightening depictions of a jetliner disaster put on film yet.
GO OUT AND GET POPCORN WHEN ...
If you are really squeamish it might be worth "knowing" that you should take breaks in the big disaster sequences as the CGI effects can get pretty violent and graphic particularly for a PG-13 movie.
WHAT IT’S ABOUT?
For real estate broker Peter Klaven the bride wasn’t hard to land; it’s finding a best man that’s proving the real challenge. After he gets engaged to sweet Zooey he realizes he has no close male friendships so he sets off on a series of “man dates” to rectify the situation until he finally stumbles upon Sydney Fife a care-free bachelor and Peter’s polar opposite. An immediate best-buddy connection is formed as the two bond to Rush music and engage in honest mano et mano conversation. But when the bromance gets a little too intense it causes ripples in his relationship with Zooey and threatens the wedding.
WHO’S IN IT?
With a cast who mainly cut their teeth in TV sitcoms and improv this is can’t-miss comedy providing the best role Paul Rudd has had to date. Playing Peter as the ultimate female-loving straight guy a potential bride’s dream because he likes to cuddle up on the couch and watch chick flicks like Chocolat Rudd is hilarious especially later on as he tries the male-bonding thing with Sydney -- using hip phrases and non-sequiturs he is incapable of uttering with any level of competence. There’s a grounded sweetness to Rudd in this role and he never loses sight of the character. Rudd and Jason Segel (Forgetting Sarah Marshall) are sensationally funny together -- the best movie buddy team in years. That’s largely because Segel also is down-to-earth in a role that could have soared over the top but never does. The two are always believable and that’s key to making the comedy work as well as it does. Rashida Jones is refreshingly likeable and sweetly understanding if frustrated as Peter’s fiancée. As her BFFs are: Jaime Pressly (My Name Is Earl) who is always battling with her hubby (a riotous Jon Favreau) and Sarah Burns as the awkwardly man-hungry Hailey are highly amusing. SNL’s Andy Samberg is surprisingly understated as Peter’s gay brother and there are nice moments from J.K Simmons (Juno) and Jane Curtin as their parents. And watch out for Thomas Lennon who steals his few scenes as Doug a spurned early “man date” of Peter’s. The original Incredible Hulk Lou Ferrigno also turns up as himself in a wryly amusing running gag.
This is a broad comic premise but it’s never allowed to careen out of control allowing everyone to create three-dimensional human beings despite the hijinks going on around them. The bits with Rudd and Segel jamming on Rush songs are great and so is the endless stream of corny catchphrases such as Rudd’s "we’re just chillaxin’" and Segel’s "Dude Von Dudenstein."
Considering the smart instinctual comic chops that writer/director John Hamburg (Along Came Polly) displays here he could have cut back on the raunch which gets piled on a little thick at times for the film’s own good; although compared to last week’s dreadful buddy bomb Miss March this is Disney stuff.
There are too many to name but the Chinese restaurant engagement dinner is a comic knockout particularly when it comes to Segel’s toast -- full of thinly disguised and totally inappropriate sexual innuendo.
Boy does Ayer have it in for crooked cops. He’s on a one-man crusade to rid Los Angeles of anyone on the job who happens to be on the take. Heck he’s even willing to ferret out aspiring police officers whom he believes would only bring shame to the L.A.P.D. as shown by his directorial debut Harsh Times. Indeed Keanu Reeves’ maverick cop Tom Ludlow is much like Harsh Times’ whacked-out Jim Davis--had he been accepted into the L.A.P.D. and later made detective. Ludlow’s not corrupt but he’s happy to shoot first and then plant evidence to make things look like they were done by the book. And he does it with the blessing of his boss Capt. Jack Wander (Forest Whitaker). Wander’s got Ludlow’s back because he’s got dirt on anyone who’s anyone. But now Ludlow’s ex-partner Terrence Washington (Terry Crew) is babbling to Internal Affairs’ Capt. James Biggs (Hugh Laurie) about all the bad stuff he did with Ludlow. By sheer coincidence Washington’s executed by masked gunmen right before Ludlow’s eyes. Evidence suggests that Washington was selling drugs and that he paid the price for double-crossing some dealers. Ludlow buys into this--at least until he and Det. Paul Diskant (Chris Evans) realize nothing is what it seems. Oh really? Sorry but even after Speed and The Matrix series it’s hard to accept the slacker formerly known as Ted “Theodore” Logan as a badass. As Ludlow Reeves doesn’t come close to capturing Dirty Harry’s spare-no-mercy swagger or conveying Frank Serpico’s unwavering belief in bringing down dirty cops. So Ludlow’s nothing more than your typical booze-filled race-baiting cop who has no qualms about breaking the law to enforce the law. Twenty years ago Reeves would had played young turk Diskant. Now it’s the turn of a student of Reeves’ “Whoa!” School of Acting. To be fair Evans shows some emotional range. The one-two punch of Sunshine and Street Kings indicates Evans is making headway in improving as an actor. He also brings more attitude to the illicit goings-on than Reeves does. Whitaker however may have mistaken Street Kings for a sequel to The Last King of Scotland. He storms through crime scenes gesturing wildly and barking orders with all the imperial pomposity of Idi Amin. At least he’s having fun. Same goes for Laurie whose testy “rat squad” bigwig is merely Dr. Gregory House with a gun and badge. John Corbett and Jay Mohr inexplicably try to pass themselves off as hard-as-nails cops right out of The Shield but fail hilariously. Street Kings--a term describing the cops who consider L.A. their personal fiefdom--is a great disappointment after Harsh Times. Ayer showed great ambition with that grim character study even if it felt at times like a civilian version of Training Day. With Street Kings Ayer and crime novelist James Ellroy--who previously collaborated together on Dark Blue’s script--seem content to rest on their laurels. Ludlow’s investigation takes him where you expect it to take him ensuring the big reveal at the end hardly comes as a shock. The characters never surprise you. If you suspect someone’s corrupt he’s indeed corrupt. And the dialogue? It’s an ear-grating mix of police jargon street drug slang and tough-guy BS. That said Ayer keeps things rolling at a brake-neck pace as he turns L.A. into his own personal war zone. The bullets fly fast and the bodies drop even quicker. He so draws you into this fascinating world that you can’t help root for Ludlow--a man of very little moral fiber--to dispense with all the human garbage who stand between him and the truth. Street Kings affirms that Ayer has his finger on the pulse of L.A.’s mean streets. He knows how the minds of the city’s cops clean and dirty and the gangbangers work. But after Dark Blue Training Day Harsh Times and Street Kings what is there left for Ayer to say about a good cop gone bad?
The film follows the same tired action genre step by step. Ex-con and single dad O2 (Tyrese Gibson) is trying to go straight for the sake of his young son Junior. But when the kid is kidnapped in what seems to be a typical carjacking O2 has to pull out all the stops to get him back. Turns out O2 had some nefarious dealings with a gang overlord named Big Meat (The Game) who likes to hack off people’s body parts with a machete. And now Meat wants some payback taking for ransom the only thing O2 cares about in the entire world [sniffle]. So what’s a guy to do? Pit rival gang leaders against each other hook up with a beautiful street hustler (Meagan Good) rob safety deposit boxes and get caught in an extended car chase that’s what. "It's either all or nothing " realizes O2. Very prophetic. Waist Deep has got some great character names--Meat O2 Coco Lucky Junior. Too bad most of the performances can’t live up to them. Tyrese (Four Brothers) does try his best though as the hunky O2 making a convincing albeit a tad stiff attempt at playing a father who’s whole life is his son. Good (Roll Bounce) gets to wear tight sexy clothes and strut around as Coco O2’s accomplice and eventual love interest as they rob banks Bonnie and Clyde style. Larenz Tate (Crash) plays Lucky O2’s unreliable cousin who actually isn’t lucky at all caught between a rock and hard place. And then there’s Meat played by big-time rapper The Game in his feature debut. With a battered face and covered in tattoos The Game certainly looks like one mean badass wielding a mad machete. Thankfully he doesn’t have to do much more than that. Here’s a few words of advice to would-be actors who want to play effective bad guys: Less is more. It’s movies like these that really give South Central L.A. a bad rep—shoot-outs in the middle of the street in broad daylight the carjacks the depravity the sad stories of little kids getting shot. It’s not exactly a warm and fuzzy place. Of course actor-turned-director/co-writer Vondie Curtis-Hall (best known for his numerous TV guest spots) doesn’t want it to be showing the grit in all its glory and collecting a cast from the area who could lend some credibility to the surroundings. But Hall needs a few more lessons in how to craft a well-thought action movie. The script is hackneyed beyond the usual taking bits not only from Bonnie and Clyde but also Thelma and Louise Boyz N the Hood--and even a little Shawshank Redemption. Hall’s camerawork is also too frenetic at times almost dizzyingly so with unnecessary close ups and choppy sequences. That isn’t to say some of the gun play and car chases aren’t exciting enough. There just seems to be a lack of experience overall.
Heather Locklear, John James and Diahann Carroll have snubbed the chance to reunite with their Dynasty cast mates in an upcoming TV special.
Producer Michael Levitt is the brains behind the show, Dynasty Reunion: Catfights & Caviar, and he invited the entire cast to team up for the anecdotal special, which will air in May.
John Forsythe, Linda Evans, Catherine Oxenberg and Joan Collins were among the first stars to sign up for the 25th anniversary show, but Levitt has had less luck with others.
He says, "They graciously declined."
Ambitious Levitt hopes to persuade Evans and Collins to reenact their famous pool catfight as part of the upcoming special, which will be shot next month at the Filoli Mansion in California, which doubled as the home of Dynasty's Carrington family in the opening credits of the soap.
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