One Direction doesn't seem to be likely to fall from grace anytime soon. The band drew record-breaking ratings for The Today Show with their Rockefeller Plaza performance on Tuesday morning, has just released its second album Take Me Home, and has even earned a vigilant enough fanbase to receive live animals as gifts. The next step: movies! Sony Pictures has announced that One Direction will be the focus of a 3D film, directed by accomplished documentarian Morgan Spurlock.
You might know the filmmaker's name from one of the many big- and small-screen projects he has churned out over the past decade. Spurlock is most famous for his 2004 fast food takedown Super Size Me, and has since directed and produced films like Where in the World Is Osama bin Laden?, Freakonomics, and The Greatest Movie Ever Sold, which is his own personal statement on Hollywood's habitual product placement. He also created the Hulu series A Day In the Life.
The new One Direction movie, which is being produced by Simon Cowell (who discovered the band on the United Kingdom's The X Factor), will focus on band members Niall Horan, Zayn Malik, Liam Payne, Harry Styles, and Louis Tomlinson, and their achievements and personal journeys into the spotlight. Spurlock, a highly stimulating filmmaker, will likely provide an interesting take on the band's experiences with new fame and success, and perhaps on the industry itself.
The Hollywood Reporter's Borys Kytt reports that the film is set for release on Aug. 30, 2013.
[Photo Credit: Patrik Österberg/Wenn]
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The name Wally Pfister might ring a bell if you're a true cinephile, but the established industry figure has yet to truly earn his due share of fame. As a cinematographer, Pfister has worked on each of Christopher Nolan's movies (the Batman trilogy, Inception, The Prestige, and Memento), as well as Moneyball and The Italian Job, among many others. Stepping up to the plate as director for the first time, Pfister is developing a project called Transcendence. Details about this movie have been under wraps for some time, but news has sprung regarding the potential casting of Johnny Depp, and a brief synopsis as revealed by The Hollywood Reporter's Borys Kit.
Kit tweets this description of Transcendence's story: "It's described as 2001 [A Space Odyssey] meets Inception and is about the creation of a malevolent computer program. Depp will play a guy that gets sucked into the program." Somehow, the likeness to Tron has been oddly evaded. Kit adds, "Sources tells us that Depp is getting 20 million against 15% of backend for pic." Hollywood.com has reached out to representatives of Depp's for confirmation.
According to The Hollywood Reporter, Noomi Rapace and Christoph Waltz are also potential candidates to join the cast.
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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.