DISCLAIMER: I have never seen 21 Jump Street. I have no idea what the show is about besides what Deadline described, which was basically Narcs go to high school. Oh, and it launched Johnny Depp. And now the movie adaptation will co-star Channing Tatum.
With that knowledge (and the knowledge I have of the people mentioned in this article), let’s make assumptions about this movie! Jonah Hill crafted the story for the movie. The Cloudy with a Chance of Meatballs directors (Phil Lord and Chris Miller) will be directing. It will star Hill and potentially Tatum. So it's a movie from animators written by the fat kid from Superbad starring the guy who can really dance in Step Up, and its based on the TV series that gave rise to the Mr. Moody himself, Johnny Depp. Should be fantastic.
Actually this could be really awesome. 21 Jump Street is delightfully 90’s and Jonah Hill is legitimately funny. Cloudy with a Chance of Meatballs was actually funny as well and you know what? I know this is a hard pill to swallow and I can’t believe I’m about to say this, but Channing Tatum could actually be funny in this role. Hell, it worked for Ryan Phillippe in MacGruber. I’m really hoping they go for something like Starsky and Hutch remake, which reveled in its inherent 70s cheesiness, and not something super serious, like Hamlet. I have no idea why I chose that particular play, but I did just class up this joint like a mofo.
The actor was supposed to work with the big cat in the Aussie outback adventure but the scenes were pulled when the panther showed its claws - and teeth.
Kwanten tells Access Hollywood he had to pretend he was staring down a panther, while director Patrick Hughes pretended to be a cat.
Another panther was added later.
Uh-oh. This cannot be good. You know the hunky guy from True Blood? Oh yeah, I may have to be a little more specific about that. I’m talking about Ryan Kwanten, who you may know better as Jason Stackhouse, or Sookie’s brother on the show. The very attractive Aussie has just signed on to play one of the creepiest people to have walked this earth: Charles Manson.
Thanks, Hollywood. Could you have picked someone just a little less attractive? I don’t know if I’ll be able to tolerate myself once I utter the sentence, “Man, the dude who plays Charles Manson is hot.” Nope. That’s just not going to fly.
Kwanten let it slip while talking up his upcoming Aussie western (huh?) Red Hill that he’d be starring in a Manson biopic called The Family. The buff blond also added that Brad Anderson is attached as the film’s director. Have you seen The Machinist? If anyone can bring out the hideous side of an incredibly attractive man (Christian Bale) it’s Anderson. And as you can see from my inability to stop mentioning his dashing good looks, Kwanten’s yet to get much praise for his actual talent. Perhaps this will be his chance to show audiences that his skills go beyond the ability to make droves of girls sigh and faint. I hope he manages to tone down the sexy for the Manson pic so we can see what he brings to the plate (and so I can avoid years of therapy stemming from my creepy affinity for the screen version of the infamous killer).
Source: NBC San Diego, Dark Horizons
Watts' role in Mother and Child has landed her a place on the shortlist for the International Award For Best Actress along with Toni Collette, Edge of Darkness' Bojana Novakovic and Alice In Wonderland's Mia Wasikowska.
Worthington is competing for the International Award for Best Male for his role in blockbuster Avatar, going up against Simon Baker, Ryan Kwanten and Kodi Smit-McPhee.
Other stars nominated for prizes at the upcoming ceremony include Clive Owen, who is up for the AFI Award For Best Lead Actor for his role in The Boys Are Back, alongside contenders Ben Mendelsohn, James Frecheville and Brendan Cowell.
Abbie Cornish has received a nod for the AFI Award For Best Lead Actress and The Hurt Locker's Guy Pearce is heading the nominations for the Best Supporting Actor trophy.
Movie Animal Kingdom tops the nominations board with a record 18 category listings, Beneath Hill 60 is up for 12 awards and Jane Campion's Bright Star will compete for 11 prizes.
The ceremony is due to take place on 10 and 11 December (10) in Melbourne, Australia.
S2: E4 After all of creator Ryan Murphy’s promises of new Glee club members over the summer, I was starting to get a little worried that it was all a bunch of hype. But thanks to Puck’s idiotic idea to drive his mom’s Volvo through a convenience store to steal the ATM (of course he can’t be like most high school bad boys who get caught smoking pot behind the bleachers, he’s got to get sent to juvy with a bang), New Directions is down a member. Schue says he doesn’t know when Puck will be back. Damnit, Murphy. I’m going to miss that bad boy eye candy. FREE PUCK!
Anyway, Schue’s got a brand new replacement for Puck. Fresh on the DL (disabled list, ladies) after getting pummeled on the football field last week, Sam (a.k.a. Justin Bieber, Surfer edition) swoops in to take his place – albeit with some awful jokes. (Really? A “Sam I Am” joke? Come on, blondie. You can do better than that.) Now that Schue’s managed to bring the team back to an odd number, he announces that the team will compete to see what duo can perform the best duet. Kurt has a theory that newbie Sam is secretly gay (he dies his hair, duh!) and asks him to be his duet partner which starts to worry Finn.
Then there’s a scene that I’m pretty sure just made the rest of the episode a blur for most dudes; Cheerleader make-out! Yep. Brittany and Santana are making out because Santana’s lost her usual make-out buddy, Puck, to the slammer. Santana makes it perfectly clear that there’s no lesbian storyline and denies Britt’s request to do a duet to a Melissa Etheridge song (subtle, sweetie), and instead strong arms Mercedes into being her duet partner because their voices go together so well. (Remember their musical face-off over Puck? It did kind of rock.)
Finn asks Kurt to leave Sam alone, and trudges up their fight from last season over Finn’s homophobic issues. Though Kurt’s ready to completely tune him out, Finn brings up the fact that Kurt’s overzealous approach to his previous crush on Finn was too much and that if Kurt acts the same way with Sam, that the newbie will take so much flack he’ll want to quit glee. But it’s not just Finn. Kurt’s dad, who’s recovering from his heart attack, even says that Kurt was too pushy with Finn last year, which brings up how incredibly difficult and lonely life is for Kurt as the only openly gay student at his high school. He’s the only one who can’t hold hands in the halls with someone he likes, which in high school, is pretty close to torture. They’re really keeping the tough storylines coming, aren’t they?
Finally it’s time for the first duet – Rachel and Finn – and while they usually put me in a sugar coma, they were actually kind of cute. Really! They rehearse Elton John’s “Don’t Go Breaking My Heart,” and Rachel realizes that they’re “totally” going to win. It makes her realize that she’s really selfish – no, really? She’s inspired by Finn’s goodness, and decides that they have to throw the competition so that Sam will win and thus want to stay on the team. Even though Finn points out that she’s technically doing this just to win at nationals and thus she’s still being somewhat selfish, I’m still pretty impressed with her sudden bout of self awareness.
Tina and Mike Chang (and his abs) are fighting. (Asian fusion’s not so strong any more, eh?) She wants to win the competition because the prize is dinner at Breadsticks and she’s tired of always having uber-Asian dates. Mike wants her to go to “Asian couples therapy” to which she replies, “Why does the couples therapy have to be Asian?” Thank you. I was getting a little tired of the constant references to their Asianness – we get it, and we’re over it. Move on.
In the meantime, Brittany tells Artie she wants to be his girlfriend because she wants to push him around in a stroller (what is with her and babies?). Artie gets to make Tina jealous and Brittany gets to get back at Santana for refusing to be her duet partner. No more cheerio make-out sessions, sorry dudes.
Finn tries to convince Sam not to sing with Kurt, but Sam doesn’t see the problem (he heard him singing and thought it was Faith Hill). Finn explains that he’ll be tortured if he does, but Sam says he gave Kurt his word and that’s the end of it. He quickly learns that being a gleek is torture because he gets slushied as soon as he leaves the locker room. Quinn swoops in and helps him wash off the red slush, making a reference to the time she got blue slushie in her underwear and how it turned her nether regions blue. (Do you usually talk about below the belt issues when you first meet new dudes, Miss Head Cheerleader?) Sam responds by complementing her eyes in Na'vi – the Avatar language? Yikes, this kid has no game.
Back in glee club, we get round two of the Mercedes and Santana show; they rock out “River Deep, Mountain High” and they really do work well together. If Santana wasn’t so incredibly bitchy, a performance like that might have actually made me like her. (Besides, if she doesn’t stop adding an S to the end of every word, I’m going to throw something at my television. “We’s be goin’ to Breadsticks.” Yeah, well not if you can’t learn to speak like a normal person.)
Kurt decides to set Sam “free” (but he chooses to tell him that while Sam is in the shower…awkward), and instead Kurt performs a duet…with himself. He does a full-on Broadway caliber production of Victor/Victoria’s “Le Jazz Hot.” It’s pretty incredible that a character who was a last minute write-in is stealing the show from queen-bee Rachel (he wasn’t slated to be a character on Glee until Murphy met him and wrote him a part). Kurt is quickly becoming the best performer on the show, even if his duet was “vocal masturbation.” Don’t worry Kurt, Santana’s just jealous.
Now that he’s free, Sam partners up with Quinn. When they rehearse, he tries to kiss her and she freaks out, saying she can’t handle a relationship. Finally she references how hard dealing with last year’s pregnancy has made her life, they had been letting that huge issue slide into the background. It’s kind of a big deal, the girl gave away her baby, people.
Though Tina asked Artie to be her duet partner (he denied her, snap!), she and her hard-abbed boyfriend perform a duet, and newsflash kids: Mike can’t sing. So that’s why he’s so quiet. No problem, Tina’s picked the perfect song, “Sing” from A Chorus Line. Mike gets to talk and do what he does best – dance – while Tina acts as support and sings. It was actually done pretty nicely, the gleeks are really getting down with the Broadway tunes again and I have to admit I kind of like it.
After Tina’s great performance, Artie is working extra hard to make sure he and Brittany can top it. He realizes that Brittany just doesn’t have the same skills and that he’s not over Tina. Brittany wants to help him, so she picks him up (like a baby, seriously the girl’s got an obsession) and takes him to the bed. “Before we duet, we’re gonna do it.” Nice one, Britt. Artie eventually tells Brittany that he feels used because his virginity means something to him, but sex means nothing to her. She apologizes (she even learned how to eat spaghetti like the pups in Lady and The Tramp!) but he can’t handle working with her or dating her anymore and he breaks up with her and withdraws from the competition. Bummer, I was actually looking forward to what they were going to sing together.
Finn and Rachel decide that they need to do a bad, offensive version of a song in order to be sure to lose. Conniving Rachel and Finn are actually really entertaining, keep ditching the smultz, guys. This is way more fun. The couple performs “With You I’m Born Again” dressed as a (slutty) nun and a priest. Yikes. Even Quinn says the song made her want to punch them both in the face. (Key word here is “both” – she always wants to punch Rachel.) Mission (and total alienation) accomplished.
Before their purposely awful performance, Rachel and Finn convinced Sam and Quinn to get back together as duet partners. The blond duo do a sweet rendition of Jason Mraz’s and Colbie Callait’s “Lucky.” Super cute, or “So freaking charming” as Santana would say. Poor Kurt, he looks so heartbroken watching the cutesy pair. Ryan Murphy, please give Kurt a boyfriend character, I don’t know how much longer I can watch his heart break.
The duet competition ends and everyone votes…for themselves. Typical musical theater kids. Thanks to Rachel and Finn’s vote, Quinn and Sam win by just two votes and get to go on a Breadsticks date. Sam continues the bad jokes – I guess it’s part of his character folks, we’re just going to have to get used to it. Quinn finally realizes that she doesn’t have to stop being a teenager to move forward with her life, so she tells Sam he has to pay for the dinner instead of using the gift certificate because they’re on a real date. (Brat, did it ever occur to you that you’re in high school and that a 17 year old probably doesn’t have enough money on him to suddenly buy you dinner? But they’re cute, so I’ll shut up.)
Finally, Rachel approaches Kurt in the hall and says what the rest of us knew all along – that he’s the other star of glee club. She also tells him that while she understands that he must feel all alone because he’s the only gay student at school, but that he has the members of glee who all love him and that he’s not truly alone. (And they’ve made me cry for the second week in a row. I’d better stock up on Kleenex for the rest of the season.)
Kurt and Rachel close the episode with a duet (this time for the pure joy of singing instead of an attempt to win dinner at an unlimited Breaksticks restaurant). They belt the Barbra Streisand version of “Happy Days are Here Again/ Come On Get Happy” – Rachel really is a Barbra mini-me sometimes. It was a little mature for high school kids, but it may have even been better than Babs’ version. Glee is back on a roll, and that even without single second of Sue Sylvester in the entire episode. Wow.
The entertainer died at his home in Greenwich, Connecticut on Thursday (12Aug10).
His Broadway credits include The National Health in 1974, a 1975 revival of Eugene O’Neill’s Ah, Wilderness!, and a revival of The Glass Menagerie that same year.
He also starred in the original production of John Guare’s comedy Bosoms and Neglect in 1979, was part of the original Broadway cast of David Rabe’s Streamers in 1976, and starred as Romeo in a 1977 production of Romeo and Juliet.
Alongside Meryl Streep and Philip Bosco, Rudd played the title role in a 1976 production of Henry V for the New York Shakespeare Festival.
On U.S. television, he starred in Beacon Hill, and in 1977 TV movie Johnny, We Hardly Knew Ye. He also appeared in The Betsy, the 1978 film based on the Harold Robbins novel, and continued his TV career throughout the 1980s with guest roles on TV series Hart to Hart, Moonlighting and others before leaving acting to raise his children.
Rudd is survived by his second wife, Martha Bannerman, their three children, Graeme, Kathryn and Eliza and his mother, Kathryn Rudd.
It’s been a long time since we’ve seen a decent ninja flick. When the Golden Age of Ninja Cinema (also known as the Dudikoff Era) ebbed at the close of the ‘80s the black-clad martial artists retreated to the shadows. This week director James McTeigue (V for Vendetta) aims to resurrect them with Ninja Assassin a hyperkinetic gorefest starring Korean pop star Rain.
But these ain’t your daddy’s ninjas. Though they boast the familiar wardrobe (black on black) and weapons (swords throwing stars etc.) the ninjas in this flick are thoroughly nasty buggers. Members of a super-secret international syndicate of assassins-for-hire they can dodge bullets turn invisible heal wounds and communicate telepathically. And for the low low price of 100 lbs of gold they’ll kill anyone you want no questions asked.
It’s that latter aspect that draws the scrutiny of law enforcement — specifically agents Mika Coretti (Naomi Harris) and Ryan Maslow (Ben Miles) of Europol (which appears to be a division of Interpol staffed exclusively with imbeciles). Fortunately for these hapless twits they find a potent ally in Raizo (Rain) a renegade ninja of unsurpassed ability who nurses a nasty grudge against his cruel former master Lord Ozunu (Sho Kosugi).
Fueled by childhood memories of the abuse he suffered while at Lord Ozunu’s ninja sleepaway camp Raizo will stop at nothing to bring the entire operation down. Which is good because his former chums are a persistent lot arriving in ever greater numbers to snuff out the powerful apostate.
McTeigue’s dizzying shaky-cam combined with the identical appearance of most of the ninja combatants makes the action difficult to follow at times in Ninja Assassin. It’s probably why he felt compelled to accentuate every fight scene with exaggerated bursts of CGI blood. Still as disembodied heads limbs and torsos fly across the screen in quantities not seen since Kill Bill it’s nigh impossible to determine who they belong(ed) to. Much easier to pinpoint are the glistening six-pack abs of Raizo a fighter so badass he can ward off his pursuers while wearing little more than a thin layer of baby oil.
It’s a pity Raizo couldn’t have applied his blade to the Ninja Assassin script which encumbers the first half of the movie with endless flashbacks gratuitous training sequences and pointless political squabbling. Or perhaps he could have imparted some of his skills at deception to McTeigue who exhibits all of the subtlety and unpredictability of a kamikaze pilot.
This is one ninja flick that should have remained in the shadows.
The 2004 movie is being adapted by One Tree Hill actress Bethany Joy Galeotti and record producer Ron Aniello, who are developing the project in Wilmington, North Carolina.
If the play proves to be a success, they are eyeing an eventual move to Broadway, according to reports.
When aspiring pop stars take to the stage for the next season of American Idol, they will be facing more “constructive” criticism than ever: Fox announced on Monday that a fourth judge would be added to the panel.
Grammy-nominated songwriter Kara DioGuardi, whose work will probably be much more familiar to audiences than her name, will join judges Simon Cowell, Paula Abdul and Randy Jackson and host Ryan Seacrest when the eighth season kicks off in January 2009.
It’s a major shakeup for America’s most-watched TV show and its three-judge tradition. There hasn’t been a major personnel change since Brian Dunkleman failed to rejoin Seacrest as co-host of the show after season one.
In a statement, Mike Darnell, President, alternative programming of Fox, offered this explanation: "For the past seven seasons, Paula has had to endure the experience of being the only woman at the judges' table. She's been as an island of consideration and gentle criticism between Randy and Simon, offering her invaluable expertise as a performer and No. 1 artist to the thousands who have competed on American Idol. With Kara by her side, Paula finally has some back-up and now there is going to be a lot more 'girl power' on the show."
Idol’s creator and executive producer Simon Fuller, meanwhile, sang the praises of DioGuardi. "She is a smart, sassy lady, and one of America's most successful songwriters. We know she will bring a new level of energy and excitement to the show," said Fuller in a statement.
DioGuardi boasts a highly successful and prolific history, having written songs performed by the likes of Celine Dion, Christina Aguilera, Gwen Stefani, Miley Cyrus, Faith Hill and Santana, as well as almost every former Idol contestant who has gone on to stardom.
There has been scant speculation that Idol’s most (in)famous judge, Cowell, will soon walk away from the show, and DioGuardi’s arrival could start a rumor frenzy.
What do you think about American Idol adding a fourth judge?
In the battle of the psychological thrillers, youth takes it again. The teen suspense story Disturbia, starring Shia LaBeouf, took the top spot at the North American box office for the second week with $13.4 million, while Fracture, a court-room thriller starring Anthony Hopkins and Ryan Gosling, opened in second with $11.1 million.
Meanwhile, the horror flick Vacancy, starring Kate Beckinsale and Luke Wilson, led a rush of other new wide releases, opening in fourth place with $7.6 million. The buddy-cop comedy Hot Fuzz, from the guys who did Shaun of the Dead, debuted in sixth with $5.8 million. Finally, the romantic dramedy In the Land of Women, starring Adam Brody and Meg Ryan, premiered in the eighth spot with $4.9 million.
In the second “down” weekend in a row, the Top 12 movies grossed $73.9 million over the weekend, down 26.18 percent from last year’s draw of $100.2 million and down 25.08 percent from last weekend’s total of $98.7 million.
"This is like an onslaught of films trying to get into the marketplace before the big summer rush," Paul Dergarabedian, president of box-office tracker Media By Numbers told The Associated Press. "People are just holding their breath waiting for summer to start, and while they're holding their breath, they didn't go to the movies in big numbers."
The Top Three films at the box office this time last year were: Sony/Tristar’s Silent Hill, which opened at No. 1 with $20.1 million in 2,926 theaters, averaging $6,887 per theater; Weinstein Co.’s Scary Movie 4, which dropped to second place in its second week of release with $16.8 million in 3,673 theaters, averaging $4,578 per theater; and 20th Century Fox’s The Sentinel, which opened in third place with $14.3 million in 2,822 theaters, averaging $5,091 per theater. (Click here to read last year's box office report).
BOX OFFICE TOP 10, ESTIMATES:
(Source: Exhibitor Relations, Inc.)
No. 1: Disturbia (Paramount, PG-13)
• Gross: $13.4 (-39%) million
• Weeks opened: 2
• Theaters: 3,105 (+90)
• Per-theater average: $4,464
• Cume to date: $40.6 million
No. 2: Fracture (New Line, R)
• Gross: $11.1 million
• Weeks opened: NEW!
• Theaters: 2,443
• Per-theater average: $4,574
No. 3: Blades of Glory (Paramount, PG-13)
• Gross: $7.8 million (-44%)
• Weeks opened: 4
• Theaters: 3,459 (-8)
• Per-theater average: $2,257
• Cume to date: $101 million
No. 4: Vacancy (Sony, R)
• Gross: $7.6 million
• Weeks opened: NEW!
• Theaters: 2,551
• Per-theater average: $2,979
No. 5: Meet the Robinsons (Buena Vista, G)
• Gross: $7 million (-43%)
• Weeks opened: 4
• Theaters: 3,003 (-235)
• Per-theater average: $2,360
• Cume to date: $82.2 million
No. 6: Hot Fuzz (Rogue, R)
• Gross: $5.8 million
• Weeks opened: NEW!
• Theaters: 825
• Per-theater average: $7,075
No. 7: Are We Done Yet? (Sony, PG)
• Gross: $5.2 million (-42%)
• Weeks opened: 3
• Theaters: 2,944 (+67)
• Per-theater average: $1,766
• Cume to date: $39.5 million
No. 8: In the Land of Women (Warner Bros., PG-13)
• Gross: $4.9 million
• Weeks opened: NEW!
• Theaters: 2,155
• Per-theater average: $2,281
No. 9: Perfect Stranger (Sony, R)
• Gross: $4.1 million (-63%)
• Weeks opened: 2
• Theaters: 2,661(unchanged)
• Per-theater average: $1,541
• Cume to date: $18 million
No. 10: Wild Hogs (Buena Vista, PG-13)
• Gross: $2.8 million (-39%)
• Weeks opened: 8
• Theaters: 2,001 (-428)
• Per-theater average: $1,435
• Cume to date: $156.2 million
The Valet (Sony Pictures Classics, PG-13)
• Gross: $74,638
• Weeks opened: NEW!
• Theaters: 6
• Per-theater average: $12,440
The Tripper (ReelSource, R)
• Gross: $23,200
• Weeks opened: NEW!
• Theaters: 50
• Per-theater average: $464