Steve Carell would've liked to have won the Best Actor in a Comedy Series Sunday night, but his Office costar Rainn Wilson might be even more upset about the loss.
Wilson, who plays Dwight Schrute on the NBC series, tweeted late Sunday night, after Carell lost what will be his last-ever shot at Emmy glory (to Jim Parsons!): "The world of TV should be ashamed of itself that Steve Carell never won an Emmy for Michael Gary Scott. Goodnight."
Before that, though, Wilson sounded off on his show's chances of winning the award for Best Comedy Series: "The Office has about zero chance of winning this year because the cast has been relegated to rows U & V." Ouch.
Click on the image below to seethe fashion and style of Sunday night's Emmys!
Though ostensibly successful 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote uninspired and humorless it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later Final Destination 5 arrives with a slightly tweaked formula a beefed-up storyline actors you might actually recognize and genuine honest-to-goodness 3D. It’s still schlock mind you -- but artful schlock and a marked improvement over the preceding entry.
The story begins in familiar fashion with a cursory introduction to the characters followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them Sam (Nicholas D’Agosto perpetually bug-eyed) dreams of a massive bridge collapse in which he and his co-workers are impaled beheaded bisected crushed by cars singed by tar -- however many ways a suspension bridge can kill a person the film’s opening set-piece explores it gruesome detail. Sam awakens duly horrified and demands the bus be evacuated. Seconds later the employees watch in horror from the sidelines as Sam’s vision comes to fruition.
You know what happens next. One-by-one death stalks the survivors who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films in which death preyed exclusively on attractive nubile teenagers but the end result is invariably the same. (Not to give anything away but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident Sam his lachrymose girlfriend Molly (Emma Bell) and his increasingly unhinged buddy Peter (Miles Fisher) become increasingly desperate. Enter the ever-ominous Tony Todd returning to the franchise after (wisely) taking the previous film off offering a potential way out. But is it genuine or just another of death’s cruel tricks?
Director Steven Quale a James Cameron protege hired principally for his 3D expertise takes full advantage of the added dimension delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination which seemed little more than a amalgam of crude one-liners Final Destination 5 feels like a real movie one with a discernible plot an element of suspense and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent save for Fisher a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.
Final Destination 5 ends with a twist that while genuinely unexpected feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades however welcome can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Update: CBS just added a supernatural medical drama to their slate. I bet you didn't think that was a thing. A Gifted Man stars Patrick Wilson as "an ultra competitive surgeon" who learns a little more about life when his ex-wife, Anna, dies and begins teaching him a thing or two from the afterlife. Spooky. I'm a little worried that this will drift into Ghost Whisperer territory, but if we're lucky it will take a cue from shows that took a little more a grounded approach to something that's just a little supernatural.
Earlier: CBS continues its slow-moving pickups with three more shows. The 2-2 (formerly Rookies), Unforgettable (which used to be not-at-all stupidly titled The Rememberer) and How to Be a Gentlemen will all get a shot as series on the Eye network.
To refresh your memory, The 2-2 is a series from producer Robert De Niro under his Tribeca banner with Leelee Sobieski as one of its stars. Sobieski is one of six New York cops who struggle to deal with their own lives and the action they find on their beats. Jeff Mangold directs this pilot which may prove to be a little more than just some cop show.
Unforgettable is about, shocker, another NYPD cop. They do know there are other cities with cops, right? Anyway, her deal is that she's got an incredible memory. Here's a hint CBS, changing the terrible name doesn't help the fact that your protagonist's spidey sense is just a little boring.
Finally, How to Be a Gentleman is a potential palate cleanser for those of us who aren't fans of typical CBS fare like The Big Bang Theory or Two and a Half Men. From It's Always Sunny in Philadelphia's David Hornsby (or Cricket) comes this series starring Entourage's Kevin Dillon as Bert, the author of column about well, how to be a gentleman. Something tells me that with these two leading this show, it will be anything but gentlemanly.
Source: EW, Deadline
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Will Ferrell has been consciously moving away from the $100 million studio comedies he's become known for over the past five years or so. First came the indie comedy Everything Must Go (which just premiered at the TriBeca Film Festival) followed by the Spanish-language Casa de mi Padre. Now he's ready to continue this low-budget streak with the tentatively-titled Bacholorette, and though he will not likely appear in the film, he's in good company.
The Hollywood Reporter says that Leslye Headland, who wrote and will direct the film, has assembled a wonderful cast including Kirsten Dunst, Lizzy Caplan, Adam Scott and Casey Wilson for the production. What will these talented individuals be doing in the picture? Well, the story follows three best friends (two of whom would be played by Caplan and Dunst) who are invited to act as bridesmaids at the wedding of a girl they called “Pigface” in high school. Caplan’s character is described as having a Playboy Bunny body with neurotic, specific sense of humor a la Larry David, while Dunst's appearance is described as crisp and severe. Further, she is referred to as your best friend and worst enemy. The producers are still in the process of casting the third best friend, but we know that Wilson (who is a regular on ABC's Happy Endings) is playing Pigface while Scott will play a guy who had a major high-school crush on Caplan's character, but shows up to the wedding with a beautiful and younger date.
Adam McKay, Ferrell's longtime writing partner and collaborator, will co-produce with him for their Gary Sanchez Productions. The $3 million project aims to shoot in New York this summer if the financing is sealed. The premise has promise, as wedding themed films can always attract an audience (this summer's Bridesmaids is shaping up to be a hit) and Headland was a lead writer on the canceled-too-soon FX show Terriers, so she's obviously capable of high-quality writing. All in all it sounds like a great acquisition for an indie distributor like Fox Searchlight or Focus Features, who could easily pick it up and carry the film to profitability. Consider me interested.
The prolific Woody Allen seems to never stop working. Over the last few years he's globe-trotted from location-specific shoots in London, Barcelona and Paris, but will now venture to Rome for his latest, an untitled offering that he'll direct from his own screenplay (as usual). Variety has just gotten the scoop on who'll be performing for the seasoned filmmaker, and the cast includes some Allen vets and some newcomers.
Alec Baldwin, who appeared in Allen's 1990 film Alice, has been cast alongside Penelope Cruz (who won an Oscar in 2008 for her work on the director's Vicky Cristina Barcelona), Jesse Eisenberg and Ellen Page. It's an eclectic cast, and though there are no plot details available, I think we can assume that Baldwin's character might make some moves on Cruz' while Eisenberg and Page will undoubtedly cozy up to one another.
If you can't wait for this helping of Woody Allen, sucks to be you, but you will be able to see his 2011 film Midnight In Paris, starring Marion Cotillard, Owen Wilson, Rachel McAdams and more, when it has its limited release on May 20th.
Rainn Wilson talked with Jimmy Kimmel about his interaction with real-life superheros. In fact, one taught him a very, very important life lesson that we all should know: how to be properly tasered.
Ellie Kemper chatted it up with Conan last night. Fun fact: she used to be his intern! But oddly enough, he never knew because she never introduced herself. Instead, she spent her time awkwardly watching him from a distance and following him around the Upper West Side. Don't worry Ellie, that's not creepy at all.
Brian Williams stopped by Late Night with Jimmy Fallon and the two talked about the three wars our country is now involved with. Strangely though, the comedian -- the one who supposed to find laughter in everything -- wasn't the one comforting the anchor.
So I was going to start this article about Nick Cassavetes' Yellow by talking on and on about how he is a scourge to men everywhere because he was responsible for the insipid The Notebook. Then I started poking around his IMDB page and found out that he not only acted in Face/Off (total badass movie), he also acted in a movie called Farticus and his character’s name was Adonis Papadapadopounopoulopoulos. Okay, he can get a pass for that one.
Anyway, Yellow is another drama from him that features an incredible cast. Seriously, check this out: Heather Wahlquist, Sienna Miller, Lucy Punch, Ben Foster, Melanie Griffith, David Morse, Luke Wilson, Hank Azaria, and Riley Keough all make appearances. Sheesh. Also, the official plot summary and some stills from the movie! Woo!
Mary (Wahlquist) has problems. She has a difficult time feeling things, and swallowing twenty Vicodin a day doesn’t help. She’s seeing a psychiatrist for the disconnect daydreams she keeps having, and her younger sister with Tourette’s hates her. When she loses her job after sleeping with one of the fathers on Parent’s Night, Mary decides to go home. And that’s when the fun really starts. The dreams that seemed so random now start to take real shape as we understand where she came from. From young and in love, to drug dealing on the road, to her father’s slow, painful death, from questions of love and incest to her older sister’s descent into insanity, the secret that destroyed Mary’s entire family reveals itself on her journey back home, along with her ultimate responsibility for it. Busby Berkeley, Cirque du Soleil, sideshow freaks and human livestock all make an appearance in this hallucinogenic tale of love and comeuppance.
Amy Poehler stopped by the Late Show with David Letterman last night and shared how she hates everyone else when she drives, even if her kids are with her. "I go so Boston," she said, and then followed that by shamelessly tossing the double bird up into the air. Now, as Dave said: mother of the year!
Owen Wilson chatted on The Tonight Show with Jay Leno about his first six weeks of fatherhood with his new baby boy, Ford. And of course, Wilson is a funny dude, so he's already cracking jokes at the expense of his six-week-old. In a few years, when Ford is struggling to concentrate on his homework, he'll have to deliver the stern, parental line, "Ford, focus."
The Farrelly Brothers talked on Late Night with Jimmy Fallon about the pranks they like to pull on one another. And then, they pulled a prank on Fallon. Then, Fallon got them back. But, seriously, come ON you guys, IS LATE NIGHT JUST A BIG JOKE TO YOU? COME ON!
Matthew Perry told Conan about his new show, Mr. Sunshine -- pause for clapping -- and his horrible, horrible, horrible taste in music. Yes, I'm looking at you, Culture Club. And yes, I'm looking at you, Culture Club fans.