The Silence Of The Lambs star Scott Glenn has been cast as Matt Murdock's martial arts mentor Stick in a new Daredevil TV series. Marvel's Daredevil will premiere on Netflix in 2015 and Glenn will join Charlie Cox, Deborah Ann Woll, Rosario Dawson and Vincent D'Onofrio among the cast.
Marvel Studio's TV head Jeph Loeb says, "Stick is one of the most important figures in Matt Murdock's life and Scott Glenn embodies all the qualities of someone so integral to this hero's journey. There are few actors who could bring such the authenticity, gravitas and charisma to such a key role in Matt's journey to become the superhero we call Daredevil."
Blind Daredevil, aka Matt Murdock, was previously played on the big screen by Ben Affleck and portrayed by Cox in the new series.
Three upcoming TV series are hitting the streets of New York City today. Here's a closer look what you can expect from each show and where you can find them filming.
Marvel recently announced Daredevil will premiere on Netflix in May 2015, forcing fans to wait longer than they had anticipated to check it out.
The 13-episode series will follow the Marvel superhero Daredevil, a blind lawyer named Matt Murdock who fights for justice in the courtroom by day before transforming into a vigilante crimefighter by night. The new adaptation stars Charlie Cox as Daredevil, Deborah Ann Woll as Karen Page, Elden Henson as Foggy Nelson, Vincent D'Onofrio as Wilson Fisk, and Rosario Dawson in an undisclosed role.
You can catch Daredevil filming at Murray and Church St in NYC right now.
The Mysteries of Laura
Debra Messing is back in NYC to star in this NBC series about a homicide detective who has to balance the pressures of work with the pressures of raising rambunctious twin boys as a single mom.
Today, The Mysteries of Laura is filming at 37th St and 5th Ave in New York.
This new CBS series stars Tea Leoni as the Secretary of State who is determined to get thing done, even if it means breaking a few rules. Like The Mysteries of Laura, the series also follows her character home where she has to contend with her husband and two teenage children.
Madam Secretary is filming at E 52nd and 3rd Ave in Manhattan today.
Check out more filming locations in NYC and around the country in my Daily Filming Locations.
TriStar Pictures via Everett Collection
Whitney Houston's mum Cissy Houston has slammed an upcoming TV biopic about the late singer, calling on filmmakers to "let her rest".
Actress Angela Bassett, who co-starred with Houston in 1995's Waiting to Exhale, is planning to make her directorial debut with I Will Always Love You: The Whitney Houston Story for America's Lifetime network.
However, she does not have support from Houston's mum, who has now spoken out against the made-for-TV movie. A statement to Entertainment Tonight reads, "Lifetime has chosen to go ahead with the movie about Whitney in spite of my family's objections."
"No one connected with this movie knew Whitney or anything about her relationship with (ex-husband) Bobby (Brown). In the two years since Whitney's death, many people have stepped forward to speak about their close relationship with her. I find it difficult to believe people who knew and supposedly loved her would participate in a movie about her done by folks who didn't know her."
"We are exhausted by the continuing misinformation and comments offered by people who did not know her. Please please let her rest."
While the release date for the movie has yet to be revealed, the main cast has already been made public - former America's Next Top Model contestant Yaya DaCosta is set to play Houston, R&B singer Deborah Cox will provide the vocal tracks, and Final Destination 5 star Arlen Escarpeta will play Brown.
R&B star Deborah Cox has reportedly been tapped to provide the singing voice for Whitney Houston in the late star's biopic.
Former America's Next Top Model star Yaya DaCosta will be playing Houston in the TV movie, but Cox is in talks to recreate the music legend's songs for the film, according to E! News.
Reports suggest a deal for the music rights is still being ironed out, but the Nobody's Supposed To Be Here singer is on track to provide the vocals for Houston's iconic discography.
I Will Always Love You: The Whitney Houston Story also features Final Destination 5 star Arlen Escarpeta as Houston's former husband Bobby Brown, and Angela Bassett is stepping behind the camera for her directorial debut.
Houston died in 2012 aged 48.
Soul star Gladys Knight was the toast of the 365 Black Awards in Louisiana on Saturday (06Jul13) as she was honoured for her long-running career and charitable efforts. The singer was feted alongside supermodel Beverly Johnson at the 10th annual ceremony in New Orleans, held to recognise individuals "who are committed to making positive contributions that strengthen the African-American community".
Singers Deborah Cox, Yolanda Adams and Angie Stone stepped onstage at the Mahalia Jackson Theater to perform a tribute to Knight, who took to her Twitter.com page to write, "I'm honored (sic) to be the recipient of McDonald's 365 Award!"
Estelle and Jordin Sparks also sang at the prizegiving, which was organised in conjunction with this year's (13) Essence Music Festival.
The Curious Case of Benjamin Button star Taraji P. Henson hosted the event, which will air in the U.S. on 25 August (13) on the BET network.
Critically-slated musical Jekyll & Hyde is to close early in New York after failing to pick up a single Tony Award nomination earlier this week (beg29Apr13). The curtain will come down on the show, starring former American Idol hopeful Constantine Maroulis and Deborah Cox, on 12 May (13), seven weeks before it was due to end on Broadway.
Bad reviews led to a box office bust and producers had no option but to pull the plug early.
The revival began previews on 5 April (13), following a national tour, and officially opened two weeks later.
R&B singer-turned-actress Deborah Cox is struggling to deal with life away from her three young children as she performs in Broadway musical Jekyll & Hyde. The star signed up to portray brothel worker Lucy opposite Constantine Maroulis, who pulls double duty as both Jekyll and Hyde, and the show began previews on the New York stage last Friday (05Apr13) after a 25-week U.S. tour.
Cox admits she fell in love with the role as soon as she read the script, but taking on the job wasn't an easy decision and she has found it tough to spend so much time away from her husband and kids at home in Florida.
She tells the Associated Press, "That was the hardest thing when I made the decision to go out on the road: it would mean not being with them the way I want to. It was a tough time."
However, Cox insists the part is "a dream come true" and even the challenging tour schedule has had its benefits: "It really tests your faith and your decision-making. But it makes you better. I'm a better performer because of it. I can handle anything now, I think. We thugged it out, and grinded it out (worked hard). And now we're here...
"(I was) looking for a great project to sink my teeth into and here comes Jekyll & Hyde. How often does a role like this come up? For a black woman that doesn't deal with race? That just deals with a woman falling in love? That gets to sing incredible songs every night? It's a dream come true."
The new revival of Jekyll & Hyde runs at the Marquis Theatre until June (13).
With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.