Darren Aronofsky has signed on to develop and direct Machine Man for Mandalay Pictures.
The "amped up pop-thriller" will see him reteam with Black Swan writer Mark Heyman (who was also a co-producer on The Wrestler). The idea is to make this Aronofsky's next project following Wolverine 2, reports say.
The project is based on a partial manuscript by Max Barry that Mandalay picked up last year. Mandalay has a first-look deal with Universal.
Cathy Schulman will produce, Barry is an executive producer.
Per The Hollywood Reporter, the story centers on a gadget geek and engineer at a forward-thinking tech firm who is tired of going through life average and unnoticed and is also obsessed with his own self-improvement. He decides to replace his weak, fleshy parts with high-end titanium performance upgrades of his own design but then discovers others have designs on him for their own motives.
Barry published Machine Man as an online serial beginning on March 18, 2009, and ending on Dec. 1. Suggestions from readers were integrated into the plot as the story unfolded. His novel will be published by Vintage Books in spring 2011.
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DNA Films' Dredd has served up anything but trepidation in Toronto. IM Global's pre-sales for the film, according to Variety, have reached $30 million in foreign commitments. The $45 million Pete Travis-directed picture's drawing power is reflective of a shifting Toronto, says the trade.
While TIFF has always been a launchpad for finished product, and isn't officially a sales market, "it's now looking like a venue for the type of significant pre-sales usually seen at the AFM in the fall," says Variety.
The deals for Dredd, including a $7 million pre-sale to the UK's Entertainment, rep the biggest overall numbers at Toronto so far. IM Global and parent company Reliance Big Entertainment are financing (and officially announced the film in Cannes where pre-sales started).
Karl Urban and Olivia Thirlby will star in the gritty, realistic adaptation of the Judge Dredd comic books.
IM Global has also seen substantial pre-sale business for Barry Levinson's The Bay.
"Toronto has become an essential trading post for us this year," IM Global’s Stuart Ford told Variety. "We made the decision to come here in 'Cannes mode' and set up strong deals pre-AFM."
Source: Hollywood WireTap, Variety
Salt the propulsive new thriller from Phillip Noyce (Clear and Present Danger Patriot Games) has been dubbed “Bourne with boobs ” but that label isn’t entirely accurate. In the role of Evelyn Salt a CIA staffer hunted by her own agency after a Russian defector fingers her in a plot to murder Russia’s president Angelina Jolie keeps her two most potent weapons holstered hidden under pantsuits and trenchcoats and the various other components of a super-spy wardrobe that proudly emphasizes function over flash.
But flash is one thing Salt never lacks for. Its breathless cat-and-mouse game hits full-throttle almost from the outset when a former KGB officer named Orlov (Daniel Olbrychski) stumbles into a CIA interrogation room and begins spilling details of a vast conspiracy. Back in the ‘70s hardline elements of the Soviet regime launched an ambitious new front in the Cold War flooding the western world with orphans trained to infiltrate the security complexes of their adopted homelands and wait patiently — decades if necessary — for the order to initiate a series of assassinations intended to trigger a devastating nuclear clash between the superpowers from which the treacherous Reds would emerge triumphant.
The Soviet Union may have long ago collapsed (or did it? Hmmm...) but its army of brainwashed killer orphan spies remains in place and if this crazy Orlov fellow is to be believed they stand poised to reignite the Cold War. It’s a preposterous — even idiotic — scheme but no more so than any of our government’s various harebrained proposals to kill Castro back in the ‘60s. As such the CIA treats it with grave seriousness even the part that that pegs Salt who just happens to be a Russian-born orphan herself as a key player in the conspiracy.
Salt bristles at the accusation but suspecting a set-up she opts to flee rather than face interrogation from her bosses Winter (Liev Schreiber) and Peabody (Chiwetel Ejiofor). A former field agent she’s been confined to a desk job since a clandestine operation in North Korea went south leaving her with a nasty shiner and a rather unremarkable German boyfriend (now her unremarkable German husband). She’s clearly kept up her training during while cubicle-bound however and in a blaze of resourceful thinking and devastating Parkour Fu she fends off a dozen or so agents of questionable competence and takes to the streets where she sets about to clear her name and unravel the Commie orphan conspiracy before the authorities can catch up with her. That is if she isn’t a part of the conspiracy.
The premise which aims to resurrect Cold War tensions and graft them onto a modern-day spy thriller is absurdly clever — and cleverly absurd. But Kurt Wimmer’s screenplay isn’t satisfied with the merely clever and absurd — it must be mind-blowing. Salt is one of those thrillers that ladles out its backstory slowly and in tiny portions every once in a while dropping a revelatory bombshell that effectively blows the lid off everything that happened beforehand. No one is who they seem and every action every gesture no matter how seemingly trivial is imbued with some kind of grand significance. The effect of piling on one insane twist after another has the effect of gradually diluting the narrative. When anything is possible nothing really matters.
But spy thrillers by definition trade in the preposterous and the principal function of the summer blockbuster is to entertain. In that regard Salt more than fulfills its charge. Noyce wisely keeps the story moving at pace that allows little time for asking uncomfortable questions or poking holes in the film’s frail plot. And he has an able partner in the infinitely versatile Jolie who having already exhibited formidable action-hero chops in Wanted and the Tomb Raider films proves remarkably adept at the spy game as well.
It’s well-known that Jolie wasn’t the first choice to star in Salt joining the project only after Tom Cruise dropped out citing the story’s growing similarities to the Mission: Impossible films. But she’s more than just a capable replacement; she’s a welcome upgrade over Cruise not least because she’s over a decade younger (and a few inches taller) than her predecessor. Should Brad Bird require a pinch-hitter for Ethan Hunt he knows where to look.
Paul Feig and Judd Apatow are set to reteam for the first time since working together on Freaks and Geeks, Variety reports.
The former will direct and the latter will produce an untitled Kristen Wiig project for Universal. Wiig wrote the comedy with writing partner Annie Mumolo.
The fast-tracked project has a possible spring start but the logline is being kept under wraps. Variety says, however, the film is described as revolving around women competing to plan a friend's wedding party.
Apatow is producing through his Apatow Prods. shingle alongside Barry Mendel. Feig is exec producing, and Wiig and Mumolo are co-producing.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Al Pacino has bought the film rights to Philip Roth's most recent novel, The Humbling.
The New York Times reports that Pacino will play the lead with Barry Levinson directing and Buck Henry writing the screenplay. No studio is involved yet.
The news comes to the Times by way of Pat Kingsley.
The project follows an aging and irrelevant stage actor who finds hope of renewal through a younger woman.
Josh Brolin is being considered for a role in Men in Black 3, The Los Angeles Times reports.
Although his exact part is a matter of discussion, the buzz in development circles gives rise to a handful of possibilities, the paper says.
Brolin could play a new government agent who takes the baton from Tommy Lee Jones' Agent K; he could play Agent K as a young man or he could play something else entirely.
Will Smith is expected to return in the new MIB as Agent J.
Sony is currently mulling a production start for the film in 2010. Based on a script by Tropic Thunder writer Etan Cohen, the film tentatively has Barry Sonnenfeld coming back to direct.
Columbia has hired Tropic Thunder writer Etan Cohen to pen a new installment in the Men In Black franchise. Barry Sonnenfeld, who directed the first two films, is said to be attached while Will Smith, who has not committed, is said to be interested in returning to the series, the Risky Business blog reported.
BIZ points out that Smith does not currently have a go movie lined up while Tommy Lee Jones' involvement remains uncertain. Variety surmises that it's unlikely the studio would greenlight the project without the duo's involvement.
MIB is one of the most successful comedy franchises of all time. The first two films, which were released in 1997 and 2002, combined to earn nearly $1.1 billion worldwide.
The studio is eyeing a 2010 start date and could go as soon as the spring.
WHAT IT’S ABOUT?
George Simmons is a comedian-turned-Hollywood superstar whose comfortable Malibu existence is threatened when he is diagnosed with a rare blood disorder. Placed on a regimen of experimental meds that offer a mere 8% chance of success he’s forced to confront the very real prospect of his own mortality which not surprisingly triggers a drastic realignment of his priorities. Looking for a companion to assist him in his final days he hires Ira Wright an earnest young comedian in desperate need of a break to work as his assistant. Ira naturally jumps at the chance to be mentored by one of his idols but quickly finds himself in over his head as he accompanies George on his perilous chaotic journey of self-discovery and redemption.
WHO’S IN IT?
A newly trim Seth Rogen (Pineapple Express Observe & Report) injects an endearing blend of sensitivity and self-doubt into his normal “lovable schlub” routine as Ira the struggling performer tasked with such a strange assignment. In the role of George Adam Sandler deserves kudos for taking on a character clearly based on himself. It’s not hard to see the similarities between Sandler’s resume of high-concept critically-maligned blockbusters and George’s fictional portfolio of hits like Merman a male-centric version of Splash Re-Do the story of a grown man turned into a baby by a wizard and My Best Friend is a Robot a buddy comedy co-starring Owen Wilson. (For a more complete list check out george-simmons.com.) But in contrast to Sandler’s genial everyman persona George is an acerbic self-absorbed privileged vision of the Hollywood success run amok.
Supporting players include Leslie Mann (Drillbit Taylor Knocked Up) who plays George’s ex-girlfriend and soulmate Laura a one-time actress now married with two children in Marin County. Eric Bana (Munich The Time Traveler’s Wife) makes an inspired turn as Laura’s husband Clarke a boisterous Aussie businessman whose temperament amusingly alternates between violent aggression and teary-eyed affection. Relative newcomer Aubrey Plaza (TV’s Parks and Recreation) is a delight as Ira’s shy witty love interest Daisy while veteran Apatow players Jonah Hill (Superbad Forgetting Sarah Marshall) and Jason Schwartzman (The Darjeeling Limited Walk Hard) provide much of the film’s laughs as his oddball roommates. Rounding out the supporting cast are RZA Aziz Ansari and Apatow and Mann’s real-life daughters Maude and Iris Apatow.
Cameos abound with appearances by such varied names as musician Jon Brion comedians Ray Romano and Andy Dick and rapper Eminem.
After tugging the heartstrings and tickling the funnybone with equal skill in his previous directorial efforts The 40-Year-Old Virgin and Knocked Up Judd Apatow heads into darker more ambitious territory with Funny People while still trying to deliver the same raucous comedy that we’ve come to expect from him. The result is a movie that is at times heartbreakingly poignant and laugh-out-loud funny.
At almost two and a half hours in length Funny People is neither poignant nor funny enough to justify such a bloated running time. Apatow let his ambition get the best of him this time attempting to deliver — to paraphrase his own words — his funniest and most serious film to date. Methinks a shorter cut of the film might have yielded either a great comedy or a great drama depending on which path its director chose. Instead we wind up with a merely good dramedy that meanders for a while before falling off a cliff in the third act.
While offering some sobering advice to Sandler’s character at a high-class restaurant rapper Eminem catches Ray Romano staring at him and unleashes a barrage of expletives at the mortified former sitcom star much to the shock of the surrounding customers. It’s ironic that one of the film’s funniest scenes comes courtesy of one of the few non-comedians in the cast.
The film features solid performances all around but I was most impressed by Bana who displays some terrific range and comedic timing as Laura’s charismatic unstable Aussie husband. Perhaps the man who scowled and brooded his way through Munich and The Hulk might want to consider sprinkling more comedy into the mix.
All Jackie Chan movies are basically the same right? Jackie is the good
guy who's on the run from or in pursuit of a truly evil bad guy. In
this one Jackie plays an Imperial Chinese guard sent to the American
west during the 1800s to rescue a kidnapped princess (Lucy Liu). He
buddies up with a bumbling outlaw (Owen Wilson) and as you might guess
action and laughs follow.
One reason for Chan's phenomenal success of recent years is that he
seems to realize his own strengths and weaknesses as an actor and plays
up to them. As he did with Chris Tucker in "Rush Hour " Chan plays the
straight guy while Wilson (doing a more slapstick type of comedy than in
"Bottle Rocket" and other films) acts the goof.
Well there's some nice scenery of the Sierra Nevadas and the old west
(where this stuff was actually filmed I have no idea but it looks
great) but other than that this film is a showcase for the actors. For
the most part director Tom Dey doesn't deviate from the tried-and-true
elements of a Hollywood western: Gunfights Indians brothels bounty
hunters barroom brawls hangings damsels in distress and so on. The
final fight between the good guys and bad guys is a lot of fun mixing
up swordplay gunplay martial arts and fighting sticks.