Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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As we start to fill-up up our Netflix queues with classic horror flicks in preparation for Halloween, we realize the greatest villains of the genre still hold power over our adolescent selves. We still can't say Candyman in the mirror and clowns will always be scary, but what about the average joes who play the leading men in our nightmares? Sometimes it helps to disassociate and think of Freddie Krueger waiting in line at the DMV. Spurred by the recent release of Gunnar Hansen's (a.k.a Leatherface in Texas Chainsaw Massacre) memoir titled Chain Saw Confidential, we decided to "pull off the mask" of our favorite villains of horror.
Leatherface — Gunnar Hansen
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We skipped a lot of early morning classes in college, but perhaps we would've be scared straight if Leatherface was our English professor. The actor turned professor quit the biz to teach freshman English at University of Texas. Can you imagine the strapping six-foot three Hansen discussing the thematic resonance of Don Quixote? While Hansen spends most of his days in a small coastal town in Maine, he recently ventured back into acting, playing bit cameos in such classics as Hollywood Chainsaw Hookers and Texas Chainsaw 3D.
Jason Vorhees — Ari Lehman
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Ari Lehman looks like a mix of street magician and the sexy sax man — the stuff nightmares of made of. He also holds the distinct honor of playing the first Jason Vorhees in the original Friday the 13th. As it turns out, creeping out generations of children is not his only talent, as he is accomplished jazz musician and studied classical music and jazz piano at both Berklee School of Music and NYU. His passion for pounding the keys led him to tour with prominent reggae and African music groups and eventually led to him starting his own band — "First Jason," whose sound "hits you over the head with an anvil being swung at 1000 miles an hour by the metal gods."
Michael Myers — Tony Moran
Albert L. Ortega/Wireimage
After slashing his way through a couple of teenagers as Michael Meyers in Halloween, Tony Moran found himself making mincemeat out of high mortgage rates as an actor-turned broker. He shared his passion for acting with his actress sibling, Erin Moran of Happy Days, and did a number of guest appearances in The Waltons and CHIPS and then quit at age 30. Turns out, Michael Myers had such emotional depth it required three actors to play him, including Nick Castle and Tommy Lee Wallace. Since Moran wasn't anxious to wear the Michael mask again, his footage from the first film was used again in the sequel.
Freddy Krueger — Robert Englund
Robert Englund is the Kevin Bacon of horror villains. The man has literally worked with everyone in the business and has an IMDB credit list longer than our tax return. Before he donned the striped crewneck and switchblade gloves, he was briefly considered to play the part of Han Solo in Star Wars and even had Mark Hamill bumming on his couch. After playing bit parts on various shows and a recurring role on V, he took on the role of Freddy for three consecutive films and continues to work steadily today.
Chucky — Brad Dourif
It takes a Golden Globe winner and Academy Award nominee to truly capture the demonic essence of a possessed doll. Character actor Brad Dourif has worked with some of the directing greats over the course of his career. He got his big break on One Flew Over the Cuckoo's Nest, worked with David Lynch in Dune and Blue Velvet, played a slimy villain in the Lord of The Rings trilogy and appeared in several Werner Herzog films. Like Hansen, Dourif also dabbled in teaching, leading acting and directing classes at Columbia University before becoming the voice of Chucky in all of the Child's Play films. Which leads us to wonder if there's a connection between playing psychopathic villains and academia.
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The trailers for Hope Springs might lead you to believe it's a romantic comedy about a couple trying to jumpstart their sexless marriage but it causes more empathetic cringing than chuckles. Audiences will be drawn to Hope Springs by its stars Meryl Streep Tommy Lee Jones and Steve Carell and Streep's track record of pleasing summer movies like Julie & Julia and Mamma Mia! that offer a respite from the blockbusters flooding theaters. Despite what its marketing might have you believe Hope Springs isn't a rom-com. The film is a disarming mixture of deeply intimate confessions by a married couple in the sanctuary of a therapist's office awkwardly honest attempts by that couple to physically reconnect and incredibly sappy scenes underscored by intrusive music. Boldly addressing female desire especially in older women it's hard not to give the movie extra credit for what writer Vanessa Taylor's script is trying to convey and its rarity in mainstream film. The ebb and flow of intimacy and desire in a long-term relationship is what drives Hope Springs and while there are plenty contrived moments and unresolved issues it is frankly surprising and surprisingly frank. It's a summer release from a major studio with high caliber stars aimed squarely at the generally underserved 50+ audience addressing the even more taboo topic of that audience's sex life.
Streep plays Kay a suburban wife who's deeply unsatisfied emotionally and sexually by her marriage to Arnold. Arnold who is played by Tommy Lee Jones as his craggiest sleeps in a separate bedroom now that their kids have left the nest; he's like a stone cold robot emotionally and physically and Kay tiptoes around trying to make him happy even as he ignores her every gesture. One of the most striking scenes in the movie is at the very beginning when Kay primps and fusses over her modest sleepwear in the hopes of seducing her husband. Streep makes it obvious that this isn't an easy thing for Kay; it takes all her guts to try and wordlessly suggest sex to her husband and when she's shot down it hurts to watch. This isn't a one time disconnect between their libidos; this is an ongoing problem that leaves Kay feeling insecure and undesirable.
After a foray into the self-help section of her bookstore Kay finds a therapist who holds week-long intensive couples' therapy sessions in Good Hope Springs ME and in a seemingly unprecedented moment of decisiveness she books a trip for the couple. Arnold of course is having none of it but he eventually comes along for the ride. That doesn't mean he's up for answering any of Dr. Feld's questions though. To be fair Dr. Feld (Carell) is asking the couple deeply intimate questions so if Arnold is comfortable foisting his amorous wife off with the excuse he had pork for lunch it's not so far-fetched to believe he'd be angry when Feld asks him about his fantasy life or masturbation habits.
Although Arnold gets a pass on some of his issues Kay is forthright about why and how she's dissatisfied. When Dr. Feld asks her if she masturbates she says she doesn't because it makes her too sad. Kay offers similar revelations; she's willing to bare it all to revive her marriage while Arnold thinks the fact that they're married at all means they must be happy. Carell's Dr. Feld is soothing and kind (even a bit bland) but it's always a pleasure to see him play it straight.
It's subversive for a mega-watt star to play a character that talks about how sexually unsatisfied she is and how unsexy she feels with the man she loves most in the world. The added taboo of Kay and Arnold's age adds that much more to the conversation. Kay and Arnold's attempts at intimacy are emotionally raw and hard to watch. Even when things get funny they're mostly awkward funny not ha-ha funny.
The rest of the movie is a little uneven wrapped up tightly and happily by the end. Their time spent soul-searching alone is a little cheesy especially when Kay ends up in a local bar where she gets a little dizzy on white wine while dishing about her problems to the bartender (Elisabeth Shue). Somewhere along the line what probably started out as a character study ended up as a wobbly drama that pushes some boundaries but eventually lets everyone off the emotional hook in favor of a smoothed-over happy ending. Still its disarming moments and performances almost balance it out. Although its target audience might be dismayed to find it's not as light-hearted as it would seem Hope Springs offers up the opportunity for discussion about sexuality and aging at a time when books and films like 50 Shades of Grey and Magic Mike are perking up similar conversations. In the end that's a good thing.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
In the romantic comedy What’s Your Number? Anna Faris plays Ally Darling a fun-loving 30-something who learns via a magazine article that a woman’s chances of marrying become infinitesimal if she’s slept with more than 20 men – a number which just so happens to be Ally’s exact tally. Apparently the highly suggestible sort she accepts the magazine’s somewhat dubious findings at face value. Loath to embrace a spinster future she gives up sex and concocts a scheme to revisit each of her past lovers to see if any of them might actually be The One enlisting the aid of Colin (Chris Evans) a crass but amiable ladies’ man from across the hall who dabbles in detective work to track them down.
The immutable laws of rom-com dynamics dictate what happens next. One by one Ally pursues each of her exes to see if any of her old flames might be worth reigniting even as it becomes increasingly obvious that she and Colin are meant for each other. Ally’s quixotic endeavor lands her in one awkward and humiliating situation after another. True love eludes her; laughter eludes us. Faris is one of the most skilled comedic actresses in Hollywood today but even her formidable talents can’t do much with the hackneyed scenarios proffered by Gabrielle Allan and Jennifer Crittenden’s middling script.
Faris and Evans make a pleasing pair and their chemistry is one of the few aspects of What’s Your Number? that doesn’t feel forced. It’s what keeps it afloat in between each unfunny gag. Sure Ally and Colin’s eventual union is telegraphed from the opening frames but that isn’t necessarily a problem. What is a problem is the story’s slavish adherence to formula which renders not just the outcome but also the preceding plot points achingly predictable.
What’s Your Number?’s R rating and saucy subject matter portend raunch but in truth the film’s humor is actually quite tame save for a handful of filthy lines. For all its flaws the script is not without wit. There just isn’t nearly enough of it.
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.
Unlike American Outlaws which sought to add to the legend of Jesse James director Andrew Dominik’s meandering mediation on fame and notoriety is more concerned with hero worship turned fatal. Based on Ron Hansen’s book Jesse James introduces us to an ailing and paranoid outlaw (Pitt) who’s ready to retire and fade into obscurity with his family. Robert Ford (Affleck) doesn’t know this. Having admired James from afar for years the 19-year-old aspiring train robber wants to show that’s he got what it takes to ride by his idol’s side. But the ingratiating Ford doesn’t have James’ ear as Dominik subtly reveals early in the proceedings. As the gang relaxes before a robbery Ford sits down next to James. Seconds later James leaps to his feet to grab some grub without acknowledging Ford’s presence. Despite this initial shunning Ford becomes so devoted to James that James cannot help but take notice of his rather creepy admirer. “Do you want to be like me or do you want to be me?” James asks. With James unwilling to embrace him Ford’s admiration slowly turns to animosity. James’ rejection finally pushes Ford to go to the police. But Ford knows that the increasingly suspicious James--who’s already killing off gang members he believes are out to get him--will soon set his sights on him and his brother Charley (Sam Rockwell). As Jesse James Brad Pitt’s pale gaunt and unkempt. Think Val Kilmer in Tombstone. His James is a fatigued but still-fearsome American icon eager to leave behind his criminal past. Everything Pitt says is said with the hint of a concealed threat. When he says nothing the silence is deafening. You can feel the tension Pitt creates by just smiling to himself while staring hard at those on his bad side. But James can’t stop looking over his shoulder and the paranoia Pitt lends him is contagious. He’s also rubbed the wrong way by Ford whom he can’t figure out. What’s most impressive about the quietly unsettling Affleck is that he’s able to generate some sympathy for his fawning fool. There’s no denying that Ford is a sycophant who would gun down an innocent bystander if ordered to by James. As pathetic as he is though Ford takes so much abuse from James that you wonder why he doesn’t snap sooner than later. The baby-faced Affleck presents an intriguing and genuinely frightening psychological profile of a damaged mind unable to cope with being spurned by the object of his adulation. In James’ kill-or-be-killed world you can understand what drives Ford to murder his idol no matter how easy it is to condemn his actions. While Pitt and Affleck dominate Jesse James an agitated Sam Rockwell gradually comes to serve as our eyes and ears. It is through Charley Ford that we see how the fates of James and Ford are entwined in life and in death. Dominik reportedly spent forever whittling down Jesse James from three hours to 160 minutes. Every scene leading up to James’ comeuppance is of vital importance but there’s still plenty to cut: shots of grass blowing in the wind and clouds passing by; extraneous dialogue; pregnant pauses. A leaner meaner Jesse James would have allowed Andrew Dominik to ratchet up the stakes and heighten the sense of impending doom. But Dominik--who previously directed the tight tough Chopper--perhaps has watched one too many of Terrence Malick’s self-indulgent explorations on the human condition. Like Malick’s The New World the equally melancholy Jesse James fails to hold our attention as it lumbers toward its inevitable conclusion. And it outstays its welcome long after Ford guns down James. The shame of it is that Andrew Dominik knows how to get inside the heads of James and Ford. Theirs is a contentious relationship that keeps us on edge as both men begin to unravel. Andrew Dominik also does an admirable job turning Jesse James into a cautionary tale about today’s celebrity-obsessed culture. There’s a thinking-man’s Western struggling to break free of Jesse James one as smart and exciting as 3:10 to Yuma. Too bad Dominik failed to make the most of the time he spent locked away in his editing room.
Top Story: Jackson's First Accuser May Testify
A young man who reaped millions by settling a deal with pop star Michael Jackson after a 1993 child molestation investigation may be called to testify at a grand jury examining similar charges currently leveled against the singer, Reuters reports. In an article from the Santa Barbara News-Press, which did not name sources, the prosecutors in the current molestation case against Jackson could include subpoenaing the man, who as a boy was at the center of the 1993 case, as well as employees of Jackson's Neverland Valley Ranch in Santa Barbara, and other witnesses who testified in 1993.
"Buck" Gets New Meaning for Hilton
Hotel heiress Paris Hilton took a nasty spill Friday in Florida when she was thrown from a horse, Reuters reports. She was taping an episode of The Simple Life 2, a second installment to her hit reality series in which this time she and pal Nicole Richie will travel across the southern United States in an Airstream trailer. A spokesman for the TV studio told Reuters Hilton was walking around after falling off the horse, "but to err on the absolute side of caution, we made a decision to Medivac her" to a nearby hospital in Tampa, Fla. Hilton did not sustain any major injuries.
And More on Star Injuries…
Pop princess Britney Spears canceled two concert dates in Chicago and Detroit after suffering a knee injury while performing in Illinois, Reuters reports. Spears, 22, was expected to resume her to Onyx Hotel Tour in Atlanta next Tuesday and would reschedule the missed concert dates for sometime in April, the spokeswoman said.
Janssen Gets Nip/Tuck
Actress Famke Janssen, best known as a former Bond bad girl in GoldenEye and a brilliant mutant in X-Men, will join F/X's hit series Nip/Tuck in a recurring role, according to The Hollywood Reporter. She'll play a woman who becomes a "life coach," or counselor of sorts, to Joely Richardson's character, Julia McNamara, the wife of one of the two plastic surgeons who are the focal point of the series.
Duo To Take Producers Leads
Brad Oscar and Roger Bart will replace Nathan Lane and Matthew Broderick in the hit musical The Producers, Variety reports. Lane and Broderick, who originated the roles of Max Bialystock and Leo Bloom, respectively, and eventually left the show, made a limited return in December to boost the show's declining grosses. Oscar and Bart, who played Bialystock and Bloom after Lane and Broderick exited the show the first time, will reprise the roles April 6.
Role Call, Part I: Diesel Eyes Third Fast and Furious; MacLaine, Caine Join Bewitched
Universal Pictures is hoping Vin Diesel will reprise his role as Dominic Toretto for a third The Fast and the Furious. According to the Hollywood Reporter, the studio, which will release Diesel starrer The Chronicles of Riddick on June 11, is revving up a Fast team, hiring Chris Morgan (S.W.A.T.) to pen a script accommodating Diesel's return to the street-racing franchise. The studio says no deal is in place with the actor, just that it is "looking to bring back certain elements from the first two films." Diesel opted out of the last year's sequel 2 Fast 2 Furious, which starred the original The Fast and the Furious player Paul Walker as well as Tyrese and grossed $127 million … Shirley MacLaine and Michael Caine have joined the cast of Columbia Pictures Bewitched, a big-screen send-up of the hit '60s TV show, starring Nicole Kidman as kindly witch Samantha Stevens and Will Ferrell as her mortal husband, Darren. Variety reports MacLaine would play Sam's meddling mother Endora, originated by Agnes Moorehead on the TV show. Caine would star as Samantha's father, Maurice.
Role Call, Part II: Spielberg, Cruise Make War, Pitt May Buckle Up Spurs as Jesse James
Steven Spielberg and Tom Cruise are in cahoots to bring H.G. Wells' classic 1898 sci-fi novel The War of the Worlds to the big screen, Variety reports. The novel was immortalized by Orson Welles' Mercury Theater radio show in 1938, when a performance of it created nationwide panic when listeners didn't realize the war was fiction. In addition to the radio production, the book inspired a 1953 film starring Gene Barry and Les Tremayne. The Spielberg/Cruise production is looking at a late 2005 start date…Warner Bros. is wooing Brad Pitt to star as Jesse James in an adaptation of the Robert Hansen novel The Assassination of Jesse James by the Coward Robert Ford. According to Variety, the story focuses on Robert Ford as a way to tell the James legend. Ford was a member of the James gang and started out worshipping the exploits of the fastest gun in the West. He eventually became envious and figured he'd take over the gang and garner his own reputation by shooting James in the back.