The Bodyguard actor was rumoured to be taking on the role of Clark Kent's father opposite new Man Of Steel, Henry Cavill.
And now Snyder, who is taking on next year's (12) Superman: Man Of Steel film, has revealed Costner has agreed to the project.
He tells Total Film, "Jonathan Kent is the only father figure Clark has ever had, the man who was there to help Clark understand what he was meant to do in the world as Superman.
"Kevin will be able to communicate the quiet strength of this rural American man who raised the greatest superhero of all time."
Diane Lane will play Superman's mother, Martha Kent, who adopts the young hero when he lands on Earth in a rocket.
The age-old debate over fate vs. free will has been and always will be a tough theme to crack in any medium but with the benefits of modern filmmaking technology the theory can be explored in ways that Philip K. Dick never imagined. However when one relies too heavily on spectacle to tell a story a piece of cerebral science fiction can quickly become just another action extravaganza. In this day and age there’s a fine line between the two; The Matrix walked that tightrope with style and grace while Next never found its footing in the first place. Fortunately the precious work of novelist Dick has for the most part been treated with respect by Hollywood (the aforementioned Nic Cage dud notwithstanding) but that doesn’t necessarily mean movies based on his stories are completely faithful to his vision.
Case in point: George Nolfi’s directorial debut The Adjustment Bureau an adaptation of Dick’s short story “Adjustment Team.” The film stars Matt Damon as David Norris a successful businessman and rising political candidate who after a chance encounter with the girl of his dreams (Emily Blunt) loses a crucial election. He happens to run into her on a Manhattan bus the following week before finding his office swarming with masked men who are “adjusting” everyone inside. Richardson (John Slattery) the man in charge captures Norris who unsuccessfully flees the scene after seeing behind “a curtain he wasn’t even supposed to know existed” as the enigmatic figure puts it. From that point on Norris must live with the knowledge that he (and we for that matter) is not in control of his own life. Rather the choices he makes fit perfectly into “The Plan” that’s been written by “the Chairman”.
In relation to my earlier statement I have to say that Nolfi’s picture looks stunning but his natural urban aesthetic doesn’t overpower the story. Sleek contemporary production design and elegant costumes characterize the high-concept story and the wraithlike agents who shape our destinies. Topically we’re dealing with some heavy material but Nolfi and editor Jay Rabinowitz move the action along at a brisk pace that keeps you engaged and entertained without having to try. The film is properly proportioned as a chase thriller romantic adventure and sci-fi fantasy and thankfully no component overshadows another.
Setting the film in the world of politics and big business helps make its larger-than-life revelations a bit more accessible (as do appearances from Michael Bloomberg Jon Stewart and Chuck Scarborough) while providing sub-text about the corruption involved in elections and campaigns (there are conspicuous shades of The Manchurian Candidate in the movie) but the writer-director often tries too hard for broad appeal. For a film with existential implications as severe as they are here the dialogue is at times hokey and superficial. Dick’s source material is far more abstract and Nolfi for the sake of commercial success panders to the palette of soccer moms and mallrats.
What’s worse is his unwarranted exposition of the Bureau a shadowy organization whose major allure is anonymity. Some secrets are best kept and less can be so much more when crafting a mysterious atmosphere; Nolfi reaches that level of magnetic curiosity but squanders it as he reveals the truth about the Bureau and its grand scheme. On the other hand he brushes over the technical lingo between agents Harry Mitchell (Anthony Mackie) McCrady (Anthony Ruivivar) and others without explanation perhaps hoping that the ambiguous terminology will fool you into thinking that his script is smarter than it really is.
Even though Nolfi’s allegorical conclusions are uncomfortably ham-fisted the chemistry between Damon and Blunt alone is enough to enchant you; this is one highly watchable cinematic pairing that should be revisited as soon as possible. Their innocent relationship blossoms organically and together they make it seem as natural on screen as it is for their star-crossed characters. Even if you have a hard time believing in higher powers or manipulative Orwellian forces you’ll have faith in David and Elise’s fated relationship one of the most captivating couplings I’ve seen on the big-screen in some time.
The actress has been cast in the role of Martha Kent, who adopts the young superhero, to be played by Henry Cavill, after he lands on Earth in a rocket from the planet Krypton.
Last month (Feb11), it was reported that director Zack Snyder had recruited Kevin Costner to star as Superman's dad, Jonathan.
Superman: Man of Steel is expected to be released next year (12).
Good news, dudes. Superman's mom is a MILF.
According to a press release from Warner Bros, Diane Lane has been cast as Martha Kent, following the news from a few weeks ago that Kevin Costner might play Clark Kent's father, Jonathan. And oh yeah, if you have been living under a rock the past month, British actor Henry Cavill is playing the Man of Steel himself.
So, it seems that all the pieces of the Zack Snyder/Christopher Nolan Kryptonian reboot are coming together slowly but surely. From the early casting announcements, it's seems that the direction of the film could be leaning toward an origin story. And, well, that's a bold idea, right? Just look at the success Nolan had with Batman Begins. Sure, he's not directing the Superman reboot, but I think we can all assume that he'll be significantly involved with the creative process and a new beginning for the Man of Steel may be just what he needs to find his footing in the 21st century.
Source: Warner Bros. Pictures
The actress, who is enjoying critical success with new movie The Kids Are All Right, will be presented with the accolade at a ceremony on 28 January (11), during the 26th edition of the film festival.
The American Riviera Award was established to recognise an actor/actress who has had a strong influence on American cinema.
Past recipients have included Mickey Rourke, Tommy Lee Jones, Forest Whitaker, Philip Seymour Hoffman and Kevin Bacon.
Sandra Bullock was honoured in February (10), while Diane Lane received the prize in 2004.
Opening this weekend to widespread acclaim is Disney’s Secretariat, based on the true story of the legendary racehorse that won the 1973 Triple Crown. Enjoy our exclusive interview with the film’s star, Diane Lane, who plays Secretariat’s indomitable owner, Penny Tweedy:
Click here for our interviews with Lane’s Secretariat co-stars John Malkovich, Kevin Connolly, and Nelsan Ellis, as well as the film’s director, Randall Wallace.
Secretariat is now playing in theaters everywhere.
The story of the most dominant racehorse of all time does not easily fit into the standard inspirational sports flick mold. Such films typically require its protagonists to overcome seemingly insurmountable obstacles be they competitive (Hoosiers) personal (The Natural) societal (Ali) or some combination of all three (Remember the Titans). But by all accounts the greatest challenges to Secretariat capturing of the 1973 Triple Crown were not rival horses — indeed Secretariat had no true rival — but a pair of slow starts and an abscess. And abscesses — apologies to dermatologists — simply aren’t all that effective as dramatic devices.
Lacking most of the vital ingredients of the traditional underdog movie formula Disney’s Secretariat is forced to synthesize them. Its screenplay written by Mike Rich and based rather loosely on the book Secretariat: The Making of a Champion by William Nack adopts a conventional save-the-farm framework: When her parents pass away within months of each other Denver housewife Penny Tweedy (Diane Lane) is advised to sell off her family’s Virginia-based Meadow Stables a beautiful but unprofitable horse-breeding enterprise in order to pay the onerous inheritance taxes levied by the state. But Penny her deceased father’s hackneyed horse-inspired counsel fresh in her mind (“You’ve got to run your own race ” etc. etc.) is loath to depart with such a cherished heirloom. So she concocts a scheme just idiotic enough to work betting the farm — literally — that her new horse Big Red in whom she has an almost Messianic faith will win the Kentucky Derby Preakness and Belmont races in succession.
Of course Big Red under the stage name Secretariat goes on to do just that but only after the film subjects us to nearly two hours of manufactured melodrama. Lane grasping all-too conspicuously for awards consideration treats every line as if it were the St. Crispin’s Day speech. Her character Penny exhibits a hair-trigger sensitivity to the sounds of skeptics and naysayers bursting forth with a polite rebuke and a stern sermon for anyone who dares doubt her crusade from the trash-talking owner of a rival horse to her annoyingly pragmatic husband (Dylan Walsh).
Lane isn’t alone in her grandiosity. The entire production reeks of it as director Randall Wallace lines the story with fetid chunks of overwrought Oscar bait like so many droppings in an untended stable even using Old Testament quotations and gospel music to endow Penny’s quest with biblical significance. John Malkovich is kind enough to inject some mirth into the heavy-handed proceedings hamming it up as Secretariat’s trainer Lucien Laurin a French-Canadian curmudgeon with an odd sartorial palette. It’s not enough however to alleviate the discomfort of witnessing the film's quasi-Sambo depiction of Secretariat’s famed groom Eddie Sweat (Nelsan Ellis) which reaches its cringeworthy zenith when Sweat runs out to the track on the eve of the Belmont Stakes and exclaims to no one in particular that “Big Red done eat his breakfast this mornin’!!!” Bagger Vance would be proud. Whether or not Ellis’ portrayal of Sweat’s cadence and mannerisms is accurate (and for all I know it may well be) the character is too thinly drawn to register as anything more than an amiable simple-minded servant.
Animal lovers will be happy to know that the horses in Secretariat come off looking far better than their human counterparts and not just because they’re alloted the best dialogue. In the training and racing sequences Wallace effectively conveys the strength and majesty of the fearsome animals drawing us into the action and creating a strong element of suspense even though the final result is a fait accompli. It's too bad the rest of the film never makes it out of the gate.
The actress, who is currently enjoying success at the U.S. box office with The Blind Side, will be presented with the accolade at a ceremony on 5 February (09), during the 25th edition of the film festival.
The American Riviera Award was established to recognise an actor/actress who has had a strong influence on American cinema. Past recipients have included Mickey Rourke, Tommy Lee Jones, Forrest Whitaker, Philip Seymour Hoffman and Kevin Bacon.
Diane Lane was the last woman to join the club in 2004.
Sandra Bullock is to become one of the few women ever to be honored with a coveted American Riviera Award at the upcoming Santa Barbara International Film Festival in California.
The actress, who is currently enjoying success at the box office with The Blind Side, will be presented with the accolade at a ceremony on Feb. 5, during the 25th edition of the film festival.
The American Riviera Award was established to recognize an actor/actress who has had a strong influence on American cinema. Recent recipients have included Mickey Rourke, Tommy Lee Jones, Forest Whitaker, Philip Seymour Hoffman and Kevin Bacon.
Diane Lane was the last woman to join the club in 2004.
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The screenwriter had just finished shooting 1999 movie Dogma with the singer when they went for a late-night stroll along a Los Angeles lane.
But when a threatening man approached, Smith got set to run away and leave the Ironic hitmaker to fend for herself.
In his new book, Shooting the S**t with Kevin Smith, the Clerks director writes, "While I didn't immediately push Alanis into the dude and run away, I separated myself from her. The chivalrous thing would have been me putting myself between her and harm's way, but I thought, 'She's a tough broad. I'm running and hoping that she's smart enough to run too.
"I could tell that if I had had any shot of getting together with (her), it went out the window that day."