The stage adaptation of Gene Kelly's classic film An American In Paris is heading to Broadway next year (15). The 1951 movie about an American soldier falling in love in post-war Paris, France, which was inspired by George Gershwin's 1928 orchestral composition of the same name, has found a home at New York City's Palace Theater.
The venue is soon to be vacated by Tupac Shakur musical Holler If Ya Hear Me, which closes on Sunday (20Jul14).
An American in Paris, directed and choreographed by Christopher Wheeldon, will appropriately have its world premiere at the French capital's Theatre du Chatelet this December (14) for a limited run.
The production will then head to the Great White Way, with previews beginning 13 March (15).
Tilda Swinton is in talks to reteam with her Michael Clayton co-star George Clooney in the new Coen Brothers movie Hail Caesar!. The actress, her The Grand Budapest Hotel onscreen lover Ralph Fiennes and Channing Tatum are all in negotiations to join the cast of the Hollywood studios period comedy.
According to The Hollywood Reporter, Tatum is slated to play a Gene Kelly-type dancer, while Swinton is up for the role of top gossip columnist, and Fiennes is close to signing on to play a studio director.
The film isn't Clooney's first Coen Brothers project - he also starred in the filmmaker siblings' O Brother, Where Art Thou?, Burn After Reading and Intolerable Cruelty.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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TriStar Pictures via Everett Collection
An hour and change into Pompeii, there's a volcano. You'd think there might have been a volcano throughout — you'd think that the folks inhabiting the ill-fated Italian village would have been dealing with the infamous volcano for the full 110 minutes. After all, volcano movies have worked before. Volcano, for instance. And the other one. But for some reason, Pompeii feels the need to stuff its first three quarters with coliseum battles, Ancient Rome politics, unlikely friendships, and a love story. But we don’t care. We can't care. None of it warrants our care. Where the hell is the volcano, already?
To answer that: it's off to the side — rumbling. Smoking. Occasionally spiking the neighboring community with geological fissures or architectural misgivings. Pretty much executing every trick picked up in Ominous Foreshadowing 101, but never joining the story. Not until Paul W.S. Anderson shouts, "Last call," hitting us with a final 20-odd minutes of unmitigated disaster (in a good way). If you've managed to maintain a waking pulse throughout the lecture in sawdust that is Pompeii's story, then you might actually have a good time with the closing sequence. It has everything you’d expect — everything you had been expecting! — and delivers it with gusto. Torpedoes of smoke running hordes of idiot villagers out of their homes and toward whatever safety the notion of forward has to offer. Long undeveloped characters rising to the occasion to rescue hapless princesses who thought it might be a good idea to set their vacation homes at the foot of a lava-spewing mountain. The whole ordeal is actually a lot of laughs. But it amounts to a dessert just barely worth the tasteless dinner we had to force down to get there.
TriStar Pictures via Everett Collection
To get through the bulk of Pompeii, we recommend focusing all your attentions away from the effectively bland slave/gladiator/hero Kit Harington — sorry, Jon Snow (he's actually called a bastard at one point) — and onto his partner in crime: a scowling Adewale Akinnuoye-Agbaje — sorry, Mr. Eko (he and Snow actually trade valedictions by saying "I'll see you at another time, brother" at one point) — who warms up to his fellow prize fighter during their shared time in the klink, and delivers his moronic material with a sprinkle of flair. Keeping the working man down is Kiefer Sutherland — sorry, Jack Bauer — as an ostentatious Roman senator, doling out vainglory in Basil Fawlty-sized portions. When he's not spitting scowls at peasants, ol' JB is undermining the efforts of an earnest local governor Jared Harris — sorry, Lane Pryce (he actually calls someone a mad man at one point) — and his wife Carrie-Anne Moss — sorry, Katherine O'Connell from Vegas (joking! Trinity) — and finagling the douchiest marriage proposal ever toward their daughter Emily Browning — sorry, but I have no idea what she's from.
But questionable television references and some enjoyably daft performances by Eko and Jack can't really make up for the heft of mindless dullness that Pompeii passes off as its narrative... until the big showstopper.
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In truth, the last sequence is a gem. It's fun, inviting, and energizing, and might even call into question the possibility that Pompeii is all about how futile life, love, friendship, politics, and pride are when even the most egregiously complicated of plots can be taken out in the end by a sudden volcanic eruption. But you have to wade through that egregious complication to get there, and you shouldn't expect to have too much of a good time doing so.
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Universal Pictures via Everett Collection
Endless Love has awakened something in me. Not a long dormant passion for an introverted high school classmate, or a sudden desire to break into the zoo after dark. A question about movies — more accurately, about movie criticism. The same question you would ask yourself if you fell drowsy in the middle of Citizen Kane, or welled up during the emotional climax of Just Friends. The question I ask myself now, as I recount the 103 straight minutes of asphyxiating laughter that I endured during a screening of Shana Feste’s would-be romantic drama: What makes a good movie?
We assign deference to some films, disgust to others — a lucky few of us make a living this way. But what, precisely, are we reviewing? A film’s mission or its execution? The product onscreen or the experience of watching it? All factors come into play when considering whether or not a movie “works.” But on rare occasions you’ll get a film that offers no common ground in its meeting of these standards. You’ll get Endless Love, which strives for dramatic sincerity, winds up with underwritten idiocy, and provokes in its viewers an unrestrained, absurdist revelry — the kind of joy you’d otherwise be forced to seek in a third viewing of The Lego Movie. Laughter at the ill-conceived antics and befuddling dialectical patterns of our central teen couple — a Mars native Gabrielle Wilde and her gaping mouthed beau Alex Pettyfer. Elated bemusement at the younger generation’s propensity for chaotic disrobing and didactically organized dance parties. Unprecedented ecstasy at the Mafia movie intimidation tactics of an overprotective dad (Bruce Greenwood) and the brain-dead disregard of a supportive one (Robert Patrick). As a comedy, Endless Love is unstoppable.
I can only hypothesize that it was not Feste’s intention to roll us in the aisles. I have no cold proof that her resolution in paving every nook in her Georgia-set remake with another farcical stone — Wilde’s instantaneous evolution from wordless ingénue to sexually aggressive spirit walker, Patrick’s loving caution-to-the-wind attitude regarding any situation that has to do with a girl, Rhys Wakefield’s “black sheep” character forming an odd amalgamation of Pauly Shore and Charlie St. Cloud — was not one of Wolf of Wall Street-like satire, or reappropriation in the vein of Spring Breakers. Here are two movies that earned scorn from viewers who read them literally, and in turn vehement defense from those who peered through the exaltation of cocaine and firearms into the filmmakers’ ironic intentions.
Universal Pictures via Everett Collection
To the latter community, one to which I subscribe, I ask: if we’re readily willing to dive deeper for Martin Scorsese and Harmony Korine, shouldn’t we grant Feste this benefit? If we’d defend the authenticity of the splendor we recognized in their movies, why am I inclined to write off the very same when present in this year’s Valentine’s Day cannonball? Why do I eagerly laud the merit in Leonardo DiCaprio directing Quaalude-charged tribal chants and relinquishing subhuman treatment upon anyone short a Y-chromosome, while instinctively shafting the invaluable merriment in Pettyfer’s goofily deliberate declaration that he likes to read into the category of happy accident?
But an even more precise question (one I was challenged to entertain by a friend and film critic far wiser than I am), and this time to the former community: does it matter? Did it matter to all those offended by gunplay and intrusive nudity that Korine set out to demonize youth culture and its omnipresent hedonism? Did considering his intentions make the endgame any less a visceral nightmare? If not, does it matter if Feste poured her soul into the machination of a timeless love story, only to produce a riotous cinematic episode that treads genre parody as expertly as anything from the golden age of the Zucker brothers? Does it matter that she didn’t intend for Wilde and Pettyfer’s sex scene to come off as super-hoke, for every mention of cancer to feel like soap opera send-up, or for Robert Patrick’s vindication of his son’s passion for menagerie trespassing to elicit the biggest laugh of a movie yet in 2014?
So long as I consider the power of cinema, I’ll never be sure if it matters. I’ll never be sure of the answers to any of these questions. But no matter where I find myself standing on this issue down the line, I had far too much fun at Endless Love — and entertained far too many questions on the nature of cinema and the way we react to it — to call it a movie that people shouldn’t see.
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Personal items belonging to late actress Farrah Fawcett have fetched $200,000 (GBP133,000) at auction. Items including the iconic red swimsuit she wore for an Esquire magazine shoot, her passport, a script from her 1984 TV film The Burning Bed, and a People's Choice Award went under the hammer at Heritage Auctions in Dallas, Texas on Thursday (12Dec13).
Margaret Barrett, the director of entertainment and music auctions for Heritage, says, "The intense competition for Farrah's items in this auction speaks to how popular she continues to be with collectors."
In addition to Fawcett's belongings, the suit Gene Kelly got wet in 1952 movie Singin' in the Rain sold for just over $106,000 (GBP70,600).
U.S. President Barack Obama has joined movie stars like Whoopi Goldberg, Samuel L. Jackson and Charlize Theron in paying tribute to the late, great Nelson Mandela following his death at the age of 95. South African President Jacob Zuma confirmed the sad news of the civil rights icon's death just before midnight local time on Thursday night (05Dec13) - not long after acclaimed new biopic Mandela: Long Walk to Freedom premiered in London, with Prince William and his wife, Catherine, Duchess of Cambridge and members of Mandela's family in attendance.
The former president, who was affectionately known as Madiba, had battled health issues in recent years, including a recurring lung infection that led to numerous hospitalisations.
Announcing the tragic news, President Zuma said, "He passed on peacefully in the company of his family... He is now resting. He is now at peace. Our nation has lost its greatest son. Our people have lost a father."
Zuma ordered all flags across the nation to be flown at half-mast from Friday (06Dec13) until Mandela is laid to rest at a state funeral.
Shortly after news of Mandela's death broke, President Obama held a press conference at the White House to deliver a touching tribute, stating, "He achieved more than could be expected of any man and today he has gone home."
He added, "We have lost one of the most influential, courageous and profoundly good human beings that any of us will share time with on this earth. He no longer belongs to us; he belongs to the ages."
Obama's predecessor George W. Bush added, "President Mandela was one of the great forces for freedom and equality of our time. He bore his burdens with dignity and grace, and our world is better off because of his example. This good man will be missed, but his contributions will live on forever."
British actor Idris Elba, who portrays Mandela in new movie Mandela: Long Walk to Freedom offered up a statement after hearing the sad news during the London premiere after party. It reads: "What an honour it was to step into the shoes of Nelson Mandela and portray a man who defied odds, broke down barriers, and championed human rights before the eyes of the world. My thoughts and prayers are with his family."
Meanwhile, South African actress Charlize Theron became one of the first celebrities to remember the legendary activist online, tweeting, "My thoughts and love go out to the Mandela family. Rest in Peace Madiba. You will be missed, but your impact on this world will live forever".
Ghost star Goldberg added, "I want 2give (sic) the world a hug I was told Mandeba (sic) just passed. Nelson Mandela R.I.P. Time for a well earned sleep.Condolences to his family", while Samuel L. Jackson posted, "Never met a better person in my life than Nelson Mandela. My sympathy to his family & his country".
Actor William Shatner, John Legend, Fergie, former boxer Mike Tyson, Bette Midler, Kelly Osbourne, filmmaker Michael Moore, Olivia Wilde, Rihanna, LL Cool J, Russell Simmons, Gabrielle Union, Gene Simmons, former Spice Girls star Mel C, Ricky Martin, Jermaine Jackson, Channing Tatum and Tony Bennett were also among the celebrities who flooded Twitter with tributes to Mandela on Thursday.
And sports legend Muhammad Ali released a statement which reads: "I am deeply saddened by the passing of Mr. Mandela. His was a life filled with purpose and hope; hope for himself, his country and the world."
The grey wool suit Gene Kelly was wearing as he splashed through puddles during his Singin' In The Rain dance routine is expected to fetch over $20,000 (£13,000) when it goes under the hammer at an auction in Dallas, Texas later this week (06Dec13). Heritage Auctions bosses are selling the clothing item, which memorabilia collector Gerry Sola bought for just $10 (GBP6) at a MGM studio sale in 1970.
It's one of two iconic wardrobe items set to go to auction this week - Bruce Lee's yellow jumpsuit from his final film Game of Death is among the highlights up for grabs at a Spink auction in Hong Kong on Thursday (05Dec13).
Lost radio interviews with late Hollywood legends including Frank Sinatra, Gene Kelly and Bing Crosby are to be broadcast in Britain after the tapes were discovered in a family archive. The interviews, which also include chats with Fred Astaire and Judy Garland, were originally recorded by radio presenter Benny Green for a 26-part series called Hooray for Hollywood, and were partly broadcast by the BBC in the 1970s.
Green, who died in 1998, kept tapes of the recordings in his personal archive and they have now resurfaced after they were discovered by his son, Leo Green.
The recordings will be aired in two parts across Christmas Day (25Dec13) and Boxing Day (26Dec13) on Britain's BBC Radio 2, with Leo presenting a Hollywood Special featuring a mixture of his father's work and the corporation's own archive material.
Leo tells Britain's Daily Telegraph newspaper, "These songs, stories and voices deserve not to be sat in a cupboard gathering dust. The artists we will hear from are some of the greatest performers of all time.
"When some of my friends' dads passed away, they got left a set of golf clubs and a few ill fitting suits. I have been fortunate enough to have been left an incredible and historical archive and I'm really excited to have the chance to share these interviews."
The classic Gene Kelly film An American In Paris is to be turned into a stage play. The 1951 film about an American soldier falling in love in post-war Paris, France, which was inspired by George Gershwin's 1928 orchestral composition of the same name, will premiere in the city late next year (14), with plans to transfer it to Broadway the following year (15).
The show will feature the famous movie's 16-minute ballet sequence featuring Kelly and co-star Lesley Caron, which will be re-imagined by director and choreographer Christopher Wheeldon.