Rosamund Pike is joining the cast of new Tom Cruise drama One Shot. Based on a book in the Jack Reacher series by Lee Child, One Shot will follow the case of a city shocked by a series of sniping deaths. Cruise plays drifter investigator Jack Reacher, who learns that, inevitably, there is more to the crime than there initially appears. Pike will play defense attorney Helen Rodin, who defends the man accused of the crime.
The English actress got her first break in Pride and Prejudice in 2005, starring along side Keira Knightly. Pike is next set to appear in The Big Year, a comedy about birdwatching, opposite Owen Wilson and Steve Martin. She'll also appear in Johnny English Reborn, along with Rowan Atkinson, later this year, and takes over for Alexa Davalos as token lady in next year's Clash Of The Titans 2.
Cruise's next role is in Mission: Impossible - Ghost Protocol, in which he'll play another lone badass type. At this point, Tom Cruise seems to be picking his roles like a third-grader who just saw their first Clint Eastwood film. Which may not be a bad idea, since his last purely dramatic role, in Lions For Lambs, was a complete bust. Hopefully Pike's rising star charisma and Cruise's residual star cache will prove a potent combination, since One Shot is just a single book in a 15 part series. So we could be in for a long haul.
Expect One Shot to be released early 2013.
The sexy former Bond girl is in final negotiations to play Greek princess Andromeda in the project.
Aussie actor Sam Worthington will reprise his role as Perseus in the blockbuster, which grossed over $500 million for Warner Bros. globally, according to Daily Variety.
Andromeda will look a little different in Clash of the Titans 2. Well, not really. She’ll still be attractive. And blond. And white. But she’ll be a different English actress this time! She will be performed by Rosamund Pike, the Bond girl in Die Another Day. While she has been making splashes over the last two years with appearances in An Education and Barney’s Version, this is her first big time feature (and no, we’re not including Surrogates in this list). Surrogates belongs on no list). Pretty, blond, English accent. Yep, I’m okay with this.
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Louis Leterrier’s remake of Clash of the Titans the 1981 cult favorite that fused Greek mythology with sci-fi theatrics is a grand experiment in the ancient art of alchemy a big-budget attempt to spin fanboy nostalgia for a 30-year-old novelty into contemporary box-office gold. The main ingredients in this ambitious concoction are a potent arsenal of CGI weaponry and the star of the biggest movie ever Sam Worthington who inherits Harry Hamlin’s role as the heroic Perseus. But it’s what’s missing from the formula that ultimately dooms this remake.
Clash of the Titans redux mimics the original film’s epic ethos and preference for spectacle over all else but its storyline differs dramatically. Perseus is still the half-breed product of a one-night stand between the god Zeus and a human hottie and he still must to defeat the monstrous Kraken in order to save the lovely Princess Andromeda. Almost everything in between however has been altered — and not necessarily for the better.
The new version casts the Greek city of Argos as the primary battleground in a proxy war fought by dueling Olympian superpowers Zeus (Liam Neeson) and Hades (Ralph Fiennes). Born of a god but raised by and partial to humans Worthington’s Perseus battles not for the hand of Andromeda (Alexa Davalos) — as Hamlin’s character did — but instead for the people of Argos who stand to perish along with their princess at the hands of the dreaded Kraken. The film’s love story if it can be called that consists of the briefest of flirtations between Perseus and Io (Gemma Arterton) his self-appointed spiritual guide. (Cursed with immortality by the gods Io’s been secretly watching him all his life — which ostensibly makes her a glorified stalker.)
This detail is a small but crucial one. Strong-willed Perseus braves an obstacle course of giant scorpions gorgons and other horrors laid out for him by the wheezy fiend Hades but it’s never quite clear why he bothers with it all since what’s at stake is a princess he isn’t particularly interested in and a community of people he doesn’t really know — and who frankly don’t seem all that worth saving. His deadbeat dad up on Mount Olympus certainly isn't worth dying for nor are the battlefield compatriots he met barely a week prior. And while I’m sure that a few inviting glances from Gemma Arterton are positively delightful I wouldn’t risk being doused in flesh-eating scorpion venom for them.
This narrative oversight triggers a drain in enthusiasm that persists throughout the film. For a movie so epic in scale Clash of the Titans makes for a disappointingly bland ride. Leterrier’s CGI set pieces are at times magnificent but they’re proffered in the service of weak story filled with characters whose motivations are either unclear or unconvincing. During the film’s climax when Neeson’s Zeus utters the portentous words “Release the Kraken ” what should be an emotional high point instead feels perfunctory and anticlimactic. The only excitement it spawns comes from the knowledge that the end is mercifully imminent.
Source: First Showing
Check out these new pictures from the set of the Clash of the Titans remake including Sam Worthington as Perseus and Liam Neeson as Zeus.
Go here to see more photos.
Clash ot the Titans is directed by Louis Leterrier and opens on March 26, 2010. The film also Ralph Fiennes, Danny Huston, Gemma Arterton, Mads Mikkelsen, Jason Flemyng, Alexa Davalos, Izabella Miko, Nicholas Hoult and Pete Postlethwaite.
Although most Holocaust-themed works present the Jews as victims this true story shows there were small bands who did manage to fight back no matter how difficult the challenge. Starting near the beginning of World War II the film focuses on three Jewish brothers who lead a small but effective resistance against the surging Nazi presence in the forests of Belarussia. Eldest brother Tuvia Bielski (Daniel Craig) returns home to find most of his family murdered. His only surviving siblings are his wild quick-tempered brother Zus (Liev Schreiber) prone to shoot first and ask questions later and his youngest brother Asael (Jamie Bell) whose gentle nature allows to him to act as a buffer between his two older siblings. Crux of the film is the conflict between Zus’ quest for revenge at any cost and Tuvia’s more measured desire to save lives. As they round up more and more Jewish outcasts the Bielskis form a community deep in the woods. But soon Tuvia must rise to the occasion and lead the 1 200 strong group deeper into hiding in order to survive the winter and the lurking Nazi threat. Daniel Craig gets back to his acting roots after two high-profile outings as 007. He’s strong resilient and complex as a man with a criminal past whose mettle is tested when he chooses to become an advocate for life over the prospect of turning into a killing machine. Schreiber is superb as well as the toughest of the brothers -- at least on the outside. His primal urge to survive at all costs by using whatever preemptive force is necessary is apparent throughout his well-detailed portrayal. And finally Bell who more than holds his own as the most innocent of the bunch and the one with the most to learn. Alexa Davalos Iben Hjejle and Mia Wasikowska add needed warmth and emotion as the three very different women or “forest wives ” with whom the brothers romantically bond during their years in hiding. Stand out in the enormous meticulously chosen cast is Mark Feuerstein as an intellectual and Viktor Panchenko as Isyyanov the leader of the People’s Army. Edward Zwick is known for intelligent historically based films like Glory The Last Samurai and Blood Diamond. Defiance follows suit shot on a rather large scale with lots of impressive action sequences buffering an intimate story. Zwick’s co-writer Clayton Frohman stumbled upon the Bielskis’ story while reading a newspaper obituary on one of them. Armed with exhaustive research and an unerring eye for authenticity the director does not present any of these characters as saints. They were flawed conflicted human beings caught up in a extraordinary situation which only highlights their indomitable determination and fortitude to walk out of that forest alive. James Newton Howard’s brilliant score with haunting violin solos from Joshua Bell deserve special mention among the talented artists who made Defiance come to life. This is a must-see movie and another towering cinematic achievement for Zwick his best since Glory.
There is something more than a feast of love being force-fed to us in this movie; it’s closer to all-you-can-eat buffet o’ syrup but that is admittedly not an inviting title. Either way the entangled melodrama in Feast of Love is too much to digest. The movie centers on several love stories or perhaps more specifically the Oregon coffeehouse that serves as the de facto hub of said stories. The café’s owner Bradley (Greg Kinnear) is responsible for most of the tales since women leave him left and right. In fact the movie opens with Bradley’s wife (Selma Blair) ditching him for a woman. Then there’s Harry (Morgan Freeman) the Yoda of love who advises Harry—and everybody else—in the school of relationships. Finally there’s Oscar (Toby Hemingway) a young barista in the café whose lust for his new coworker (Alexa Davalos) goes requited. The carousel continues with Bradley’s misfires Harry’s philosophizing about them and Oscar’s blossoming relationship until the movie exploits our lack of attention to detail at the end. That’s when the big “intersecting” storyline is meant to swoop in and leave us in awe over the many splendors of love or the Feast thereof. It says something when even a classic Morgan Freeman performance can’t bring Feast of Love a smidge closer to realism. In other words he can’t be blamed for headlining an untenable movie. Feast greatly simplifies what a longtime vet like Freeman—or his screen wife Jane Alexander—understands and the rest of the cast doesn’t: less is more. He refuses to buy into the melodrama under which this movie wants to operate and that refusal is what makes his relationship the only palpable one. Elsewhere a “more is less” mode of thinking seems to take over. Kinnear further pigeonholing himself as the embodiment of blissful ignorance (i.e. Little Miss Sunshine The Matador) can score laughs with ease but can’t evoke anything subtler especially pity. Meanwhile Radha Mitchell (Melinda and Melinda) as Bradley’s second wife (following a barely there Selma Blair) displays some promise before her role spirals out of control and into Overacting 101 which she passes with flying colors. But nobody exaggerates like the cast’s youngest members Hemingway (The Covenant) and Davalos (The Chronicles of Riddick). Of course the screenplay is responsible to a certain extent for their hamming it up but simply put their couple seems much more Shakespearean than contemporary American. Case in point: When Davalos deadpans “I think my intensity scares guys off ” it can’t be anything but eye-roll worthy. By now it’s hard to fathom that Feast of Love director Robert Benton is the Robert Benton of Bonnie and Clyde and Kramer vs. Kramer fame. His movies have been on an extremely steep decline ever since those landmark achievements and his latest brings that decline one step closer to a crash landing. Feast is not unlike many romantic comedies in its inability to replicate real life—only...it’s supposed to be a dramedy! But while the humor aspect is there and connects drama to Benton and writer Allison Burnett (Resurrecting the Champ)—who adapted Charles Baxter’s undoubtedly more entertaining book—seems to mean nudity aplenty and/or soap-opera dialogue peppered with F-bombs. It’s as though the director in sculpting his characters has never met a real-life couple because two of the three couples are caricatures with Freeman and Alexander narrowly saving theirs from being so. That might’ve worked if the movie were a romantic comedy in earnest and didn’t try to wax poetic with a tidy wrap-up ending. But it’s all so unrealistic almost supernatural in its conclusion that Feast is the sort of movie that arouses the love cynic in you not the believer.