The CW Network
After watching their fellow networks unveil dozens of new series, The CW did things a little differently this year: the network only picked up four new shows. Since the network had its best viewership in a long time this past year, with ratings for Supernatural through the roof and new shows like Reign and The 100 becoming big hits, there weren't very many gaps in the schedule that needed filling. Still, the Winchester brothers can only hunt demons for so long, and so The CW has a new show about people with mysterious powers attempting to stop the apocalypse waiting in the wings. Or, if you're looking for more costumed crime fighters, sassy detectives, or a replacement for the cheesy fun of The Carrie Diaries, they've got that covered too.
We've run down all of the CW's new shows for the 2014-2015 shows, along with everything you need to know about them before they start airing in the fall. And yes, like all CW shows, they promise to be slightly terrible, but ultimately very addicting.
Jane the Virgin What It Is: Sitcom.What It's About: A young, career-focused woman is accidentally artificially inseminated, resulting in her getting pregnant even though she’s a virgin. Who's In It: Gina Rodriguez, Justin Baldoni, Brett Dier, Andrea Navedo, and Ivonne Coll.What It Sounds Like: Secret Life of the American Teenager meets Ugly Betty, plus a sex-ed talk from the Coach in Mean Girls. How Good Will It Be: With a premise like that, it’s got to be terrible. We’re hoping it’s so terrible that it actually kind of good. How Long It Will Last: This seems like the obvious replacement for The Carrie Diaries, so it will most likely get around two seasons. Airs: Mondays at 9 pm.
The Flash What It Is: Drama.What It's About: After a freak accident involving a particle accelerator, Barry Allen wakes up with the power of super speed, and uses it to fight crime. Who's In It: Grant Gustin, Danielle Panabaker, Carlos Valdes, Tom Cavanagh, and Jesse L. Martin.What It Sounds Like: Arrow, only he wears red and runs really fast. How Good Will It Be: The CW scored a surprise hit with Arrow, so we have high hopes for this one, even though it too will probably take a while to find its voice. How Long It Will Last: If it gets anything less than five seasons, we’ll be shocked. Airs: Tuesdays at 8 pm.
iZombie What It Is: Drama What It's About: A medical examiner – who is also secretly a zombie – eats the brains of corpses to help solve their murders. Who's In It: Rose McIver, Malcolm Goodwin, Rahul Kohli, Robert Buckley, Alexandra Krosney, David Anders, and Nora Dunn. What It Sounds Like: Pushing Daisies meets The Walking Dead, sprinkled with Veronica Mars.How Good Will It Be: Rob Thomas is on board as executive producer, so iZombie will probably be just as funny and charming as his other shows. Although, if we're honest, the premise is kind of stupid. How Long It Will Last: Three seasons... and then maybe a Kickstarter movie.Airs: Midseason.
The Messengers What It Is: Drama.What It's About: After a mysterious object collides with the earth, five strangers discover they have new powers that they must use to prevent the Rapture. Who's In It: Shantel VanSanten, Sofia Black-D’Elia, JD Pardo, Joel Courtney, Anna Diop, and Diogo Morgado.What It Sounds Like: Supernatural, with a dash of MisfitsHow Good Will It Be: The plot is a bit convoluted and heavy on the mythology and Biblical references, which will probably weigh down what would otherwise be an entertaining show about people with superpowers, which doesn't bode too well for The Messengers. How Long It Will Last: It will either be canceled after one season or it will run for nine years. Airs: Midseason.
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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
While the majority of viewers still tune in to How I Met Your Mother every Monday night to finally find out just who the elusive “Mother” is, there are some of us out there — ahem, me — who tune in for Barney (Neil Patrick Harris) and Robin (Cobie Smulders).
For seasons, I have been ‘shipping these two crazy kids, and co-creators Carter Bays and Craig Thomas gave me a short reprieve. For those of you who don’t remember or didn’t see the evolution of one of the most entertaining relationships on TV, let me give you a short timeline (not that I'm obsessed or anything):
S3E16, "Sandcastles in the Sand": After being dumped by her old Canadian boyfriend Simon — whattup, James Van Der Beek! — Robin and Barney sleep together.
S3E17, "The Goat": Barney and Robin try to keep their tryst a secret, but Robin comes clean to Ted (Josh Radnor). This temporarily ends the bromance between Barney and Ted.
S3E20, "Miracles": After a brush with death, Ted forgives Barney, who himself was hit by a bus and realized he loved Robin.
S5E1, "Definitions": Barney and Robin finally begin their relationship.
S5E7, "The Rough Patch": Barney and Robin break up after realizing they weren’t happy together… i.e. Barney got fat and Robin was losing her hair.
S7E10, "Tick Tick Tick": Barney and Robin both cheat on their significant others with each other. They agree to break up with their respective girlfriend (Nora) and boyfriend (Kevin) to be together. However, Robin stays with Kevin.
S7E16, "The Drunk Train": Kevin breaks up with Robin. Barney doesn’t jump at the chance to be with her again since she had picked Kevin over him.
S7E24, "The Magician’s Code": Barney proposes to his girlfriend, Quinn. However, at the end of the episode, it is revealed that Robin is in fact Barney’s future wife!
So as we look ahead to season 8, premiering tonight at 8/7c on CBS, we can look forward to seeing the progression from Barney and Quinn’s engagement to Barney and Robin’s wedding. And while we may have to wait until the end of this season to see the actual nuptials, Smulders followed Robin’s cue and, after eight years of dating, tied the knot with Taran Killam (SNL) on Sept. 8th.
Season 8, eight years of dating, September 8th… is there something important in the number eight, or is it just some crazy coincidence of life imitating art? Bays and Thomas do have a reputation for using numbers as clues in past episodes. For example, in season 6 episode 13, “Bad News,” numbers counting down from 50 appeared on props until the end of the episode when Marshall (Jason Segel) found out his father died. Hopefully these numbers lead to better news.
Will you be tuning in (and overanalyzing every detail) with me tonight?
[Image Credit: CBS]
Neil Patrick Harris Talks the End for 'How I Met Your Mother'
'The Avengers' Cobie Smulders Marries
‘How I Met Your Mother’ First Look: Ted Reaches for New Heights!
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.
After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
UPDATE: Now it looks like Mel Gibson is in talks to join Sleight of Hand as well, according to Variety. This would be his first project after the release of The Beaver and, you know, that whole domestic abuse thing. I haven't seen the movie, so I can't speak on it's qualities, but it's no surprise that Gibson is still getting work. This is Hollywood after all. He's a talented filmmaker, and regardless of his personal life he'll probably continue to get work for years to come.
EARLIER: For director Brad Mirman, Sleight of Hand is a blessing. The action comedy from producer Rionda del Castro is the biggest production he's ever been a part of and he's just scored a great cast to carry it. Hannibal Pictures, the company behind the movie, announced today that Kiefer Sutherland, Gerard Depardieu, Til Schweiger, Thomas Jane, Johnny Hallyday, Jon Lovitz and Eric Cantona will all play small time crooks in the France-set film.
The story follows the crooks in Paris, who inadvertently end up possessing a rare gold coin belonging to a notorious French gangster. The leader of the crew calls his uncle (Depardieu), a retired criminal, to help them raise the money to repay the gangster. The series of mix-ups and double crosses culminate as the gangs are pit face to face, chasing through Paris. French actors Jean Luc Couchard, Nora Arnezeder and Patrice Cols will also take roles in the picture, which will shoot in Paris this July through September.
In my opinion, you can never see too much of Paris in movies, so if the script is funny enough and the cast gels Sleight of Hand could be a quirky little winner.
Source: Coming Soon
The Writers Guild announced its screen nominees this morning with Best Original screenplay nods going to Scott Neustadter and Michael H. Weber for (500) Days of Summer, James Cameron for Avatar, Jon Lucas and Scott Moore for The Hangover, Mark Boal for The Hurt Locker and Joel and Ethan Coen for A Serious Man.
Contenders in the adapted screenplay category are Scott Cooper for Crazy Heart, based on the novel by Thomas Cobb; Nora Ephron for Julie & Julia, based on the books Julie & Julia by Julie Powell and My Life in France by Julia Child with Alex Prud’homme; Geoffrey Fletcher for Precious, Roberto Orci and Alex Kurtzman for Star Trek, based upon Star Trek, created by Gene Roddenberry, and Jason Reitman and Sheldon Turner for Up in the Air, based on the novel by Walter Kirn.
Documentary screenplay nominations are: Richard Trank for Against the Tide, Michael Moore for Capitalism: A Love Story, Mark Monroe for The Cove, Robert Stone for Earth Days, Chris Rock & Jeff Stilson and Lance Crouther and Chuck Sklar for Good Hair, and Bill Guttentag and Dan Sturman for Soundtrack for a Revolution.
The 2010 Writers Guild Awards will be held on Saturday, February 20, simultaneously at the Hyatt Regency Century Plaza Hotel in Los Angeles and the Hudson Theatre at the Millennium Broadway Hotel in New York City.
"The Sopranos' " stranglehold on awards shows no sign of weakening.
HBO's runaway mob series -- a hit at last month's Golden Globes -- has staked out four nominations for best direction in a TV series from the Directors Guild of America, making it the first drama series ever to walk away with four mentions in a single category for the same year. The DGA's TV categories were announced Monday.
The four "Sopranos" helmers tapped for the best director award are: Daniel Attias, for the episode titled "46 Long"; Henry J. Bronchtein, for "Nobody Know Anything"; David Chase, for the pilot episode; and Allen Coulter, for "College." The "Sopranos" foursome is up against Thomas Schlamme for his work on the pilot episode of NBC's "The West Wing."
The nominees for best director in a TV comedy series are: James Burrows, for an episode titled "Yours, Mine, Ours" of NBC's "Will & Grace"; Thomas Schlamme, for the episode "Small Town" from ABC's "Sports Night"; Pamela Fryman, for the "Frasier" episode "The Flight Before Christmas"; Katy Garretson, for the "Frasier" episode "Dr. Nora"; and Victoria Hochberg, for "The Man, The Myth, The Viagra" from HBO's racy "Sex and the City."
In the category of best director of a musical variety show, the DGA nominated Gerard Foley for CBS' "Late Show with David Letterman"; Dennie A. Gordon, for HBO's "Tracey Takes On ... End of the World"; Louis J. Horvitz, for the "71st Annual Academy Awards" on ABC; Rob Marshall for ABC's "Annie"; and Beth McCarthy Miller, for NBC's "Saturday Night Live 25th Anniversary."
The Directors Guild of America Awards will be announced March 11.
'MALCOLM' ON THE RISE: The fledgling Fox smash sitcom "Malcolm in the Middle" is set to continue its comic form, as the network has ordered up 16 new episodes.
The light comedy has been a surprise hit since its debut last month and has been holding its turf as the top-ranked show during its 8:30-9 p.m. Sunday time slot. Its renewal comes as an expected move given the overall unspectacular lineup plaguing Fox of late.
Three of the 16 new "Malcolm" episodes will run as extra installments during the May sweeps; the remaining 13 are slated for the show's 2000-2001 fall season.
MALLRATS OF THE WORLD UNITE: Looks like MTV has stumbled upon a cost-efficient, foolproof formula for grabbing the undivided attention of 18- to 24-year-olds: Put real-life folks in probable confrontational situations, tape them, and then broadcast the video for the consumption of viewers worldwide.
Such is the concept of MTV's latest exploit -- "Mall Confession," another quasi-"drama" series being developed for the teen-music empire. In the cinema-verité tradition of "The Real World" and "Road Rules," the new "Mall Confession" is said to involve a traveling confessional booth that will solicit personal testimonies and intimate secrets from teens in malls across America.
No word yet if MTV's upright Carson Daly will be on hand to offer absolution.
THE HUMANITY OF IT ALL: And now a moment of silence for "Shasta."
The low-rated hip-hop sitcom, formerly titled "Shasta McNasty," will depart UPN's prime-time lineup next month. Starting March 21, the network will place the new cop drama, "The Beat," in the 9-10 p.m. Tuesday time slot. The move also will bump UPN's "Dilbert" toon from the schedule. Both departing shows will see their last air dates on March 14.
Produced by Barry Levinson and Tom Fontana ("Homicide"), "The Beat" follows Derek Cecil and Mark Ruffal as two young policemen fighting crime and personal evils in Manhattan's Lower East Side.
WHERE'S ROSIE: Rosie O'Donnell, seemingly the hardest-working woman on TV, will have a guest spot on NBC's "Third Watch" on Feb. 21.