FOB Heads to 90210: Fall Out Boy – who recently announced a comeback album/tour after a three year break – is set to perform on 90210 for an episode slated for April 29. The performance will be a part of a big concert event on the CW drama. The band will perform their new single, "My Songs Know What You Did In the Dark (Light Em Up)," off their sixth studio album, Save Rock and Roll, which hits stores worldwide on May 6, 2013. [E!]
Pilot Castings Galore: The CW cast Arrow's Stephen Amell's cousin Robbie Amell as the lead in The Tomorrow People, the drama pilot from Arrow boss Greg Berlanti and The Vampire Diaries EP Julie Plec based on the 1970s UK series. [TVLine] Nicole Beharie landed the lead in Sleepy Hollow, Fox's drama pilot. The modern-day supernatural thriller is based on The Legend of Sleepy Hollow. Daniel Stern has been cast in NBC's single-camera comedy pilot Girlfriend In a Coma as the father of the titular woman who wakes up from a coma to discover she has a 17-year-old daughter (Miranda Cosgrove). [Deadline] Joey McIntyre and Jessica Chaffin have been cast in CBS/Sony TV single-camera comedy pilot The McCarthys. Directed by Fred Savage, the comedy revolves around an Irish-Catholic, sports-crazed Boston clan and the gay son whose greatest sin is not his sexuality but his desire to spend less time with his family. The CW is bringing back another member from the original cast of The Selection. Australian actress Peta Sergeant has been added to the retooled pilot, reprising her role as Gaia, a rebel leader who is working to overthrow the monarchy. Sean Patrick Thomas is also reprising his role. Set 300 years in the future, The Selection is an epic romance centering on a working class young woman chosen by lottery to participate in a competition with 25 other women for the royal prince’s hand to become the nation’s next queen. [Deadline] Veronica Mars alum Ryan Hansen has signed on to CBS’ Bad Teacher, the single-camera comedy based on the 2011 Cameron Diaz movie about a sexy, foul-mouthed divorcee who becomes a teacher to find her next husband. Hansen will play Joel, the shorts-sporting athletic coach at Nixon Middle School. [TVLine] Mira Sorvino landed a starring role opposite Jim Gaffigan in his CBS comedy pilot. Written by Gaffigan and Peter Tolan, the project centers on Jim (Gaffigan) a guy who lives with his wife Jeannie (Sorvino) and five kids in a 2-bedroom New York apartment. Sorvino’s Jeannie is a super-wife and super-mom. [Deadline]
RELATED: TV Tidbits: Tricia Helfer Gets 'Killer' Role, 'OC' Alum Heads to 'Nashville'
Dwight Gets a Nemesis: Sopranos alum Michael Imperioli has been cast as a nemesis for The Office’s Dwight. He will play Sensei Billy, the karate instructor who's about ready to commit hara-kiri over Dwight’s inimitable "presence" in his dojo. Imperioli’s episode is slated to air in the spring. [TVLine]
Entourage Lady Heads to The Newsroom: Entourage’s Constance Zimmer has just been cast to recur on Aaron Sorkin's drama The Newsroom. On the upcoming Season 2, which reflects on the recent presidential campaign, Zimmer will play Taylor, a press spokesperson for the Mitt Romney campaign. [Deadline]
VH1 Picks Up 3 New Shows, Renews 1: VH1 has ordered three news shows for spring 2013: The Gossip Game, which follows ambitious women covering the urban entertainment beat; I’m Married To A…, a documentary series that examines some unusual couples in love; and 100 Sexiest Artists, a five-part countdown special. The network has also has picked up a third season of T.I. And Tiny: The Family Hustle, featuring rapper T.I. "Tip" Harris, his wife, entrepreneur and singer Tameka "Tiny" Harris, and their six children. [Deadline]
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Aruna Gilbert/Wenn]
From Our Partners:25 Forgotten Celebrity Crushes of the ‘90s (Vh1)30 Stars Who Have Gone Topless (Celebuzz)
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
What is an ensemble cast? How many actors constitute one? There aren’t any guidelines that determine what qualifies as a true ensemble, but if anyone can offer some insight it would be Woody Allen, who has been getting great groups of actors together for decades now. From Manhattan and Hannah and Her Sisters to Melinda and Melinda and You Will Meet A Tall Dark Stranger, he’s always had a keen eye for casting and the stars continue to line up to work with the iconic auteur.
With the home entertainment release of his latest, fore mentioned film at hand, I thought it’d be apt to honor some of the coolest ensemble casts ever assembled. Keep in mind: this isn’t a list of the best films featuring an ensemble cast. It’s about the best rosters of talent roped in for a single production.
This under-appreciated Tony Scott action spectacle was polarizing to audiences because of its ultra-violent approach, particularly toward women. But Patricia Arquette proved herself to be one tough chick, able to take a beating a give it back in equal measure. Together with her beau-to-be Christian Slater, she embarks on an odyssey to free herself from pimp Gary Oldman and, later, his criminal overlord Christopher Walken, all while L.A. detectives Tom Sizemore and Chris Penn are hot on the trail of drugs and blood. With bonus appearances by Dennis Hopper, Val Kilmer, Brad Pitt, James Gandolfini, Michael Rapaport and more, True Romance is a twisted web of cameos and special roles filled by some of the coolest actors of the time.
The Thin Red Line
WWII films have a long history of stellar casts comprised of legions of screen legends. This 1998 genre entry continues that grand tradition with enough A-listers to make five separate movies. George Clooney, Sean Penn, Nick Nolte, Adrien Brody, Miranda Otto, John Cusack, John C. Reilly, Woody Harrelson, John Travolta, Nick Stahl, Elias Koteas and Jim Caviezel all appear in the prestigious picture at one point or another – a logistic achievement in and of itself.
This sweet rom-com gets me every time. Not just because of the cheerful dialogue and warm and fuzzy relationships, but also because of the charming cast of characters played by Hugh Grant, Emma Thompson, Alan Rickman, Laura Linney, Liam Neeson, Keira Knightley, Billy Bob Thornton, Martin Freeman, January Jones, Elisha Cuthbert, Rodrigo Santoro, Shannon Elizabeth, Andrew Lincoln, Denise Richards and the adorable Thomas Sangster. Together, there are around eight revolving, relatable romances in the film, but we wouldn’t have cared about any of them if not for the lovable cast.
In telling this sprawling tale about the intersecting lives of a handful of Angelenos, director Paul Haggis needed an international cast to represent the diverse population of the City of Angels. He got it with Don Cheadle, Sandra Bullock, Jennifer Esposito, Shaun Toub, Daniel Dae Kim, Matt Dillon, Loretta Devine, Brendan Fraser, Terrence Howard, Keith David, Ryan Phillippe, Michael Pena, Tony Danza and Thandie Newton. Though Dillon was the only actor recognized by the Academy at awards time, the triumph of the film belongs to its eclectic cast.
The Magnificent Seven
Akira Kurasawa’s epic Seven Samurai was practically begging for a Hollywood adaptation when it was released in 1954. By 1960, director John Sturges had made it a reality with a pack of screen idols including the dashing Yul Brynner, the inimitable Eli Wallach, the ultra-cool Steve McQueen, the bad-ass Charles Bronson, the slick Robert Vaughn, the cool James Coburn and the “newbie” Horst Buchholz. The septuplet of stars had a great deal of chemistry that made their on-screen antics all the more enjoyable to watch, and fifty years later their work on this classic film has become the stuff of movie mythology.
The star power packed into these popular motion pictures is astonishing. With Hollywood heavyweights like George Clooney, Matt Damon and Brad Pitt leading an army of talent - young and old - including Don Cheadle, Scott Caan, Bernie Mac, Andy Garcia, Carl Reiner, Eddie Jemison, Elliot Gould, Casey Affleck and Julia Roberts, there's no shortage of charisma throughout the film. You may be wondering why I chose Oceans Twelve over the 2001 remake of the 1960 original; it's because this hit heist pic also features the likes of Catherine Zeta-Jones, Albert Finney, Robbie Coltrane, Jared Harris, Vincent Cassel and Bruce Willis in appearances big and small. Not too shabby for a sequel...
Forget the awful 2008 remake. I implore you to give the original a chance. It’s a virtual who’s who of top Hollywood talent of the era. The premise is simple by today’s standards, but in 1939 its empowering themes were ahead of its time. Some of best actresses to ever grace the silver screen, including Norma Shearer, Joan Crawford, Joan Fontaine, Rosalind Russell, Paulette Goddard, Lucile Watson and Marjorie Main delivered the message. All of the above are Oscar winners or nominees, making this cast of female performers one of the most celebrated of all time.
I’m not sure if Francis Ford Coppola knew what he was onto when he picked his rag-tag group of actors for this kick-ass 1983 film. After all, most of the actors were relatively unknown and untested at the time (save for C. Thomas Howell, who had just starred in Steven Spielberg's E.T.), but that quickly changed in the years following its release. Patrick Swayze, Emilio Estevez, Matt Dillon, Ralph Macchio, Rob Lowe, Diane Lane and Tom Cruise all appeared in the acclaimed teen drama, leaving behind one hell of a legacy.
Diamond thief Franky Four Fingers (Benicio Del Toro) must deliver a huge rock to his boss Avi (Dennis Farina) in New York via London. Franky's delivery is botched of course when he's asked to place a bet on an illegal boxing match in London by Boris the Blade (Rade Serbedzija). To add to the mayhem enter local jewelers Vinny (Robbie Gee) and Sol (Lennie James) and their plump getaway driver Tyrone (Ade); novice unlicensed boxing promoters Turkish (Jason Statham) and Tommy (Stephen Graham); ruthless boxing promoter and pig farm owner Brick Top (Alan Ford); an unreliable and unintelligible gypsy boxer (Brad Pitt); a squeaking dog (really) and other uniquely Ritchie characters.
This year is shaping up to be another great year for Del Toro. After his mesmerizing turn in Traffic that is certain to land him his first Oscar nomination he commands attention when he's onscreen in Snatch. Unfortunately he's only onscreen for the first third of the film. Nonetheless there isn't a weak link in the cast. Particular standouts include a much tattooed and ripped Pitt who speaks in hilarious gibberish the dimwitted Graham who provides comic relief and old fart Ford one mean son of a bitch who creates tension whenever he's around.
Ritchie strives to be an original talent and although comparisons of Snatch to Pulp Fiction might be inevitable he certainly has created his own sense of directorial style. Snatch mixes it up with lightning-fast editing (Avi has his passport stamped his drink polished off and his flight from New York to London completed in a matter of seconds) great music and plot twists and turns (the boxing matches the pig farm the gypsy camp car chases the pawn shop … how do they all intersect?). And the scene of the final boxing match with Pitt is ahem a knockout.