Watchmen star Patrick Wilson has dealt the producers of new Marvel film Ant-Man another blow by exiting the project. He joins Matt Gerard and Kevin Weisman as part of an exodus that began when director Edgar Wright left in May (14) due to creative differences.
Peyton Reed was hired to replace Wright last month (Jun14).
Sources tell The Hollywood Reporter scheduling conflicts led to Wilson's departure.
Paul Rudd is attached to star in the superhero project, which will also feature Michael Douglas and Evangeline Lilly.
David Beckham and his sons Romeo and Cruz were covered in golden slime at the inaugural Nickelodeon Kids' Choice Sports Awards in Los Angeles on Thursday night (17Jul14). The retired soccer star was the recipient of the first Legend Award at the prizegiving, and after a video montage of his greatest goals and finest moments, Beckham's youngest boys presented their dad with his award.
Seconds later, golden goo was blasted up from the stage floor, making father and sons look like living Oscar statues.
The show, which honoured U.S. sports stars such as Russell Wilson, Carmelo Anthony and Gabby Douglas, featured performances by Florida Georgia Line and Pharrell Williams.
Psychic to the stars Kenny Kingston has died at the age of 87 after a long battle with a cardiovascular disease. The beloved seer, who boasted Marilyn Monroe, Greta Garbo, Lucille Ball, the Duke and Duchess of Windsor and John Wayne among his celebrity clients, passed away on Monday (30Jun14).
He was the first psychic to appear on primetime television in the U.S., on programmes such as The Flip Wilson Show, and he was a regular on variety hits hosted by Mike Douglas, Merv Griffin and Steve Allen.
Kingston went on to front his own online radio show, which ran until 2011, and he also found success with the Kenny Kingston Psychic Hotline, which fans looking for career and romantic advice would seek out.
He also penned five books on the spiritual world and was often approached by media outlets for insights from dead stars, like Monroe, who became one of his spirit companions from beyond the grave.
Kingston is survived by his partner of 35 years, Valerie Porter.
After teetering on the cusp of creative disaster, Marvel has finally put its Ant-Man film back on track, but the project - now on its second director - still looks like a bit of a question mark for the blockbuster studio. Luckily we might have some new answers flowing through the rumor mill. According to some new rumors from JoBlo, Paul Rudd's Scott Lang character will be a petty thief and single dad that steals the Ant-Man technology from Hank Pym, played by Michael Douglas. There are also whispers of the identity of the new villain, as the site also alleges that comic book character Darren Cross will be the film's central antagonist. In the comics, Cross is the founder of Cross Technological Enterprises, a large bio-tech firm that rivals other Marvel universe corporate giants like Stark Industries and Oscorp. Cross will reportedly have a suit similar to Ant-Man's but more militaristic, and might be played by Corey Stoll or Patrick Wilson. It's important to note that Cross' character in the comics takes on a Hulk-like appearance, but the film might not head in that direction, given the current rumors. Cross' cousin, William Cross, is also a villain named Crossfire in the comics.
While these are all rumors, and should be taken with the appropriately sized grain of salt, we wonder if Ant-Man would benefit from heading in a different direction villain-wise. Darren Cross is only the latest in a long parade of evil businessmen wreaking havoc in the Marvel universe. There's been Jeff Bridges' Obadiah Stane in the first Iron Man, Sam Rockwell's sniveling Justin Hammer in Iron Man 2, and Guy Pierce's Aldrich Killian in Iron Man 3. But even outside of Disney's output, comic book films are completely stuffed with corporate boogeymen. There's the enterprising Bolivar Trask in this year's X-Men: Days of Future Past, and yet another rendition of Lex Luthor via Jesse Eisenberg in the upcoming Batman v. Superman: Dawn of Justice.
The sinister businessman has remained a well used trope in the sprawling Marvel universe, and while it makes sense that Tony Stark would frequently bump heads with other enterprising industrialists, hearing that Ant-Man might also be clashing with big immoral businessmen has us wishing that the film would look for some other antagonists. Ant-Man, whose chief ability is to grow very small and still retain his normal strength, is comic book absurdity at its very finest, and the fact that he can communicate telepathically with ants makes it even more over the top. It feels like the powers that be at Marvel should have something zanier up their sleeves than yet another cutthroat capitalist in a three-piece suit that worships the American dollar. A weird hero should have even weirder rogues to do battle with.
With all that said, there might be more to Darren Cross than meets the eye. Maybe the character does turn into a giant pink Hulk in the film's climax? We'll just have to wait and see.
Matthew McConaughey is suddenly a role model. While the McConaissance exploded into full view at the Academy Awards with the actor taking home the Best Actor Oscar for Dallas Buyers Club (and providing a gift to late night comedians everywhere with his rambling speech), the truth is that was a clear build-up to that moment.
Starting with 2011's The Lincoln Lawyer, McConaughey crafted an impressive run of characters, going from the psycho cop of Killer Joe to the fugitive in Mud and then onto the cocksure trader in The Wolf of Wall Street. Buyers Club’s AIDS-stricken Ron Woodruff was just the icing on the proverbial cake.
Just before that run, however, McConaughey had fallen into a rut of starring in lightweight fare like Failure to Launch and Ghosts of Girlfriends Past, after showing promise early in his career in films like Lone Star and Armistad. The Texas-born actor never went away for very long, yet he managed to reinvent his image by choosing roles that offered a challenge… while still mixing in projects like Magic Mike to pay the bills. Loopy as he may be, there's a method to the madness.
That's a lesson that some of McConaughey's contemporaries should take to heart, even ones that are cashing nice paychecks for their work. Here's a look at some of his peers (in pairs) that could do with a little bit of that McConaissance magic.
Owen Wilson and Vince Vaughn
The Internship and Wedding Crashers costars both have a tendency to cash a check for any role that's thrown their way. There's nothing wrong with that — Robert De Niro and Meryl Streep aren't always choosy either — but there comes a time when an actor needs to commit to doing some strong work the way that McConaughey did. Wilson, thanks to his association with Wes Anderson, always has the opportunity to put a run together. It's even possible that he's already started after earning an Oscar nomination for Woody Allen's Midnight in Paris. Just like with his work with Anderson, however, the performance was credited more to Allen than Wilson. He needs to step away from the persona that audiences have come to expect from him and find a small movie to dazzle in.
Vaughn came through the indie ranks early on same as Wilson, so we know that he's capable. With his slightly dark manic streak, he could shine in supporting roles as McConaughey did in The Wolf of Wall Street. It also might not be a bad idea to get his buddy Jon Favreau to direct him in something hand-picked to let him flex some different acting muscles.
Adam Sandler and Will Ferrell
Much like Sandler and Ferrell's sophomoric comedies, McConaughey's various lukewarm romantic comedies weren't exactly high art, and both funnymen have shown something more than their usual silly humor on occasion: for Sandler, and Punch Drunk Love, Reign Over Me, and Ferrell, Stranger Than Fiction, and Melinda and Melinda. Though the SNL keep primarily to broad comedy, both are smart and capable. Even though there are millions to be made by sticking to what audiences want, there are legacies to be had if they can find time to jump on roles that let them be funny in a more natural way, like McConaughey's dying schemer in Dallas Buyers Club. Being at turns oblivious and self-loathing is what comedians do on a regular basis for laughs. Letting the audience see the actual pathos that it comes from isn't the most comfortable thing in the world, but start doing it consistently for a while and they start giving you awards.
Matt Damon and Ben Affleck
You might argue that Damon gets plenty of kudos for his acting and Affleck has turned into a respected director and producer with an Oscar to show for it. They don't need a career renaissance. In some respect, that's true. The Good Will Hunting wunderkinds have become Hollywood elite. That said, Affleck's track record as an actor still has as many misses as hits on it (Gigli, anyone?) and Damon falls back on familiar ground more often than not. How often do you watch either of their performances and think, "Man, he's really showing me something new!"? The beauty of what McConaughey has done is that in challenging himself, he challenged our expectations for him. Damon and Affleck could both use some of that. Taking the role of Liberace's lover, opposite Michael Douglas, in HBO's Behind the Candelabra was a nice departure for Damon, but he needs to put himself to the test on a bigger stage and with more at stake. Just as McConaughey found another type of character from his native Texas to play, it might be time for Damon to find a character from Boston that can't be described as "street tough."
As for McConaughey's Dazed and Confused costar, Affleck really just needs to put himself in the hands of directors other than himself that are interested in making him work, the way that McConaughey did with William Friedkin and Martin Scorsese. He doesn't have to lose 47 lbs. for a part like McConaughey, but he needs to lose the self-awareness and fully immerse himself in a character. How great would it be to see Affleck go "all in" on a character like McConaughey did in Friedkin's Killer Joe? He is proven he's a good director… it would be nice to see him live up to the same standard as an actor.
We all know, thanks to that acceptance speech, that McConaughey looks up to his future self. His peers would do well to use the Oscar-winner's past to come up with a whole new future of their own.
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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The Watchmen star Patrick Wilson has signed up for another superhero movie after joining the cast of Marvel's Ant-Man, reports Deadline.com. Paul Rudd, Michael Douglas and Evangeline Lilly are already attached to the film, which will be directed by Edgar Wright.
Critically-acclaimed movies Gravity and 12 Years A Slave have tied to share the top prize at the 2014 Producers Guild Awards. The two films are dominating this year's (14) awards season, and it was a dead heat at the PGA prizegiving in Beverly Hills, California on Sunday night (19Jan14). The movies landed the ceremony's first ever tie as they were both awarded the night's top prize, the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures.
Hollywood superstar Brad Pitt was among the producers of 12 Years A Slave and he joked about the tie during his speech, telling the audience, "Why they let me lead (the speeches), I don't know. I got my vote in at the last minute. I voted for Gravity."
Other big winners at the ceremony, held at the Beverly Hilton Hotel, included hit TV show Breaking Bad, which landed the Norman Felton Award for Outstanding Producer of Episodic Television, Drama, and Michael Douglas' TV movie Behind the Candelabra (the David L. Wolper Award for Outstanding Producer of Long-Form Television).
Disney movie Frozen took the award for Outstanding Producer of Animated Theatrical Motion Pictures, and TV comedy Modern Family landed the Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy.
Special awards went to the team behind the James Bond movie franchise, Michael G. Wilson and Barbara Broccoli, who received the David O. Selznick Achievement Award in Theatrical Motion Pictures, and TV sitcom mogul Chuck Lorre, creator of Two and a Half Men and The Big Bang Theory, who took home the Norman Lear Achievement Award in Television.
Despicable Me producer Chris Meledandri landed the Visionary Award and the Stanley Kramer Award, for films which highlight social issues, went to Fruitvale Station.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Jake Gyllenhaal, Orlando Bloom and Kerry Washington were among the stars who turned out to honour the casting directors behind projects such as Argo and Homeland at the annual Artios Awards on Monday (18Nov13). The awards were handed out at two ceremonies, held in New York City and Los Angeles, and the honourees at the west coast event included the teams behind Oscar-winning dramas Silver Linings Playbook and Argo, as well as TV hits Homeland and Girls, House of Cards and Michael Douglas' TV movie Behind the Candelabra.
During the show, hosted by actress Aisha Tyler, Kerry Washington presented the Hoyt Bowers Award to casting director Linda Lowy, who cast her in hit TV show Scandal, while Grey's Anatomy stars Sandra Oh and Chandra Wilson feted their casting boss in a video tribute.
Jake Gyllenhaal was also among the presenters and he gave a speech paying tribute to the work done by casting directors throughout the industry, saying, "On behalf of me, my sister (actress Maggie Gyllenhaal), my brother-in-law, who's an actor (Peter Sarsgaard), my mother and my father. We could not have done it without you. It's actually really wonderful to see casting directors get up here and be more nervous than I've ever seen them. Now you know how we (actors) feel!"
At the ceremony in New York, actor Michael J. Fox was presented with the New York Apple Award, which honours individuals who make a commitment to the New York entertainment industry through partnerships with casting directors.