Actor Levar Burton is rounding up his former STAR TREK co-stars for live readings in support of a Kickstarter.com campaign to bring back his popular U.S. children's show Reading Rainbow. Last month (May14), The Roots actor launched a crowdfunding drive to revive the educational programme on the Internet, quickly reaching his initial goal of $1 million (£625,000) in less than 24 hours.
Burton now aims to raise $5 million (£2.95 million), and in a bid to entice more fans to back the project, he has set a special reward for anyone who donates $1,200 (£708) or more.
A series of four Star Trek reading events will be held in Los Angeles, including one featuring the male castmates Jonathan Frakes, Brent Spiner, Michael Dorn, and Robert Picardo, and one with the franchise's female stars, Kate Mulgrew, Marina Sirtis, Gates McFadden, and Jeri Ryan. Former captains Sir Patrick Stewart and William Shatner will also take part.
Burton has raised $3.7 million (£2.12 million) as of Thursday (12Jun14), with 19 days left in the campaign.
Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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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.
Looks like people were ready for more Middle-earth action.
As if anyone is truly surprised, the second installment of the The Lord of the Rings trilogy dominated the box office this weekend with its continuing tale about some good-hearted Hobbits who want to destroy an evil Ring, while a bunch of nasty Middle-earth denizens try and stop them.
Over the three-day weekend, The Lord of the Rings: The Two Towers took in a whopping $61.5 million*, towering over the number two spot captured by the new Sandra Bullock/Hugh Grant film Two Weeks Notice. The romantic comedy only managed to take in about a quarter of The Two Towers' haul at $14.4 million.
Other openers this week included another epic saga, Gangs of New York, which came in fourth with $9.1 million and the animated The Wild Thornberrys Movie, which opened strong at number six with a respectable $6.1 million.
THE TOP TEN
New Line Cinema's PG-13 rated The Lord of the Rings: The Two Towers opened with an amazing three-day weekend total, ESTIMATED at $61.5 million at 3,6 22 theaters ($16, 980 per theater) and also taking in almost half of the weekend's box office (46.4 percent). Since its Wednesday, Dec. 18, opening, the film has brought in an ESTIMATED $101.5 million in total over five days.
Directed by Peter Jackson, it stars Viggo Mortensen, Ian McKellen, Elijah Wood, Sean Astin, Orlando Bloom and Liv Tyler.
The middle part to J.R.R. Tolkien's literary fantasy epic clearly surpassed its predecessor by nearly 25 percent. On the same weekend last year, The Lord of the Rings: The Fellowship of the Ring, which also opened on the Wednesday before Christmas, took in $47.2 million in three days. The film went on to pull in $94 million after its first five days, eventually grossing $313 million in North America and about $550 million overseas, according to Variety.
The Two Towers also posted the second highest domestic Wednesday opening ever, with a healthy $26 million, behind 1999's Star Wars: Episode I - The Phantom Menace at $28.5 million, according to New Line. Fellowship of the Ring was the previous holder of the December one-day record, opening with $18.2 million.
"We are pleased and astounded," New Line distribution president David Tuckerman told Variety of The Two Towers performance.
Warner Bros.' PG-13 rated romantic comedy Two Weeks Notice opened in second place with an ESTIMATED $14.4 million at 2,755 theaters ($5, 229 per theater).
Directed by Marc Lawrence, it stars Sandra Bullock and Hugh Grant.
This romantic comedy about a corporate lawyer's love/hate relationship with her boss is Bullock's second best opening in the last five films she has made. Her best opening was this summer's Divine Secrets of the Ya-Ya Sisterhood, which opened with a strong $16.1 million and went on to gross $69.5 million domestically. Bullock's top film Miss Congeniality opened to the smaller tune of $10 million in December 2000 but grossed $106.8 million domestically, proving the comedic actress has the star power to open films strong--and keep them that way.
The third spot belonged to Sony Pictures' Maid in Manhattan, this season's other romantic comedy, which opened last weekend at number one. Falling 41 percent, it still managed to rake in an ESTIMATED $11 million at 2,866 theaters (+28 theaters; $3,838 per theater). It's cume to date is approximately $35.5 million.
Directed by Wayne Wang, it stars Jennifer Lopez and Ralph Fiennes.
Guess a historical period piece about 1860s New York can't beat Hobbits or romance. Miramax's highly anticipated R-rated Gangs of New York opened with a less-than-exciting ESTIMATED $9.1 million at 1,504 theaters ($6,064 per theater). Still, with the film's recent slate of Golden Globe nominations, the momentum should give Gangs a fair amount of shelf life.
Directed by Martin Scorsese, it stars Leonardo DiCaprio, Daniel Day-Lewis and Cameron Diaz.
20th Century Fox's drum showstopper PG-13 rated Drumline continued to boom at number five with an ESTIMATED $7.6 million (-40%) at 1,837 theaters ($4,137 per theater). The little-film-that-could about an underdog high school band opened at No. 3 last week and has so far gained a respectable $22.8 million.
Directed by Charles Stone, it stars Nick Cannon, Zoe Saldana and Orlando Jones.
Another new flick on the block this weekend was Paramount Pictures' PG-rated The Wild Thornberrys Movie, which opened in sixth place with an ESTIMATED $6.1 million at 3,012 theaters ($2,025 per theater).
Based on the hit Nickelodeon TV show, the animated film about a family of wildlife documentary filmmakers, is directed by Cathy Malkasian and Jeff McGrath and includes the vocal talents of Lacey Chabert, Tim Curry, Rupert Everett, Lynn Redgrave and Marisa Tomei.
Chortling in at number seven is Disney's PG-13 rated The Hot Chick, taking in an ESTIMATED $4.5 million at 2,217 theaters ($2,030 per theater). Dropping 39 percent, the body-switching comedy bowed last week in fifth place and has made approximately $13.7 million thus far.
Directed by Tom Brady, it stars Rob Schneider, Anna Faris and Rachel McAdams.
Warner Bros. PG-rated Harry Potter and the Chamber of Secrets dropped a couple of notches to No. 8 with an ESTIMATED $4.45 million (-30%) at 2,750 theaters (-275 theaters; $1,620 per theater). The second movie about our fab boy wizard and his adventures at Hogwarts has managed to eke out approximately $228.9 million in its six weeks at the box office. Not too shabby.
Directed by Chris Columbus, the film stars Daniel Radcliffe, Emma Watson, Rupert Grint, Kenneth Branagh, Jason Isaacs, Richard Harris, Robbie Coltrane and Maggie Smith.
The once-popular franchise seems to have lost its steam. Paramount Pictures PG-13 rated Star Trek: Nemesis continued its disappointing run, slipping from its bow at second place last weekend to ninth with an ESTIMATED $4.4 million (-76%) at 2,711 theaters ($1,623 per theater). Its cume is approximately $26.4 million.
Directed by Stuart Baird, it stars Patrick Stewart, Brent Spiner, Tom Hardy, Ron Perlman, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden and Marina Sirtis.
Tenth place belongs to Bond, James Bond. MGM's megahit, PG-13 rated Die Another Day, continued reaping the rewards with an ESTIMATED $4 million, dropping 49 percent at 2,075 theaters (-1,302 theaters; $1,928 per theater). One of the highest-grossing Bond films ever, its taken in approximately $138.4 million so far.
Directed by Lee Tamahori, it stars Pierce Brosnan, Halle Berry, Rosamund Pike, Toby Stephens and Rick Yune.
Three of the higher-profile independent films of the season opened in limited theaters this weekend, including Denzel Washington's Antwone Fisher, Spike Lee's 25th Hour and Narc starring Ray Liotta.
Fox Searchlight's PG-13 rated Antwone Fisher opened Thursday in 15 theaters at an ESTIMATED $217,500 ($14,500 per theater). The film, about a man struggles to come to terms with his abusive childhood, is directed by the Oscar-winning Washington, who also stars along with newcomer Derek Luke. Fisher will open wide Jan. 1.
Buena Vista's R-rated 25th Hour also opened Thursday in 5 theaters and took in an ESTIMATED $109,811 ($21, 962 per theater). The intense drama focuses on a drug dealer's last 24 hours before he goes to prison and how he chooses to spend it. Directed by Spike Lee, it stars Edward Norton, Philip Seymour Hoffman, Barry Pepper, Rosario Dawson and Brian Cox. The film opens wide Jan. 10.
Paramount's Narc opened in 6 theaters Friday, making an ESTIMATED $66,000 ($11,000 per theater). The gritty drama stars Ray Liotta and Jason Patric as two undercover narcotics detectives after a cop killer.
The top 12 films this weekend earned $132 million, up 46.4 percent from last weekend.
This time last year, New Line's The Lord of the Rings: The Fellowship of the Ring was number one at the box office with $47.2 million, while Warner Bros. Ocean's Eleven came in second with $14.7 million and Jimmy Neutron: Boy Genius third with $13.8 million.
*All estimates as reported by Exhibitor Relations, Inc.