Source: The Hollywood Reporter
The Hollywood Reporter has just confirmed that British actress Haley Atwell (Brideshead Revisited, The Duchess) has won the coveted role of Peggy Carter in Joe Johnston's The First Avenger: Captain America.
In comics lore, Carter not only dated Captain America but was an agent helping the French Resistance. She later became the aunt of Sharon Carter, Captain America’s love in modern times.
Marvel conducted an extensive search for the part, with Emily Blunt and Keira Knightley among the names in the mix at one point. Atwell clinched the role after screen testing in London last week.
Chris Evans toplines the big-budget action film as Steve Rogers/Captain America, with Sebastian Stan as right-hand-man Bucky Barnes. Hugo Weaving is still in negotiations to portray arch-nemesis The Red Skull.
Lensing is set to begin this June for a July 22, 2011 release. Paramount Pictures will distribute the highly anticipated film.
After a lengthy period of casting hoopla for the title role in Joe Johnston's adaptation of Marvel Entertainments and Paramount Pictures The First Avenger: Captain America came to a close last week when news of Chris Evans accepted the offer, Variety reports that Sebastian Stan will portray Bucky Barnes, Steve Rogers' equally patriotic right hand man on the front lines of World War II.
For the uninformed, Bucky is a key character in the Captain America comic books. An orphan who discovers Cap's true identity and partners up with him to fight the Nazi's, he later comes back from supposed death as the Winter Soldier and even has a stint as the Star Spangled Super Soldier after the assassination of Steve Rogers in 2008.
Stan's deal, like most who are in business with Marvel, covers Johnston's film as well as potential Captain America sequels and other projects that inhabit the same cinematic universe, including The Avengers, which is slated for a May 2012 release.
For those who have been following this film's lengthy casting quest that took place over the first quarter of 2010, Stan's involvement should come as no surprise - he was one of many actors who had screen tested for the coveted title role. Lucky for him, he'll still get to gear up for what is sure to be a blockbuster of epic proportions.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.