Actor Jon Hamm has dismissed rumours he is in the running to take on the role of Doctor Strange in the in an upcoming Marvel film. Reports suggesting the Mad Men star is being considered to play the superhero recently surfaced, but Hamm insists he has not been approached about the part.
He tells Digitalspy.com, "The funny thing about the internet is you can have rumours go on about possible jobs, and possible things that you have no idea (about).
"Maybe, I don't know. It's funny when the internet knows more about you than you do, but maybe they've been talking to someone at Marvel. I certainly wasn't approached about it, but I do like Dr. Strange. He's a cool character."
Doctor Strange, which follows the fortunes of a former neurosurgeon who becomes the Sorcerer Supreme, will be directed by The Exorcism of Emily Rose filmmaker Scott Derrickson.
Actor Benedict Cumberbatch has dismissed rumours he has been cast as the titular role in the upcoming Marvel film Doctor Strange. Reports suggesting the Sherlock star is the top choice to play the latest page-to-screen superhero recently surfaced, but Cumberbatch has shot the speculation down, pointing to his busy schedule for turning down the role.
During an interview with MTV News at 2014 Comic-Con on Thursday (24Jul14), he admitted, "As far as I'm aware, even if that was the case, it couldn't work out because I'm doing a little play called Hamlet in London. So I don’t think I could even if that was in the cards. It sounds like a fantastic project. It's a shame if I miss out, but who knows?"
Cumberbatch is gearing up to make his return to the London stage this August (14), to play the title role in Shakespeare's play, which runs through October (15).
Doctor Strange, which tells the story of a former neurosurgeon who turns into the Sorcerer Supreme will be directed by The Exorcism of Emily Rose filmmaker Scott Derrickson.
Miramax via Everett Collection
Leonardo DiCaprio has recruited Hollywood screenwriter Dustin Lance Black to adapt a biography of pilot Charles Lindbergh for a TV mini-series.
DiCaprio serves as executive producer to the project, which will bring author A. Scott Berg's book Lindbergh to the small screen.
Black, who picked up an Oscar for his Milk screenplay, will adapt the book chronicling the life of the Lindbergh as he rose to fame and struggled with celebrity after flying the Spirit of St. Louis solo from New York to Paris in 1927.
Black shares his excitement for the new project in a statement which reads: "In Lindbergh’s story, we have the very first case of a worldwide media sensation. He was an American daredevil, innovator, record breaker and icon, but he was far from perfect."
"I'm eager to dig into the story of a man who stumbled in his fame, but showed a willingness to learn and attempt to rectify the unseen ramifications of what the world still considers his greatest successes... a man who urged the world to, 'Listen until the end'."
Australian actress Rose Byrne is set to join James Earl Jones for her Broadway debut in a revival of classic comedy You Can't Take It With You. The Bridesmaids star and Tony Award nominee Annaleigh Ashford will play sisters in the Moss Hart and George S. Kaufman play, about a family of eccentric New Yorkers who clash with another clan over a real estate dispute.
Star Wars icon Jones was previously announced as Grandpa Vanderhof, while Kristine Nielsen and Mark Linn-Baker were also unveiled as part of the cast.
You Can't Take It With You, directed by Scott Ellis, will open for previews in August (14) at the Longacre Theatre.
"Dying is easy; comedy is hard."
It might have been a DC Comics character who revived these final words of 19th century thespian Edmund Kean, but it is Marvel that seems to be taking the maxim to heart, perhaps having at last stumbled upon the dark side of comedy direction. Since the latter half of its first phase of movies, Marvel Studios has prioritized a comic hue over intensity or grit, hiring unlikely folk like Joe Johnston, Shane Black, the Russo Brothers, and James Gunn (whose upcoming Guardians of the Galaxy looks like a riot) to turn what might have been adrenal actioners into wry character pieces. But the latest filmmaker to take up with the company is of a different breed. Still wading through the muck of a post-Edgar Wright production of Ant-Man, unable to find a director of note to take the reins from the manic brain behind the Cornetto Trilogy, Marvel has announced a partnership with horror director Scott Derrickson for its upcoming Doctor Strange feature. Variety reports that the man behind Sinister, The Exorcism of Emily Rose, and sci-fi/thriller The Day the Earth Stood Still will handle the long gestating feature, a particular passion of super producer Kevin Feige.
Getty Images/Araya Diaz
It is interesting both that Derrickson arises as a stark contrast to the Marvel helmers of Phases 1 and 2 — genre subverters, sitcom folk, the Honey I Shrunk the Kids dude — as well as smack dab in the middle of the company's high profile Ant-Man mess. Having lost Wright over a disharmony in desired tone of the film, Marvel might only now be realizing just how ribald a comedic vision can be. The difficulty Marvel faces in replacing Wright — Adam McKay (director of various Will Ferrell movies) and Rawson Thurber (of Dodgeball and We're the Millers) have already turned down the prospect, per The Wrap — seems to be no unlikely contributor to its realization that the comedy game is a lot tougher than anticipated back in the inceptive Winter Soldier days.
So now we have Doctor Strange, a character that is far from exempt of the same brand of personality and farce that we saw in The Avengers, both Captain Americas, Thor 2, and (perhaps most of all) Iron Man 3. And we're worried. Not so much about Doctor Strange in particular — the property is steeped in supernatural elements worthy of a great horror director's touch (and Derrickson is, indeed, a great horror director) — but about the future of Marvel on the whole. The company has built such a strong, satisfying franchise thanks not simply to its devotion to its characters but principally to its devotion to joy, personality, humanity... all the inherent facets of comedy. A Marvel that is afraid to have fun — resultant of its dissolution with Edgar Wright (the "funnest" guy it has ever hired) and inability to find a director to peter down his wily voice — is not a Marvel of promise.
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The director of The Exorcism Of Emily Rose will take charge of upcoming Marvel film Doctor Strange. Following reports that Scott Derrickson was at the top of the shortlist to helm the film adaptation of the comic book, he took to Twitter.com on Tuesday (03Jun14) to confirm the news himself.
Posting a photo of him holding up a copy of a Doctor Strange comic, he wrote, "My next movie will be STRANGE."
Derrickson has previously focused on directing horror films, including Sinister, The Day the Earth Stood Still, and upcoming movie Deliver Us from Evil with former Hulk star Eric Bana.
Doctor Strange tells the story of a former neurosurgeon who turns into the Sorcerer Supreme, a protector of Earth against magical and mystical threats.
The film is one of Marvel's movies in Phrase 3 of the Cinematic Universe roll-out, along with Ant-Man and Captain America 3, slated for a release in 2015 and 2016, respectively.
"If I had to say who I thought the best singers were, I'd say first that I don't know there's a definitive answer, as, in my opinion it's subjective, and second that my focus is primarily rock singers. That said, I enjoy Freddie Mercury, Elvis Presley, Paul McCartney, Dan McCafferty, Janis Joplin, Michael Jackson, Elton John, Roger Daltrey, Don Henley, Jeff Lynne, Johnny Cash, Frank Sinatra, Jimmy Scott, Etta James, Fiona Apple, Chrissie Hynde, Stevie Wonder, James Brown and a ton of others... and would rather hear any of them anytime rather than me!" Axl Rose responds to a new online poll which placed his at the top of the world's greatest singers list.
It's the beginning of the summer, which means it's time for Hollywood's biggest and brightest stars to make their way to the French Riviera for the Cannes Film Festival, while the rest of us look on with jealousy. But just because you didn't snag a ticket to the most glamorous film event of the year, that doesn't mean you can't keep up with all of the big films premiering over the next two weeks. To help you stay on top of things, we're running down the biggest films that premiered in competition at the festival, including Michel Hazanavicius' gritty follow up to The Artist, a strange, metaphorical film from Jean-Luc Godard, and a possible Palme D'Or winner.
Two Days, One Night The latest film from Cannes fixtures Jean-Pierre and Luc Dardenne, Two Days, One Night stars Oscar-winner Marion Cotillard as a woman who has one weekend to convince her co-workers to give up their annual bonuses so that she can keep her job. Assisted by her husband, played by Fabrizio Rongione, she must find someone to help her convince her boss to reconsider, and to give her another chance despite the time she had to take off for depression. The film premiered to positive reviews, and it's considered one of the frontrunners for the Palme D'Or.
"Cotillard's best work since La Vie En Rose unquestionably ranks as her most credible turn, as the actress demonstrates a fragility that never veers into the realm of overstatement. Despite its basic trajectory, her actions are littered with surprising moments, and each new co-worker she encounters adds another layer of texture to this delicate portrait of personal and professional priorities clashing with awkward results." - Eric Kohn, Variety
"The Dardennes have made a brilliant social-realist drama with a real narrative tension which is something of a novelty in their work. [...] As for this solar-panel company, it appears to have a union in that a vote has been forced which the management will abide by, but it is a union which manages and regulates the decisions of those above them, and they are certainly not united enough to reject out of hand the insidious Bonus/Sandra choice. Yet movingly, solidarity is what the film is about; solidarity is what Sandra is trying to achieve as her emotional state comes to pieces, through a majority vote in a democratic election." - Peter Bradshaw, The Guardian
The SearchAfter winning a Best Picture Oscar for The Artist, director Michel Hazanavicius went in a different direction for his follow-up, The Search. Set during the Second Chechnyan War, an NGO worker (played by Berenice Bejo) cares for an orphan boy, Hadji, who refuses to speak or open up to her in any way. Hazanavicius describes his film, which is based on the 1948 movie with Montgomery Clift, as a "picture of dignity" and "a true canvas of the suffering of humanity.”
"It’s ambitious of Hazanavicius to cram so many of war’s horrors into one film, but it makes that film a slow-moving, bloated one. And once you’ve got used to the way he cuts between three different strands, it becomes apparent that not much is actually happening in any of them. There are shockingly credible depictions of firefights and bombings, and there are more shots of corpses than you’d see in a typical zombie movie. [...] For a war movie, The Search is curiously short of conflict." - Nicholas Barber, BBC Culture
"Coincidentally quite timely in the wake of recent Russian moves on its neighbors, the writer-director’s first full-on drama attempts to present a mosaic portrait of the suffering in a region little-known or understood by the world, hence the perceived lack of concern. The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time." - Todd McCarthy, The Hollywood Reporter
Joss Barratt/Sixteen Films
Jimmy's Hall Irish director Ken Loach's latest film tells the story of activist Jimmy Gralton, who was deported from the country during the Red Scare of the 1930s. Gralton was the founder of the Pearse-Connolly community hall, where people from the town gathered to learn about art, music, and literature. However, his actions upset the Catholic priests and town leaders, who opposed to his teachings and practices.
"Ken Loach has taken a despicable episode of modern Irish history — the 1933 deportation without trial of one of its own citizens, James Gralton — and made a surprisingly lovely, heartfelt film from it with Jimmy’s Hall. A thematic sequel of sorts to his Cannes-winning The Wind That Shakes the Barley, Loach’s 24th fiction feature finds the activist-minded director trafficking in familiar themes of individual liberties, institutional oppression and the power of collective organizing, here infused with a gentle romanticism that buoys the film without cheapening the gravity of its subject." - Scott Foundas, Variety
"Loach has made a sumptuous period piece, beautifully photographed by Robbie Ryan, using many local people in the crowd scenes, wearing wonderful tweeds, slipovers and wrap dresses, riding on antique bikes and in donkey-drawn carts through the green hills and boggy valleys, dancing merrily. It all looks great, a dream of Ireland before the blissful bungalows. The characterful faces are a treat too, above all that of Jimmy’s aged mum (Aileen Henry, new to acting)." - David Sexton, London Evening Standard
Goodbye To Language 3D Legendary director Jean-Luc Godard's newest project takes a relatively straightforward story - a couple reflect on their relationship, life and the world around them - and through the use of voice-over, imagery and non-linear storylines, turns it into a confusing, entrancing "film essay." Starring Heloise Godet and Kamel Abdeli, the film has been described as everything from "hilarious" to "frustrating."
"Goodbye to Language" is in 3D, and a very challenging 3D at that. The film is structured in numbered sections that repeat themselves with different or overlapping content, and there are brain-scrambling superimpositions, texts, clips from old films, solarized images, and footage shot with low-res cameras. There’s even a costume-drama sequence depicting Mary Shelley and Lord Byron. The sense of experimentation is extravagant, and the 3D effect achieves such notable depth of field that this little movie puts mainstream mega-bucks productions like "The Great Gatsby" to shame." - Barbara Scharres, Roger Ebert.com
"To some degree, the overwhelming montage taps into the over-saturation of today's media climate, a point that Godard makes explicit several times: the recurring shot of a flat-screen television broadcasting static speaks for itself, as does a more comical bit in which two strangers continually tap away on their iPhones and exchange them, repeating the action. [...] It doesn't take a lot of analysis to determine Godard's intentions: He portrays the information age as the dying breath of consciousness before intellectual thought becomes homogenized by digital advancements." - Eric Kohn, IndieWire
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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Baz Luhrmann's The Great Gatsby swept the board at the Australian Academy of Cinema and Television Arts (AACTA) Awards on Thursday (30Jan14), winning 13 top prizes. The big screen adaptation of F. Scott Fitzgerald's classic novel ruled the ceremony in Sydney, taking the awards for Best Film, Best Director for Luhrmann, and Best Lead Actor for Leonardo DiCaprio, who played the enigmatic Gatsby.
Joel Edgerton took home the Best Supporting Actor prize, while Elizabeth Debicki saw off competition from her Gatsby co-star Isla Fisher to land the Best Supporting Actress trophy.
The only nomination the film failed to convert to a win was for Best Lead Actress - Gatsby's Carey Mulligan lost out to Rose Byrne, who was honoured for The Turning.
In the TV categories, Elisabeth Moss' drama Top of the Lake was named Best Mini-series.
Silver Linings Playbook star Jacki Weaver was presented with the Academy's Raymond Longford Award in honour of her career achievements.