American actor Lloyd Hamilton was half of the successful "Bud and Ham," two comedians who made close to 200 short silent comedies at Kalem. Hamilton started out as a vaudevillian and musical comedy pe...
Elton John is hoping to bring Andrew Lloyd Webber and Tim Rice's musical Joseph And The Amazing Technicolor Dreamcoat to the big screen after signing up to help adapt the project through his production company, Rocket Pictures. The Bennie and the Jets hitmaker has teamed up with Webber's The Really Useful Group to develop the film into an animated movie that his husband, David Furnish, will co-produce with Steve Hamilton Shaw.
Shaw says, "Joseph and the Amazing Technicolor Dreamcoat is one of the most popular musical experiences ever conceived. We are excited about the huge potential of a contemporary animated version, and we're thrilled to bring this to the big screen in partnership with Andrew Lloyd Webber and Tim Rice."
Joseph and the Amazing Technicolor Dreamcoat was originally created in 1968.
Webber says, "Joseph and the Amazing Technicolor Dreamcoat started in a school and was the first step on the path that led to my musicals with Tim Rice. It is now being performed all over the world by a fourth generation of school kids, and a great movie can only help Joseph being part of the lives of many more."
Rice adds, "I have always thought Joseph was a strong contender for an animation production, and I'm delighted this is now going to happen."
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.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
Score another one for Ice Cube.
The rapper-turned-actor churned out another No. 1 box office winner this weekend with his road trip comedy Are We There Yet?, which took in a respectable $18.5 million, pushing last week's champ Coach Carter into the second spot with $11 million.
"[Are We There Yet?] is a total family picture," Rory Bruer, president of distribution for Sony Pictures told The Associated Press. "It's very funny and Ice Cube did a terrific job. He's just hysterical in it."
The other newcomer Assault on Precinct 13, a remake of the 1976 John Carpenter "cult classic" about cops and criminals joining forces against a jail siege by gang members, took in $7 million in its first weekend and finished sixth in the box office tally.
This weekend, the Top 12 films grossed an estimated $85.6 million, down 27.29 percent from last weekend's $117.7 million take but up 3.87 percent from last year's draw of $82.4 million.
The top three films at the box office this time last year were: New Line's R-rated The Butterfly Effect, which opened at No. 1 with $17 million in 2,605 theaters, averaging $6,551 per theater; Universal Pictures' PG-13 rated Along Came Polly dropped to second place in its second week with $16.3 million in 2,995 theaters, averaging $5,460 per theater; and DreamWorks' PG-13 rated Win a Date with Tad Hamilton!, which opened in third place with $7.3 million in 2,711 theaters, averaging $2,700 per theater.
BOX OFFICE TOP 10, ESTIMATES:
(Source: Exhibitor Relations, Inc.)
No. 1: Are We There Yet? (Sony Pictures, PG)
Gross: $18.5 million
Weeks opened: NEW!
Per-theater average: $6,829
No. 2: Coach Carter (Paramount Pictures, PG-13)
Gross: $11 million (-55%)
Weeks opened: 2
Theaters: 2,552 (+28)
Per-theater average: $4,310
Cume to date: $43.2 million
No. 3: Meet the Fockers (Universal, PG-13)
Gross: $10.2 million (-47%)
Weeks opened: 5
Theaters: 3,446 (-108)
Per-theater average: $2,960
Cume to date: $247.7 million
No. 4: In Good Company (Universal, PG-13)
Gross: $8.5 million (-41%)
Weeks opened: 4
Theaters: 1,963 (+397)
Per-theater average: $4,330
Cume to date: $28 million
No. 5: Racing Stripes (Warner Bros., PG)
Gross: $7 million (-49%)
Weeks opened: 2
Theaters: 3,185 (unchanged)
Per-theater average: $2,217
Cume to date: $27.3 million
No. 6: Assault on Precinct 13 (Focus Feature/Rogue Pictures, R)
Gross: $7 million
Weeks opened: NEW!
Per-theater average: $3,057
Cume to date: $8.5 million (opened Wednesday)
No. 7: Andrew Lloyd Webber's The Phantom of the Opera (Warner Bros., PG-13)
Gross: $5 million (+39%)
Weeks opened: 5
Theaters: 1,511 (+604 in an expanded release)
Per-theater average: $3,319
Cume to date: $33.5 million
No. 8: White Noise (Universal, PG-13)
Gross: $5 million (-59%)
Weeks opened: 3
Theaters: 2,247 (-32)
Per-theater average: $2,225
Cume to date: $49.4 million
No. 9: The Aviator (Miramax, PG-13)
Gross: $4.8 million (-5%)
Weeks opened: 6
Theaters: 2,261 (+305)
Per-theater average: $2,133
Cume to date: $58 million
No. 10: Elektra (20th Century Fox, PG-13)
Gross: $3.8 million (-70%)
Weeks opened: 2
Theaters: 3,204 (unchanged)
Per-theater average: $1,194
Cume to date: $20.2 million
American actor Lloyd Hamilton was half of the successful "Bud and Ham," two comedians who made close to 200 short silent comedies at Kalem. Hamilton started out as a vaudevillian and musical comedy performer. He eventually moved to Fox to star in their Sunshine Comedies. He founded his own production company in 1924 and starred in many more popular two-reelers and occasionally in a few feature films.