It has been 20 years since the movie star played Count Vladimir Dracula in the cult 1979 movie and now he's back for more blood with a camp sequel called Batrimony: Love At Second Bite.
He tells WENN, "It's terrific. It's all about old world school of Dracula in the Bella Legosi 1940s up against the Twilight felons with humour. It's hard to do but it's great fun.
And Hamilton thinks the time is perfect for another vampire movie spoof: "I think Twilight is a wonderful series of books. It's so important for these young girls with hormonal changes and this love that's worth giving your life for. But now I have a find a way to bring my Love At First Bite character into that kind of story and make it funny and not be at all like Twilight and I think I found a way to do that.
And Batrimony isn't the only film project Hamilton is working on - he's also producing a movie about movie legend Errol Flynn's son Sean, who was captured by the Khmer Rouge during the Vietnam War.
He adds, "It's a wonderful story.".
Australia is like no other movie this year -- or even this century for that matter. It’s heart and soul live in conjuring up memories of the kind of epic movie they just don’t make anymore. The incomparable Baz Luhrmann (Moulin Rouge) proves nobody does this kind of thing better. The story begins just at the brink of World War II as a prim and uptight Englishwoman Lady Sarah Ashley (Nicole Kidman) travels to the distant and uncharted Northern Territory of Australia in order to deal with her husband’s supposed infidelity. When she finds him murdered however the only way she can save their ranch Faraway Downs is to join a strapping “drover” (Hugh Jackman) in driving 1500 head of cattle to the Australian port Darwin where the military can buy them. Trying to interfere with their mission are the evil land baron King Carney (Bryan Brown) and his henchman Neil Fletcher (David Wenham) who are determined to add her ranch to their collection. As inevitable romance rears its head Lady Ashley must also protect a precocious aboriginal kid Nullah (newcomer Brandon Walters) a half breed she is determined to adopt before he is turned over to the state for re-education. Meanwhile the Japanese loom closer. Luhrmann provides a grand showcase for a wonderful array of actors from Down Under including Kidman and Jackman. Kidman who has had a recent dry spell in films is back in form as the rigid Brit who is transformed by her visit. It’s the kind of role Katharine Hepburn did so well in movies like The African Queen. Newly crowned People Magazine “Sexiest Man Alive ” Jackman lives up to the title all brawn and bravado the epitome of the rugged cowboy who becomes the dashing hero. Together the two actors steam it up and redefine what it means to be matinee idols. As the half-caste kid Nullah 13 year-old Walters is a marvel and steals the show. Veteran Aussie actors Brown and Wenham (Lord of the Rings) are properly menacing and hateful while the group accompanying Jackman and Kidman are splendid including: legendary Jack Thompson (Leatherheads) as the gregarious over-the-top Kipling Flynn; Drover’s aboriginal partner Magarri (David Ngoombujarra); and the mystical King George (David Gulpilil) Nullah’s grandfather who seems to show up at the oddest times. There can be no question Baz Luhrmann is the most flamboyant old school director working today. After completing his “Red Curtain Trilogy” of musicals including his Oscar-nominated Moulin Rouge he goes above and beyond with Australia throwing in everything -- including the kitchen sink. Baz loves old movies and you can tell. Maybe more like Lawrence of Australia this film is a mind-boggling wonder with epic scope and splendor. The spectacular CGI-driven cattle drive and the bombing of Darwin are all done in large strokes. He even throws in an homage to The Wizard of Oz that takes the film to the kind of sentimental heights fans will probably eat up. How contemporary audiences will react to this throwback to Hollywood’s heyday of big brawny cinema is anyone’s guess but the singular vision of Luhrmann is to experience Australia and fall in love with the possibility of grand movies all over again.
A middle-school version of Mean Girls and darn close to every other PG-rated girl-power movie you or your daughters are likely to see this follows four brash eighth-graders as they have a sleepover to wear dress-up clothes freeze their bras fantasize about boys dance madly and celebrate their graduation to high school. They see themselves as social outcasts but while one (Kallie Flynn Childress) is short and plump. the others could be cheerleaders at any real school--Spy Kids' Alexa Vega (who gives the party and is the film's star) Mika Boorem and Scout Taylor-Compton. (Does anybody still name their kid "Jane" these days?) But just when they're being good girls and staying home as mom (Best in Show's delightfully edgy Jane Lynch) has demanded a snooty rival (the statuesque blonde Sara Paxton) and her coterie challenge them to a slightly risqué scavenger hunt. That involves getting into a bar and ordering Sex on the Beach cocktails changing the display in an Old Navy window (one of many shameless plugs) and escaping from a dimwit security guard by driving a tiny lime-green electric car that is the ugliest movie vehicle ever. In a surprisingly erotic scene for a PG movie Vega--wearing a tight red party dress with a plunging neckline that amply reveals why she's been having "growing pains"--sneaks into a "hot" boy's bathroom to steal his boxers watching from the shower as he removes them. Just in case you thought this all would lead to a teen reenactment of Psycho Sleepover ends with the usual sentimental empowerment lessons learned and friendships sealed. And the chubby girl even finds a boyfriend who likes brownies more than carrots.
The film's three casting directors all worked overtime to find young actresses amazingly reminiscent of slightly older girl-role-model favorites. Vega conveys the same mixture of insecurity and self-confidence as Lindsay Lohan in Mean Girls and even has the same expressions. With her moon-round face long tangle of dark hair and glowing smile she might also remind adults of a teen Bonnie Raitt. But she's maturing so fast she already seems too old for this part physically and temperamentally. There are moments in fact when the actress acts dismissive of the story's clunky derivative plot mechanics. Meanwhile Boorem is warmly Kirsten Dunst-like and Paxton such an amazing reincarnation of Reese Witherspoon that I'll look for her in a Legally Blonde sequel when she hits 18. This is all good by the way - most everyone appears to relish her chance in the spotlight. But even better are the two offbeat comic actors who play Vega's parents--Lynch and the portly Jeff Garlin (of Curb Your Enthusiasm) as the clueless dad. The film reaches a moment of Freaky Friday hilarity with Vega discovers enthusiastic mom Lynch wiggling and writhing at a dance club. "Yeah older lady shakin' her boo-tay " the deejay announces as Vega cringes. It's a great movie parent-child moment.
Director Joe Nussbaum got his start in Hollywood with the cult favorite short George Lucas in Love and this marks his feature debut. He gets the train to the station in time so to speak but the pace is so chop-chop quick that a lot of promising comic and romantic scenes go underdeveloped amid the editing pace. And unfortunately Nussbaum kept in all the corny scenes involving an unfunny security guard (Steve Carell) who harasses the girls. There also are a lot of tiresome close-ups and two-shots - this could (and doubtlessly will) play on TV with little lost. So unlike the cast the direction isn't pretty. But writer Elisa Bell however does embellish the formulaic plot with some unusual--sometimes even downright surreal--dialogue. I'm still trying to figure out for instance what Sam Huntington as Vega's slightly older brother (a Giovanni Ribisi look-alike by the way) means when he tells her "Go be a teenager. It ends too soon. And it gets replaced by ribbons and lampshades." Huh?
Michael Jackson feels deeply "betrayed" by the recent special television documentary about his life that aired on British TV Monday. ITV's Martin Bashir, who spent eight months with the singer and was privy to Jackson's lifestyle, conducted the in-depth interview, which includes the revelation that Jackson still believes sharing his bed with children is perfectly normal. "Today I feel more betrayed than perhaps ever before, that someone who had got to know my children, my staff and me, whom I let into my heart and told the truth, could then sacrifice the trust I placed in him and produce this terrible and unfair program," Jackson, 44, said in a statement released in London, Reuters reports. Granada Television, who produced the special, stood by Bashir. "It's not surprising that a film about [Jackson], which is so open and revealing, draws some hostile reaction and comment about him. It's regrettable that Michael should feel devastated as a result of that, but perhaps inevitable," the company said in a statement. The documentary will air in the U.S. Thursday on a special edition of ABC's magazine program 20/20.
Rapper Ice-T was ordered by a judge Tuesday to pay $4,000 a month in temporary child support after he admitted to fathering a 15-month-old son. Initially denying he ever had sex with the child's mother, Linda Marie Sanchez, Reuters reports the star of NBC's Law and Order: Special Victims Unit waived his rights to a paternity trial when DNA testing proved he was the boy's father.
Dustin Hoffman was honored with a lifetime achievement award at the British Empire Film Awards Wednesday, based on votes by British moviegoers. Other winners included best actor Hugh Grant for About A Boy and best actress Samantha Morton for Minority Report.
Australian supermodel Elle Macpherson had her second child with partner Arpad Busson Tuesday. Aurelius Cy Andrea was born in a London hospital, weighing 7 pounds, 11 ounces. The couple has a 5-year-old son, Flynn.
The AP reports actor Wesley Snipes and record mogul Suge Knight are being sued by separate banking organizations for failure to pay. Chase Manhattan Mortage Corporation has filed suit against Snipes for allegedly failing to pay the mortgage on his mansion in Isleworth, Fla., while City National Bank is suing Knight for neglecting payments on his yacht moored in the Los Angeles area. Pay up, boys!
Director Roland Joffe (The Killing Fields) plans to make The Invaders, a $40 million epic on the first Anglo-Indian war, starring Bollywood star Vivek Oberoi, Variety reports. The film will focus on the first battle between English troops and the Maratha dynasty in western India during the late 18th century.
Variety reports Steven Soderbergh and pal George Clooney are gearing up to remake the Argentine thriller Nine Queens through their production company, Section Eight Productions. The film follows the day in the life of two con artists and was released in the U.S. last spring.
NBC will cover the 2004 Summer Olympics in Athens, Greece, on a 24-hour a day basis across its networks NBC, CNBC, MSNBC, Bravo and Telemundo. This nearly doubles the coverage for the 2000 Sydney games, as NBC did not own Bravo or Telemundo at that time.
According to the AP, the Recording Industry Association of America numbers show the Dixie Chicks' latest album, Home, has reached the quadruple-platinum mark, having shipped four million copies. Tim McGraw's Tim McGraw and the Dancehall Doctors also went double platinum.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.