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.
Chris Evans has finally been selected to don the star-spangled superhero suit for Captain America.
After weeks of reports flying back and forth as to potential candidates, Marvel made an offer that Evans accepted last week. The deal, reports Variety, calls for the actor to star in at least three Captain America movies.
The First Avenger: Captain America is set to open on July 22, 2011. Paramount will distribute.
Evans would also reprise the role in The Avengers, which will unite Iron Man (Robert Downey, Jr.), Thor (Chris Hemsworth) and the Incredible Hulk (Edward Norton) in one pic, notes Variety. That film is set for May 4, 2012.
Joe Johnston will direct Captain America from a script by Christopher Markus and Stephen McFeely.
Kevin Feige will produce for Marvel, Stephen Broussard serving as co-producer. David Maisel, Stratton Leopold, Louis D'Esposito and Stan Lee will exec produce.
Deadline.com originally reported on the Evans offer from Marvel on Friday.
Source: Deadline New York
Deadline New York reports that Channing Tatum has been approached by Marvel Studios and director Joe Johnston for the lead role in The First Avenger: Captain America.
He joins the latest group of actors in the mix, including Chris Evans, Mike Vogel, Garrett Hedlund and Wilson Bethel.
Meanwhile, the studio is also testing leads for the female role of Peggy. So far, they're looking at Keira Knightley, Alice Eve and Emily Blunt.
We wonder if the audition went anything like this?
The actor, who became a top villain in The Matrix movies, is the frontrunner to play Red Skull in the Joe Johnston-directed film.
Captain America has yet to be cast but Chris Evans has emerged as one of the favourites to land the role, according to industry insiders.
Source: Heat Vision Blog
Yesterday, we reported that John Krasinski is the frontrunner for The First Avenger: Captain America, but that doesn't appear to be the case.
Today, Heat Vision has received an update on who Marvel Studios is looking at now for the coveted role. According to them, Wilson Bethel (HBO's Generation Kill, The Young and the Restless), Mike Vogel (Cloverfield), Chris Evans (Fantastic Four movies) and Garrett Hedlund (upcoming Tron Legacy) are reading for the role, have tested or have received test offers.
Actors previously reported as testing including Krasinski, Michael Cassidy, Chace Crawford, Scott Porter and Patrick Flueger are no longer under consideration, say the sites. The part calls for a nine-picture deal, the second of which would be The Avengers
To be directed by Joe Johnston, The First Avenger: Captain America is scheduled for a July 22, 2011 release.
After being cursed by delays The Wolfman Hollywood’s latest spin on the popular werewolf myth finally bares its ugly fangs in theaters this week. Predictably the film is a train wreck of a debacle -- one would expect nothing less from a notoriously troubled production that saw its original director Mark Romanek abandon ship just two weeks before the start of shooting -- but The Wolfman’s problems stem less from the late-game addition of helmer Joe Johnston who at the very least delivered a terrific looking film (its gorgeously eerie Victorian aesthetic evoking a palpable exquisite sense of dread is by far its best feature) than from the misguided efforts of its producer and star Benicio Del Toro.
The Wolfman is the brainchild of Del Toro an ardent horror fan who conceived the film as an homage of sorts to the low-budget “monster movies” from the ‘30s and ‘40s that he loved dearly as a child. It’s fashioned as a loose remake of 1941’s The Wolf Man a film that both established Lon Chaney Jr.’s performance as the definitive take on the character and introduced aspects of the werewolf legend now considered sacrosanct. The notion that a werewolf can be felled by an item made from silver for example owes its origin to The Wolf Man.
But Del Toro feels all wrong in the role of Lawrence Talbot the prodigal son of a 19th-century English aristocrat whose fateful encounter with a bloodthirsty lycan the same creature that brutally murdered his brother just days prior triggers his unwitting initiation into the accursed tribe of feral man-beasts. Del Toro's resume of low-key understated performances marked by a muttering often imperceptible delivery in films like Traffic and The Usual Suspects suggests a skill set better suited to playing another famous movie monster one significantly less loquacious than his character in this movie. Seriously -- the guy should have remade Frankenstein instead.
Playing an American-bred (but English-born we’re told) character in an 1890 setting looking uncomfortable in period attire surrounded by such “proper” British actors as Sir Anthony Hopkins and Emily Blunt and fully annunciating all of his line readings for the first time that I can recall Del Toro appears hopelessly out of place in The Wolfman.
Things only get worse unfortunately when Del Toro’s character transforms into the dreaded werewolf. Each time the moon is full the film transitions with increasing ridiculousness from a somber Victorian drama into a hard-core horror flick replete with grisly shots of torn flesh exposed spines and severed limbs. The first overly gruesome attack triggers a kind of nervous laugh more from the shock than anything else. The second invites an amused uneasy chuckle which soon snowballs into an outright belly laugh. And the effect soon spreads to the dialogue the outrageous gore rendering the film's mannered melodrama strangely hysterical.
Of all the Wolfman players only Hopkins seems to get the joke reveling in his manipulative mischief as Talbot's inappropriately glib stoutly aloof father. If only he'd let his castmates in on it.
Pre-production on The First Avenger: Captain America is moving into high gear, with director Joe Johnston expected to soon reveal the name of the actor who will ingest the Super Serum and battle the Nazi scourge in the superhero's World War II-set origin story, which is slated to hit theaters in July of 2011.
At a press conference last weekend for The Wolfman, the troubled horror flick he guided to completion after landing its vacated directing job just two weeks before shooting, Johnston dismissed concerns that Marvel Comics' famously patriotic superhero might be played by — gasp — a foreigner (say, Aussie Sam Worthington, for example). Johnston stated that he was "absolutely" commited to casting a Yank in the role, adding, “I don’t think we could make the film without an American playing the part.”
But while the actor playing Captain America will almost certainly be an American citizen, he may not necessarily be a famous one; Johnston is unsinterested in A-listers. “I’m looking for a complete unknown,” he declared, putting to rest various dubious reports that had pitched everyone from Leonardo DiCaprio to Will Smith for the role. “I hope it’ll be somebody that we discover, and who has never been in [anything]. Well, he’s probably been in something, but you won’t know who he is. You won’t recognize him. And we’ll surround him with more prominent names.”
Of course, “unknown” is a relative term, one that provides fuel for endless debate among members of the fanboy community. Are we talking Chris Pine-level unknown, Brandon Routh-level unknown, or Matt Salinger-level unknown? Recent reports seem to land somewhere in the middle, with Ryan McPartlin (Captain Awesome from TV’s Chuck) and Cam Gigandet (Twilight, The Unborn) among the names being mentioned as leading candidates for the potentially star-making gig.
Presumably, whoever eventually receives the nod will have undergone an extensive vetting process to verify his credentials as a genuine, full-blooded American (but not too American — sorry, Adam Beach), lest the production find itself besieged by the comic-book equivalent of the “Birthers” movement.
Interestingly, there apears to be considerably less pressure from German citizens for Johnston to choose a suitably Teutonic actor for the role of Red Skull, Captain American’s crimson-domed Nazi nemesis. However, some of the more optimistic fans of the comic harbor the vain hope that Austrian star Christoph Waltz, recently nominated for a Best Supporting Actor Oscar for his performance as Gestapo fiend Hanz Landa in Inglourious Basterds, might eschew typecasting concerns and sign on to portray an even more cartoonish Third Reich villain.
The supporting players of The First Avenger: Captain America are slowly coming into focus as well, with CHUD recently confirming that The Invaders, a second-tier, international supergroup of B-list Marvel heroes like Silver Scorpion, Union Jack, and Bucky, will figure prominently in the film.
Firing a rather tepid opening salvo in Hollywood’s annual Valentine’s Day rom-com blitz is When in Rome starring Kristen Bell (Forgetting Sarah Marshall TV’s Veronica Mars) and Josh Duhamel (Turistas the Transformers flicks) and directed by Mark Steven Johnson (Ghost Rider Daredevil). You read that correctly: Johnson a guy who gave us two critically-reviled comic book flicks was tapped by Disney to direct a movie entirely devoid of acrobatic fight sequences or computerized visual effects the only filmmaking skills for which he’s received consistent praise. Hmmm ... maybe this is why Dick Cook was fired.
Bell plays Beth a high-strung New York City museum curator whose frustration over her barren love life spills over at her sister’s wedding in Rome where she winds up drunkenly splashing around in the city’s fictional “Fontana D’Amore.” The embarrassing but harmless episode takes a momentous turn however when Beth absentmindedly steals a handful of coins from the fountain unknowingly triggering an ancient Italian curse. Soon she’s romantically besieged by a diverse and highly aggressive group of oddballs played by Danny DeVito Dax Shepard Will Arnett and Jon Heder — the very men whose coins she plucked from the fabled fountain.
The concept isn’t entirely without potential but When in Rome’s script takes the quartet of previously funny actors and comedically castrates them forcing them to survive this creative Dust Bowl on precisely one joke apiece. DeVito playing a sausage magnate emits only meat-related quips; Shepard’s self-obsessed model explores the comic possibilities of his washboard stomach; hapless street artist Arnett plasters the city with nude portraits of his unrequited love; and Heder’s wannabe magician mounts a series of botched magic tricks. (In a gag that might have been funny back in 2004 Efren Ramirez Napoleon Dynamite’s Pedro enjoys a cameo as Heder’s videographer. He’s this week’s winner of the Jeff Zucker “How Does This Guy Have a Job?” Award.)
All of which serves to delay the inevitable coupling of Bell and Duhamel two likable leads who gamely trudge through material so inane so bland — and so safe — that it could fit comfortably in one of Dwayne “The Rock” Johnson’s increasingly soporific family comedies. In fact I’m not even sure if When in Rome made use of the standard PG-13 allotment of one F-word (used in a non-sexual manner of course). Expect to hear it used liberally however by fellow audience members as the credits roll on this middling debacle.
Liv (Kate Hudson) and Emma (Anne Hathaway) are lifelong best friends obsessed with getting married -- and more importantly having the perfect wedding at New York’s Plaza Hotel. Except there’s a glitch: Their June weddings get scheduled for the same Saturday and no other date is available for three years! When neither agrees to move to a different venue the battle is on. And the pranks: There’s Emma’s disastrous trip to a tanning salon where her skin becomes solid orange and Liv’s appointment at a beauty salon where her blonde locks are turned mysteriously blue.
Adding this to her recent list of dumb comedies like My Best Friend's Girl and Fool's Gold Hudson is in need of a serious career intervention. Her character here a supposedly smart lawyer who will sink to ANY depths to get married and have a dream wedding just doesn’t mesh. It’s SO 50 years ago that feminists watching these two engage in a knock-down drag-out fight over a hotel ballroom will recoil in horror. And after all that acclaim for Rachel Getting Married Hathaway should just find a place to hide – though to be fair in one or two scenes she does manage to find a shred of believability. Too bad it’s not nearly enough. Although it starts out with a bit of promise director Gary Winick clearly just sat back as the proceedings spun out of control with one ridiculous scene after another. Of course he isn’t given much help by Greg DePaul CaseyWilson and June Diane Raphael’s waaaaaaay over-the-top screenplay which reduces these two apparent friends into babbling morons. Those interested in witnessing two women demean themselves for 90 minutes should have a lot of fun.
First published just as World War II was ending Evelyn Waugh’s weighty literary masterpiece was turned into a wildly successful British mini-series in 1981. For some strange reason however Brideshead Revisited has never been given a motion picture adaptation--until now. Although the story basically remains the same much of plot threads have been dropped or truncated and some liberty has been taken with at least one major character. Set in the pre-World War II era this romantic tale spans a couple of decades telling the saga of atheist Charles Ryder (Matthew Goode) and his fascination even obsession with the very regal and very catholic Marchmain family--now led by ultra-stiff matriarch Lady Marchmain (Emma Thompson) whose husband (Michael Gambon) is AWOL with his Italian mistress (Greta Scacchi). Centering around his “friendship” with the charming and adventurous son Sebastian (Ben Whishaw) Charles’ affections and apparent sexual confusion find new fodder with Sebastian’s beautiful sister Julia (Hayley Atwell). When the threesome take off for Venice to visit patriarch Lord Marchmain the romance between Charles and Julia takes off causing numerous complications for everyone involved. Rising star Goode so fine in Woody Allen’s Match Point meets his promise here making the ideal Charles a young man flirting with his own sexual and religious identity in the fallow period between World Wars. His charm quotient is so heavy it’s easy to see how he could attract both Sebastian and Julia equally well-played by Whishaw and Atwell. Whishaw (I'm Not There) nails the wild side of his character taking Sebastian much further into gay territory than suggested in either the book or the mini-series. Atwell’s Julia also takes a departure from previous versions particularly when she joins the guys in Venice--a plot turn solely invented for this film adaptation. It has the effect of increasing the tension sexual and otherwise between the three main characters and allows the film to fully focus on this aspect of Waugh’s original story. Atwell is a real find who fully explores the confused but captivated journey Julia must take. Sprightly two-time Oscar winner Thompson is at first glance an odd choice to play the unbending Lady Marchmain but she proves her worth giving the woman an extra dimension of humanity she doesn’t appear to have when we first meet her. Gambon is superb as the family’s dying patriarch with fine support from the still-beautiful Scacchi as his mistress. Young British director Julian Jarrold followed his feature debut the refreshing offbeat comedy Kinky Boots with last summer’s bland and boring Jane Austen period piece Becoming Jane. With the hot-blooded Brideshead adaptation he is on his game again clearly demonstrating complete control over the sprawling story and intertwined relationships that are key to Waugh’s novel. Choosing to focus on the central triangle of Sebastian Charles and Julia more fully than ever before is a wise decision and brings the audience right in to the thick of things rather than taking the many side trips of the mini-series. Of course with only two hours instead of 12 painful decisions had to be made and Jarrold with screenwriters Andrew Davies and Jeremy Brock have delivered a version that meets our expectations without dashing them. Unless of course you are a Waugh purist in which case it’s probably best to revisit the mini-series. There can be no argument about the visual splendors provided here though particularly the location filming at Castle Howard one of England’s oldest and most striking estates. Waugh’s extensive descriptions of the splendors of Brideshead Manor are perfectly realized through the spot-on choice of locales and the film’s superb cinematography and production design.