Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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Saturday was a big day for the TV world as the 2012 Creative Emmys took place. Hollywood.com was both backstage and on the carpet, bringing you the scoop direct from the source. HBO and its epic hit Game of Thrones were the night's biggest winners, with the network taking home 17 statues — six of them for GoT. CBS wasn't far behind with 13 wins, followed by PBS with 11. Frozen Planet, Great Expectations, and Saturday Night Live each took home four awards, resulting in a three-way-tie for second place after Game of Thrones. See below for the list of winners:
Outstanding Casting for a Drama Series: Junie Lowry Johnson, Libby Goldstein, Judy Henderson, Craig Fincannon, Lisa Mae Fincannon for Homeland
Outstanding Casting for a Miniseries, Movie, or a Special: David Rubin, Richard Hicks, Pat Moran, Kathleen Chopin for Game Change
Outstanding Casting for a Comedy Series: Jennifer Euston for Girls
Outstanding Guest Actress in a Comedy Series: Kathy Bates for Two and A Half Men
Outstanding Prosthetic Makeup for a Series, Miniseries, Movie, or a Special: Greg Nicotero, Jake Garber, Andy Schoneberg, Kevin Wasner, Gino Crognale, Carey Jonse, Garrett Immel for The Walking Dead
Outstanding Makeup for a Miniseries or a Movie (Non-Prosthetic): Mario Michisanti, Francesca Tampieri for Hatfields & McCoys
Outstanding Makeup for a Single-Camera Series (Non-Prosthetic): Paul Engelen, Melissa Lackersteen for Game of Thrones
Outstanding Makeup for a Multi-Camera Series or Special (Non-Prosthetic): Zena Shteysel, Angela Moos, Patti Ramsey Bortoli, Barbara Fonte, Sarah Woolf, Nadege Schoenfeld for Dancing With the Stars
Outstanding Costumes for a Series: Michele Clapton, Alexander Fordham, Chloe Aubry for Game of Thrones
Outstanding Costumes for a Miniseries, Movie or a Special: Annie Symons, Yvonne Duckett for Great Expectations
Outstanding Hairstyling for a Miniseries or a Movie: Monte C. Haught, Samantha Wade, Melanie Verkins, Natalie Driscoll, Michelle Ceglia for American Horror Story
Outstanding Hairstyling for a Multi-Camera Series or Special: Bettie O. Rogers, Jodi Mancuso, Inga Thrasher, Jennifer Stauffer, Cara Hannah Sullivan, Christal Schanes for Saturday Night Live
Outstanding Hairstyling for a Single-Camera Series: Anne "Nosh" Oldham, Christine Greenwood for Downton Abbey
Outstanding Guest Actor in a Drama Series: Jeremy Davies for Justified
Outstanding Choreography: Joshua Bergasse for Smash ("National Pastime", "Let's Be Bad", "Never Met A Wolf")
Outstanding Music Direction: Rob Berman, Rob Mathes for The Kennedy Center Honors
Outstanding Music Composition for a Series (Original Dramatic Score): John Lunn for Downton Abbey
Outstanding Music Composition for a Miniseries, Movie, or a Special (Original Dramatic Score): Javier Navarrete for Hemingway & Gellhorn
Outstanding Original Music and Lyrics: Adam Schlesinger, David Javerbaum for the 65th Annual Tony Awards ("It's Not Just for Gays Anymore")
Outstanding Art Direction for a Multi-Camera Series: Glenda Rovello, Amy Feldman for 2 Broke Girls ("And The Rich People Problems", "And The Reality Check", And The Pop Up Sale")
Outstanding Art Direction for Variety or Nonfiction Programming: Brian Stonestreet, Alana Billingsley, Matt Steinbrenner for The 54th Annual Grammy Awards, and Steve Bass, Seth Easter for The 65th Annual Tony Awards
Outstanding Art Direction for a Miniseries or Movie: David Roger, Paul Ghirardani, Jo Kornstein for Great Expectations
Outstanding Art Direction for a Single-Camera Series: Bill Groom, Adam Scher, Carol Silverman for Boardwalk Empire, and Gemma Jackson, Frank Walsh, Tina Jones for Game of Thrones
Outstanding Single-Camera Picture Editing for a Drama Series: Jordan Goldman, David Latham for Homeland
Outstanding Single-Camera Picture Editing for a Comedy Series: Steven A. Rasch for Curb Your Enthusiasm ("Palestinian Chicken")
Outstanding Multi-Camera Picture Editing for a Comedy Series: Sue Federman for How I Met Your Mother ("Trilogy Time")
Outstanding Single-Camera Picture Editing for a Miniseries or a Movie: Don Cassidy for Hatfields & McCoys - Part 2
Outstanding Picture Editing for Short-Form Segments and Variety Specials: Bill DeRonde, Chris Lovett, Mark Stepp, Pi Ware, John Zimmer, Ben Folts for 2012 Rock and Roll Hall of Fame Induction Ceremony
Outstanding Picture Editing for Nonfiction Programming: Andy Netley, Sharon Gillooly for Frozen Planet ("Ends of the Earth")
Outstanding Picture Editing for Reality Programming: Josh Earl, Alex Durham for Deadliest Catch ("I Don't Wanna Die")
Outstanding Animated Program: Bob Schooley, Mark McCorkle, Bret Haaland, Nick Filippi, Chris Neuhahn, Ant Ward, Andrew Heubner, David Knott, Shaun Cashman, Steve Loter, Christo Stamboliev for The Penguins of Madagascar: The Return of the Revenge of Dr. Blowhole
Outstanding Short-Format Animated Program: Brian A. Miller, Jennifer Pelphrey, Curtis Lelash, Rob Sorcher, JG Quintel, Mike Roth, Janet Dimon, Matt Price, Jack Thomas, John Infantino, Robert Alvarez for Regular Show ("Eggscellent")
Outstanding Voice-Over Performance: Maurice LaMarche for Futurama
Syd Cassyd Founders Award: Dick Askin
Governors Award: Dan Savage, Terry Miller for "It Gets Better"
Outstanding Special Visual Effects: Rainer Gombos, Juri Stanossek, Sven Martin, Steve Kullback, Jan Fielder, Chris Stenner, Tobias Mannewitz, Thilo Ewers, Adam Chazen for Game of Thrones ("Valar Morghulis")
Outstanding Special Visual Effects in a Supporting Role: Dave Taritero, Robert Stromberg, Richard Friedlander, Eran Dinur, David W. Reynolds, Matthew Conner, Austin Meyers, Jonathan Dorfman, Steve Kirshoff for Boardwalk Empire ("Georgia Peaches")
Outstanding Stunt Coordination: Peewee Piemonte for Southland
Outstanding Main Title Design: Nic Benns, Rodi Kaya, Tom Bromwich for Great Expectations
Outstanding Original Main Title Theme Music: Paul Englishby for Page Eight
Outstanding Commercial: "Best Job" (Procter & Gamble Corporate Brand) – Wieden + Kennedy, Ad Agency; Anonymous Content, Production Company
Outstanding Sound Mixing For Nonfiction Programming: Tom Paul for Paul Simon’s Graceland Journey: Under African Skies
Outstanding Sound Mixing for a Comedy or Drama Series (One Hour): Matthew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore for Game Of Thrones ("Blackwater")
Outstanding Sound Mixing for a Miniseries or a Movie: Stanomir Dragos, Christian Cooke, Brad Zoern for Hatfields & McCoys — Part 1
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation: Stephen A. Tibbo, Dean Okrand, Brian R. Harman for Modern Family ("Dude Ranch")
Outstanding Sound Mixing for a Variety Series or Special: Paul Sandweiss, Tommy Vicari, Pablo Munguia, Kristian Pedregon for 84th Annual Academy Awards
Outstanding Sound Editing for a Miniseries, Movie, or a Special: Douglas Murray, Peter Horner, Kim Foscato, Steve Boeddeker, Casey Langfelder, Andrea Gard, Pat Jackson, Daniel Laurie, Goro Koyama, Andy Malcolm, Joanie Diener for Hemingway & Gellhorn
Outstanding Sound Editing for Nonfiction Programming (Single or Multi-Camera): Kate Hopkins, Tim Owens, Paul Fisher for Frozen Planet — Ends of the Earth
Outstanding Sound Editing For a Series: Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit, David Klotz for Game of Thrones ("Blackwater")
Outstanding Cinematography for a Multi-Camera Series: Steven V. Silver for Two and a Half Men ("Sips, Sonnets, and Sodomy")
Outstanding Cinematography for a Single-Camera Series: Jonathan Freeman for Boardwalk Empire ("21")
Outstanding Cinematography for a Miniseries or Movie: Florian Hoffmeister for Great Expectations
Outstanding Cinematography for Reality Programming: The Deadliest Catch team ("I Don't Want To Die")
Outstanding Cinematography for Nonfiction Programming: The Frozen Planet team ("Ends of the Earth")
Outstanding Technical Direction, Camerawork, Video Control for a Series: Steven Cimino, John Pinto, Paul J. Cangialosi, Len Weschler, Barry Frischer, Eric A. Einstein, Susan Noll, Frank Grisanti for Saturday Night Live (Host Mick Jagger)
Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie or Special: Steven Cimino, Paul J. Cangialosi, John Pinto, Chuck Goslin, Barry Frischer, Jeff Latonero, Len Weschler, Susan Noll, J.M. Hurley for Memphis (Great Performances)
Outstanding Lighting Design/Lighting Direction for a Variety Series: Robert Barnhart, Matt Firestone, Pete Radice, Patrick Boozer for So You Think You Can Dance (Season Eight Finale)
Outstanding Lighting Design/Lighting Direction for a Variety Special: Robert A. Dickinson, Jon Kusner, Travis Hagenbuch, Andy O'Reilly for The 54th Annual Grammy Awards
Outstanding Guest Actor in a Comedy Series: Jimmy Fallon for Saturday Night Live
Outstanding Directing for Nonfiction Programming: Martin Scorsese for George Harrison: Living in the Material World
Outstanding Writing for Nonfiction Programming: Geoffrey C. Ward for Prohibition — A Nation of Hypocrites
Exceptional Merit in Documentary Filmmaking: Connie Field, Lois Vossen, Sally Jo Fifer for Have You Heard From Johannesburg (Independent Lens)
Outstanding Nonfiction Special: Margaret Bodde, Emma Tillinger Koskoff, Blair Foster, Olivia Harrison, Nigel Sinclair, Martin Scorsese for George Harrison: Living in the Material World
Outstanding Nonfiction Series: Alastair Fothergill, Susan Winslow, Vanessa Berlowitz for Frozen Planet
Outstanding Directing for a Variety Series: Don Roy King for Saturday Night Live (Host Mick Jagger)
Outstanding Writing for a Variety Series: Tim Carvell, Rory Albanese, Kevin Bleyer, Rich Blomquist, Steve Bodow, Wyatt Cenac, Hallie Haglund, JR Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart for The Daily Show With Jon Stewart
Outstanding Variety Special: George Stevens, Jr., Michael M. Stevens for The Kennedy Center Honors
Outstanding Special Class Programs: Ricky Kirshner, Glenn Weiss, Neil Patrick Harris for 65th Annual Tony Awards
Outstanding Special Class: Short-Format Live-Action Entertainment Programs: Rob Corddry, Jonathan Stern, David Wain, Keith Crofford, Nick Weidenfeld, Rich Rosenthal for Children's Hospital
Outstanding Special-Class: Short-Format Nonfiction Programs: Michael M. Stevens for DGA Moments In Time
Outstanding Creative Achievement in Interactive Media — Enhancement to a Television Program or Series: John Wooden, Aaron Bleyaert, Conan O'Brien, Timothy Campbell for The Team Coco Sync App
Outstanding Creative Achievement in Interactive Media — Original Interactive Television Programming: Fourth Wall Studios for Dirty Work
Outstanding Children's Program: Ben Montanio, Vince Cheung, Todd J. Greenwald, Gigi McCreery, Perry Rein, Richard Goodman, Greg A. Hampson for Wizards of Waverly Place
Outstanding Children's Nonfiction, Reality or Reality-Competition Program: Carol-lynn Parente, Melissa Dino, Mason Rather, Kevin Clash for Sesame Street: Growing Hope Against Hunger
Outstanding Reality Program: Eli Holzman, Stephen Lambert, Chris Carlson, Scott Cooper, Sandi Johnson, Rachelle Mendez, Lety Quintanar, Rebekah Fry for Undercover Boss
Outstanding Guest Actress in a Drama Series: Martha Plimpton for The Good Wife
Emmys Idle Threats: Give Bill Hader an Emmy or I'll Sic DJ Baby Bok Choy On You
The First-Ever (Fake) Annual Reality TV Emmy Awards
What Jimmy Kimmel Can Learn From Past Emmy Hosts
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.
Daniel Radcliffe is to star in Hammer Films' gothic thriller The Woman in Black, according to various media reports.
The film, based on the book by Susan Hill, will be directed by James Watkins and adapted by Kick-Ass writer Jane Goldman. Per Variety, Radcliffe will play young lawyer Arthur Kipps, who is ordered to travel to a remote pocket of the UK to tend to a deceased client's papers. Kipps soon begins to uncover the ghostly secrets of the house and local village.
Alliance Films will co-finance along with Hammer's parent company, Exclusive Media Group. Exclusive Films International is handling international sales.
Simon Oakes is producing for Exclusive's Hammer Films label as is Richard Jackson at Talisman Films.
Exclusive's Nigel Sinclair and Guy East will serve as executive producers along with Vertigo Entertainment's Roy Lee.
Hill's novel was adapted for the stage and is still running in London's West End, more than 20 years after making its debut, notes the BBC.
Production is expected to begin in the fall.