Cameron Diaz's hit comedy Bad Teacher is getting a sequel. Filmmaker Jake Kasdan, who took charge of the 2011 movie, will return to direct the follow-up, although it is not yet known if Diaz will reprise her role as an alcoholic, drug-taking school teacher for the second installment.
The original release, starring Jason Segel and Diaz's ex-boyfriend Justin Timberlake as the actress' geeky onscreen crush, grossed $216 million (£139.4 million) worldwide and has since inspired a TV sitcom based on the film.
The series, written by Hilary Winston, is set to feature Nick & Norah's Infinite Playlist star Ari Graynor in the lead role as a trophy wife who turns to teaching after her rich husband dumps her and leaves her with nothing.
Cameron Diaz and Justin Timberlake's 2011 comedy Bad Teacher is set to be turned into a TV sitcom, according to The Hollywood Reporter. Bosses at U.S. network CBS have given screenwriter Hilary Winston the green light to pen the pilot for the proposed series, about an alcoholic, drug-taking school teacher who tries to romance her straight-laced colleague.
It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
Community fans just can't catch a break. Just as the dust seems to be settling on the Chevy Chase/Dan Harmon feud, a new disappointing development has been announced: series executive producers/writers Neil Goldman and Garrett Donovan are leaving the cult NBC series.
The news was initially reported by Vulture, and Hollywood.com has confirmed with a source that Goldman and Donovan will not be returning to Community if the show is picked up for a fourth season. The pair has worked together as a creative force on comedy television series like Scrubs and Family Guy in the past. Reports are that they have signed a new deal with 20th Century Fox.
Goldman and Donovan have been famously active in the creative process behind Community, acting as proverbial seconds-in-command behind creator/showrunner Harmon. (Goldman and Donovan have produced many episodes of Community, and co-wrote the Season 3 premiere "Biology 101.") Taking a look at their past work (they reigned supreme over production on Scrubs and Family Guy during both series' golden eras), it's easy to note the team's creative strength, and to see how the brand of humor from predecessors has only gotten sharper on Community. As such, with this pair gone, is Greendale in danger of losing its signature vision?
There have been criticisms that Community is already beginning to weaken, and to differ in style and quality from its two previous seasons. While the show does continue to crank out gems, some feel that they are less consistent. This is plausibly attributed to the absence of writers like Hilary Winston, who left the series to write for Happy Endings (which, incidentally, is produced by Community directors Anthony and Joe Russo). As Goldman and Donovan have played an even larger part in building and maintaining Community's creative stature since the show's inception, it is difficult not to worry that fans might suffer a more noticeable decline in quality come Season 4.
Of course you can argue that the above is a defeatist mentality. Community's third season has in fact given some of the show's finest episodes, including "Remedial Chaos Theory" and the more recent "Virtual Systems Analysis." The simple fact is, that when something peaks so early in its lifespan as nearly perfect, it dooms itself to harsh criticism and complaints of shark-jumping from thereon out. Although fans should be sad to see Goldman and Donovan go, it is not a reason to give up hope on the series.
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[Image Credit: NBC]
Adam Scott is shaping up to have an awesome 2011. He’s in negotiations for a role alongside Mark Wahlberg and Mila Kunis in Seth MacFarlane’s comedy, Ted, he’s got a supporting role on the very funny NBC comedy Parks and Recreation, he got to be in a 3D movie about pirhanas (okay not as illustrious, but it had to have been so much fun), and now he’s producing a new single camera comedy for NBC. Things are looking pretty damn good for Mr. Scott.
His new project, a show called My Son Gomez, is about a suave bachelor who ends up taking care of a young boy who’s got nowhere else to go. Scott’s partnering with Community’s co-executive producer Hilary Winston to bring the project to NBC. Winston, who’s also a successful writer, will pen the script for the new series thanks to the blind script deal that Scott and his wife have set up at NBC.
Yes, NBC is the last place network, but they keep putting faith in some truly great comedies. The Thursday night crew – Community, The Office, 30 Rock, and starting in January Parks and Rec, are top notch and really deserve more attention. With those in mind, I’m hoping Scott’s latest venture can continue to add to that high caliber comedy line-up. Considering that Winston’s written a handful of Community episodes – including a great episode about an STD fair (check it out, trust me on this one) – I think she’s got the potential for another homerun here.
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.