Prison Break star Wentworth Miller is set to play the villain on the TV adaptation of comic book series The Flash after signing up to portray Leonard Snart. In the popular DC Comics, Snart's alter-ego, Captain Cold, is the leader of the Rogues, and a dastardly enemy of The Flash.
Grant Gustin will portray Barry Allen, who becomes the speedy superhero, on the show, which will debut in America later this year (14).
Danielle Panabaker, Carlos Valdes, Jesse L. Martin, Candice Patton, Robbie Amell and Tom Cavanagh have also joined the cast.
Actor Robbie Amell is joining the cast of superhero TV series The Flash as one half of DC Comics duo Firestorm. The star will portray maintenance worker Ronnie Raymond, who plays a key role in transforming Grant Gustin's character Barry Allen into The Flash.
In the comics, Raymond is involved in a nuclear accident with physicist Martin Stein which allows them to fuse together to create the superhero Firestorm.
The role in the Arrow spin-off reunites Amell with his The Tomorrow People producer Greg Berlanti, according to The Hollywood Reporter.
Amell says, "I'm so excited to join forces with Greg Berlanti and The CW (U.S. TV network) again on The Flash. Being brought into the DC Universe is a dream, I can't wait to get started!"
The Flash will premiere in America in October (14).
Universal via Everett Collection
Lone Survivor isn't a film for the faint of heart. It's a film that beats you down and only lets you up for a few precious moments before the credits roll, but that emotional throttling is what helps make the film such a powerful experience.
Peter Berg's Lone Survivor tells the story of Operation Red Wings, primarily focusing on a group of four Navy SEALs who are sent to the mountains of Afganistan to capture or kill a member of the Taliban. The plan goes wrong, and the team has to fight for their lives to escape the enemy-infested area. The film does a marvelous job of ratcheting up the tension before collapsing into its main action sequence, one that is as thrilling as it is unsettling. The long sequence brings forth memories of the infamous D-Day opening of Saving Private Ryan, except this film's fire-fight stretches out the violence like a medieval torture device. The langourous scene is, at times, hard to sit through. Each moment slips by in coiled tension. It's undoubtedly uncomfortable, and the film makes a point to never make the violence fun or enticing. The action isn't consequence-free, and every bullet fired carries weight, making the scenes brutal and unrelenting because of it. The film takes on the aura of a horror movie that wants you to feel every second that ticks by, and director Berg makes sure that a pressing hopelessness starts to weigh on the viewer just as it does on the soldiers.
Mark Wahlberg is plenty capable as Marcus Lutrell, a member of the SEAL unit that is sent on the mission. The supporting cast plays its parts admirably by believably infusing a diverse set of personalities and values into the soldiers, while still keeping them in tune with the same military culture that governs much of their thoughts and actions. There's a great scene where a difficult decision has to be made, and the viewer gets to see the different directions to which some of the character's moral compasses are tuned. Sometimes the right thing can mean different things to different people when the risk of death is on the table. The real standout in the cast is Ben Foster, whose SO2 Matthew Alexson swirls with barely contained fury. He is darkly intense and has electric screen presence that really starts to manifest when the bullets star flying and things become dire.
Universal via Everett Collection
For all the good will that the film builds up in its first and second act, the final third of the film hits some snags as history demands that the story take itself to a different location, sacrificing some of the tension that it has built up. In the last 30 minutes of the film, there are some odd tonal choices that don't gel with the tension brimming in the first half. A comedic scene involving a language barrier stands out in particular.
The movie makes a point to steer clear of any political judgment, and it doesn't try to lay blame for the botched mission on any one head. And while the film never outwardly states and opinion on the conflicts that America found itself embroiled in during this time period, the searing brutality depicted in the movie highlight that no one should be subjected to the pain that these men were faced with. Made abundantly clear is the soldiers' willingness to drop everything and serve their country the best way they know how. Lone Survivor tries to honor the soldier, but not glorify war.
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Lone Survivor is at its best when it makes you feel the worst. It gives soldiers their due reverence by showcasing the true terror of the battlefield, and while the film does start to sag a bit in its third act, it's still more than worth the experience in order understand the consequences of war, and its toll on the people in the trenches.
Actress Margot Robbie had to lie to her family members about her nude scenes in new movie The Wolf Of Wall Street because she knew they would be mortified if they found out she was stripping off for director Martin Scorsese and co-star Leonardo DiCaprio. The Australian star admits she was worried about the nudity in the film from the minute she learned Scorsese had cast her in his latest film, but she was too nervous to share the full details with her family back home.
She says, "I just flat-out lied to my family for a really long time, and I said, 'I don't care what you hear, there is no nudity, I'm not doing any nudity. Ignore anything anyone's saying...'
"I changed that and the lie evolved to, 'Actually, it's a body double and they just CGI'd (computer generated) my head onto someone else'. My family don't have anything to do with the entertainment industry, so they totally bought it."
Robbie eventually came clean and told family members that they shouldn't see the film if they were uncomfortable about seeing her naked.
She adds, "I said, 'Read the book first and if you still wanna see the movie after reading the book, OK'."
The actress is hoping to jet out of her native Australia following the premiere Down Under, so she doesn't have to be part of "the aftermath" because, "I'm not quite sure how it's gonna go down".
Actress Margot Robbie had mixed feelings when she learned she had won the role of Leonardo DiCaprio's movie wife in The Wolf Of Wall Street - because she'd have to strip for the cameras. The modest Australian admits she auditioned for the role of Naomi Lapaglia on a whim and never thought she'd have to worry about the film's nudity - because she felt sure she wouldn't get the part.
She tells WENN, "I did the audition tape in L.A. and never expected (director) Marty (Scorsese) to see it. We were just hoping that (casting director) Ellen Lewis would see it. She handed it straight on to Marty and then I got a call saying Marty wants to see me read with Leo in a room with him in New York.
"There was the nudity thing with Wolf Of Wall Street and I didn't want to do nudity but then why did I audition?
"In hindsight the nudity seemed really intimidating but now that I've done it, it doesn't seem like a big deal at all. There was no question of why it was in there. There are scripts I pick up where there is no reason why I'm getting my clothes off (sic). That's nudity for the sake of nudity which I do not agree with, ever. But when the nudity is warranted I totally agree with it.
"In this case that's Naomi's power over Jordan and her currency in the world of millionaires. It makes perfect sense for her to use her body to manipulate him."
But she still had to confront her ethics: "For the sake of showing it on screen I had to confront that somewhat shock value... It was, 'Am I able to deal with that?' It's just different in this day and age because of the internet that if I do this it will be forever on YouTube.
"And it's not just a repercussion on myself (sic) but my family, my brothers and my grandparents have to deal with that! It affects everyone around me, so it's not something to be taken lightly... But, if there's ever a time to do nudity, it's in the hands of Martin Scorcese. He will do it tastefully and he doesn't exploit nudity, so I was confident in the fact that it would be done well and would be done tastefully. It was too good of an opportunity to pass up."
Lily Allen was joined onstage by a host of celebrity friends during Coldplay's charity gig on Thursday (19Dec13). The Smile singer was one of the performers drafted in to play at the band's third Under 1 Roof concert at the Eventim Apollo in London, in support of the Kids Company charity.
The pop star treated fans to duets with Robbie Williams and Coldplay's Chris Martin, and thrilled the audience when Keane's Tim Rice-Oxley joined her to perform her Christmas cover of the band's hit Somewhere Only We Know.
Other performances at the event, which was hosted by Fearne Cotton, came from Coldplay themselves, hip-hop duo Rizzle Kicks, magician Dynamo, and Ricky Gervais' The Office character David Brent with his band Foregone Conclusion.
It's a good hour into The Wolf of Wall Street, following a deep dive into Jordan Belfort's early days in the stock market game — that being the most appropriate word for it — and festive indulgence in the most carnal manifestations of human desire, that we're hit with the title card, "18 months later..." Here, it is solidified that the years we have spent inside Martin Scorsese's world of toxic capitalism have all been, up to this point, set-up. Fuel. This brief flash of text, the longest instance of silence in the cacophonous sewer system that is Belfort's story, is the first real sign that a fire is coming.
By this time, Scorsese's willful defiance of the "show, don't tell" method has introduced us to every one of the doe-eyed crook's countless vices. He has no qualms stealing from those who can't afford it, lying to those who trust him, cheating on his wife, cramming every substance known to modern science into his bloodstream, and wholeheartedly endorsing (to his adoring audience) all of the above. All the while, we bound between delight and disgust. The delight comes not so much in the material victories of Belfort and his cronies — that has the latter effect, in fact, as every antic is so vividly laced with Sodom-level depravity — but in watching them like zoo animals. In fact, The Wolf of Wall Street's principal undoing might be that it is simply too much fun.
For that, we have to thank Leonardo DiCaprio. DiCaprio had managed terrific performances all his career, but this is one of the first in years to actually surprise us. Opening his tale as an ambitious and firm-shouldered young buck, the likes of which you'd find in any Horatio Algers novel, and devolving into the Financial District's answer to Beetlejuice, the actor exhibits corners of his performing ability that we have always dreamed we'd see. In the months leading up to DiCaprio's turn as the dastardly dandy Calvin Candie in last year's Quentin Tarantino picture Django Unchained, fans anticipated an unprecedented kookiness that never seemed to show. Turns out, DiCaprio was saving that mania for Wolf of Wall Street, in which he lambasts justice and judgment in the form of an elastic child at his most tempered and a rabid kangaroo on those nights of the especially hard partying.
And of course, there's that scene with the Quaaludes. Without giving too much away — although the experience is so visceral that all the contextual spoilers wouldn't rob the scene of its emphatic humor — DiCaprio manages a feat of physical comedy so extensive, demanding, and gutterally f**king hilarious that you'll wonder tearfully what might have been had the rising star shirked Titanic for a career in slapstick. But the surplus joys derived from this scene might, in fact, be Wolf's undoing. In a story that is meant to lather on the horrors inherent in the human's propensity for self-serving greed and gluttony, it can soften the blow when we're allowed to take a break from our disgust to spend a few moments in vivid, unabashed delight. Yes, the scene in question involves drug abuse, intoxicated driving, criminal activity, and a near-death experience. But it's so damn funny that we're kept from toppling down into what might have been the darkest crevasse of the film's story and enduring the pathos that might come with it.
The dilution of Wolf's message comes at the hand of its comedy (with no affair a bigger culprit than the one described above) and its tendency to meander. Although Scorsese works to shove the very idea of "excess" down our throats with seemingly endless scenes of Belfort and his pals harassing flight attendants and dehumanizing little people, the ad nauseum effect doesn't always hit home as powerfully as imagined, instead allowing the viewer to fizzle out from time to time through Wolf's three-hour tour. We're drowned, slowly and steadily, in Belfort's tragic pleasures while, as the "18 months later" interstitial suggests, we keep expecting to combust with them.
It's always a risky endeavor for a film or television show to indict crooked characters not through narrative penalties but through a tacit communication of their behavior or psychology as bad news. The risk comes in the form of audiences challenging artists for letting their villains get off scot-free, or even for glorifying undesirable lifestyles. Ultimately, while Belfort does get some semblance of his comeuppance, he wins in his nefarious game. The Belfort we leave at the end of our journey adheres to the tenets he spouts from the beginning, reveling in a legion of former colleagues beaming at him in collective awe and new students of his self-centric theology zealously eating up his every word in hopes of becoming the very same kind of demigod. To Scorsese, and to any an audience member willing to estrange him or herself from the bounties of wicked humor, this is just the fire we were promised. Belfort's image is ignited by the instances of theft, deceit, betrayal, substance abuse, sexual crime, and a spiralling descent into sub-human madness. But there are a few too many laughs along the way to keep the flames from reaching their full, hottest potential.
But hey, when you're complaining about a movie for being too much fun, you've got a pretty good movie on your hands.
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Leonardo DiCaprio had dog treats placed between his toes during sex scenes with Margot Robbie in The Wolf Of Wall Street to entice a furry co-star to jump on their bed as required. The Australian actress plays one of DiCaprio's love interests in Martin Scorsese's new comedy drama, but one steamy encounter between the stars' characters - complete with a barking pooch - proved to be far from romantic when it came time to shoot.
She tells the New York Post's Page Six column, "The whole thing ended up being quite comical.
"We (had to) entice this dog to jump in the bed and bite at Leo's feet... so we had dog trainers at the end of the bed (with) dog treats... we're putting chicken liver on Leo's toes."
Robbie admits making love to DiCaprio wasn't all she expected it to be: "We're in a small room, it's hot, it's sweaty, it smells like dog food."
Pop star Lily Allen has been drafted in to support Coldplay at the band's third annual Under 1 Roof concert to help raise funds for a U.K. children's charity. The rockers first curated a concert for the Kids Company in 2011, and now the show is in its third year, they have asked Allen to continue her pop comeback by performing at the gig at the Eventim Apollo in London on 19 December (13).
The gig will also feature comedy in the form of David Brent - Ricky Gervais' TV alter-ego from The Office. Gervais embarked on a series of sold out shows as his comedy creation earlier this year (13).
Coldplay frontman Chris Martin says, "Buying a ticket to this concert will guarantee two things: a totally unique never-to-be-repeated night of star-spangled entertainment, and money in the Christmas coffers of a charity that brings love and happiness to London's most vulnerable kids."
Rizzle Kicks will also perform at the event, which will raise funds to help disadvantaged youngsters in the U.K. capital and Bristol, England.
Allen made her official stage return at Robbie Williams' concert at the London Palladium last week (08Nov13).
An inspired parody of the decadent world of '80s heavy metal, This Is Spinal Tap was said to have been so realistic that many of the artists it pilloried failed to see any humor in the amplifiers that turned up to eleven, the preposterous song titles ("Lick My Love Pump") and the labyrinth of backstage corridors. Indeed, displaying a staggering lack of self-awareness, several bands have since made the fictional rockers' absurd antics appear positively normal whilst filming their own real-life music documentaries. Here's a look at five which you'd struggle to believe if they were scripted.
Rattle & Hum
Sadly, the moment when U2 became stuck inside the giant lemon prop on the Popmart tour never made it to celluloid. But following in the footsteps of Spinal Tap, their visit to Graceland during their po-faced companion piece to their 1988 album did.
Robbie Williams' guitarist Fil Eisler even namechecks Spinal Tap during this fly-on-the-wall look at the former Take That star's 2001 European tour after a cock-up leaves the band trapped behind the curtains. Meanwhile, a crazed stage invader and a surreal conversation about the correct height of a table and chairs adds to the whole ridiculousness.
Some Kind Of Monster
Following on from the whole Napster debacle, thrash metal legends Metallica continued to tarnish their reputation with this unintentionally hilarious account of their behind-the-scenes troubles and their $40,000-a-month therapy sessions in particular.
Seething with jealousy over his underground 'soulmates' The Dandy Warhols' rise to major label success, The Brian Jonestown Massacre frontman Anton Newcombe completely self-destructed in this compelling love/hate tale, culminating in a comical industry showcase where he instructed bouncers to beat up the audience.
Anvil! The Story Of Anvil
Unlike the more famous examples on the list, forgotten Canadian metalheads Anvil came off as utterly charming as they desperately tried to keep the dream alive 30 years into their career. But it didn't make the scenes where they were paid in goulash or performed to 174 people in a 10,000 seater arena any less funny.
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