There are a lot of problems in this world (like pollution and world hunger), but those things pale in comparison to the massive dilemma Scarlett Johansson is facing nowadays. I didn't think it was possible, but Hollywood has deemed the actress too attractive for her own good. No seriously, it's an issue that is even affecting her career. First, director David Fincher admitted to not giving Scarlett the lead female role in The Girl With The Dragon Tattoo because she was too pretty, and now the author of her current movie adaption Under The Skin, is sharing similar concerns.
A source told The Sun that the author of the book-turned-movie, Michael Faber, isn't pleased the blonde beauty was given the lead role of Laura, since she's described in the book as being a rather dumpy-looking character. According to the source, Faber doesn't believe Scarlett can successfully transform into such an unappealing figure and thinks she's "too attractive" for the part. It's unsure at this time if his opinion is strong enough to get Scarlett fired, but since the movie is based off of his book, he may have a great deal of influence over this project. I guess being beautiful really does have its drawbacks.
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Source: The Sun
Much has changed in the world of finance since Oliver Stone first explored its grubby innards in 1987’s Wall Street a film that netted Michael Douglas a Best Actor Oscar for his iconic portrayal of scheming corporate raider Gordon Gekko. Technological advances regulatory changes a terrorist attack a global economic meltdown and the emergence of China as a dominant player have combined to transform the securities industry in the two-plus decades since Gekko paraphrasing Ivan Boesky first captured its more sinister aspects in those famous words “Greed is good.”
What hasn’t changed is Stone who remains every bit as hubristic and heavy-handed as ever. With his sprawling spotty follow-up Wall Street: Money Never Sleeps he has once again taken it upon himself to put forth the definitive portrait of the culture of money and the film suffers badly for it. Set in 2008 in those halcyon days just prior to the subprime mortgage crisis and its subsequent leveling of financial landscape the film is told through the wide eyes of young Jake Moore (Shia LaBeouf) the 21st-century heir to Bud Fox’s mantle. (Charlie Sheen who portrayed Fox in the first film resurfaces in a fun but ultimately pointless cameo in the sequel.)
Jake we are told is a successful proprietary trader but his countenance more closely resembles that of a venture capitalist. (The risky practices and alleged conflicts of interests of prop traders are widely believed to be among the causes of the financial collapse; the Obama administration has recently proposed their ban.) Though he’s as profit-driven as any other young Wall Street turk he also boasts something of an idealistic streak and hopes to use his position at the prestigious investment banking firm of Keller Zabel to further the cause of a cutting-edge green energy startup. No doubt it’s this noble trait that appeals to his girlfriend Winnie (Carey Mulligan) a progressive pixie who runs a muckraking leftist blog and who also happens to be Gekko’s estranged daughter.
Jake’s bright future takes a dark turn when rumors of over-exposure to “toxic assets” swallow up first his company Keller Zabel and then its founder Lou (Frank Langella) who opts to retire beneath a speeding subway train after the Federal Reserve denies his request for an emergency bailout. Devastated by the suicide of his boss and mentor Jake vows to exact revenge upon the slithery brute he believes to be the source of the poisonous rumors: Bretton James (Josh Brolin) a prominent partner at Churchill Schwartz (read: Goldman Sachs) Keller’s chief rival.
And where exactly does Gordon Gekko figure in all of this? After the opening sequence during which he emerges from a lengthy prison stay to find no one waiting to greet him Gekko doesn’t re-enter the story until about the 30th minute and lurks mainly on its periphery for much of his screen time. In the years since his incarceration for the various misdeeds chronicled in the first film he’s rebranded himself as a sort of populist crusader against speculator avarice hawking a book about the ills of the financial system entitled Is Greed Good? (“You’re all pretty much fucked ” he instructs a lecture audience.) Gekko’s got a grudge of his own against Bretton his one-time protege turned state’s witness in his securities fraud conviction and he agrees to supply Jake with crucial insider info in exchange for help in brokering a reconciliation with his daughter Winnie.
All of this is set against a backdrop of the collapses and bailouts of the 2008 financial tumult — a topic that could easily warrant its own film. (Indeed HBO is currently readying its adaptation of Aaron Ross Sorkin’s book about the crisis.) His ambition outstripping his ability Stone labors awkwardly to integrate the macro of the crisis with its many backroom deals and soap-opera intrigues and the micro of Jake’s increasingly complex relationship with Gekko. Mulligan’s character meant to serve as the film’s emotional anchor as well as its conscience is ultimately little more than a distraction diverting us from the story’s more compelling elements. The last third of the film which focuses on Gekko’s reemergence as a Wall Street player feels tacked-on as if driven by data from test audiences dissatisfied with his relatively minor presence in the early goings.
There are moments in Money Never Sleeps where Stone successfully invokes the heady verve of the 1987 film but for a story dealing with such titillating subject matter its pace too often drags to a near-halt as it wallows excessively in Gekko family melodrama. (The performances it should be noted are all terrific though LaBeouf is an exceedingly tough sell as a would-be BSD.) And a topic as sexy as money should never ever be boring.
Jeremy: "Someday you'll look back on all this and laugh and say we were young and stupid." John: "We're not THAT young." And with these prophetic words divorce mediators John Beckwith (Owen Wilson) and Jeremy Grey (Vince Vaughn)--lifelong friends whose hobby it is to crash weddings get laid and never look back--embark on a journey of self-discovery. Well maybe not a journey exactly more like a weekend of debauchery. And maybe not self-discovery per se more a realization falling in love isn't such a bad thing. It all starts when the charismatic and charming duo crash the social event of the year the wedding of Treasury Secretary William Cleary's (Christopher Walken) daughter. They stick to the Crashers Code at first setting their sights on two bridesmaids Claire (Rachel McAdams) and Gloria (Isla Fisher) Cleary creating clever back stories and becoming the hit of the lavish party. But while Jeremy is going about business as usual with the curiously randy Gloria John is uncharacteristically falling hard and fast for the whip-smart and beautiful Claire. John eventually persuades a resistant Jeremy to bend the crashing rules and accept an invitation to an extended weekend party at the Cleary family compound. Uh oh. Once at the palatial waterfront estate the dysfunctional members of the Cleary family put the guys through the wringer. It would be enough to send any confirmed bachelor running--except John really likes Claire and wants to make it work. And Jeremy as he tells John just wants to "ice my balls and spit up blood."
There must be some kind of osmosis thing that happens when the Frat Packers mix it up. Of course I'm talking about the comedic talents of Vaughn Wilson his brother Luke Wilson Ben Stiller and Will Ferrell who just keep churning out one hilarious film--Old School Dodgeball Starsky & Hutch--after another in various tag-team combinations. The Wedding Crashers is no exception. Although it's actually Vaughn and Wilson's first real screen time together (if you don't count Starsky & Hutch) you'd swear they've been working together for years making them the best Frat Pack combo yet. Their diverse comedy styles--Vaughn's rapid-fire delivery Wilson's slow burn--complement each other perfectly. Like Vaughn's character explains in Swingers these guys are "in the rated-R movie…the guy[s] you're not sure whether or not you like yet. You're not sure where [they] are coming from." Vaughn and Wilson also share the wealth with their supporting cast. The lovely McAdams (Mean Girls The Notebook) continues to show her range as Claire and she very sweetly holds her own amidst the calamity. Walken is also particularly entertaining as the elder Cleary who's funny without ever trying to be. But the true scene stealer is Aussie actress Fisher (Scooby-Doo) as the youngest Cleary daughter an obsessive "Stage 5" clinger and nymphomaniac. "Don't ever leave me 'cause I'd find you!" she giggles to Jeremy with a wild look in her eyes. Yikes. Fisher goes full tilt playing the one woman who can truly give Jeremy a taste of his own medicine. Wild and wacky stuff.
Director David Dobkin likes to try his hand at different genres. He first worked with Vince Vaughn in the serious-minded serial killer flick Clay Pigeons and then worked with Owen Wilson in the action-packed but lighthearted sequel Shanghai Knights. Now Dobkin has got the both of them in a balls-out comedy--and handles the chores with aplomb even if all the director has to do is turn on the camera and point it at his stars. From the moment we see Jeremy and John crashing a variety of ethnic weddings (Jewish Hindu Chinese) to their escapades at the Cleary home Wedding Crashers will simply split your sides and make you spit out your Coke. You're probably going to see it a few more times just so you can pick up stuff you might have missed while laughing so hard. The only problem is how to end it. Granted we are dealing with in essence a romantic comedy so you know there's got to be some sort of happy resolution. We'll accept that. But the film seems to lose some steam and turns predictable once the guys leave the Clearys. The last 10 minutes--save for a memorable cameo from a fellow Frat Packer (and I won't tell you who)--drag on a bit. Still it doesn't completely take away from the good time you've been having.
EchoStar chairman Charlie Ergen has reportedly thrown in the towel in his battle with News Corp's Rupert Murdoch over control of Hughes Electronics' DirecTV, according to the Wall Street Journal. The news came following a report by CNBC's David Faber that General Motors, Hughes' parent, had already informed Ergen that it had decided to accept a deal proposed by Murdoch.
David Arquette is happy-go-lucky Gordon Smith a dog-fearing postman in the Jersey 'burbs who likes to hang with his buddy Benny (Anthony Anderson) watching sports and eating Cheetos and enjoying a life free of responsibility. Until that is the hot neighbor Stephanie (Leslie Bibb) he's been trying unsuccessfully to date is left without a babysitter and leaves her young son James (Angus T. Jones) in his care. Meanwhile mobster baddie Sonny Talia (Paul Sorvino) puts a hit out on the hardworking FBI canine Agent Eleven who helped bust up his drug deal. Eleven escapes protective custody and ends up hitching a ride in - you guessed it -- Gordon's mail delivery truck. Now Sonny's hit men (and the FBI) are after all three of them.
Arquette who's best known for his AT&T spots "Scream" movie roles and marriage to "Friend" Courteney Cox is good at pulling off the physical comedy required to portray a kid in a grown man's body with his wild hair wacky attitude fart jokes and breakdancing abilities. While most kiddie flicks feature annoyingly precocious tots you'd rather strangle than watch on-screen the pudgy terrifyingly cute Jones comes across just like any regular kid. You wouldn't guess that perfect-looking Leslie Bibb ("Popular") could be so appealing but she's willing to get dirty -- literally - and is able to pull off slapstick schtick with the best of 'em. Michael Clarke Duncan as Agent Eleven's way-too-devoted human partner Murdoch is over-the-top silly but gets plenty of laughs. The dog's cute too.
Director John Whitesell whose only other film credit is 1993's "Calendar Girl " does a good job of hanging this not-so-original tale around a likeable energetic cast that really looks like they're having fun. Thankfully the movie doesn't go overboard with sentimentality -- "Spot" hits the right emotional spot tempering the tear-jerking stuff with juvenile comedy and throwing in some jokes that'll make adults laugh too. Young and old will enjoy this movie although it might be overlong and too confusing for some very little ones to follow and some of the humor gets pretty gross - watching the hapless Arquette roll around in doggy doo for 10 minutes was a bit much.
Julie Walters shines as Bernie McPhelimy a working-class mother of four who is sick to death of living on the front lines. In curlers and a housecoat she chews out a gunman shooting from her welcome mat as if he were a naughty child. But it isn't until her best friend is shot dead while looking after one of Bernie's kids that she turns from Valium to activism. Daring to criticize the IRA as well as the British army Bernie becomes the town pariah though her gumption turns her into an unlikely celebrity. Ostracized and bullied by their friends her kids -- especially adolescent Ann who just wants to keep her new boyfriend -- resent her and suspect all this fame is going to her head.
In her best film role since "Educating Rita " Julie Walters shows she still has a surplus of piss and vinegar. Her Bernie also displays a sardonic (if exhausted) wit and an all-too-human ego as her fame spreads. While Ciaran Hinds is effective as the ulcer-addled apprehensive husband and Nuala O'Neill gives an appropriately mopey angst-ridden performance as Ann vibrant supporting performances by the townspeople really bring soul and humor to this film.
Quite different from his last film the glossy fluffy "Notting Hill " Rodger Michell's "Titanic Town" is a small indie with many fine miniature moments such as Bernie's preoccupation with the dust bunnies under the bed as British soldiers forcibly search her home. With a spate of IRA films preceding it Michell's is the only one to really show "The Troubles" through a mother's eyes.