Proving that there’s nothing Hollywood won’t reboot if given then chance, a new Scooby Doo movie is reportedly in the works at Warner Bros. According to Variety, the studio is looking to send Scooby, Shaggy, and the gang on another spooky adventure, which will be written by Randall Green. The news comes just a year after Warner Bros. also announced plans for an animated Scooby Doo movie, which is reportedly still on track. Though the last live-action Mystery Gang outings, 2002’s Scooby Doo and its sequel Monsters Unleashed, did well commercially, they weren’t received well by critics and fans of the series, which is why it’s surprising that Warner Bros. would be so intent at taking a third shot at big-screen adventure. After all, the live-action Scooby Doo’s were only slightly better than Yogi Bear. There are plenty of other great classic Hanna-Barbera properties that would make for great films, so why does Scooby get a third shot at big screen success? Think about all of the possibilities that are open…
Wacky Races Concept: Think The Lego Movie meets Speed Racer, with a touch of Mega Mind thrown in. Plot: Set at the Wacky Races Grand Prix, a sprawling, dangerous race that spans three days and covers a variety of terrains, the film charts the highs and lows of all your favorite racers, from Penelope Pitstop to the Ant Hill Mob to the Gruesome Twosome, and sees Dick Dastardly’s desperate attempts to finally experience the glory for himself. Starring: Charlie Day as Dick Dastardly, Isla Fisher as Penelope Pitstop, Bill Hader as Clyde the leader of the Ant Hill Mob, Amy Poheler as the Red Max, and Tom Hanks as the Narrator. Directed By: Edgar Wright.
Inch High, Private Eye Concept: The Maltese Falcon meets Osmosis Jones.Plot: The city is being terrorized by a robber who keeps stealing priceless works of art and jewels from museums and homes. The police are understaffed, and the detectives are at their wits’ ends, and the case has reached a dead end. Then, Mrs. Gotrocks hires Inch High, Private Eye, the most brilliant and tortured detective around to look into the case. But she might not like what he finds… Casting: Casey Affleck as Inch High, Kate Mara as Lori, Josh Brolin as Gator, Tommy Lee Jones as Mr. Finkerton and June Squibb as Mrs. Gotrocks. Directed By: The Coen Brothers.
Hong Kong Phooey Concept: Think 22 Jump Street, but sillier. Plot: Penry Pooch has always wanted to be a cop, but his enthusiasm for the job doesn’t quite balance out his complete incompetence. After failing out of the police academy, he takes a job working as a janitor under the watchful eye of the constantly frustrated Sergeant. One night, when he’s the only one at the precinct, he stops and apprehends a robber, which inspires him to take up crime fighting as Hong Kong Phooey. Luckily, he’s got Spot to help him out of whatever jams he finds himself in. Casting: Will Arnett as Penry, Keith David as Sarge, Anna Kendrick as Rosemary, the telephone operator, and Nick Frost as Spot. Directed By: Shane Black.
The Jetsons Concept: August: Osage County in space. Plot: George Jetson is an ordinary man, living an ordinary life. He loves his family, endures his job and spends his time relaxing with his dog, Astro. But when he catches his wife having an affair with his boss, his world comes crashing down around him, and he’s forced to re-evaluate everything he knew about his life, and decide whether to move forward or move on. Starring: Joaquin Phoenix as George, Sandra Bullock as Jane, Hailee Steinfeld as Judy, and Steve Buscemi as Mr. Spacely, with Art Parksinson as Elroy and Scarlett Johansson as Rosie. Directed By: Spike Jonze.
JabberJaw Concept: Almost Famous meets Jaws, with a dash of Star Trek .Plot: The Neptunes were on their way to becoming the hottest rock band under the seas, until their drummer abruptly left. Then, they discovered Jabberjaw, a 15-foot-tall shark with the skills of Keith Moon, and it seemed like they had it made. But the path to rock stardom is paved with dangers and it’s time for the Neptunes to face them. Starring: Chris Pratt as Jabberjaw, Adam Levine as Clamhead, Malin Ackerman as Bubbles, Zoe Kravitz as Shelly, and Oscar Isaac as Biff. Directed By: John Carney.
Quick Draw McGraw Concept: A better homage to Blazing Saddles than A Million Ways to Die in the West .Plot: The Wild West is a dangerous place, thanks to outlaws, frequent dueling and a lack of modern medicine, but one man is there to keep order in place, and uphold justice where ever he goes… Sherrif Quick Draw McGraw. Unfortunately, he might have finally met his match when the deadliest outlaw in the west rides into his town. Starring: Damon Wayans Jr. as Quick Draw McGraw and Fred Armisen as Baba Looey.Directed By: Mel Brooks, in an ideal world.
Space Ghost Concept: It’s basically Guardians of the Galaxy, but with a monkey instead of a raccoon. Plot: After Zorak, Space Ghosts’ nemesis, escapes from prison, he recruits Black Widow (no, not that Black Widow) and Brak and Sisto in order to form a league of villains that will take over the galaxy and allow chaos to reign, but in order to do so, they need a gauntlet of power, one that only Space Ghost’s sidekick Jace possesses. Can Space Ghost and Jan rescue him and save the universe before it’s too late? Starring: Channing Tatum as Space Ghost, Emma Stone as Jan, Miles Teller as Jace, Idris Elba as Zorak, Dwayne Johnson as Brak, Jason Statham as Sisto, and Nicole Beharie as Black Widow (see, told you she was different!).Directed By: Joss Whedon, of course.
Top Cat Concept: Dancing on the Edge meets GoodFellas.Plot: Set in the 1940s, a group of rag-tag musicians are groomed to become a proper jazz sensation. But in order to do so, they’ll have to overcome prejudice, corrupt managers, in-fighting, and substance abuse and stick by each other through everything. Starring: Anthony Mackie as TC, Lamorne Morris as Brain, Albert Tsai as Choo-Choo, Michael B. Jordan as Fancy-Fancy, Josh Gad as Benny the Ball, Ruth Negga as Trixie, and Sean Penn as Officer Dibble.Directed By: Martin Scorsese.
You're welcome, Hollywood.
Spike Jonze doesn't waste any time introducing us to the technology at the center of Her. "An operating system that can mimic human sentience?" a dangerously lonely Joaquin Phoenix wonders after catching glimpse of an ad in a transit station. "Don't mind if I do!" (He doesn't actually say that, don't worry.) But by the time we're meant to believe that such a world can seamlessly integrate characters like Scarlett Johansson's automated voice Samantha into the lives of living, breathing men and women like Phoenix's Theodore, we're already established residents of this arresting, icy, quivering world the filmmaker has built. We meet Theodore midway through his recitation of a "handwritten letter" he penned on behalf of a woman to her husband of many years. That's his job — tapping into his own unique sensititivies to play ghostwriter for people hoping to adorn their spouses, boyfriends, girlfriends, parents, and children with personal notes of personal affection. Theodore is no independent contractor; he's part of a thriving company, and we almost get the feeling that the folks on the receiving end of these letters are in the know. Before we ever encounter Samantha, we're embedded in the central conceit of the movie: emotional surrogacy is an industry on the rise.
What makes Jonze's world so palatable is that, beneath its marvelously eerie aesthetic, this idea is barely science-fiction. Theodore, humbled and scarred by a recent divorce from lifelong love Catherine (Rooney Mara, who contrasts Johansson by giving a performance that, for a large sum of the movie, is all body and no voice), accesses the will to go on through interractions with video game characters and phone-sex hotlines. But the ante is upped with Samantha, the self-named operating system that Theodore purchases to stave off loneliness, deeming choice a far less contorting one than spending time with old pals like Amy (Amy Adams)... at first.
Samantha evolves rather quickly from an articulate Siri into a curious companion, who is fed and engaged by Theodore just as much as she feeds and engages him. Jonze paces his construction of what, exactly, Samantha is so carefully that we won't even catch the individual steps in her change — along with Theodore, we slowly grow more and more enamored and mystified by his computer/assistant/friend/lover before we can recognize that we're dealing with a different being altogether from the one we met at that inceptive self-aware "H-hello?" But Jonze lays tremendous groundwork to let us know this story is all for something: all the while, as the attractions build and the hearts beat faster for Samantha, we foster an unmistakable sense of doom. We can't help but dread the very same perils that instituted one infamous admission: "I'm sorry, Dave. I'm afraid I can't do that."
But Jonze's sci-fi constructs are so cohesively intertwined with his love story that our dread doesn't exactly translate to an anticipation of HAL's hostile takeover. Her wedges us so tightly between Theodore and Samantha that our fears of the inevitable clash between man and machine apprehend a smaller, more intimate ruin. As Samantha's growth become more surprising and challenging to Theodore, to herself, and to us, the omens build for each.
And although all three parties know better, we cannot help but affix ourselves to the chemistry between Theodore and Samantha, and to the possibility that we're building toward something supreme. A good faction of this is due to the unbelievable performances of Phoenix — representing the cautious excitement that we all know so painfully well — and Johansson, who twists her disembodied voice so empathetically that we find ourselves, like Theodore, forgetting that we have yet to actually meet her. The one castigation that we can attach to the casting of Johansson is that such a recognizable face will, inevitably, work its way into our heads when we're listening to her performance. It almost feels like a cheat, although we can guarantee that a performance this good would render a figure just as vivid even if delivered by an unknown.
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In this way, Her is as effective a comment on the healthiest human relationships as it is on those that rope in third parties — be they of the living, automated, or greeting card variety. In fact, the movie has so many things to say that it occasionally steps on its own feet, opening up ideas so grand (and coloring them so brightly) that it sometimes has trouble capping them coherently. Admittedly, if Spike Jonze had an answer to some of the questions he's asking here, he'd probably be suspected of himself being a super-intelligent computer. But in telling the story of a man struggling to understand what it means to be in love, to an operating system or not, Jonze invites us to dissect all of the manic and trying and wonderful and terrifying and incomprehensible elements therein. Just like Samantha, Her doesn't always know what to do with all of its brilliance. But that might be part of why we're so crazy over the both of them.
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Jane magazine founder Jane Pratt is set to go public with all the details of her lesbian romance with Drew Barrymore after confessing the Charlie's Angels star is the celebrity girl she bedded.
Pratt has boasted about her gay encounter for years but only recently revealed Barrymore was the star she slept with.
The magazine boss, who dated Barrymore in the mid 1990s, says, "I did have sex with Drew Barrymore," and now the National Enquirer claims Pratt is considering revealing more on shock jock Howard Stern's radio show.
A source says, "Jane feels it's finally safe to break the silence and put all the rumors to rest."
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It didn't take Pamela Anderson long to find a new gig after her syndicated action/adventure series V.I.P. was canceled last week.
The former Baywatch babe will write a monthly feature for Jane magazine that will focus on issues of domestic abuse, women's health and parenthood, The Associated Press reports.
Jane Pratt, editor in chief at Jane, said Monday that Anderson will be a perfect fit for the magazine.
"She has a very open and honest writing style that I know our readers will be able to relate to," Pratt said.
Anderson appeared on a recent cover of the magazine but was dissatisfied with the accompanying story, titled "My Man, My Kids, My Liver." Pratt in turn asked the actress to contribute to the magazine's new celebrity-written column, "This Celeb Trusts Us." She was so impressed with Anderson's outpouring of ideas that she asked her to do a monthly column.
Anderson, 34, has two children with her ex-husband, former Motley Crue drummer Tommy Lee. The two are currently involved in a custody battle over their two children.
In March, Anderson confirmed reports that she had hepatitis C--a disease that affects the liver--and said she contracted the disease while sharing a tattoo needle with Lee.
But the former Playboy Playmate is moving on--romantically speaking. She recently announced her engagement to pop-rocker Kid Rock.
Anderson's first column, called Pam Honestly, will appear in the September issue of Jane.
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?