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Tuesday, April 29, 2014
STARWARS EPISODE VII Cast Announced
The Star Wars team is thrilled to announce the cast of Star Wars: Episode VII. Actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, and Max von Sydow will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker in the new film. Director J.J. Abrams says, "We are so excited to finally share the cast of Star Wars: Episode VII. It is both thrilling and surreal to watch the beloved original cast and these brilliant new performers come together to bring this world to life, once again. We start shooting in a couple of weeks, and everyone is doing their best to make the fans proud." Star Wars: Episode VII is being directed by J.J. Abrams from a screenplay by Lawrence Kasdan and Abrams. Kathleen Kennedy, J.J. Abrams, and Bryan Burk are producing, and John Williams returns as the composer. The movie opens worldwide on December 18, 2015.
April 29th, Pinewood Studios, UK – Writer/Director/Producer J.J. Abrams (top center right) at the cast read-through of Star Wars: Episode VII at Pinewood Studios with (clockwise from right) Harrison Ford, Daisy Ridley, Carrie Fisher, Peter Mayhew, Producer Bryan Burk, Lucasfilm President and Producer Kathleen Kennedy, Domhnall Gleeson, Anthony Daniels, Mark Hamill, Andy Serkis, Oscar Isaac, John Boyega, Adam Driver and Writer Lawrence Kasdan.
Copyright and Photo Credit: David James. Lucasfilm Ltd. & TM. All Rights Reserved.
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Tuesday, April 22, 2014
Sunday, April 20, 2014
Another Faithful Hit for Hollywood: ‘Heaven Is for Real’
“Heaven Is for Real” became Hollywood’s
fourth overtly faith-based hit of the year over the Easter weekend,
taking in an estimated $21.5 million — double the dismal ticket sales
that Johnny Depp mustered for his latest big-budget effort. But God
still could not beat a superhero: The No. 1 movie at North American
theaters was again “Captain America: The Winter Soldier” (Disney), which
sold about $26.6 million in tickets, for a three-week domestic total of
$201.5 million, according to Rentrak, which compiles box-office data.
The animated “Rio 2” (20th Century Fox) was
second, taking in about $22.5 million, for a two-week total of $75.4
million. Then came “Heaven Is for Real”
(Sony Pictures Entertainment), the best-performing new entry, with a
total since opening on Thursday of $28.5 million. It cost $12 million to
make and was backed with a grassroots marketing campaign that focused
on churches as well as a more mainstream audience.
Religious movies
have been hot at the box office this year in part because the current
boomlet follows a drought. Studios also aim to lock in sales by church
groups, resulting in an opening-weekend pop that can drive positive word
of mouth, a crucial element of successful movie releases. “Heaven Is
for Real” was also based on a best-selling book. The other three hits so
far this year have been “Noah,” “Son of God” and “God’s Not Dead.” More
religious movies are on the way, including Ridley Scott’s “Exodus: Gods
and Kings,” which is scheduled for release in December.
For the weekend, Mr. Depp’s “Transcendence”
(Warner Bros.), a science-fiction drama, had $11.2 million in ticket
sales – a distant fourth-place arrival that extended a string of
misfires for him. “Transcendence” was directed by Wally Pfister, a
first-time filmmaker known for his cinematography work on Warner’s “Dark
Knight” series. It cost an estimated $100 million and received
overwhelmingly negative reviews. Fifth place went to the low-budget
comedy horror sequel “A Haunted House 2” (Open Road), which took in
about $9.1 million.
Monday, April 14, 2014
New Featurette for Jeff Bridges' THE GIVER
The Giver is directed by Phillip Noyce and also stars Brenton Thwaites, Alexander Skarsgard, Katie Holmes, Meryl Streep, Cameron Monaghan, and Odeya Rush. It hits U.S. theaters on August 15.
Official Websites: http://thegiverfilm.com/, https://twitter.com/thegivermovie
What do you think of the New Featurette?
Wednesday, April 9, 2014
Mickey Rooney Appreciation: Noir Films Showed He Was More Than a Teen Star
From 1937 to 1946, Mickey Rooney
played clean-cut, wide-eyed Midwestern teenager Andy Hardy 15 times in a
series of films that proved instrumental (along with his Judy Garland
musicals) in making him one of the most popular movie stars of his era.
They also surely came to feel like a gilded prison around the actor. By
the time the series ended, the Hardy character had been to WWII and back
(as had Rooney), yet still seemed incapable of getting past first base
with a girl (whereas Rooney was already on the second of his eight
marriages).
The Mickster’s thirst for more adult roles was palpable, and Hollywood took a few different stabs at figuring out what to do with him. There was a series of sports films designed to show off the five-foot-two actor’s virile, athletic side: the boxing drama “Killer McCoy” (1947), in which he is a highly improbable light heavyweight; the car-racing programmer “The Big Wheel” (1949); and “The Fireball” (1950), about a champion roller skater. But Rooney would prove a far better fit for the seedy, downtrodden world of film noir: He gave two of his best performances in a pair of unjustly overlooked classics of the genre.
Rooney had come to noir via the 1950 “Quicksand,” a taut, independently made thriller (which he partly financed along with his co-star, Peter Lorre) in which he stars as a naive auto mechanic whose seemingly innocuous theft of $20 from the store cash register snowballs into a series of increasingly violent and dangerous criminal acts. Several degrees greater, however, is 1954’s “Drive a Crooked Road,” where Rooney is once again a mechanic, this time seduced by a gangster’s sultry moll (Dianne Foster) into serving as the getaway driver for a Palm Springs bank heist. The movie’s ad copy — “Why Would a Dame Like Her Go for a Guy Like Me?”— effectively summed it up. Expertly directed by Richard Quine (a frequent Rooney collaborator) from a crackling script by the young Blake Edwards, “Drive” turns on Rooney’s diminutive stature and equally deflated sense of self, casting him as a decent but self-loathing loner who allows himself to be duped by Foster’s transparent charms — and it reveals a darkness in the actor that no movie quite had before.
Darker still is “Baby Face Nelson” (1957), directed by the great Don Siegel (“Dirty Harry”) and featuring Rooney as the eponymous John Dillinger associate, known for his trigger-happy ways and massive Napoleon complex. It is an unsparing, startlingly violent film that in many ways anticipates “Bonnie and Clyde” by a decade (unsurprisingly, New York Times critic Bosley Crowther panned it, too), and Rooney is absolutely terrifying in it: shifty, seething with rage against the world, primed to explode. Siegel’s film is rarely screened today and has never been released on any homevideo format; Rooney’s death makes its revival seem all the more urgent.
After “Baby Face Nelson,” Rooney veered back to more likable movie roles, but on TV he had one more unqualified triumph in the pit of despair. In “The Comedian” (1957), directed live by John Frankenheimer for the anthology series “Playhouse 90,” he is Sammy Hogarth, a vituperative TV comic who spews invective at all who surround him, not least his long-suffering brother/assistant (Mel Torme). “Don’t make me the heavy all the time!” Hogarth bellows in one of his rants. Rooney only occasionally got to play the heavy, but when he did, he was rarely more brilliant.
Photo: Post-WWII, the actor stretched in 1954’s “Drive a Crooked Road.”
The Mickster’s thirst for more adult roles was palpable, and Hollywood took a few different stabs at figuring out what to do with him. There was a series of sports films designed to show off the five-foot-two actor’s virile, athletic side: the boxing drama “Killer McCoy” (1947), in which he is a highly improbable light heavyweight; the car-racing programmer “The Big Wheel” (1949); and “The Fireball” (1950), about a champion roller skater. But Rooney would prove a far better fit for the seedy, downtrodden world of film noir: He gave two of his best performances in a pair of unjustly overlooked classics of the genre.
Rooney had come to noir via the 1950 “Quicksand,” a taut, independently made thriller (which he partly financed along with his co-star, Peter Lorre) in which he stars as a naive auto mechanic whose seemingly innocuous theft of $20 from the store cash register snowballs into a series of increasingly violent and dangerous criminal acts. Several degrees greater, however, is 1954’s “Drive a Crooked Road,” where Rooney is once again a mechanic, this time seduced by a gangster’s sultry moll (Dianne Foster) into serving as the getaway driver for a Palm Springs bank heist. The movie’s ad copy — “Why Would a Dame Like Her Go for a Guy Like Me?”— effectively summed it up. Expertly directed by Richard Quine (a frequent Rooney collaborator) from a crackling script by the young Blake Edwards, “Drive” turns on Rooney’s diminutive stature and equally deflated sense of self, casting him as a decent but self-loathing loner who allows himself to be duped by Foster’s transparent charms — and it reveals a darkness in the actor that no movie quite had before.
Darker still is “Baby Face Nelson” (1957), directed by the great Don Siegel (“Dirty Harry”) and featuring Rooney as the eponymous John Dillinger associate, known for his trigger-happy ways and massive Napoleon complex. It is an unsparing, startlingly violent film that in many ways anticipates “Bonnie and Clyde” by a decade (unsurprisingly, New York Times critic Bosley Crowther panned it, too), and Rooney is absolutely terrifying in it: shifty, seething with rage against the world, primed to explode. Siegel’s film is rarely screened today and has never been released on any homevideo format; Rooney’s death makes its revival seem all the more urgent.
After “Baby Face Nelson,” Rooney veered back to more likable movie roles, but on TV he had one more unqualified triumph in the pit of despair. In “The Comedian” (1957), directed live by John Frankenheimer for the anthology series “Playhouse 90,” he is Sammy Hogarth, a vituperative TV comic who spews invective at all who surround him, not least his long-suffering brother/assistant (Mel Torme). “Don’t make me the heavy all the time!” Hogarth bellows in one of his rants. Rooney only occasionally got to play the heavy, but when he did, he was rarely more brilliant.
Photo: Post-WWII, the actor stretched in 1954’s “Drive a Crooked Road.”
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