Anchorman cost $26 million to make and delivered a healthy global box-office of $90 million when it was released back in 2004. If you take DVD sales into account (it’s currently the ninth most popular comedy film on Amazon) you start to realise that the movie must have made Paramount enough to money to deck every inch of their operation with rich mahogany. A sequel was on the agenda back in 2008, but despite the cast and co-writer/director Adam McKay openly welcoming the project (and many of them offering to take pay-cuts) the studio still weren’t keen.
In April last year, Ferrell explained that film bosses had “run the numbers” on the sequel and “decided that it wasn’t a good fit”. Presumably they had Brick Tamland in the accounts department, because even the most conservative of forecasters would have to concede that a follow-up would smash those gate receipts with ease, so the studio’s reluctance to make a sequel was difficult to fathom. It was only after an internet outcry and a thousand Facebook groups at the back end of 2011 that Paramount started to realise the sheer market for Anchorman 2.
Maybe studio bosses thought that reassembling a cast and crew who’s wage structure and profile has increased since 2004 was a bit of a risk? Or maybe they’ve been saving the film until their Twilight cash-cow ran out of juice? Either way, they seem to have finally warmed to the idea, but have they waited too long or will the most ill-informed bunch of reporters this side of be able to roll back the years? Read more
My first encounter with Into the Abyss: A Tale of Death, A Tale of Life came during an Intelligence Squared discussion with its inimitable Bavarian director, Werner Herzog, who drip fed his army of devotees brief clips of interviews that would later form the aforementioned feature film and a TV documentary series; the less romantically titled Death Row (now airing on Channel 4).
At this juncture, he was still in the process of editing and piecing together the footage, hours of claustrophobic meetings with convicted murderers and the collateral damage of their crimes, namely the parents, partners and siblings of the victims. Unfortunately, a project brimming with promise has culminated in a rather vague examination of the dark side of the human soul, a collection of harrowing events that pleasingly rejects the bombast and sensationalism of its cable television equivalents yet fails to form any coherent meaning other than to wallow in the abject pointlessness of truly disgraceful homicidal acts. Read more
Noomi Rapace (The Millennium Trilogy) once again plays a young woman with mental health problems struggling against the system that’s supposed to protect her.
Here she’s Anna, a mother forced into hiding from her abusive husband with her eight-year old son Anders.
But is everything all that it seems? Anna suffers from hallucinations, frequently doesn’t remember where she’s been and is paranoid that Anders will be harmed if she’s not around to watch him every second. Living in fear of her ex-husband finding them and under the threat of her sexually-aggressive child welfare officer, Anna forms a tentative relationship with mild-mannered shop assistant Helge (Kristoffer Joner) when she goes to buy a baby monitor. Read more
Unlike many of his recent projects – which have involved him directing, starring, writing the theme tune, singing the theme tune etc – this project with Warner Bros. is purely a thespian affair.
The film will follow the life of the aforementioned lawmaker, Decker, a politician caught up in an affair that sees his carefully orchestrated life suddenly in tatters. Lying low like a wounded creature beneath a pile of leaf litter for some time, he eventually returns to his hometown to “confront his demons”.
Warners picked up the script – written by Crazy, Stupid, Love’s Dan Fogelman – last year for $2 million. Originally, Tom Cruise had showed interest in taking on the role, but after he defaulted for a part in Oblivion – Affleck has been granted the honour of taking Cruise’s sloppy seconds.
Affleck’s latest directorial outing, Argo, is due for release on October 12. He is also involved in Stephen King adaptation The Stand. Whether the Pearl Harbour…star…will squeeze in Nathan Decker between calling the respective shots remains to be seen.
Wait…it’s not April 1st yet is it? Hmm, apparently not. Ok then. Um, Twins, the 80s comedy featuring Arnold Schwarzenegger and Danny DeVito is getting a sequel and it’s one which would not only unite the two actors but also introduce a third brother into the mix – Eddie Murphy.
For those of you who don’t remember, the first film was about an experiment to create the perfect man by combining the DNA of several men. Said experiment led to the specimen that was Julius (Arnie) – a genius who was raised in seclusion on a small island – but also the left over runt that was Vincent – who turned out to be a street-smart con-artist. It wasn’t a total disaster and had some funny moments (it’s a damn sight better that Junior that’s for sure).
At the moment, it’s just an idea that’s being thrown around by producer Ivan Reitman but he’s teaming up with the Montecito Picture Company to find a writer for the project. All three actors are attached but whether it’ll actually happen still remains to be seen. Reitman won’t be directing this time round so step up aspiring directors, this could be the best or worst move of your career!
Well, Eddie Murphy hasn’t been funny since 1988 – coincidentally the same year that Twins was released – so he could probably use a boost. Not sure this is the best way to go though…
Former stuttering King, Colin Firth, is rumoured to be in talks with the director of Bridesmaids for a remake of French flick Untouchable.
The Weinstein Company is providing the spondoolies, having already bought rights to the Eric Toledano and Olive Nakache original. No writers have yet been assigned to the project, which will follow the same basic plot as previously seen across the Channel.
After finding himself a quadriplegic following a horrific paragliding accident, an aristocrat (originally played by Francois Cluzet) hires a young man from the projects to be his caretaker. Blending some poignant dramatic scenes with comic scripting, the pair find themselves rather enjoying their mismatched company.
Both Feig and Firth are in demand, of course, with the director attached to several film and TV projects and Firth scheduled to make Devil’s Knot and The Railwayman this year. But reports suggest that the Weinstein powerhouse plans to clunk into action with shooting this autumn.
Ruh roh. Looks like Human Centipede 3 has run into some problems. A few weeks ago, the news was that production was officially underway with director Tom Six working with returning cast members Dieter Laser and Laurence Harvey. Well, all is not well it seems with Laser pulling out and Six suing him for breach of contract.
Is this a publicity stunt? Could be… Either way, here are the details of the spat.
Firstly Tom Six spouted through Twitter “”BREAKING NEWS: MY COMPANY WILL SUE ACTOR DIETER LASER!!! WORLDWIDE PRESS RELEASE WILL FOLLOW SHORTLY”.
That was a followed by a statement by producer Ilona Six to Fangoria,
“Because of the success of The Human Centipede, it seems that Mr Dieter Laser’s ego has grown to laughably big proportions. First signing the contract and rating the Human Centipede 3 script as fantastic, and then demanding his own unacceptable script changes, and now refusing to play the part only seven weeks prior to shooting. Six Entertainment Company will start legal action against Dieter Laser. Tom Six says not to worry; principal photography will be postponed and will take place later this year.”
Laser replied sending a statement to Germany-based Screen Read
“It’s very simple: I loved the story when I was told it, got the contract and the promise to have the script in four to six weeks. When it arrived – half a year later and only after the official announcement – I didn’t like the realization at all, couldn’t identify with the character the way it was written, and developed immediately and enthusiastically, in a day and night marathon, a version full of concrete and practical suggestions which would enable me to play the lead full throttle. This is the same procedure as with [the first film's] Dr Heiter, but this time it also would have had some unavoidable effects to the dramatic structure. That was too much for Tom and since he couldn’t live with my suggestions and I as a method actor couldn’t identify with his version, I told him that I couldn’t see any other way than that he would have to ‘change horses’. That’s it.”
Could this be an elaborate bluff on their part? Was this manufactured for publicity? Only time will tell really but for now it looks like the production’s on hold…
It is fitting that Corpo Celeste’s theme – an adolescent’s tentative arrival in a new town, and introduction to Catholicism – is about beginnings. For this startling, slow-burning observation of an unfamiliar world through the eyes of a pensive child is a work of debuts.
Not only is it Tuscan director Alice Rohrwacher’s first film, but it also features a remarkable debut performance by Yile Vianello as 13 year old protagonist Marta, and Pasqualina Scuncia in the tragicomic role of an underappreciated, furiously devout Sunday school teacher called Santa.
Set in Southern Italy on the coast, what is first striking about the location is how far it defies stereotypes. There are no lapping waves, beautiful people or golden sunshine – Marta simply sees tumbling hills of tower blocks, wastelands of concrete and scrap, and fellow sorrowful souls as she intermittently gazes out at her hostile new homeland throughout the film, and the Italian is mumbled and reflective rather than animatedly fiery.
Marta, though born in this town, grew up in Switzerland, and has just returned with her mother and terrifyingly overbearing 18 year old sister – “you’re uglier than before” she sneers at her younger sibling, who has had a lengthy experience hesitantly trying on bras and inspecting her transforming body in the bathroom. The naturalism of Marta’s haphazard stumble into puberty sometimes makes for uncomfortable viewing, so intimately is it shot; all intentionally awkward, claustrophobic camera angles and stark lighting. Read more
“What’s the point in trying if you don’t try your best?” implores a merciless rapper in the climactic scene of Street Dance 2. A film that tries its very best to emulate all others of its genre. The constant back to back flips interspersed with lazy love scenes almost render it lost on anyone over age 12. Except for one thing – it’s funny. Even if you’re not sure why.
But first, let’s talk about George Sampson. George Sampson is the second series winner of Britain’s Got Talent, aged 14. Since then he’s moonwalked his way into the media to finally, at the ripe old age of 18, adopt the elusive ‘Actor/Singer/Whatever’ status. How this qualifies him to play Eddie, the manager of Street Dance 2’s ‘right on’ eclectic dance group (you know, the one you’re meant to want to win as opposed to the other one), remains a mystery. The fact he still looks around 12, however, does not.
Eddie wastes no time in appearing out of nowhere to aid Will Young lookalike Ash on his quest to find the world’s best movers to beat American crew Invincible (Boo!) at some dance off or other. If finding people with madcap names that sounds like they’re all spawn of Bob Geldof (Bam Bam, Yoyo and Scorpion anyone?) wasn’t enough, Eddie unveils his wildcard in the form of Ava, a sexy seniorita Ash quickly decides he has to, erm, dance with. Yeah. Read more
Want to see Naomie Harris chatting about Skyfall and firing a load of guns? Of course you do. Here’s her first VLog in which she talks about her role as field agent Eve in the upcoming Bond movie and her pride at being part of the franchise.