British director Joe Wright has emerged as a favorite to direct the wildly anticipated movie adaptation of Fifty Shades of Grey, reports indicate. Gus Van Sant has reportedly been angling for the job, as well, so who knows, but Wright, 40, has ties with both Universal and Focus Features. The director has helmed Anna Karenina, Hanna, Pride and Atonement , which features some major heat. The man can film a sex scene, people! As for who he’d be filming, should he in fact land this major directorial role? That remains to be seen, but the speculation is off the charts as always. Who should play Christian and Ana? Vote in our polls after the jump! Ian Somerhalder Alex Pettyfer Stephen Amell Matt Bomer Ryan Gosling Ryan Phillippe Alexander Skarsgard Henry Cavill Chris Evans Tom Hardy Other (cite in comments) View Poll » Mila Kunis Lily Collins Nina Dobrev Alexis Bledel Shailene Woodley Lucy Hale Minka Kelly Allison Williams Emma Watson Ashley Benson Other (cite in comments) View Poll »
For some, the scariest movie image would be something like zombie ghost dogs jumping out of a haunted shed and eating your face, thus turning you into a zombie ghost dog. Those people have probably never considered being stranded alone in the infinite darkness of space. Watch the first Gravity trailer to get an idea of what it might be like, and then try sleeping ever again: Gravity Trailer Sandra Bullock and George Clooney star as astronauts on their first and last missions, respectively. While on a space walk, their ship explodes, leaving them stranded in space with no communication with Earth. Gravity is directed by Alfonso Cuarón. It will premiere October 4.
The dazzling commercials for this sure-to-be box office smash proclaim that it’s going to be the summer of Gatsby . But does it live up to enormous expectations? While there’s sure to be a division of opinions between literary purists, Luhrmann fans, and regular ol’ moviegoers, there is simply no doubt that this film is a piece of work. As for this critic, I’m staunchly on the side that loved this interpretation of F. Scott Fitzgerald’s famous novel The Great Gatsby. Director Baz Luhrmann is known for his distinct, somewhat over-the-top, storytelling style. His past cinematic achievements include William Shakespeare’s: Romeo and Juliet and Moulin Rouge . Both of those films are stories that have been told before, but Luhrmann has a way of re-imagining the stories and adding his own eccentric and decadent spin on things. This is exactly what he did for The Great Gatsby . For all of the book fans out there, fear not as the most important prose from the book is included in the film. However there are times when the words are spinning out at you in 3D fashion and dancing over scenes. The story does not stray too often from the novel which is something that should keep longtime The Great Gatsby fans satisfied. As for the characters, I found that casting best friends in the role of Nick Carraway and Jay Gatsby was brilliant. Tobey Maguire and Leonardo DiCaprio have a longstanding relationship that probably helped them sink into their roles easily. In my opinion, the casting was simply perfect. Maybe Isla Fisher is a little too hot to play Myrtle the mistress, but she does a job well done. Any hardcore book fans know that Daisy really has dark hair, but Carey Mulligan nails the role of Daisy’s dainty, naive, charming but fickle debutante. DiCaprio has the glamour and allure of an old-Hollywood movie star, making him the perfect choice for Jay Gatsby. His star power allows him to pull off the excess and lavish character that is the infamous Gatsby. Without giving too much away, the film does add some elements that are lacking from the novel. For instance, there was more substance in the love scenes between Daisy and Gatsby. You visually understand their affair and his longing, whether it be the iconic green light or the tabs he’s kept on her over the years. Luhrmann took a tale of the American Dream of happiness and wealth and put a modern day touch on it that surely would’ve suited a man like Jay Gatsby, and probably F. Scott Fitzgerald himself. The soundtrack includes world famous acts like Jay-Z and Fergie, but it’s Lana Del Rey’s “Young and Beautiful” that plays throughout most of the movie and puts you in touch with the story. If moviegoers are unimpressed by all else, there is absolutely no doubt that the film is visually stunning. Aside from the 3D factor, which surprisingly works, the production of the party scenes and landscapes are vivid and visually enchanting. The costume design done by Luhrmann’s wife Catherine Martin is impeccable, flawless, and likely to win an Oscar for it’s portrayal of the Art Deco period. All in all, it is worth the trip to the theater and the extra few bucks for 3D to see this new take on the literary classic The Great Gatsby . Who knows, maybe you’ll be inspired to throw your own version of the West Egg’s most notorious parties this summer? RATING: 4/5 Stars
Director Michael Bay tones it down for this based-on-real-life story, with mixed results. By Amy Wilkinson Dwayne Johnson and Mark Wahlberg in “Pain & Gain” Photo: Paramount Pictures
Mistaken for Strangers , a documentary about indie group the National , comes off like an exercise in self-deprecation. As much a diary film as a rockumentary, it almost compulsively veers away from its ostensible subject, the band’s world tour, probing the relationship between lead singer Matt Berninger and his kid brother Tom (who helmed the film) as though worrying a sore tooth. It remains ambiguous to what extent the director’s screen persona, which raises schlubbiness to an art form, is legit. But with its wry humor and fantastic mix of music and images, this seemingly odd choice for Tribeca’s opening-nighter could carve out a solid theatrical niche. Tom has been invited by Matt to join the National’s world tour as a working roadie. The documentary, shot solo on a small camera, is apparently strictly Tom’s idea. A veteran of a couple of schlock horror videos, Tom portrays himself as being woefully unprepared for the job, plunging in, to Matt’s dismay, with no prepared questions, no organization and not even a notebook as he asks hilariously lame questions like, “Do you ever get sleepy onstage?” or “Where do you see the National in 50 years?” About three-quarters of the way through, Tom finally manages to ask, albeit briefly, about the process of songwriting, and Matt speaks fleetingly of the difficulty of early tours, when nobody showed up. But generally few subjects of substance arise – aside, of course, from the deathless Matt/Tom dynamic. “It sucks being Matt’s brother,” the director says. “He’s a rock star and I am not.” A darling of critics, the National only really achieved commercial success shortly before the featured tour, during which they play to President Obama in Washington and thousands in Paris, London and Warsaw. Though granted little opportunity to discuss its music, the band is given ample room to perform it, and Matt’s penchant for physically interacting with concert-goers, writhing onstage and screaming into the mic lends the live shows plenty of drama. Meanwhile, Tom quietly proves himself a whiz at sound/image counterpoint. But when not documenting concerts and occasional rehearsals, the film reverts back to the misadventures of Tom as he screws up his “other” job as assistant to the road manager. This gives the director the chance to crosscut between the band’s triumphant road trip and his own eventual, ignominious return to his parents’ Cincinnati home, where he plies Mom and Dad with anxious queries comparing himself to his brother. Ensconced in Matt’s Brooklyn home six months later, Tom begins to edit the docu, with chaotic results that nearly threaten to derail the film en route to its upbeat finish. More on Mistaken For Strangers : WATCH: Tribeca Film Festival Rocks Out On Opening Night With The National & ‘Mistaken For Strangers’ Follow Movieline on Twitter .
Michael Bay does not apologize for Armageddon. I repeat, he does not apologize. Yesterday, we reported that Bay apologized for Armageddon , saying that he didn’t have enough time to do it right. But today the director has released a statement to the contrary: “One press writer has gone too far in reporting false information. He has printed the bare minimum of my statement which in effect have twisted my words and meaning.” The director added “still today Armageddon, is still one of the most shown movies on cable TV. ” “And yes, I’m proud of the movie. Enough said.” Some fans think Bay has plenty of other movies he could apologize for, but that’s beside that point.
Two new international trailers have dropped for Only God Forgives , Drive director Nicolas Winding Refn’s next film with Ryan Gosling , and they’re sinewy, tense numbers that do an effective job of ratcheting up anticipation for the picture. Audiences at the Cannes Film Festival will get to see the movie on May 22, while U.S. moviegoers will have to wait until July 19. The two trailers below aren’t that much different. Both employ a lightning-fast cutting pace that left me unsettled and disoriented, which, I suspect, is exactly what an American would feel while seeking to avenge his brother’s death in murky Bangkok. If I have to choose a favorite, I prefer the first, French trailer because, like rare steak and a good Bordeaux, brutal cinematic violence pairs nicely with French subtitles, The second clip is a little less frenetic and drops a clue as to why Gosling’s brother (Tom Burke) met with a grim end. ( If you aren’t familiar with the plot of Only God Forgives , you can read about it here . ) Taken together, the trailers add up to a handful of key moments, some of which were established in the red-band trailer that dropped earlier this month . Here are the five most bad-ass moments from the trailers (in ascending order). If you disagree, leave your list in the comments section below. 5. Vithaya Pangsringarm plunging knives through the forearms of a bearded guy and making him scream. Really loud. 4. Ryan Gosling smashing a drink glass into a guy’s face . Colossal velocity! 3. Gosling dragging a guy by the roof of his mouth . That cannot end well. 2. Gosling saying: “Wanna Fight?” in the French trailer. (Because it’s subtitled.) 1. Kristin Scott Thomas , who play Gosling’s mother, telling him: “If the tables were turned, your brother would have found your killer — brought me his head on a fucking platter! I can’t wait to find out what Daddy was like. More on Only God Forgives : ‘Only God Forgives’ Red Band Trailer: The Zen Of Ryan Ryan Gosling Don’t Look So Pretty In ‘Drive’ Director Winding Refn’s ‘Only God Forgives’ Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
The ‘Ted’ star offers to ‘beg and plead’ for his first Golden Popcorn. By Amy Wilkinson, with reporting by Josh Horowitz Mark Walhberg Photo: John Shearer / Invision
