Tag Archives: films

Will ‘Kinky Boots’ Be The Next ‘Hairspray’?

I saw Kinky Boots  at the Al Hirschfeld Theater on Broadway the other night, and by intermission, I was convinced that it could be another  Hairspray : a movie that finds success as a Broadway musical and then returns to the big screen as a movie musical. You may recall that  Hairspray started out as a modestly budgeted 1988 film by John Waters that starred Ricki Lake as Tracy Turnblad , the late, great drag queen Divine , in his last movie performance, as Tracy’s mother, and Blondie’s Deborah Harry .  The film did okay at the box office but became a cult favorite when it was released to the home video market. But that was just the beginning of its journey through American popular culture. In 2002, producer Margo Lion , composer Marc Shaiman and writer Thomas Meehan adapted Hairspray for the stage. They cast Marissa Jane Winokur in the role of Tracy and Harvey Fierstein in the part that Divine played, Tracy’s mother, and ended up with a Broadway hit. Re-enter New Line , which distributed the original film, and became involved in re-adapting the stage version as a movie musical. This time, John Travolta played Tracy’s mother , and, once again, audiences bought tickets. Like Hairspray , Kinky Boots began as a modest 2005 comedy film that was written by Tim Firth ( Calendar Girls ) and Geoff Deane , directed by Julian Jerrold and starred a baby-faced Joel Edgerton , who’s about to look a whole lot more manly in The Great Gatsby .  The film has only grossed a little over $10 million worldwide, according to Box Office Mojo , but it enjoys cult status among the trendsetting fashion crowd — as does Waters, by the way — because it involves two favorite topics: shoes and drag queens. The movie and the play are loosely based on a real story: At a time when staid Northampton, England shoe manufacturers were going out of business, the WJ Brooks Ltd. shoe manufacturer there reinvented itself by making racy boots and shoes for drag queens and the fetish trade. The company is now known as Divine Footwear (yet another odd tie to the original  Hairspray .) In the movie (and stage production), the factory’s reluctant new proprietor Charlie — who takes over when his father dies — hires a drag queen named Lola as chief shoe designer, which causes much controversy among his conservative blue-collar workforce When you check out the clip below, keep in the mind that the original movie was not a musical, but it did feature this musical performance by Lola (Chiwetel Ejiofor): These Boots Are Made For Talkin’ Cut to April 4, when Kinky Boots , the musical opened on Broadway. Produced by  Daryl Roth and Hal Luftig , the show’s book was written by Harvey Fierstein — there’s that Hairspray connection again — with songs and lyrics by Cyndi Lauper , who knows how to write upbeat, crowd-pleasing music. The night I saw the production,  the crowd loved it, and, last week,  Kinky Boots  enjoyed its first grosses over $1 million as well a berth among the five top-earning shows on Broadway. Here’s a glimpse: Sole Power The show also seems to be drawing noteworthy producers who’ve worked in both theater and film, including David Geffen ( Dreamgirls ) and Paula Wagner ( Jack Reacher , The Heiress ). As you can see from the photo above, Waters and Barry Manilow also caught the play. If Kinky Boots continues to pack in the out-of-town crowds, I could see it enjoying a second life as a movie musical. I bet most of the cast of Les Miserables would be interested. Who would you cast? Follow Frank DiGiacomo on  Twitter. Follow Movieline on  Twitter. [ Box Office Mojo ]

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Will ‘Kinky Boots’ Be The Next ‘Hairspray’?

REVIEW: Visually Stunning ‘Oblivion’ Looks Like A Live-Action ‘Wall-E’

Although Universal’s publicity department has asked that journalists refrain from spilling the secrets of Oblivion , the major revelations, once they arrive, will hardly surprise anyone familiar with Total Recall , The Matrix  and the countless other sci-fi touchstones hovering over this striking, visually resplendent adventure. Pitting the latest action-hero incarnation of Tom Cruise against an army of alien marauders, director Joseph Kosinski’s follow-up to Tron: Legacy  is a moderately clever dystopian mindbender with a gratifying human pulse, despite some questionable narrative developments along the way. The less-than-airtight construction and conventional resolution may rankle genre devotees, though hardly to the detriment of robust overall B.O. Getting the blockbuster season off to an early start on April 19, when it opens Stateside in wide release and in Imax theaters, Oblivion  reps the latest test of Cruise’s bankability, coming mere months after he tried on a new ass-kicking persona with Jack Reacher . This time he’s Jack Harper, and without giving too much away, there’s an amusing, perhaps unintended existential subtext here about the somewhat interchangeable men of action Cruise has played over the course of his career. Still, the actor’s first foray into science fiction in eight years (if you don’t count Rock of Ages ) comes with a more intriguing backstory than most. It’s the year 2077, six decades after the people of Earth fought and vanquished an evil race of space invaders called Scavengers . But victory has come at a great cost. The planet is now an uninhabitable post-nuclear wasteland, and Jack (Cruise) is one of the last men still stationed on Earth, a fighter pilot/technician assigned to fend off stray Scavengers and repair the powerful drones overseeing a massive hydroelectric energy project necessary for the survival of the human species. It all looks and sounds a bit like a live-action remake of Wall-E , right down to the way the protagonist, spurred by natural curiosity and an unexpected love interest, finds himself on a dangerous unauthorized mission. Until now, Jack has worked effectively enough with Vika ( Andrea Riseborough ), who guides his repair jobs with cool, formidable efficiency from the glassy confines of their high-tech home base (referred to as the Skytower, though it might as well be called the iPad ). But unlike his partner, Jack is a dreamer and a bit of a poet, someone who can’t help reminiscing about the past or questioning everyone’s future. Haunted by pre-apocalyptic visions of a beautiful mystery woman ( Olga Kurylenko ), he can’t quite grasp why humanity, having won the war, has decided to permanently abandon its native planet for an uncertain future in space. As he steers his sleek, pod-like aircraft over a landscape of eerie, desolate beauty, dotted with craters and radiation zones as well as lush, unspoiled lakes and valleys, Jack can’t quite shake the feeling that all is not as it appears to be, despite the chipper directives coming from the mothership (represented by a crackling TV image of Melissa Leo , boasting a deceptively sweet Southern drawl). Indeed, the audience will likely have a clear sense of what’s going on long before scribes Karl Gajdusek and Michael DeBruyn (working from a 2005 short story that Kosinski later developed into a graphic novel) get around to spelling things out; suffice to say the title refers to more than just the physical aftermath of Earth’s cataclysmic destruction. Apart from an initial burst of neo-noir narration and a few moderately pulse-quickening action sequences, one of them set in the impressively imagined ruins of the New York Public Library, the first half of Oblivion  adopts a spare, unhurried approach that conveys a powerfully enveloping sense of Jack’s isolation. Kosinski wastes no opportunity to linger — and you can’t blame him — on his alternately seductive and staggering visuals, richly conceived by production designer Darren Gilford and filmed with marvelous fluidity on the new Sony F65 digital camera by Claudio Miranda (following his Oscar-winning work on Life of Pi  with another accomplished integration of cinematography and visual effects). This patient narrative strategy works well enough until Jack’s big questions finally start to yield answers – many of them delivered, as answers so often are, by the sage presence of Morgan Freeman – and the story’s underlying thinness and predictability gradually become apparent. The superficial cleverness of the plotting, with its elements of amnesia, self-delusion and impossible yearning, at times gestures in the direction of a Christopher Nolan brainteaser (as does the surging score by French band M83 , which sounds like electronified Hans Zimmer ). But the lack of comparable rigor, ingenuity and procedural detail is naggingly evident, as is the almost feel-good manner in which the story explains away some of its morally troubling implications. If Tron: Legacy  offered up an eye-popping playground with more videogame potential than human interest, Oblivion , despite similarly immersive environs, provides greater moment-to-moment dramatic involvement. Cruise combines his usual physical agility and daredevil stuntwork with one of his more affable characters in a while, a high-flying dreamer trying to figure out mankind’s place in this brave new world. Although much of the picture is essentially a one-man show, Riseborough locates the blood and passion beneath Vika’s icy surface, while Kurylenko brings flickers of feeling to an underwritten role. Kosinski’s architectural background is apparent in the picture’s suave, rounded design concepts and clean, coherent compositions, the effect of which is gloriously enveloping in Imax. Insofar as Oblivion  is first and foremost a visual experience, a movie to be seen rather than a puzzle to be deciphered, its chief pleasures are essentially spoiler-proof. Follow Movieline on  Twitter.

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REVIEW: Visually Stunning ‘Oblivion’ Looks Like A Live-Action ‘Wall-E’

EXCLUSIVE: ‘Scatter My Ashes At Bergdorf’s’ Poster Evokes A Purple Passion For Fashion

One of Manhattan’s most distinct fashion emporiums gets its close-up in Scatter My Ashes At Bergdorf’s ,  Matthew Miele’s documentary about the designers, buyers, window dressers and famous customers who make it a destination. Karl Lagerfeld , Oscar De La Renta , Diane Von Furstenberg, Christian Louboutin and Disconnect actor Marc Jacobs are among the fashion designers featured in this film, which has just unveiled a stylish new poster outfitted in the tasteful purple color — lilac, to be specific — of Bergdorf’s shopping bags. Here’s an exclusive look at the poster, along with the trailer and a synopsis: It’s the most mythic of all American emporiums – a one-of-a-kind Manhattan institution where over the last century, the view of fashion has been transformed into modern art.  But behind Bergdorf Goodman’s magical window displays lies a very real world where the rich and famous wield their power and eccentricity, where young and talented designers have their dreams granted and denied, and where money and ambition co-mingle with radical ideas of beauty and provocative style.  Now, for the first time, audiences get a chance to peek inside this world, as Matthew Miele’s  Scatter My Ashes at Bergdorf’s  explores the history, inner workings and untold stories behind the store’s rise from a modest ladies’ tailor shop to a mirror of contemporary culture. Follow Frank DiGiacomo on  Twitter. Follow Movieline on  Twitter.

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EXCLUSIVE: ‘Scatter My Ashes At Bergdorf’s’ Poster Evokes A Purple Passion For Fashion

WATCH: ‘Carrie’ Not Scary? New Trailer Gets An ‘F’ In Fright Dept.

The first trailer for the remake of another classic horror film — Stephen King’s   Carrie — is out, and it’s looking anemic compared to the bloody and blood-curdling promotional campaign that Evil Dead     has waged over the last several months. Boys Don’t Cry director Kimberly Peirce  is certainly capable of bringing something original to this story, but, based on the trailer, I don’t see it.  The only new twist I detect appears to be that Carrie’s traumatic first encounter with menstruation is going to end up on the Internet thanks to a cell-phone wielding mean girl in the scene. The rest of the action in this clip appears to copy the plot of Brian De Palma’s  original 1976 adaptation without upping the fright factor. There’s another factor to consider that a reader raised the last time I wrote about this movie :  Even beneath a an awful haircut, Carrie star Chloe Grace Moretz’s beauty shines through, which makes it difficult to believe that she could be a weird pariah in high school. What do you think?  Let me know in the comments section. Follow Frank DiGiacomo on  Twitter. Follow Movieline on  Twitter.

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WATCH: ‘Carrie’ Not Scary? New Trailer Gets An ‘F’ In Fright Dept.

REVIEW: ‘Upstream Color’ Is Thoreau-ly Avant Garde − And Hypnotic

As mystifying as his 2004 sci-fier, Primer , albeit for entirely different reasons, Shane Carruth’s Upstream Color   is a stimulating and hypnotic piece of experimental filmmaking. It’s also a poem about pigs, a meditation on orchids, a cerebral-spiritual love story, an intensely elliptical sight-and-sound collage, and perhaps a free-form re-interpretation of Thoreau’s Walden .  Surely the most challenging dramatic entry at Sundance this year, this unapologetically avant-garde work regards conventional narrative as if it were a not-especially-interesting alien species; the mainstream will take no notice, but adventurous auds are in for a strange and imaginative trip. Primer  fans and hardcore art-film devotees will likely be the sole takers for this long-anticipated sophomore effort, which again finds Carruth taking on writing, directing, acting, producing, scoring, lensing and editing duties. He’s even serving as his own distributor this time, with plans to release the picture in L.A. and Gotham in April, followed by a quick transition to repeat-viewing-friendly smallscreen play. At the center of Upstream Color  is a young woman, Kris ( Amy Seimetz ), who finds herself an unwitting participant in some exceedingly bizarre experiments. First a thief (Thiago Martins) attacks her and forces her to ingest a bio-engineered worm that brainwashes her into handing over her savings. When the critter starts to replicate inside her body, in scenes that give the picture a brief horror-movie spin, she’s rescued, after a fashion, by an older gentleman identified in the credits as Sampler (Andrew Sensenig), who subjects her to a bizarre respiratory treatment involving one of his many farm pigs. Left with little to no memory of what has happened, Kris finds herself drawn to a young man ( Carruth ) who seems to have experienced the same ordeal. The two walk and talk, ride the subway, make love and at one point cradle each other in a bathtub. They wander a nondescript-looking city, exchanging dialogue laced with random repetition and impenetrable non sequiturs. Even as their actions and circumstances defy comprehension, a troubling and poignant idea rises to the surface: the universal human compulsion to construct a sense of identity and ascribe meaning to one’s life, to impose order on disorder. The futility of such a thing may well explain the befuddling, pretzel-like contours of the story; even the most attentive viewers may be hard-pressed to comprehend the significance of the women harvesting orchids, or why Sampler walks around using sound-recording equipment. Peculiar as it all may sound in outline, it’s even stranger to experience onscreen, arranged by Carruth in a complex symphonic framework that variously invokes Malick and Lynch in its narrative illogic, tactile lyricism and possible transmigration-of-souls subtext. The picture is so densely edited (by Carruth and Ain’t Them Bodies Saints  helmer David Lowery) that no single shot seems to last more than mere seconds, which combines with the shallow-focus compositions to produce an experience of near-continual disorientation. Factor in the almost omnipresent synth score, layered under tinkling piano chords, and the film seems to be attempting to induce a state of synaesthesia. Walden , a frequent reference point here, provides a clue as to what Carruth is up to: In its intense levels of visual-aural stimulation, the film is at once transcendent and meditative, and in some ways a call for the sort of inner detox Thoreau prescribed. And since exalted literary works seem to be on the interpretive agenda, the transference of illness to a herd of pigs calls to mind nothing so much as the gospel accounts of Jesus casting out Legion by the Sea of Galilee. Pretentious or sublime, these ineffable spiritual overtones are finally what make Upstream Color  so approachable, for all its mysteries: This is a warmer, less foreboding picture than Primer , not moving in any conventional sense, but suffused with emotion all the same. One can only imagine what directions the actors were given in order to inhabit roles that seem to splinter and reassemble themselves at will, but Seimetz supplies a quietly haunting presence, particularly in the film’s tender closing fade. Follow Movieline on  Twitter .

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REVIEW: ‘Upstream Color’ Is Thoreau-ly Avant Garde − And Hypnotic

REVIEW: ‘Upstream Color’ Is Thoreau-ly Avant Garde − And Hypnotic

As mystifying as his 2004 sci-fier, Primer , albeit for entirely different reasons, Shane Carruth’s Upstream Color   is a stimulating and hypnotic piece of experimental filmmaking. It’s also a poem about pigs, a meditation on orchids, a cerebral-spiritual love story, an intensely elliptical sight-and-sound collage, and perhaps a free-form re-interpretation of Thoreau’s Walden .  Surely the most challenging dramatic entry at Sundance this year, this unapologetically avant-garde work regards conventional narrative as if it were a not-especially-interesting alien species; the mainstream will take no notice, but adventurous auds are in for a strange and imaginative trip. Primer  fans and hardcore art-film devotees will likely be the sole takers for this long-anticipated sophomore effort, which again finds Carruth taking on writing, directing, acting, producing, scoring, lensing and editing duties. He’s even serving as his own distributor this time, with plans to release the picture in L.A. and Gotham in April, followed by a quick transition to repeat-viewing-friendly smallscreen play. At the center of Upstream Color  is a young woman, Kris ( Amy Seimetz ), who finds herself an unwitting participant in some exceedingly bizarre experiments. First a thief (Thiago Martins) attacks her and forces her to ingest a bio-engineered worm that brainwashes her into handing over her savings. When the critter starts to replicate inside her body, in scenes that give the picture a brief horror-movie spin, she’s rescued, after a fashion, by an older gentleman identified in the credits as Sampler (Andrew Sensenig), who subjects her to a bizarre respiratory treatment involving one of his many farm pigs. Left with little to no memory of what has happened, Kris finds herself drawn to a young man ( Carruth ) who seems to have experienced the same ordeal. The two walk and talk, ride the subway, make love and at one point cradle each other in a bathtub. They wander a nondescript-looking city, exchanging dialogue laced with random repetition and impenetrable non sequiturs. Even as their actions and circumstances defy comprehension, a troubling and poignant idea rises to the surface: the universal human compulsion to construct a sense of identity and ascribe meaning to one’s life, to impose order on disorder. The futility of such a thing may well explain the befuddling, pretzel-like contours of the story; even the most attentive viewers may be hard-pressed to comprehend the significance of the women harvesting orchids, or why Sampler walks around using sound-recording equipment. Peculiar as it all may sound in outline, it’s even stranger to experience onscreen, arranged by Carruth in a complex symphonic framework that variously invokes Malick and Lynch in its narrative illogic, tactile lyricism and possible transmigration-of-souls subtext. The picture is so densely edited (by Carruth and Ain’t Them Bodies Saints  helmer David Lowery) that no single shot seems to last more than mere seconds, which combines with the shallow-focus compositions to produce an experience of near-continual disorientation. Factor in the almost omnipresent synth score, layered under tinkling piano chords, and the film seems to be attempting to induce a state of synaesthesia. Walden , a frequent reference point here, provides a clue as to what Carruth is up to: In its intense levels of visual-aural stimulation, the film is at once transcendent and meditative, and in some ways a call for the sort of inner detox Thoreau prescribed. And since exalted literary works seem to be on the interpretive agenda, the transference of illness to a herd of pigs calls to mind nothing so much as the gospel accounts of Jesus casting out Legion by the Sea of Galilee. Pretentious or sublime, these ineffable spiritual overtones are finally what make Upstream Color  so approachable, for all its mysteries: This is a warmer, less foreboding picture than Primer , not moving in any conventional sense, but suffused with emotion all the same. One can only imagine what directions the actors were given in order to inhabit roles that seem to splinter and reassemble themselves at will, but Seimetz supplies a quietly haunting presence, particularly in the film’s tender closing fade. Follow Movieline on  Twitter .

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REVIEW: ‘Upstream Color’ Is Thoreau-ly Avant Garde − And Hypnotic

WATCH: ‘Before Midnight’ Trailer − Ethan Hawke Calls Julie Delpy The ‘Mayor Of Crazy Town’

I’ve never been a huge fan of Richard Linklater’s Before Sunset and Before Sunrise for exactly the reason that so many people adore it:  the self-absorbed dialogue and debates about life and love that take place between Jesse ( Ethan Hawke ) and Céline ( Julie Delpy ) are so authentic that I’d much prefer to engage in them myself rather than watch two actors do it for me. (I do self-absorption magnificently, if I do say so myself.) But if you are entertained by two actors bickering about their on-screen relationship, you’d have a hard time doing better than Hawke and Delpy in this trailer for   Before Midnight . In the latest installment of their 18-year romance, Céline complains that she’s “stuck with an American teenager” and Jesse calls her the “Mayor of Crazy Town.” And yet, all these years later, they’re still together and have two daughters in tow as they vacation in romantic, seductive Greece. I missed the movie at Sundance — so why do I feel like I know how this story ends? The Mayor of Crazy Town Vs. The American Teenager Check out the trailer here: Follow Frank DiGiacomo on  Twitter . Follow Movieline on  Twitter .

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WATCH: ‘Before Midnight’ Trailer − Ethan Hawke Calls Julie Delpy The ‘Mayor Of Crazy Town’

WATCH: The Mandarin Isn’t Talking Funny Anymore

There’s yet another Iron Man 3 TV spot making the rounds, and, like the international TV spot I wrote about on Monday, it leaves the distinct impression that Ben Kingsley has dialed back the affected voice he was using in his portrayal of the Mandarin . How Kingsley Dialed Back The Mandarin’s Vocal Acrobatics In this clip, Kingsley, in voiceover, uses his signature line, “You’ll never see me coming,” but this time he doesn’t lead-foot the l’s and r’s.  Instead, he breaks up the sentence with dramatic pauses, so he sounds appropriately dangerous as opposed to dangerous and destined to be a recurring Saturday Night Live character.  Check out the second clip for Kingsley’s original reading of the line. A Disney spokeswoman still hasn’t gotten back to me on whether a conscious decision was made to change the downplay the Mandarin’s vocal acrobatics. If that ever happens, I’ll update. Marvel Studios Chief Kevin Feige Plays Superhero Shrink For Tony Stark:  In other Iron Man 3 news, Marvel Studios Production President Kevin Feige plays superhero shrink in an “Under The Armor” interview at Marvel.com and sheds some light on Tony Stark’s mindset going into the movie.  Noting that this latest installment in the Iron Man saga takes place after the events of The Avengers Feige says: “Not only did he encounter all of those crazy characters with hammers and capes and shields and gamma-irradiated strength, but a portal to another world opened above his head. Tony Stark is a very scientifically minded guy who thought he was at the cutting edge of science, and suddenly learned in those brief moments at the end of “Marvel’s The Avengers,” that there is an infinite amount that he doesn’t know. I think that made him feel small in a certain way and I think even encountering those other super heroes in “Marvel’s The Avengers” made him feel like he was not the most powerful person in the world, which I think Tony likes to feel like he is. He may be the smartest person in the world, but not necessarily the most powerful. So when we meet him at the beginning of “Iron Man 3,” he’s using the suit as a shell almost. It is a shell to shield himself from all of this new information, this new influx of reality that is crashing around him. At the same time, as tends to happen in good movies, another villain arises. And suddenly, when he’s sort of at a state where he’d much rather stay in his lab and work on his suits, something happens that forces him to get out of his house, to get out of his lab and even in some cases, get out of the suit, to confront this new evil.” More on Iron Man 3 & the Mandarin:  WATCH: Pepper Dons Armor & The Mandarin Sheds Weird Dialect In International ‘Iron Man 3’ Clip Marvel Studios Says Iron Man 3 Villain The Mandarin Isn’t Chinese, He’s International ‘Iron Man 3’ Director Spills On The Mandarin & He Sounds Like….Mike Ovitz? [ Marvel.com ] Follow Frank DiGiacomo on  Twitter . Follow Movieline on  Twitter .

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WATCH: The Mandarin Isn’t Talking Funny Anymore

In Search Of A Solid Snake…5 Actors Who Could Play Plissken In The ‘Escape From New York’ Reboot

Sneer’s to you, Joel Silver for having the foresight to re-boot John Carpenter’s  wickedly fun Escape from New York  and expand it, Peter Jackson -style, into a trilogy. Now you and Studio Canal just have to find a young-ish  Snake Plissken who can carry three three films with the same sardonic charisma that made Kurt Russell such a joy to behold on the big screen. According to Deadline , the first of the three movies will be an origin story — perhaps one that shows how Snake got the eyepatch and how New York City became a maximum-security prison, or whatever plot twists Silver wants to throw our way since, according to the report, The Matrix producer is planning an “entirely new take” on the story.   Still, Plissken is going to have to ring some familiar bells with the crowd that will be seeing it because they loved the original. And with this in mind, here are some actors who I’d like see don ere are some of actors I’d love to see take on the role of Snake Plissken: 1)  Taylor Kitsch:   Take a look at his performance in Oliver Stone’s  Savages   and the unfairly maligned   John Carter    and Kitsch could be the ideal choice to grow some stubble and an attitude  for the crowd-pleasing thriller that Silver intends to make.  Plus, if he pulls it off, the media will remember him for Escape not John Carter . 2) Jim Carrey:   If you put Carrey’s is-he-funny-or-just-crazy performance from  The Incredible Burt Wonderstone  in a blender with his scenes as Colonel Stars and Stripes in the Kick-Ass 2 trailer, you’d get Snake Plissken. 3) Michael Shannon :  Plissken would be memorably malevolent and darkly comic in Shannon’s hands. He’d also probably be the most substantial Snake of this bunch. 4) Isaiah Washington:   Admittedly an unlikely choice — unless you’ve seen Blue Caprice.   Washington is chilling as John Allen Muhammad, the orchestrator of the Beltway Sniper murders. The question is whether he has any comic timing. If he does, he’d be an interesting choice. 5) Ryan Gosling: An even wilder card, but Gosling does the strong, silent, wisecracking type really well. And Only God Forgives looks brutal.  If Silver really does want to defy expectations, then Gosling is his man. If he can land him.  Agree? Disagree?  Have a better choice?  Leave them in the comments section. [ Deadline ] Follow Frank DiGiacomo on  Twitter. Follow Movieline on  Twitter. 

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In Search Of A Solid Snake…5 Actors Who Could Play Plissken In The ‘Escape From New York’ Reboot

WATCH: Ryan Reynolds discovers fire – and Chris Sanders – with ‘The Croods’

There is apparently no end to  Lilo & Stitch creator Chris Sanders’ talents, from doing a great Nicolas Cage impression to braving the bitter cold at the NYC premiere of  The Croods  – with no jacket! Just how impressed was Ryan Reynolds  with Sanders?  “This is my first animated movie I’ve ever done, and I was doing one subsequently right afterwards and I learned so much from [the directors] that I shifted the sessions in the next animated movie to feel more like this one!” The Croods is director Chris Sanders’ second film for Dreamworks Animation, where he defected to after clashing with Disney over  American Dog. ( The title became   Bolt  after his departure).  Is he still enjoying his new home?  “Every film we make we get, like, better technology — so even better!”  Plus he’s already hard at work on  How To Train Your Dragon 2 . But his co-writer and director, Kirk De Micco, chimed in to say there was one area where Dreamworks Animation struggled — creating digital tar!   The request threw the animators for a loop.  “How deep is the tar?!  How sticky is the tar?!  Does it stick to their clothes?!”  Good thing Sanders and De Micco were there to answer their questions. Check out my full interview below: Follow Grace Randolph on  Twitter . Follow Movieline on  Twitter . 

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WATCH: Ryan Reynolds discovers fire – and Chris Sanders – with ‘The Croods’