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Jennifer Garner is Miss Marple in a movie by Disney Studios
Mar 31st
Jennifer Garner is Miss Marple in a movie by Disney Studios
American actress Jennifer Garner, the heroine of the television series Alias, will play a younger version of the famous female detective Miss Marple. After negotiations which lasted several months, Disney has managed to obtain the rights of using the stories of famous character that first appeared in a magazine in 1927.
It’s not very easy for us to imagine how Jennifer Garner will enter into the character of this old girl. This will require a ton of makeup although it seems that The Mouse House deals in an innovative character, trying to assign it with a younger generation.
Jane Marple is one of the most famous characters created by Agatha Christie, is a very good gaffer and knowledgeable of the dark side of human nature.
The character first appeared on big screen in 1961, in “Murder, She Said”performed by Margaret Rutherford, who was 70 at the time and it repeated that role in three films. Angela Lansbury played the role in “The Mirror Crack’d” in 1980, a film based on an Agatha Christie novel and she dedicated this role to actress Margaret Rutherford.
Agatha Mary Clarissa, Lady Mallowan, well known as Agatha Christie was a British novels writer who created short stories and plays. She also wrote romance novels under the pseudonym Mary Westmacott, less known, having the same success. Her works, mainly those that are the main characters Hercule Poirot or Miss Jane Marple made Agatha Christie to be called “Queen of Crime”, it is considered as one of the most important and innovative writers of the genre.
Agatha Christie wrote 12 novels in which the main character is Miss Marple. Most of Agatha Christie’s books focuses on discovering the author of a crime who belong to middle and upper classes.
American producers hope the modern approach and choice for the role of actress Jennifer Garner will be the next Miss Marple films with a franchise to rival series “Sherlock Holmes”produced by Warner Bros. studios.
Jennifer Garner, became famous thanks to the role of the television series “Alias” and we will be seen her this year on the big screen in comedy “Arthur”, produced by Warner Bros. studios.
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From www.dailygossip.org
The Suite Life Movie Ranks #1 TV Movie of the Year
Mar 30th
The Suite Life Movie Ranks #1 TV Movie of the Year
Disney Channel has had some major success with The Suite Life Movie. It currently ranks as #1 TV movie of the year thus far. The premier night had 5.2 million viewers.
I am surprised that it did as well as it did. I doubted that it would rank so high since the show seems to be hurting. But maybe this will give Disney a hint about the series in order to keep it moving forward or maybe rewrite it. After all, it did make Disney a lot of money by ranking so high.
Did you watch it? Do you think that the movie did the show justice? I think that it did it justice, even dare I say that I enjoyed the movie more than the actual series? It felt more developed, which I think is a key to the success of it. It was well written, directed, produced and the actors were amazing. It is a shame that the show does not match the movie at all.
article source-Disney Dreaming
From www.bsckids.com
10 Best 90′s Sex In Movies
Mar 30th
The 10 best ’90s sex in movies capture the decade of bold eroticism, late night trysts and passionate carnality of two strangers in front of audiences. The ’90s had some of the best sex-themed movies back when erotic thrillers, indy films and bold filmmaking choices ruled. The growth of the Internet and cable TV in the ’90s explained the many movies where the plot centered around illicit sex between main characters. These ’90s sex movies are now considered some of the best in displaying how that powerful aspect in human nature can drive some of the most compelling stories.
- “Basic Instinct” Michael Douglas and Sharon Stone star in the quintessential ’90s sex movie with more twists and turns than a crooked highway. A hardboiled detective investigates a murder that leads to a bisexual crime novelist as a prime suspect whom he has a dangerous, illicit affair.
- “Bound” The Wachowskis wrote and directed this ’90s twist on a mobster tale of betrayal, sex and dirty money. Gina Gershon plays an ex-con, Corky, who falls in love with Jennifer Tilly’s Violet, the wife of a known mobster named Caesar, and both plot to steal the money and blame it on him.
- “American Pie” The ’90s sex comedy in the “Porky’s” tradition brings a group of teenage boys who plan to lose their virginity before they graduate high school. Jason Biggs, Chris Klein and Alyson Hannigan go through the every conceivable romp from hot foreign exchange students to MILFs to band camp.
- “Poison Ivy” A high school outcast played by Sara Gilbert meets an alluring and carefree teen in Drew Barrymore’s Ivy. The young, sexy seductress plots her way into the lonely heart of her friend’s father in this memorable ’90s thriller.
- “Indecent Proposal” A down on their luck married couple during the ’90s recession get more than they bargained for in a Vegas trip. They accept a $1 million proposal from Robert Redford’s John Gage to have sex with his wife for one night, which leads to a whirlwind of guilt and wounded hearts.
- “Color of Night” Bruce Willis stars as a psychiatrist who takes over his murdered friend’s therapy group only to be a target of a serial killer. This typical ’90s erotic thriller has him involved with the mysterious Rose, Jane March, in a sexual affair amidst a rising body count.
- “Wild Things” Denise Richards and Neve Campbell work together to frame their high school guidance counselor for rape. This ’90s movie goes through every conceivable scenario from a sleazy FBI agent in Kevin Bacon to a lesbian affair to threesome sex.
- “Cruel Intentions” A pair of spoiled rich kids, Ryan Phillippe and Sarah Michelle Gellar, agree to a wager where Sebastian has sex with a virgin named Annette or lose his Jaguar. Things become complicated when Sebastian begins to fall in love with his target and he begins to have second thoughts.
- “Payback” Joan Severance, one of the ’90s sex goddesses, plays the waitress wife of a former prison guard who is the target of revenge by an ex-con in C. Thomas Howell. The two begin an intense affair where a fortune in hidden money from a dying prisoner rests in the balance between passion and greed.
- “The Dallas Connection” A group of assassins led by Julie Strain head out to prevent a man from handing over a computer chip to the IWAR organization. Christian Sedaris directed this ’90s movie of bombs, blood, boobs and plenty of sex in this over the top action movie.
From www.screenjunkies.com
Hollywood takes some blame for box-office slump
Mar 30th
LAS VEGAS — With movie theater attendance in the U.S. and Canada down a whopping 20 percent so far this year compared with 2010, cinema operators and some studio chiefs surprisingly agree on at least one cause: The movies haven’t been very good.
“I think it all boils down to the quality of the movies,” said Gerry Lopez, chief executive of AMC Entertainment Inc., the nation’s second-largest theater chain. “This year we just haven’t had those kind of movies that cut across all quadrants of age, race and income.”
Michael Lynton, chief executive of Sony Pictures Entertainment, agreed: “So far there is just nothing terribly compelling about what we’re delivering as an industry.”
It’s an unexpected concurrence among two camps that have increasingly been at odds over changes in the business. But the current downturn in ticket sales — the worst in at least six years — is top of mind for more than 6,000 theater owners, studio executives and vendors gathered in Las Vegas this week for CinemaCon, the exhibition industry’s annual convention.
While audiences have outright rejected such recent movie offerings as “Mars Needs Moms,” “Sucker Punch” and “Take Me Home Tonight,” even hits like Justin Bieber’s “Never Say Never,” “The King’s Speech” and “Battle: Los Angeles” pale in comparison with the early 2010 blockbusters “Avatar” and “Alice in Wonderland.”
All of which has created an undercurrent of concern that changes in consumer behavior combined with the continued tough economic times, higher gasoline and movie ticket prices (driven in part by more premium-priced 3-D movies) could be drawing people away from theaters and toward less-expensive and readily available forms of entertainment such as Netflix streaming, video games and other digital media.
“For anyone in this business to not acknowledge the reality of the current forces at play would be doing the industry a disservice,” said Universal Pictures Chairman Adam Fogelson. “All of us are looking for ways to make sure this isn’t the time when theatrical moviegoing really does go away.”
The industry has gone through box-office slumps before but always has recovered. Many are hopeful that’s what will happen by May, when Johnny Depp sails into theaters with the latest “Pirates of the Caribbean” movie. At CinemaCon, studios are seeking to excite theater owners with previews of some of their highly anticipated summer sequels, including “Fast Five,” “The Hangover Part II” and “Cars 2″ as well as fresh event films like the comic book adaptations “Thor” and “Green Lantern.”
“As you look at the lineup of films this summer, there are some fantastic titles,” said Alan Stock, chief executive of theater circuit Cinemark Holdings Inc.
Even so, analyst Barton Crockett at Lazard Capital Markets predicted in recent research that a strong summer and holidays would still leave attendance down 2 percent for the full year.
Of course, the flip side of the optimism is that if the summer would-be blockbusters don’t deliver, attention on systemic problems will escalate.
“A weak summer is going to amp up everybody’s concerns,” Universal’s Fogelson said.
The decline in admissions is troubling Hollywood. The number of tickets sold per person annually in the U.S. and Canada has steadily fallen for most of the last decade to 4.1 last year, the lowest since 1993. In a recent presentation, Bob Pisano, president of the Motion Picture Assn. of America, attributed the trend in part to declining attendance among baby boomers.
Overseas, where Hollywood studios make most of their money and the largest U.S. theater chains have a growing presence, the news does not appear to be as bad. Although complete statistics are unavailable, Lynton estimated that international box-office receipts so far in 2011 are roughly flat with 2010.
The U.S. remains the largest movie market, however. To grow their business here and further differentiate it from the improving home experience, theater owners continue to pour millions of dollars into upgrading their auditoriums with new digital systems capable of projecting in 3-D.
Higher 3-D ticket prices have been a boon to theaters — generating some 20 percent of box-office revenues last year — but some in the industry believe it may be backfiring, especially at a time when families are cutting back on discretionary spending.
The average ticket price at theaters in the U.S. last year rose to an all-time high of $7.89, up 5 percent from 2009, according to the National Assn. of Theatre Owners. The increase is largely attributed to 3-D screenings, for which consumers pay surcharges of $2.50 to $4 per ticket. Most of this summer’s biggest films will be in 3-D.
“We believe that exhibitors’ core strategy of raising prices through 3-D premiums and pushing concession pricing as far as humanly possible is a dangerous strategy,” wrote Richard Greenfield, an analyst with BTIG Research in New York.
But others doubt cost is the problem.
“There’s nothing in the research that suggests rising prices are keeping moviegoers away,” Lynton said.
In a sign that the status quo may not be acceptable, theater chains have been taking steps to expand their businesses. Many now offer live events such as operas and sports. AMC and Regal Entertainment Group — the two largest chains — recently launched a joint venture to acquire and distribute movies in an effort to grow their supply at a time when the big Hollywood studios are cutting back on the number of films they make.
The move is also widely viewed as a response to the studios’ plans to start offering movies in the home as soon as eight weeks after they open in theaters — instead of the usual three-month wait — in a bid to stem declining DVD revenue. Exhibitors are outraged by the idea of “premium video-on-demand.” “Premium video-on-demand will definitely be a dagger in the business,” said Lyndon Golin, president of Regency Theatres in Calabasas, Calif.
Beyond the latest crop of high-profile flops, 2011 has also seen a number of movies come in on the low end of expectations based on pre-release polling. That has some worried that the habit of heading out to theaters may be slipping.
“When the audience is in a moviegoing mood, you pick up a head of steam,” Lynton said.
Still, exhibition executives express confidence that they know how to get that momentum back.
“I believe we have long-term systemic challenges that we must work to overcome,” AMC’s Lopez said. “But I like our chances as an entertainment option of the future.”
If there’s one thing nobody at CinemaCon will dispute, it’s that Lopez’s prediction must come true.
“I see no path to a healthy future for our business,” Fogelson said, “that doesn’t include vibrant, growing theatrical moviegoing attendance.”
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Richard Verrier reported from Las Vegas and Ben Fritz reported from Los Angeles.
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(c) 2011, Los Angeles Times.
Visit the Los Angeles Times on the Internet at http://www.latimes.com/.
Distributed by McClatchy-Tribune Information Services.
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From www.therepublic.com
Amy Adams, Jason Segel: Muppets provided early inspiration
Mar 30th
Amy Adams, Jason Segel: Muppets provided early inspiration
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Though they aren’t box office titans, the Muppets still hold a dear place among theater owners’ hearts, who see the comedies as steady family draws.
The puppets got the royal reception Tuesday in Las Vegas at CinemaCon, the annual convention of the National Assocation of Theatre Owners, as stars Amy Adams and Jason Segel introduced extended footage of their upcoming Muppets film.
Adams and Segel (who also produced the movie and co-wrote the script), said that Kermit & Co. were early influences in their careers.
Adams, whose character teams with Segel’s to reunite the Muppets for a show, says TV was one of her few creative inspirations as a child. “I was one of seven children, and we lived way out in Colorado,” she says. “Going to the movie was like going to the moon.”
Not so for Segel, who calls the Muppets his first comedic influence. Maybe that’s why he can sound like the cranky Muppet judges Statler and Waldorf when he recalls on of his first theater experiences — one he prays won’t be repeated when The Muppets hit screens Nov. 23.
“I remember going to see Dead Poets Society,” Segel says. “And I was behind this really old couple. When a character came on screen, the old woman told her husband ‘That’s the guy who kills himself.’ It ruined the movie. I don’t mind people talking. But stop giving away the twists!”
From content.usatoday.com
Movie Review: Source Code
Mar 30th
I can already see it at some virtual movie-revival house of the future: a “what-if?” double feature that teams Limitless and Source Code and points out that both films came out within a couple of weeks of each other in the same year.
The similarities don’t stop there. Both feature good-looking young actors – Bradley Cooper in Limitless, Jake Gyllenhaal in Source Code – who stumble into something much bigger than themselves and have to hang on for dear life if they want to survive.
But where Limitless posited a pharmaceutical that allowed the user to be all that he could be, Source Code is a time-travel thriller that spends a lot of time arguing against its being a time-travel movie.
The film’s central gimmick – that scientists have found a way to send someone back in time to the point eight-minutes before a certain individual dies, into that individual’s mind – is clever enough. And it makes a certain kind of Groundhog Day sense.
Gyllenhaal plays Capt. Colter Stevens, a soldier who served in Iraq who wakes up on a commuter train to Chicago. He can’t remember how he got there, he doesn’t know the woman sitting across from him (Michelle Monaghan), though she seems to know him, and he can’t figure out why, when he looks in a restroom mirror, he sees someone else’s face. And then the train explodes …
… and he comes to in some sort of flight-simulator capsule, or so it seems. He can hear voices talking military-computer jargon, trying to get his attention. Eventually, he finds out that he’s part of a desperate experiment.
Just back from fighting in Iraq, he’s somehow a perfect match for that guy on the train. Somehow, the military egghead in charge (Jeffrey Wright) has figured out how to insert Colter’s mind into the man’s brain – for the final eight minutes of the guy’s life.
And that’s his mission: To keep going back into the guy’s brain, in order to figure out who on the train set the bomb – and what he’s done with the dirty bomb he also plans to set off this same day. The catch: The train bombing happened earlier that morning and can’t be prevented, but Colter can affect the future by finding the bomber and bringing back that information.
Except that, as Colter makes his repeated leaps into the past, he discovers that he can change the events he’s experiencing. Does that mean he’s changing the past?
What’s the science here?
Click here: This review continues on my website.
Follow Marshall Fine on Twitter: www.twitter.com/hollywoodnfine
From www.huffingtonpost.com
Entertainment News AP
Mar 30th
KUALA LUMPUR, Malaysia (AP) – Malaysia’s first gay-themed romance film has become a swift box-office success, attracting curious cinema audiences who rarely get to see movies centered on sexuality because of strict censorship in this Muslim-majority nation, its producer said Wednesday.
The Malay-language movie, called “Dalam Botol,” or “In a Bottle,” grossed slightly more than 1 million ringgit ($330,000) in its first five days, recouping its production and marketing costs of 970,000 ringgit ($320,000), said Raja Azmi Raja Sulaiman, who wrote and produced the film.
The movie depicts a Muslim man who has a sex change operation because he believes it will please his male lover, but his effort ends in heartbreak for both of them. Some gay rights advocates have called it an unfairly negative portrayal of gay and transgender people.
Part of the movie’s financial success is likely due to intense advance publicity, including earlier speculation that the government-run film censorship board might ban it.
The box-office results “prove that Malaysian audiences can handle such movies, that they’re more open and not so conservative anymore,” Raja Azmi told The Associated Press. “I hope it’ll inspire more films that are meaningful and linked to the reality of people’s lives.”
Raja Azmi declined to predict how much the movie might ultimately make. According to the government’s film development agency, “Dalam Botol” has the lowest production budget of seven Malaysian movies that opened so far this year and is the fifth to breach the million-ringgit mark.
Raja Azmi said “Dalam Botol” is a neutral work that is not meant to support or slam gays, stressing it is based on the experiences of her friend who had sex change surgery in Thailand. It stars heterosexual actors who are seen bare-chested together on a beach and in bed, but the movie only shows them hugging without any kissing.
Malaysian gay rights activist Pang Khee Teik voiced concerns that the movie might be perceived as an effort to discourage people who have valid reasons to undergo sex change surgeries.
“Many of us Malaysian (gays, lesbians and transgenders) have absolutely no regrets being who we are,” said Pang, co-founder of the Malaysian sexual rights awareness group “Seksualiti Merdeka,” or “Sexuality Independence.”
Pang reiterated his group’s criticism of what it considered “absurd and unrealistic” censorship rules that permit portrayals of homosexuality as long as it is not condoned. Sodomy is punishable by 20 years in prison in Malaysia, though prosecutions are rare.
Raja Azmi had to submit her script to censors before filming. She was advised to change the original title – “Anu Dalam Botol,” or “Penis in a Bottle” – and remove a bedroom conversation.
Raja Azmi said her next film will likely be a “fantasy drama” about a young man who has relationships with older partners, both male and female, but whose closest friend is a fish in a bowl that suddenly transforms into a man.
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From www.neworleans.com
Pattinson’s wife cast
Mar 30th
Robert Pattinson’s wife in new movie Cosmopolis will be played by Canadian actress Sarah Gadon.
A Dangerous Method actress Sarah will play the British hunk’s estranged spouse in the film about a businessman who bets all of his money only to find himself at the centre of an assassination plot.
Samantha Morton, Paul Giamatti and Juliette Binoche have also been cast in the project, which will be directed by David Cronenberg.
Keira Knightley was initially rumoured for the role but negotiations eventually came to a halt.
Sarah is best known for her TV roles, having recently starred in The Border and Happy Town.
However in 2010 she made a leap into cinema, with parts in The Moth Diaries, A Dangerous Method and Dream House.
Cosmopolis will be the second time she has worked with Cronenberg.
The movie will be Robert’s first project after completing filming on the Twilight Saga franchise, and he will next be seen in romantic drama Water For Elephants with Reese Witherspoon.
From entertainment.iafrica.com
Adrien Brody battles wilderness in survival picture
Mar 30th
LOS ANGELES (Hollywood Reporter) – If Adrien Brody’s agent has been campaigning for more screen time for this client, then he hit the jackpot with “Wrecked,” a man-against-the-wilderness survival picture where the actor is in nearly every shot.
Never less than gripping and putting the Oscar winner through a physical wringer from eating worms and insects to being swept down a raging river, the movie comes up a bit flat with a perfunctory ending where something more feral or dramatic is needed. Nevertheless, the 91-minute film builds tension steadily and despite the single set — if you can think of the wilderness as a single set — it is visually inventive so the man’s ordeal never grows tedious.
The film plays best in a darkened cinema where the audience, like the hero, has no escape. But “Wrecked” will probably reach a wider audience with in-home viewings.
Christopher Dodd’s screenplay situates its protagonist in grave peril from the opening shots. A man (Brody) slowly regains consciousness in a wrecked car in a forest at the bottom a sloping cliff. His right leg is trapped beneath the crumpled dashboard, the door is jammed and pain from possible fractures and a concussion shoots through his body.
With inarticulate groans, screams and moans, the man struggles unsuccessfully to free himself. Director Michael Greenspan and cinematographer James Liston shoot their immobile protagonist from many angles — in the busted side mirror, through a shattered windshield, in close-ups and longer shots of the wrecked vehicle — as his frustration and fear intensify.
His companions in the vehicle — one has been thrown clear — are all dead. Retrieving the ID of one, he learns his name. “Are we friends, George?” he asks the corpse.
Yes, on top of everything the survivor suffers from amnesia. The problem of identity compounds the more immediate problem of survival.
Then the movie takes a new tack. A young woman (Caroline Dhavernas), apparently out for a hike, turns up. Rescue seems imminent. She offers water and dry food to the trapped man and then vanishes. She continues to appear throughout his ordeal, clearly a figment of his imagination taunting him, yet possibly a clue at least to his past.
When he finally does free himself, more clues point to a dark past. Via the car radio — which first plays Tiny Tim’s rendition of Tip Toe Through the Tulips! — he learns authorities may consider him “armed and dangerous.” He discovers a weapon that confirms at least one of those possibilities.
He finds stacks of cash from an apparent bank robbery but all this is good for in the wilderness is fuel to start a fire. More unreliable visions occur although a dog that unaccountably joins him may be real. Certainly that hungry mountain lion is.
The man creates a splint for his leg and is at last mobile, if crawling around can be considered mobile. But the search for water and food creates more dangers. Finally, he discovers a cell phone but can’t get any service.
The film then is a journey of survival with Brody having only his face and the odd comments to the dog to communicate the man’s mental state to an audience. It’s a bravado performance that tests the mettle of the actor just as the forest tests his character’s. The remote locations on Vancouver Island certainly present a beautiful yet hostile environment for this test.
At the end of the day, however, the movie is more of a stunt than an epic story of survival. It’s not as existential as, say, Jack London’s story “To Build a Fire” and last year’s “127 Hours” or as visceral as the 1971 Richard Harris vehicle, “Man in the Wilderness.” It’s more akin to the “Saw” horror series or “Buried,” where you fling a character or characters into an impossible situation and watch the struggle. This becomes even more evident in a final “reveal” that makes for a surprisingly pat ending.
Production value on the Canadian production are terrific for what looks like a difficult and at times arduous shoot for everyone involved. Kudos to composer Michael Brook for keeping the score minimal yet effective.
From www.latimes.com
