If they ever get around to making the Justice League movie, Armie Hammer is set to take on the role of Batman:
Watch out, Christian Bale—there’s a new Batman coming to town!
His name is Armie Hammer, an unknown actor handpicked by Mad Max and Happy Feet director George Miller to play Bruce Wayne and his Caped Crusader alter ego in the upcoming superhero-filled Justice League Mortal.
Hammer insists he has not intention of stirring up a battle of the Batmans. “That guy’s got his s–t down,” Hammer says of Bale.
Even so, Hammer does point out that there’s at least one big difference between the two. “My codpiece is bigger,” he said with a laugh the other day from Vancouver, where he’s shooting the CW’s The Reaper (he plays the son of the devil).
While there have been reports that the Justice League flick has been shelved because of too many setbacks (including the writers’ strike), Hammer says he hopes to see it get made…
They were supposed to shoot in Australia, where Hammer and his castmates suffered through several months of physical training.
“I would spend hours training with actual guns to prepare me for this stuff,” Hammer said. “It was very intense. Our workout regimens were so rigorous that most of us would vomit.”
He added, “We weren’t trying to get ourselves aesthetically good looking. We were trying to get ready for the demands of shooting.”
Not that the 22-year-old great-grandson of oil tycoon Armand Hammer has anything to worry about in the looks department. At 6’5″ with a smile and hulking body to match, he has movie star written all over him.
He’s already been fitted for the superhero costume, which he says features functioning equipment, including trademark Batman weapons like spring-loaded titanium Bat-erangs. “I was looking down, and I was thinking, This is the best,” Hammer said of the first time he put on the entire ensemble. “Then I stood up, and they turned me around, and I faced a mirror—there was Batman. But then it hit me like a ton of bricks—it’s not just Batman, it’s me!”
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Release date: Friday November 14, 2008 Genre: Comedy/Drama Director: Alfredo De Villa Studio: Overture Films/Alliance Films Producer(s): George Tillman Jr., Robert Teitel Screenplay: Rick Najera, Ted Perkins, Alison Swan Cast: John Leguizamo, Debra Messing, Freddy Rodriguez, Vanessa Ferlito, Melonie Diaz, Alfred Molina, Jay Hernandez, Luis Guzman Official Site:nothingliketheholidays.com Rating:PG-13 for thematic elements including some sexual dialogue, and brief drug references Available film art: Nothing Like the Holidays movie posters
Synopsis Story follows a family reunion during the holidays in the Chicago neighborhood of Humboldt Park. Molina is the father who owns a bodega, and Hernandez plays a friend of the family who works there. Diaz is a former lover of Rodriguez’s character and friends with the clan’s daughter (Ferlito). Ruehl is the matriarch.
Release date: Friday December 26, 2008 Genre: Drama Director: Sam Mendes Studio: Paramount Vantage Producer(s): Bobby Cohen, John N. Hart, Sam Mendes, Scott Rudin Screenplay: Justin Haythe Cast: Leonardo DiCaprio, Kate Winslet, Kathy Bates, Kathryn Hahn, Michael Shannon, Zoe Kazan, David Harbour Official Site: Not available Rating:R for intense thematic material, violence, sexuality, language and some drug references Available film art:Revolutionary Road movie posters
Synopsis Based on the celebrated novel by Richard Yates, director Sam Mendes’ “Revolutionary Road” is the story of a young couple (Oscar nominees Leonardo DiCaprio and Kate Winslet) trying to find fulfillment in an age of conformity. Trapped in a world of encoded convention, they dream without faith, as lies and self-deceptions build to explosive consequences.
Harry at Ain’t it Cool News has this review of the upcoming thriller Eagle Eye (some profanity here, but that’s Harry):
I tell you – I knew it when I first saw THE SALTON SEA that DJ Caruso was a filmmaker to watch, but then he went through a rough patch of just not being teamed up with the right material. Then we had that great DISTURBIA screening at SXSW – where the film that looked like a total ripoff of REAR WINDOW, from a Teen vantage point – turned out to be… well, pretty much a ripoff of REAR WINDOW from a Teen vantage point… only, it not only didn’t suck, but was incredibly entertaining. So much so that it reminded me that DJ existed and when that film succeeded beyond everyone’s wildest box office predictions – it kinda meant that DJ should get a promotion of sorts. That he was ready for the next stage budget and a higher grade of script.
Enter EAGLE EYE. A project hatched from a notion and conceit that Spielberg had been percolating for a while – waiting for the right team to hand it off to. D.J. seemed to be the key ingredient. And boy was it.
So what is EAGLE EYE… essentially it’s a NORTH BY NORTHWEST style film dripping with paranoia, conspiracies and a story that is always a few steps ahead of the audience.
That’s due to a great device. The voice on the phone. The faceless female that is seemingly everywhere and all knowing is a great character. Essentially – she’s an RPG Game Master controlling the most dangerous ‘game’ of surprise LARPing ever concocted.
You see, Shia LaBeouf and Michelle Monaghan are just your average nobodies. Folks just working to get by, the sort of folks you don’t really notice. THEN… extraordinary shit begins to happen – a voice directing them… rather insistently with perilous ramifications for those that do not cooperate… to do her bidding.
Just like a Dungeon Master, the voice is the source for all information for the characters, and just like an asshole Dungeonmaster – if you piss them off, she’ll put you nostril deep in a bog of eternal fuckedupness. The voice controls everyone and knows seemingly everything in real time.
Now – it isn’t announced what time period this is, but I’ve got the feeling it’s no further in the future than some time in the next 5-15 years. The world seems stuck in the same sort of paranoid-fed levels of personal rights infringements – and the question that is forced into the forefront of my mind through most of this film is… WHAT IF – the access that is developed to learn everything about everything is turned against us.
Who is the puppetmaster? Frankly, to me the most important question on your mind through the film is, “What Next?” – and you think that often and quickly.
The film has an aesthetic look that is everybit as “pretty” as something that comes out of Michael Bay’s Dear Penthouse, I never thought I would shoot a film this well developed… fantasies. It has that beauty, without ever being stupid. The characters are developed, the turns are not predictable, the casting and random PEOPLE IN HIGH PLACES are there to SERVE THE STORY, not to artificially give it a sense of some misplaced grandeur and importance.
Director Marc Forestor on the Chile set of Quantum of Solace
IGN was a part of a small group of online sites who were invited to London last week to participate in series of special events leading up to the November 14 release of Quantum of Solace. The sites were there to represent the fans whom had submitted questions for Daniel Craig and director, Marc Forestor to answer:
IGN: Our first question from the readers of IGN is, “Since Quantum of Solace cannot have a love story involving Bond because Vesper is supposed to have been his first and only true love, what was the challenge in order to make this one a unique story like its predecessor?”
Marc Forster: I thought there’s this incredible opportunity here because we ended Casino Royale with Bond being at a very vulnerable state and he was sort of at a place where I felt one could really take advantage of and really pick up and sort of go a little further, a little deeper into the emotional ground of Bond. And I thought in the same time that it’s fascinating because you know… I created the character of Camille [played by Olga Kurylenko] as sort of a mirror image to Bond and a reflection of him. Basically, what I think is interesting about Bond — and I think also was a part of the sort of the success of Bond — is that Bond always kept mystery around him, and this mystery keeps you interested in the character.
In a sense I don’t think one ever wants Bond to talk openly about his emotional feelings. I think it wouldn’t be right because there’s still this hard shell of this tough man, but inside there’s a certain vulnerability. So I created Camille’s character sort of more to be a mirror image of Bond than to have a relationship or anything. So there’s definitely a sexual tension, but above it all it’s more like that she is very similar to Bond and speaks the words Bond sometimes would like to speak and through that we can feel sort of what Bond thinks, and I thought it would be a nice way to express that.
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The Duchess offers entertainment for both men and women:
Has there ever been a period piece about an arranged marriage that actually ended with the two people involved happy together and in love? This was the first thing I thought of as I watched The Duchess, an excellent but thoroughly depressing account of the marriage of Georgiana, The Duchess of Devonshire. As bad and outdated as is the idea of an arranged marriage, surely there was one woman and one man who came together and both made an effort to get to know and love one another, and whose story has been subsequently told. Of course, that kind of bland humanity, down-to-earth romance and earnestness is probably much less interesting cinematically than a story in which bosoms heave and hearts are betrayed. But then again The Duchess is largely successful because it manages to offer those degrees of humanity and romance (if not blandness) amidst the rest of its potent, bodice-ripping drama.
Keira Knightley, who was born to wear corsets, scoop-necked gowns and hairdos that highlight her swanlike neck, plays Georgiana – a young aristocrat whose mother Lady Spencer (Charlotte Rampling) arranges to marry the Duke of Devonshire (Ralph Fiennes). Despite her efforts to become a worthy companion for her husband, Georgiana disappoints the Duke when she fails to bear him a son – twice. But when she makes friends with another woman named Bess Foster (Hayley Atwell) who similarly toils in a loveless marriage, she finds a kindred spirit – that is, until Bess betrays her with the Duke. Soon, the three of them are living together, and Georgiana becomes a prisoner in her own home, with only her children, her former friend Bess, and the forbidden promise of a long-ago romance with a young politician named Charles Grey (Dominic Cooper) as distractions from her dreary existence.
In predictable but effective form, The Duchess is full of sequences in which modern women will be rightfully outraged by the behavior of her husband, and moreover, the prevailing culture of 18th Century England. At the same time, there are numerous scenes in which Georgiana stands up for herself and in spite of those restrictions, she asserts her identity and makes her feelings known. Perhaps in specific comparison to the truly godawful “women’s films” that were released in recent months (The Women and Sex and the City in particular), the reason that The Duchess stands out so sharply is that unlike the overprivileged females who fret and preen about their pampered lives and quite frankly frivolous personal problems, Georgiana literally has almost no rights, and cannot do anything to change her situation. She is required to make horrifying sacrifices and endure painful losses, and the movie rightfully points out that no girls’ night out or trip to the Victorian-era equivalent of Saks 5th Avenue will repair them.
Click on the link below to read the entire review:
Samuel L. Jackson (star of Lakeview Terrace) chats exclusively with IGN.
In director Neil LaBute’s new thriller Lakeview Terrace, opening Friday, Chris and Lisa Mattson (Patrick Wilson and Kerry Washington) have just moved into their California dream home when they become the target of their next-door neighbor, who disapproves of their lifestyle.
A stern, single father, tightly wound veteran L.A.P.D. officer Abel Turner (Samuel L. Jackson) has appointed himself the watchdog of the neighborhood. Abel’s nightly foot patrols and overly watchful eyes bring comfort to some, but he becomes increasingly harassing to the newlyweds. His persistent intrusions into their lives ultimately turn tragic when the couple decides to fight back.
IGN recently had the chance to sit down one-on-one with Samuel L. Jackson to discuss his role as Abel Turner. Please be advised that THIS ARTICLE INCLUDES SPOILERS:
IGN: Abel is a widower. Were the circumstances of his wife’s death the trigger that set him off? Or was he already a ticking time bomb before she died?
Samuel L. Jackson: I just think that was an event. That was an event that set him off on another kind of path, that kind of changed the dynamic of who he was at home with his kids. Not necessarily on the job but with his kids. I don’t think that if that couple had moved in next door that was the flame that lit the fuse on it. He may have been OK otherwise, and he may have found a way to defuse the situation. But Patrick’s character didn’t choose to do that. He got kind of confrontational.
IGN: Did you and the other filmmakers discuss what sort of relationship Abel had with his wife before she died?
Jackson: Not really. No, that was stuff I had in my head. I didn’t discuss it with Neil; I didn’t discuss it with the writers. Interestingly enough, I think that they were having marital problems just because most cops don’t have long relationships. I’m sure they were having some kind of marital problem. I’m positive. I’m sure that her being in that car with her boss at that particular time in that particular place was something that was not kosher. And because he knows that he has these feelings of inadequacy that his wife was cheating on him and doing whatever. So he’s not dealing with it very well or is not going to deal with it very well so all that stuff plays into that. So when he looks and sees those people in the pool or sees them sharing affection in a particular way, it kind of clicks things in his head. He doesn’t see them. He sees the boss and his wife.
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