Movies

Paramount TV will produce it

The 1980s classic American Gigolo is set to become the latest film adapted for television by Paramount TV. The thriller’s original producer Jerry Bruckheimer will be involved in the project as an executive producer, according to the Hollywood Reporter.

Bruckheimer produced the 1980s film starring Richard Gere as a male escort in Los Angeles who falls for Lauren Hutton’s character amid scandal. “With its signature noir aesthetic, American Gigolo has remained a deeply entertaining, psychological thriller and I’m thrilled to partner with [Paramount’s] Brad [Grey] and Amy [Powell] on remaking it into a television series,” Bruckheimer said in a statement.

Gigolo is one of many films getting a small screen reboot by Paramount TV. A television version of the 2002 film Minority Report is also in the works. Paramount TV is also producing Grease live for Fox, Yahoo reports.

[The Hollywood Reporter]

Tickets to the upcoming film went on sale Wednesday, Oct. 29

Christopher Nolan's sprawling space epic is beautiful, ambitious and flawed

“We’ve forgotten who we are,” says Matthew McConaughey’s Cooper. “Explorers, pioneers — not caretakers.” That could be Christopher Nolan speaking about movies in this timid age of old genres endlessly recycled and coarsened. He’s the rare filmmaker with the ambition to make great statements on a grand scale, and the vision and guts to realize them.

Nolan is also a consummate conjuror. Memento, his amnesiac movie, ran its scenes in reverse order. In The Prestige, magicians devised killer tricks for each other and the audience. Inception played its mind games inside a sleeper’s head, and the Dark Knight trilogy raised comic-book fantasy to Mensa level. But those were the merest études for Nolan’s biggest, boldest project. Interstellar contemplates nothing less than our planet’s place and fate in the vast cosmos. Trying to reconcile the infinite and the intimate, it channels matters of theoretical physics — the universe’s ever-expanding story as science fact or fiction — through a daddy-daughter love story. Double-domed and defiantly serious, Interstellar is a must-take ride with a few narrative bumps.

In the near future, a crop disease called “the blight” has pushed the Earth from the 21st century back to the agrarian 1930s: the world’s a dust bowl, and we’re all Okies. In this wayback culture, schools teach that the Apollo moon landings were frauds, as if America must erase its old achievements in order to keep people from dreaming of new ones.

Farmer Coop, once an astronaut, needs to slip this straitjacket and do something. So does his daughter Murphy (Mackenzie Foy); she’s getting “poltergeist” signals from her bookshelves. A strange force leads them to a nearby hideout for NASA, whose boss, Dr. Brand (Michael Caine), drafts Coop to pilot a mission to deep space. With Brand’s daughter Amelia (Anne Hathaway) and two others as his crew, Coop is to find a wormhole near Saturn that may provide an escape route for humanity. “We’re not meant to save the world,” Brand says. “We’re meant to leave it.”

Coop, a widower, wasn’t meant to leave his children. Son Tom (Timothée Chalamet) can manage; but the precocious Murph sees abandonment and betrayal in Dad’s journey to save billions of humans. Coop, who thinks a parent’s main role is to be “the ghosts of our children’s future,” shares Murph’s ache. He needs her. He goes out so he can come back.

What’s out there? New worlds of terror and beauty. Transported by the celestial Ferris wheel of their shuttle, Coop and the crew find the wormhole: a snow globe, glowing blue. One planet it spins them towards has a giant wall of water that turns their spacecraft into an imperiled surfboard. Another planet, where treachery looms, is icy and as caked with snow granules as Earth was with dust. Interstellar may never equal the blast of scientific speculation and cinematic revelation that was Stanley Kubrick’s 2001: A Space Odyssey, but its un-Earthly vistas are spectral and spectacular.

Someone on the icy planet says, “Our world is cold, stark but undeniably beautiful.” Shuttling between the grad-school blackboard and the family hearth, this undeniably beautiful film blows cold and hot, stark and sentimental by turns. Taking the visual wow factor as a given, you may feel two kinds of wonder: a child’s astonishment at the effects and a bafflement that asks, “I wonder why that’s happening.”

It’s not just that the rules of advanced physics, as tossed out every 15 minutes or so, are beyond the ken of most movie-goers. It’s also that some scenes border on the risible — a wrestling match in space suits — and some characters, like Amelia, are short on charm and plausibility. In story terms, her connection with Coop is stronger than that of the two astronauts in Gravity. But Sandra Bullock and George Clooney gave their roles emotional heft, in a film more approachable and affecting than this one.

If the heart of Interstellar is Coop’s bond with Murph, its soul is McConaughey’s performance as a strong, tender hero; in the film’s simplest, most potent scene, he sheds tears of love and despair while watching remote video messages from his kids. He is the conduit to the feelings that Nolan wants viewers to bathe in: empathy for a space and time traveler who is, above all, a father.

With Interstellar, Nolan’s reach occasionally exceeds his grasp. That’s fine: These days, few other filmmakers dare reach so high to stretch our minds so wide. And our senses, all of them. At times, dispensing with Hans Zimmer’s pounding organ score, Nolan shows a panorama of the spacecraft in the heavens — to the music of utter silence. At these moments, viewers can hear their hearts beating to the sound of awe.

Read next: Watch an Exclusive Interstellar Clip With Matthew McConaughey

Marvel reveals new scene from Avengers: Age of Ultron

Jim Carrey and Jeff Daniels play a rather lewd game

The novel's website describes it as "about family connections, second chances and first loves," as well as "twists of fate and quirks of timing"

Hailee Steinfeld is set to star in Dustin Lance Black’s adaptation of the young-adult novel The Statistical Probability of Love at First Sight, according to The Hollywood Reporter.

The teen romance novel, by Jennifer E. Smith, is the 24-hour tale of Haldey, a teenager who is late for a wedding she doesn’t want to attend in London — her father is remarrying — when she meets a British boy, Oliver, at New York City’s JFK airport.

“Set over a 24-hour-period, Hadley and Oliver’s story will make you believe that true love finds you when you’re least expecting it,” says the website for the novel.

Screenwriter Dustin Lance Black won an Oscar in 2009 for Milk.

Steinfeld, 17, who was nominated for an Oscar in 2010 for True Grit, apparently will next star in Kyle Newman’s Barely Lethal in early 2015.

[The Hollywood Reporter]

Get ready for more Avengers, another Captain America and more

Marvel Studios announced its upcoming slate of movies through 2019, which include two previously unannounced Avengers sequels as well as its first solo female superhero movie and its first solo black superhero movie.

At an event Tuesday, the company unveiled “Phase Three” — movies it plans to make after Avengers: Age of Ultron and Ant-Man arrive next May and July, respectively. Those movies include two more Avengers films (the two-part Avengers: Infinity War), a third Thor film, a third Captain America movie, as well as a few new superheroes. Guardians of the Galaxy 2 will now also arrive on May 5 in 2017, after previously being scheduled for a July 2017 release.

Actor Chadwick Boseman will play the Black Panther, who will become the first black Marvel superhero to get his own movie. The character Carol Danvers will come to life as Captain Marvel, the first female superhero from Marvel to get her own movie.

The big announcement followed Warner Bros.’ similar unveiling of the movies it has in the works through 2020, which include The Flash (starring Ezra Miller) in 2018.

The full list of titles and release dates is as follows:

Avengers: Age of Ultron, May 1, 2015
Ant-Man, July 17, 2015
Captain America: Civil War, May 6, 2016
Doctor Strange, Nov. 4, 2016
Guardians of the Galaxy 2, May 5, 2017
Thor: Ragnarok, July 28, 2017
Black Panther, Nov. 3, 2017
Avengers: Infinity War – Part 1, May 4, 2018
Captain Marvel, July 6, 2018
Inhumans, Nov. 2, 2018
Avengers: Infinity War – Part 2, May 3, 2019

Read next: Meet Black Panther, Marvel’s Newest Movie Superhero