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Forest Whitaker to Direct and Star in Louis Armstrong Biopic

BuzzSugar — Wed, 08 Oct 2008 10:37:07 -0700

It's a wonderful world for Forest Whitaker.
According to Variety, Whitaker will direct and star in a Louis Armstrong biopic titled What a Wonderful World. The story will have the help of a Paris-based production company, Legende, the company behind another musician biopic, La Vie en Rose.

Some facts:
The movie, which is "the first big-screen project to be authorized by the Armstrong estate, will kick off during the musician's impoverished early years in New Orleans and primarily chronicle his career as a trumpet virtuoso and improvisational singer."

Whitaker's thoughts:
"'Armstrong left a monumental mark on our lives and our culture,' said Whitaker, who portrayed jazz great Charlie Parker in Bird. 'He lived an amazing life and, through his art, shifted the way music was played and would be heard after him, not just here in the U.S. but all over the world.'"

What do you think of movie biopics?
Louis Armstrong's music never fails to make me happy; I can't explain why, exactly. So, I'm interested in a big film about his life. I was recently reading, however, a rundown of all the things wrong with making biopics (they are "more about the lead actor/actress than about the subject," etc.), and there are some valid points there. At the same time, I kind of can't wait to see Whitaker bring Louis Armstrong to life on the big screen. What do you think?

Source and source

An Open Letter to Breaking Dawn's Screenwriter

Buzz Community — Wed, 04 Nov 2009 05:30:00 -0800

This post comes from the group The Books of Twilight from member Audreystar.

Dear Ms. Rosenberg,

First let me say that I thought you did an impeccable job at screenwriting Twilight from Stephenie Meyer's novel. From what I can see you did a great job on New Moon as well. I can only assume that Eclipse will be no different. You have proven yourself a competent and talented screenwriter. Hell, you write episodes of Dexter for goodness sake! Your ability is not in question.

I am here to discuss Breaking Dawn. This will be the ultimate test of your career. If you can manage to pull a workable movie out of that piece of literature you should (hands down) win the Academy Award in screenwriting. Everyone seems to be wondering who will be chosen to direct Breaking Dawn because they believe that is (ultimately) the person who will sink or swim in making a film work on the last book. I beg to differ. This all lies with you and that is quite a big burden to bear. The world is on your shoulders. The movie will make a ton of money so Summit can't be THAT concerned with the script. But I know you aren't a writer to please all the people who will watch anything with Robert Pattinson in it. You actually care about putting out quality work.

To read the rest of the letter (WARNING: Breaking Dawn spoilers ahead!), just .

So here are my questions. How are you honestly going to manage to write the birth scene and still maintain a PG-13 rating? How are you going to write for Renesmee and her not look like a freak of nature? Regarding Renesmee, the hardest challenge will be for the casting directors/CGI geniuses. They have a daunting and hard and impossible job. The honeymoon scene is what everyone will be flocking to the cinema to see (the rabid fans I mean) and I am sure Mrs. Prude Meyer will be ALL OVER the writing and filming of that. Look I know she didn't write the books for a mature audience and is trying to keep it morally sound. But this is the last movie and we have to have more than just a fade to black. But I know it won't happen because SM wouldn't even let the first kiss scene stay the way Catherine had it (i.e., steamy). I find it rather hypocritical that SM has an issue with a tasteful sex scene however has ZERO problem with blood and gore which Breaking Dawn the novel is filled to the brim with. You want to see Edward and Bella consummate their relationship. . . sorry, you aren't gonna get it. But if you are excited to see Edward rip Bella's belly open with his sharp vampire teeth, well you are in luck.

And don't even get me started on how you are going to work out the awful anti-climatic ending. This is going to be the last film in the series and as a talented screenwriter you know you can't end it that way. Sure, if this were an indie film you could get away with it. But, it isn't.

So in conclusion, I will keep you in my thoughts and prayers while dealing with this huge predicament and the test of your career. You will deserve a Pulitzer if you can pull this off.

Best regards,
Audreystar

(Please note: I have no clue if she has even been signed as the screenwriter for the fourth film).

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FlashForward Breakdown, "Black Swan"

BuzzSugar — Fri, 16 Oct 2009 08:30:00 -0700

It's been two weeks since the blackouts, and in this week's episode of FlashForward, the people of the world are slowing getting back into their old routines. The only problem is, their outlook on the world is a bit marred to say the least. Nicole finally resurfaces, Olivia and Bryce spar over the meaning of the flashforwards, and Demetri and Mark come to blows.

We get a little more insight, a glimpse at Dominic Monaghan and one very big reveal, so just read more.

Can the future really save people?
Olivia and Bryce meet Edward Ned (who hilariously insists on being called "Ned Ned"), a new patient with a constant sense of calm and a conviction that in sixth months he'll have transformed into a black man ("like Oprah black"). At first he just seems nuts, until Bryce uses Ned's vision to diagnose him. Still trying to convince herself that the flashforwards may not come true, Olivia refuses to use Bryce's method and nearly kills Ned before changing her mind. Ned declares that the "future saved him" and Bryce agrees. But what about the people who are afraid of their visions? Can the future save them too, in that they can somehow avoid what they see? (Side note: I almost choked when I recognized Ned as Todd from Wedding Crashers).

Does Nicole deserve to be punished?
Nicole finally picks up her baby-sitting gig again, and it's revealed that she and Aaron are connected through his daughter Tracy. Clearly disturbed by her vision, Nicole seeks out a priest in hopes to start some volunteer work. She eventually reveals to Mark that she's being drowned in her flashforward, and the murder feels deserved. But why? Mark assures her that she did nothing wrong, but we all know it won't be that simple. In the pilot Nicole is gettin' busy on the couch while Charlie is sleeping, so she has a bad girl side. But now that she knows her possible fate, what could she do to warrant a punishment like that? Also, I could be wrong about this - but her attacker looked like he could definitely be Dominic Monaghan, aka Simon.

What's the deal with Alda Herzog?
Referred to as the "female Osama Bin Laden," Alda Herzog is clearly shady - but what does she know about the blackouts? She toys with both Demetri and Mark, sending them on a wild goose chase to the Customer Choice Restaurant Group, and later telling Mark that he's just "a little boy in the dark." She easily gets a rise out of both of them, even prompting Mark and Demetri to start a fist fight. I can't help but wonder if she's got them totally wrapped around her finger, a la Nazi Guyer from last week's episode, or if she's really sent Mark down the right path to get some answers.

How is LLoyd Simcoe involved in the blackout?
Lloyd continues to struggle with caring for Dylan after spending so many years as an absentee father. He continues to try to garner help from Olivia, but she pushes him away in constant fear of her flashforward. Lloyd has a tender moment at Dylan's house as he attempts to learn a little bit about his boy, and the two make a connection back at the hospital. Everything is all puppies and roses until he gets a call from Simon - who implies that the two are responsible for causing the blackouts.

Other points:

I loved the Shakespeare in Love throwback when Mark is being silly with Charlie: "You're the Shakespeare of cheesy dad humor!"

The opening of the episode, set to Bjork's "It's Oh So Quiet" was a very poetic way to look at the blackouts - especially since we can't hear all the catastrophic noise and commotion that usually defines the incident.

There seems to be a long focus on the "Pimp" necklace during the trailer park scene. Is that going to come back to haunt us?

What'd you think of this week's episode? Do you think there's a connection between those who see hopeful visions and those that see hurtful ones?

Where the Wild Things Are: A Passionate Ode to Childhood

BuzzSugar — Fri, 16 Oct 2009 04:30:00 -0700

There's been a bit of a controversy over how to market Spike Jonze's adaptation of Maurice Sendak's classic children's book, Where The Wild Things Are. Is it for kids? Adults? Adult hipsters?

The answer is anyone who wants to feel what it's like to be a child, and not in the fun-loving, no-responsibilities way. As adults, we tend to forget the insecurity and fears we had as kids, which the film's young character Max is in the throes of. There's just enough exposition before the fantasy begins: Max has a single mom (Catherine Keener) and an older sister who has recently outgrown him. His first few acts at home show his innocence and the savage emotions under the surface. He knows it as being "wild."

Where the Wild Things Are isn't a heavy-handed allegory, or an edgy children's movie; it's a loyal tribute to the way kids think and feel. To see what else I thought of the film, just read more.

Max reaches the world of the wild things after throwing a particularly heinous fit, prompting his mother to yell, "You're out of control!" After running away, Max finds himself on a boat that finally brings him to a strange land. This is where the wild things are. The creatures Jonze has created are aesthetic wonders: creepy, hostile, and huggable at once. These aren't Jim Henson's Muppets, but real characters, led by Carol (voiced by James Gandolfini). The rest of the group is comprised of Lauren Ambrose as aloof KW, Catherine O'Hara as prickly Judith, Paul Dano as timid Alexander, Chris Cooper as Douglas, and Forest Whitaker as Ira.

Each creature has a fully realized personality, with flaws and varying temperaments; their faces are so emotive and their dialogue so human that their scenes with Max are as real as those with his mother. This group is not easily classified as friend or foe - they're dysfunctional in their relationships and don't always treat each other well. One of the most successful elements of the movie is the dialogue of the wild things, which is rooted in Max's head.

In many ways, screenwriter Dave Eggers's job was tougher than Spike Jonze's, because it's imperative to remember the way children think. Max's interactions with Carol and his new clan are made up of the kind of things a kid would hear from his parents and peers and then internalize. In fact, in the wild world, Max declares himself king to bring order, and he summons up speeches from the authority figures that he's pulling away from in his real life. Naturally, he's too young to recognize how his subverted position is significant.

Max's relationship with Carol is most telling. As the de facto leader of the group who can't handle sadness, loneliness, or jealousy, he acts out as a mirror of Max while still being his own character. The richness of Carol and the creature cast stays with you; when Max has to say goodbye to his friends, your heart breaks.

Jonze impressed me with his non-conformity; in another movie, Max would have demonstrated the grand lessons he learned from his time on the island, but in this one, he doesn't have to learn anything. He just gets to feel and experience and appreciate his emotionally fragmented new friends. It's devastating as a viewer, especially if you can put yourself back in that childlike place when your feelings were so raw and simple.

Photos courtesy of Warner Bros.

An Education: A Wonderful, World Weary Coming of Age Tale

BuzzSugar — Fri, 09 Oct 2009 05:30:00 -0700

There's very little time left for Carey Mulligan to be an unknown. She plays the central character in An Education, and it's a mesmerizing, star-making turn.

Nick Hornby is behind the screenplay, which follows 16-year-old schoolgirl Jenny as she navigates her strict school-minded parents and the affections of a man twice her age in '60s London. Though some might be turned off by the Lolita-esque premise, this isn't a movie about a May-December romance but the story of Jenny's discovery of the world and adulthood.

To see what I liked about the movie, just read more.

Peter Sarsgaard is the older man, whom he plays with the seductive blandness the role calls for. It's not Sarsgaard's character, David, who tempts Jenny; it's the idea of him. Before David shows up, Jenny has a path set forth by her parents and her English teacher: Oxford.

When David enters the picture by chance, Jenny suddenly has a choice: Oxford or the glamorous life David exposes her to that doesn't require a college degree. She declares her first date with David as the best night of her life. It's easy to see why: fabulous dinners and concerts in London with David's friends, played by Rosamund Pike and Dominic Cooper. Pike is really too worldly looking to be playing such a dim bulb, but she's luminous as a representation of Jenny's possible future.

Jenny soon learns that David’s seemingly easy life may not be what she truly wants, and she finds herself at a crossroads. The movie does an excellent job at making you live the conflict too - it's not obvious what life Jenny will choose, even though a traditional Hollywood movie would make it clear what the "right" thing to do is. Instead, you find yourself in Jenny's shoes thanks to the engrossing performance of Mulligan, whose angelic face and throaty voice shift easily from dedicated student to London sophisticate.

Mulligan's likability is matched only by her Oxford-pushing father, played by Alfred Molina. Some of the most entertaining scenes are those in which Molina is either brusquely insulting one of Jenny's suitors or being entranced by David himself. At first I wondered why Jenny's parents would let her go off so easily with David when I watched the trailer, but it plays out plainly: David is irresistible. Like a snake-oil salesman, that is. He feeds Jenny and her parents what they want to hear, and when things go awry, Jenny angrily confronts her father about how he could have been so seduced by David. This is one of the lessons Jenny learns from her affair with David; that despite education, maturity, and age, authority figures are fallible.

The other authority figures of this movie are compelling as well: Olivia Williams plays Jenny's encouraging teacher (whose radiance can't be hidden by a pair of horn-rimmed glasses) and Emma Thompson has a cameo as a rigid headmistress who seems to take pleasure in threatening Jenny about her future.

However, no one shines brighter than Mulligan. Her Jenny is a strong, bright young woman who never completely loses her way, despite the situation she gets caught up in. It's her performance in An Education you'll be talking about when you leave the theater - and maybe in a few months when awards season begins.

Photos courtesy of Sony Pictures

The Invention of Lying: Sweet, but Unsteady

BuzzSugar — Fri, 02 Oct 2009 05:45:37 -0700

In his Hollywood directorial debut, Ricky Gervais takes us to an alternate universe where honesty makes the world go round. It's not just that lie-telling is an impossibility; everyone can't help but speak their minds at all times, no matter how personal, embarrassing, or brutal their innermost thoughts may be. The premise of The Invention of Lying is rife for comedy, but the film is also a commentary on religion and has its sad moments as well.

The film tells the story of Mark Bellison, an average joe who just can't seem to get ahead in a world where his mediocrity is ridiculed day after day. His co-workers can't stand him and women reject him based on his looks alone. When he loses his job as a screenwriter, Mark is ready to give up - until he mysteriously becomes the world's first liar.

To see what else I thought of the film, just read more.

Ricky Gervais stars as Mark, living in a world that's mostly free of flair, frills, and aesthetics. Mark's house and office are plain and boring, complementing his every-day appearance. Those who stand out are the people who are naturally attractive, like the object of Mark's affections, Anna (Jennifer Garner) and his snarky co-worker Brad (Rob Lowe). Anna can't help but show her shallow side on her first date with Mark. She immediately rejects him on the basis that she doesn't want to have "fat, snub-nosed" children someday and must find a "better genetic match." Once Mark starts to stretch his newfound talent though, he decides he can have whatever he wants - and begins a quest to win Anna's affections.

Gervais surprised me with his performance because he finally takes a break from his typical British dry humor. As affable, down-on-his-luck Mark, Gervais proves that he doesn't need his signature sarcasm to be witty. The most important scene of the movie requires a lot of raw emotion from Gervais, and he absolutely nails it, showcasing a sweet side that we rarely see from the actor.

There are two major aspects of the movie that wore me down: the cameos and the product placement. I love a good celebrity appearance, but after Philip Seymour Hoffman, Ed Norton, and Jason Bateman pop in, it starts to feel like Gervais is trying to use his comical buddies to keep the storyline afloat when it starts to lose focus. Seeing a familiar face is always fun, but this isn't a Judd Apatow movie.

The product placement is funny and fitting at first; there's not much room for advertising in a world of stark truth. With only a reputation to rely on, Coke and Pepsi are left with the slogans "It's very famous" and "When they don't have Coke," respectively. The film goes way overboard from there though, and suddenly Mark is surrounded by Budweiser bottles at all times and at the film's climax he's standing in front of a group clutching a pair of cardboard Pizza Hut boxes.

The movie's biggest problem is that it tries to appeal to too many genres. It's packaged as a comedy, but Mark becomes a god-like character once the world gets wind of his lies. His peers literally take everything he says as gospel, and Mark becomes a blatant modern-day Moses (complete with long hair and beard). Just as the audience begins to wonder where it's all going, the movie quickly ditches the religious aspect and finishes up as a love story. The ending is satisfactory, but what's the point of satirizing religion when it doesn't hold much water for the overall message of the movie?

Like I said, the premise is rife for comedy and starts us down a path that's packed with laughs - I just wish Invention of Lying didn't wander off before finding its way back home.

Photos courtesy of Warner Bros.

What Happens After SNL? Jim Breuer's Sitcom Will Tell You

BuzzSugar — Thu, 24 Sep 2009 11:30:44 -0700

Post-Saturday Night Live, some people go on and have a wildly successful career (Will Ferrell, Adam Sandler) . . . but plenty more just kind of seem to fade away. Sometimes the fade is inexplicable because the star was so popular while on the show (Chris Kattan, Cheri Oteri). I've always wondered what happens in that post show world, and a new show is about to divulge exactly that: Jim Breuer has just scored a deal with NBC for a sitcom that will focus on his life after his stint on SNL.

Breuer - whose goat character I liked but whose performance in Half Baked is really why I have a soft spot for him - apparently spent the years after the show raising his three daughters and taking care of his elderly parents. The show will focus on that, and the humor therein (a relief: I don't know how many sad goat-boy stand-ups I could take).

Would you watch this show? I'm intrigued, I admit. And note to Michaela Watkins and Casey Wilson: buck up! Maybe one day NBC will have a sitcom deal for you too.

Mad Men: This Week's 5 Maddest Moments

BuzzSugar — Mon, 21 Sep 2009 08:15:03 -0700

So how did this year's Emmy winner for Outstanding Drama Series follow up its win? With a shocking turn of events that made me stop and wonder if I was on the right channel.

Even the pun-y title, "Guy Walks Into an Advertising Agency," was sort of un-Mad Men-like. But with an episode loaded with the visit from Sterling Cooper's British owners, Joan's last day, and Sally's aversion to her baby brother, there was a lot going on.

To see what I thought of this week's episode (spoilers ahead!), just read more.

The bloody British invasion: Eeeeeeeeeew! In the grossest Mad Men scene ever, secretary Lois runs over visiting Guy's foot, splattering blood all over employees and the walls. (Did it really need to spray like that?! It was like an episode of Dexter.) I wanted to make like Peggy and pass out, though Sterling does get points for his "foot in the door" joke.
The Mad Men laugh factory: The second funniest joke of the episode is Joan's "One minute you're on top of the world, the next minute some secretary's running you over with a lawn mower." Don laughed! A full-on chortle! And early on, John dryly punks Kinsey by telling him he should shave his beard. "That was a joke," he tells an irate Kinsey. I needed the assurance myself - and for the whole episode. I was thrown off; this is usually a giggle-free hour of TV.
More Joan, please: I was happy to see so much screen time for Joan. Even though I'm waiting for the other shoe to drop with her husband, I like that he's humanized when he doesn't receive his residency. Likewise, that prompts more of Joan without her standard her steely office manager facade as she offers sympathy and comfort to her devastated husband. It's an obvious contrast to Don and Betty's relationship, where communication is not a strong point. Later, she tears up when Sterling Cooper celebrates her contribution, and then once again shows how much the office needs her when the accident strikes.
Don and Roger's barbershop date: Sure, Don tells Roger he looks like a fool earlier in the season, but unlike Burt Cooper I didn't really sense that they need to patch things up. I still love that Burt sends Don and Roger on a date in an effort to get them to be buds again.
What's in a name? Sally's inability to gain closure over Grandpa Gene's death is all wrapped up in her new brother. I gotta say, I was a little weirded out myself that Betty chose to name the baby after her father. There's a clear winner in parenting this week - Betty tries to solve Sally's problem with a Barbie doll "from" baby Gene, while Don tenderly shows Sally that the baby's life is a new start. I couldn't help but swoon.

What moments stood out to you in this week's episode? Were you as beside yourself as I was over the foot/lawnmower scene? And what did you make of Conrad Hilton's summoning Don to a meeting?

Photo courtesy of AMC