ScreenCrave.com » Ewan McGregor

Haywire Trailer Will Beat You Silly

Damon Houx — Fri, 22 Jul 2011 22:00:48 +0000

The story of Haywire is familiar. Government agent goes on an appointment and ends up betrayed. But the players are exciting. Steven Soderberg reteaming with The Limey screenwriter Lem Dobbs. Newcomer Gina Carano going face to face with Michael Fassbender, Michael Douglas, Antonio Banderas, Channing Tatum, Ewan McGregor and Bill Paxton. Though the January release date doesn’t inspire confidence, it’s trying to be 2012′s Taken. And it looks to deliver. Check out the trailer…

The main question mark seems to be Carano, as she was a professional fighter in MMA, but this is the big leagues. But Soderberg is usually smart in his casting, it seems unlikely he didn’t think she could handle it. It’s also nice to see a good looking action movie that doesn’t star Jason Statham or Sylvester Stallone. So much of the summer action can also fall into the sci-fi fantasy genres, which means less actual hand to hand combat and more CGI stunts.

Soderberg’s panel at comic-con went well, so we’re in the build for the film’s release, and the first official trailer does create some excitement about the project. We’re still a ways out and Soderberg’s got Contagion in the can and ready for a September release. As Soderberg said at the con, the rumors of his retirement have been greatly exaggerated.

What do you think of this trailer?

Beginners: Movie Review

Mali Elfman — Tue, 07 Jun 2011 06:06:12 +0000

Out in theaters now in theaters is the charmingly sweet and original romantic comedy Beginners with Ewan McGregor, Christopher Plummer and Mélanie Laurent with some of the best performances and well packaged film out in theaters now…

The Players:

Director/Writers: Mike Mills
Actors: Ewan McGregor, Christopher Plummer and Mélanie Laurent
Original Music by: Roger Neill, Dave Palmer, Brian Reitzell
Cinematography by: Kasper Tuxen

The Plot:

Oliver (McGregor) is struggling through his life when his mother dies and his father comes out of the closet. He is trying to figure out who he is when he falls in love with a young girl.

The Good:

The Good Kind of Cute: Sometimes cute gets a bad rep and rightly so, often people/films strive to be cute and in doing so become extremely desperate and obvious. But when underplayed in the right way it gives the film a kind of subtle charm that oozes under your skin and gives the film a depth that is rarely seen on the big screen.
Relationships: All of the relationships in this film have a realistic quality to them that make them so fascinating to watch. The two leads have a remarkable chemistry together that is unique, endearing and realistic. The relationship between father and son is complex and yet sweetly simple — much like life. Then there is the broader relationship of man against society, which is by far the interesting to look at and gives the film a “one of a kind” feel.
The Dog: Despite however good looking and engaging the couple is, the dog steals every scene he’s in.
Wonderfully Weird: The film is pleasantly weird in a way that makes it unique without alienating audiences. There are some things that set this film apart from all the other films you’ll see. The voice-over is elegantly done and adds to the film without over explaining. The use of reality vs. memory and the commentary on how we walk through and organize our lives so that we can handle them is interestingly and artistically done.

Overall:

This is a love story with a lot of different kinds of love and relationships that explores life in unique ways. It has a sense of introspection that you don’t see in average cinema. It’s really beautifully put together and makes for a wonderful cinematic experience that is both complex and yet divinely simple.

Rating: 8.5/10

Ewan McGregor Hesistant To Make ‘Trainspotting’ Sequel; Bashes Sequels In General

traviswoods — Thu, 31 Mar 2011 15:04:12 +0000

Ewan McGregor—despite having stared in three of the most horrendous sequel/ prequels of all time (The Phantom Menace, Attack of the Clones, and Revenge of the Sith)—is taking a stand against “poor sequels,” stating that there are too many bad or unnecessary follow-ups to great films.

Well, yeah.

DimeWars has it that McGregor has been musing on sequels of late because of rumors that the 1996 Danny Boyle film Trainspotting, in which he indelibly portrayed Renton, a heroin addict, may be getting its own sequel soon.

Trainspotting was based on a novel by Irvine Welsh, who wrote a follow-up that takes place 10 years later, entitled Porno. And, as, the Trainspotting fanbase (and cast, apparently) clamor for a return to that world, McGregor seems to be the lone holdout from the first film:

“It’s still the main thing people ask me about when they come up to me in the street… It’s not something that I would completely dismiss off-hand until I’ve seen a script… I don’t like being the guy that’s making it not happen, especially when all the other guys want to make it… But I wouldn’t want to do a sequel to Trainspotting if it was just for the sake of it and, if I’m honest about it, I wasn’t that blown away by the book.”

So there you have it, Trainspotting fans—you may have to settle for just one great film and book, rather than one great film and one so-so sequel.

What do you think of McGregor’s comments?

Ewan McGregor Joins The Cast of Jack the Giant Killer

Krystal Clark — Fri, 25 Feb 2011 18:05:38 +0000

We recently learned that Bryan Singer had finally found the young actor to headline his film Jack the Giant Killer. Nicholas Hoult landed the coveted title role and now according to an announcement via New Line Cinema, Scottish actor Ewan McGregor is in negotiations to join him. Singer, Hoult, and now McGregor? That’s an unbeatable combination. We’re in!

The most recent draft of the Jack the Giant Killer script centers on the kidnapping of a princess that threatens a long-standing peace between men and giants. A young farmer is given an opportunity to lead a dangerous expedition to the giants’ kingdom in hopes of rescuing her. The screenplay was written by frequent Singer collaborator Christopher McQuarrie.

According to THR, McGregor will play “the leader of the king’s elite guard, who helps fight giants.” Previous casting announcements included the addition of Stanley Tucci who plays an advisor to the king with designs on usurping power. There’s also Bill Nighy and John Kassir who’ll play the two-headed leader of the giants. So there are several villains and thus far, two heroes.

What do you think of the cast of Jack the Giant Killer so far? Are you excited to see the film?

Sundance 2011: Perfect Sense Movie Review – Best of the Fest?

Brendan Walsh — Tue, 25 Jan 2011 22:08:56 +0000

At this year’s Sundance Film Festival, we at ScreenCrave have been making a big deal out of Kevin Smith’s Red State for the last few days, because it’s been the hottest ticket, carried the most controversy, and frankly, been most exciting movie so far. But with the premier of David Mackenzie’s Perfect Sense, it is without a doubt that we’ve seen the best, most effective and affecting movie of the festival. The film is a romantic/sci-fi/horror film which stars Ewan McGregor and Eva Green. It is graceful, tender, heartbreaking, and terrifying. It is also a movie with a very organic flow, with plot reveals that are best left as a surprise. But it is impossible to discuss the emotional weight this film carries without getting into some of these finer points. So the following review contains a few mild *SPOILERS* with regard to the story, so please be warned. Check out the rest of the review after the jump…

The Plot:

Perfect Sense is the story of a worldwide epidemic which robs people of their senses, one at a time. There is no cure, no understanding of how it transmits, and it affects populations nearly simultaneously. Furthermore, one of the symptoms of this disease is that the loss of a sense is preceded by an intense emotional impulse. Before people lose their sense of smell, they are struck by a crippling sense of sadness and despair. The sadness reflects the connection between the senses of smell and memory. People are suddenly struck by the aspects of their lives they will never be able to reconnect with through the sense they are about to lose; the smell of a grandmother’s perfume and its association with childhood, or fresh cut grass with their first summer job. Yet even through all this, across the world, people adapt and move on with their lives, attempting to return to a sense of normalcy, simply because the alternative is too bleak to acknowledge.

The Heart of It:

But all of this is merely the premise. The film’s story is framed in the reluctant romance of a chef named Michael (McGreggor), and an epidemiologist named Susan (Green). The two of them are at the center of the crisis in different ways: while Susan struggles in vain to solve the puzzle of this illness, Michael must deal with the consequences; When people lose their sense of smell or taste, Michael must adapt his craft to provide a particular experience which is imperative to human interaction: dining. But the crux of the story is found in their relationship. As the epidemic worsens, they grow closer, in order to distract themselves from the impending doom humanity faces. Their ability to connect on an emotional level provides a modicum of comfort, and they must also take advantage of their sense of touch while it still exists. Yet throughout the whole ordeal, they both carry the scars of tragic relationships from earlier in life, and must open themselves to the other in order to connect.

Before the chaos ensues, romantic or otherwise, the film takes its time to establish a tone of loneliness and despair. It opens with a poem describing the world as it is today, as well as a montage of images depicting it. The tone for Michael and Susan’s relationship, guarded and cold, yet grasping for glimmer of hope, is established almost immediately when, the morning after an evening together, Michael asks Susan to leave. Their mutual disappointment indicates that they were both hoping for a genuine kinship, but their acceptance of this decision implies that they are accustomed to disillusionment in love. Thus, their relationship is established as an allegory for the modern human condition: Despite the fact that we are surrounded by masses of humanity in urban centers, not to mention the technology that supposedly draws people closer together, we go through most of our daily lives by ourselves, and alone.

As the symptoms progress, the pair must adapt their careers to suit the new world as it moves on. How does one make a restaurant survive when people can’t smell or taste their food? Susan’s challenge is harder still, since her feelings of inadequacy and fear for not being able to determine how the disease spreads, or how to cure it. The despair weighs heavier on them, but they take greater comfort in each other. With the end of the world looming darker and closer with each passing symptom, the only thing they can do is share what remains with each other.

The Experience:

This is not a fun movie-going experience, yet it remains more rewarding than say, any of the films made by Alejandro Gonzalez-Innaritu, whose despondence does little more than point out how miserable people are across the globe. This film is more of a celebration of humanity’s ability to connect with one another in the face of these apocalyptic circumstances. Even when they are being harsh with each other, there is a sympathy that lies between Michael and Susan, which makes the events leading to the inevitable end of their relationship, as well as that of humanity, all the more profound. The acting is tenderly subdued, allowing the metaphors of the script to shine through without bludgeoning the audience over the head with the point. And it’s no surprise that the emotional flashes that precede the symptoms of the disease reflect those experienced in the grieving process: we grieve for the loss of their love, the loss of our world as we know it, and eventually, the whole human race.

But make no mistake: This is a horror film. It is an examination of the collapse and end of humanity. The fact that it doesn’t feature a killer, monster, or grimy torture chamber doesn’t change the fact that there is a visceral response to the absolute terror of the situation at hand. This is one of the reasons zombie movies are such effective horror films: the zombies are not the scariest part, but the notion of the complete breakdown of world society, as well as the nature of epidemics, and the fear associated with those themes. But it does not rely on simply that one emotion. It takes you across the spectrum through the highs and lows of life, but always returns to the horrifying prospect of the end of the world. Faces in the Eccles Theater’s crowd were twisted into grimaces, peoples hands covered their mouths and eyes, and sobs & sniffles were audible among the viewers.

Incidentally, the film should be considered science fiction to a certain degree, in the same way that Alfonso Cuaron’s Children of Men is. It takes a notion with a scientific basis, and leads it through a logical progression of events. Epidemiology is one of the most relevant facets of medical science, and this film acknowledges that. As allegorical as this scenario may be, its progression and the way it is handled by those whose job it is to deal with these matters in the film maintains an element of rational truth.

The technical aspects work in perfect harmony to achieve the aforementioned tone: the editing is frenetic and disorienting while in the throes of the disease, and the camera work is smooth and calm when the couple’s love is growing. For example, a long shot on the two lovers’ faces, one in profile and one straight on, merge as they lie in bed holds for a long period to paint their newfound unity. The film’s score is understated, yet dramatic with swelling strings and soft piano melodies leading the listener to an emotionally vulnerable space which the story then takes advantage of. And special note should be made for supporting actors Ewen Brennen (Trainspotting) and Stephen Dellane (44 Inch Chest), whose clear understanding of their roles as friends in Michael and Susan’s respective lives bring a sense of fun and rationality to the turmoil as the necessity for those types in their lives increases. Consequently, when succumb to the disease, as everyone does, it carries particular emotional weight.

Overall:

Again, it is a difficult and uncomfortable movie to internalize, but truly speaks to the power of film as an artistic medium. It represents senses that cannot be expressed in film with sublime simplicity, and charts the extreme ends of the emotional scale. It can leave viewers feeling crippled with sadness for the end of all things, or overjoyed at the potential for human sentiment to be expressed among each other. The haunting part of this movie, is that the intense feelings one is left with as the credits roll are likely one of those represented as a symptom of the disease at the center of it. So on your way out of the theater from seeing this film, stop and smell the roses, just to make sure you still can.

Rating: 10/10

(Note from the Editor: Though I appreciated and liked this film, I believe there is NO way this is the best of the fest. It had may too many “little” problems and overall didn’t move me or teach me much — I’d say 8/10 tops)

I Love You Phillip Morris: Movie Review

JC — Fri, 03 Dec 2010 00:00:17 +0000

For those of you mulling over the purchase of a ticket to this outrageously stupid film, listen up: Typically we associate Jim Carrey with unwavering humor and Ewan McGregor with infectious charm. In the sheer disaster that is I Love You Phillip Morris, both actors give performances utterly barren of the aforementioned qualities. Co-written/directed by longtime creative partners Glenn Ficarra and John Requa, the film (that I emphatically encourage all readers to avoid) opens in theaters nationwide this Friday.

The Players:

Writers/Directors: Glenn Ficarra, John Requa
Based On: The book by Steven McVicker
Producers: Glenn Ficarra, John Requa, Jeffrey Harlacker
Cast: Jim Carrey, Ewan McGregor, Leslie Mann

The Plot:

Based on a true story, I Love You Phillip Morris follows whack-job, Steven Russell, as he develops a hell of a record as a white collar con-man. Steven’s average married life takes an exciting turn when survives a severe car accident that inspires an epiphany: He’s gay! And will now abandon the small-town digs for an extravagant life of shopping, fine dining, and exotic homes. How will he afford these luxuries? Fraud! During his first trip to jail he meets fellow gay, Phillip and they fall in love instantly – but Phillip won’t stand for Steven’s law-breaking agenda. Can he sacrifice his troublesome ways for love?

The Good:

True Story: The story line is based on actual events. Steven Russell was in fact an incredibly deft con-man who garnered exorbitant amounts of money over a 25 year stretch. This man fabricated an impressive resume with backgrounds in law and finance to not only climb the corporate latter but weasel Phillip of jail. The man is a genius, I applaud his cunning maneuvers.

The Bad:

Terrible Execution: The story was so poorly executed I almost threw my beverage at the screen. There were a million ways to approach this picture and instead of committing to one, clear angle the filmmakers tried a little bit of everything. Initially, we’ve got your standard Jim Carrey as the imbecile running around like an aimless freak. Then, suddenly, we’ve got super flame-y, intimate love scenes (that were in no way intended to be funny). The rest of the film was arbitrarily comprised of white collar crime/suspense, melodramatic family outbursts, then back to gay frolicking… that were supposed to be take seriously. This was clearly an attempt to implement various themes and tackle multiple genres, which isn’t always a lofty ambition for a filmmaker if the story/script is well developed. Well-developed being the key phrase here.
Not Funny: There’s always a chance that regardless of the overall failure of the film the actors deliver a few of decent moments. Not today. It’s not entirely fair to blame the casting given that these roles were so poorly written – but Carrey’s comedic timing was beyond bleak and McGregor rides the rainbow so colorfully that real gays, all over the planet, should be both enraged/offended by how ridiculously they’re being portrayed.

Overall:

It has been ages since I’ve seen something so abominable.

Rating: 1/10

This sorry excuse for a movie opens nationwide Friday, December 3rdt!

Trailer:

Photo Gallery:

What did you think of the film?

New NSFW I Love You Phillip Morris Trailer

Krystal Clark — Thu, 21 Oct 2010 18:45:31 +0000

Doesn’t it feel like we’ve been hearing about I Love You Phillip Morris for years now? The movie has bounced between several distributors but finally landed a solid deal with Liddell Entertainment and Roadside Attractions. The film stars Jim Carrey and Ewan McGregor as two men who meet in prison and begin a love affair. A new NSFW trailer has been released for the film and yeah, there’s some stuff in it that young, sensitive eyes shouldn’t see. Take a look…

I Love You Phillip Morris centers on a married con man (Carrey) who’s also a devout Christian and an organ player who happens to be living a double life — he’s gay. Everything’s turned upside down when he lands in jail and falls in love with his cell-mate Phillip Morris, who’s played by McGregor.

The trailer does have some graphic language and one sex scene but despite all that aggression, the relationship between McGregor and Carrey seems genuine and cute. There’s also a scene with Carrey wearing fishnet underwear, which we didn’t even know existed. Thanks Phillip Morris, we learned something new today.

I Love You Phillip Morris hits theaters on December 3rd.

What do you think of the new red band trailer for the film?

Nanny McPhee Returns: Movie Review

Krystal Clark — Fri, 20 Aug 2010 01:30:18 +0000

The stern babysitter with a magical cane has come back to the big screen in Nanny McPhee Returns. It’s a follow up to the 2005 film that starred Emma Thompson as an unconventional nanny who makes it her business to turn wild, unruly children into well behaved citizens. She tackles a new family with a new set of problems but as usual McPhee has the patience and know-how to get things done. Here’s our review…

The Players:

Director: Susanna White
Screenwriters: Emma Thompson, Christianna Brand (characters)
Cast: Emma Thompson, Maggie Gyllenhaal, Rhys Ifans, Maggie Smith, Asa Butterfield, Lil Woods, Oscar Steer, Eros Vlahos, Rosie Taylor-Ritson, Ewan McGregor, Ralph Fiennes
Cinematography: Mike Eley
Original Music By: James Newton Howard

The Plot:

Nanny McPhee (Thompson) arrives to help a harried young mother (Gyllenhaal) who is trying to run the family farm while her husband is away at war. She uses her magic to teach the woman’s children and their two spoiled cousins five new lessons. She also has to deal with the brother of the absent father (Ifans) who’s trying to steal the farm right from under the mother’s nose.

The Good:

The Story: The overall idea of learning how to accept new people and work together is a universal theme that everyone can relate to. The message can be applied to both children and adults.
The Cast: The cast features several heavy hitters from the UK acting community in both large and small roles. The children were wonderful and Gyllenhaal did a much better job at faking a British accent than her brother (Jake) did in Prince of Persia: The Sands of Time. That was a pleasant surprise.
The Humor: The jokes were age appropriate and kept the story light despite its war torn backdrop.

The Bad:

The Pace: As an adult it was hard to get interested in the story at the very beginning. The film got off to a very slow start and that’s a problem if you want to keep the attention of younger viewers.
The Special Effects: There were several sequences that used CGI and one of them included swimming pigs. This would have been a sight to see if it wasn’t for their cartoonish look. The special effects need to be sharper and more realistic for anyone to take them seriously, whether it’s a child or an adult.

Overall:

Nanny McPhee Returns is a decent family film. It starts off slow but it has a good story to tell with a message that anyone can relate to.

Rating: 7.5/10

Nanny McPhee Returns hits theaters on August 20, 2010.

Photo Gallery:

Trailer:

Are you interested in seeing Nanny McPhee Returns this weekend?

Edinburgh Film Fest 2010: Jackboots On Whitehall Film Review

Ben McCarthy — Mon, 21 Jun 2010 19:03:57 +0000

It’s been 5 years since we’ve had a puppet based action film, Team America: World Police. So now its Blighty’s turn to taken on the Yanks with Jackboots On Whitehall, a film having its world premiere at the Edinburgh International Film Festival this week.

Jackboots On Whitehall is the first film to use animatronics puppets; will this be a giant-step forward to puppet technology? Can the entire film be rested on plastic shoulders and faces? Can the film not resort to crass Nazi impersonation jokes? But most importantly, can this film be a stupid, fun ride? Lets find out…

The Players:

Writers/Directors: Edward & Rory McHenry
Producers: Kyle Richards, Patrick Scoffin
Cast: Ewan McGregor, Rosemund Pike, Richard E Grant, Timothy Spall, Tom Wilkinson and Alan Cumming.

The Plot:

Set in alternative universe of WWII, the Nazis have seized London, so England must band to form a resistance at Hadrian’s Wall if they are to prevent a full-on German invasion.

The Good:

The Sets: The landscape of the film is constructed with a certain amount of detail and panache that gives it an epic look. When the time comes, the pyrotechnics take over and they convincingly destroy all the beautiful scenery – Michael Bay would be proud.
Richard E Grant: He’s brilliant as the abusive vicar and supplied us with the only source of much needed laughter during the entire film.

The Bad:

The Rest Of The Voice Cast: They are universally dreadful, it sounds they aren’t even trying to make the best of the mediocre material. They’re just phoning in performances and should all be ashamed for being associated with this film.
The Puppets: The reason why Team America’s puppets worked was because their puppets had animated faces, their eyes and mouths moved, they showed emotion. But here, the puppets have absolutely no facial movement what so ever and it’s like looking a brick wall of emotion, with no facial expression at all. It’s distracting from the film and keeps you from ever feeling involved with any of the characters. It’s made even worse, because of the extended close ups on the puppets; it constantly breaks your suspension of disbelief. The puppets in Robot Chicken are more convincing than anything shown in this film.
Horrible/Unfunny Jokes: Jackboots On Whitehall tries to be relevant by making jokes about Mel Gibson, Braveheart and Lethal Weapon but they fall. The jokes lack any sort of punch or imagination and we’re degraded to the low end of the humour spectrum. The results leave you feeling depressed every time they try to make you laugh. As a Briton, you’re going to be embarrassed by what’s shown here; the “Carry-On” style comedy is cringe inducing.
The Portrayals of the Nazis: Apparently, they’re all gay and like to wear women’s clothing… Once again the gag feels old, clichéd, and shows no form of sophistication. The pop-culture references are really weird; a Darth Vadar reference in a WWII film is the most misjudged pop culture references I have ever seen. It feels they ran out of ideas and so they stole old, used up ones.
Lazy Narration: The filmmakers clearly didn’t think or even care about the narrative of the film. It’s on auto-pilot for the full 90 minutes which makes it the most un-interesting film of 2010.

Overall:

This is the worst film of the festival so far. The pain hurts even more because the film has a great premise; but with juvenile jokes, lazy narration and rubbish puppets makes this a grisly cinematic experience.

Verdict: 1/10

It’s Team Britain! – Jackboots On Whitehall Trailer

Ben McCarthy — Mon, 07 Jun 2010 23:14:53 +0000

It’s been 6 years since we were introduced to Team America: World Police; it was a savage political satire from the creators of “South Park,” that covered terrorism and proved that Pearl Harbor was a really bad movie. Even though the film lives on through the immortal line of “America, fuck yeah!” it seems that good ol’ Blighty plans to beat the Yanks at their own game with Jackboots on Whitehall. Watch the trailer below…

The film is set during an alternative version of WWII, with the Nazis seizing London and the British retreating to Hadrian’s Wall to form a resistance. Jackboots on Whitehall is directed by Edward and Rory McHenry and is the first film to use animatronic puppets. Take that Team America! One would say that this could be a companion piece to Quentin Tarantino’s Inglourious Basterds, with its disregard for historical accuracy but despite that, it still looks hilarious.

The film has a high profile voice cast, with Ewan McGregor, Rosamund Pike, Richard E. Grant, Stephen Merchant, Tom Wilkinson, Timothy Spall, Alan Cumming and Richard Griffiths. Whitehall will have its world premiere at the Edinburgh International Film Festival in June, where many of the actors will appear on the big night.

From the looks of it, this could have the wit and cutting-edge satire to be a memorable addition to the festival, or a cringe-inducing “Carry-On” style comedy.

What do you think? Will Hitler get his head blown off for the second time? Will it be Team Britain?

Ewan McGregor Cast in The Man Who Killed Don Quixote

Krystal Clark — Mon, 17 May 2010 19:33:08 +0000

After what seems like a lifetime of stalling, director Terry Gilliam has finally found a new star for The Man Who Killed Don Quixote. According to Empire, Scottish actor Ewan McGregor will fill the lead role that was previously occupied by Johnny Depp.

Throughout all its production troubles, Depp stayed attached to Don Quixote but had to jump ship (no pun intended) when the fourth Pirates of the Caribbean film came calling. While McGregor takes over his role, Quixote will be played by Oscar winner Robert Duvall, who’ll be replacing Jean Rochefort.

The film’s premise centers on “a 21st century advertising executive who travels back in time to 17th century Spain, where he meets Don Quixote and becomes involved in adventures with him.” Here’s what the always eccentric director had to say about the casting:

“Robert Duvall is one of the greats, no question – and he can ride a horse!” laughed Gilliam. “And Ewan has gotten better over the years. He was wonderful in The Ghost. There’s a lot of colors to Ewan that he’s not been showing recently and it’s time for him to show them again. He’s got a great sense of humor and he’s a wonderful actor. He’s wonderfully boyish and can be charming – when he flashes a smile, everybody melts. He wields it like a nuclear bomb!”

We hope this lineup sticks! The Man Who Killed Don Quixote has been in development hell for a good 10 years and it’s time to get it done. Gilliam had to cut a few corners to make this new incarnation work by slicing his budget of $35 million (during 2000) to $20 million. Other than that, everything appears to be in working order and we should hear more about film’s production pretty soon.

What do you think of McGregor joining the cast of The Man Who Shot Don Quixote? Do you think the film will finally get made?

Jim Carrey’s I Love You Phillip Morris Gets Shelved

Krystal Clark — Fri, 09 Apr 2010 19:06:21 +0000

The distribution history of the Jim Carrey film I Love You Phillip Morris has been rocky and sordid. Even though it has a major star as its lead (along with the amazing Ewan McGregor), Consolidated Pictures Group has decided not to release the film at the end of this month as planned.

If you haven’t heard of I Love You Phillip Morris we can’t really blame you because it hasn’t been at the forefront of a major marketing campaign. The movie is a prison-love-dramedy written by Glenn Ficarra and John Requa (Bad Santa) that centers on a devout Christian man with a wife, a steady job, and the perfect life (on the surface) who after a horrific turn of events lands in jail and finds his true identity. He falls in love with a cellmate who’s name is…you guessed it Phillip Morris (McGregor).

Today a spokeswoman for the film stated that the April 30th release date was no longer valid and a new date hasn’t been scheduled at this time. That pretty much means Phillip Morris has been shelved and the amazing performances of its cast will never see the light of day.

When it’s all said and done this decision was based on fear regarding the public’s reaction to the film’s sexual content. ScreenCrave’s Senior Editor Mali Elfman has a logical and direct theory on why she thinks Phillip Morris got canned.

I think the reason it’s being pushed is because the film’s about a Christian man turning off the path and finding his salvation not in Jesus but in Phillip Morris’ ass.

That’s a pretty hardcore way to put it but she’s right. The distributors probably can’t fathom the logic of someone leaving their beautiful wife for another man. It’s a sad revelation because the film did run the festival circuit and has had several international releases in countries like France, Russia, Japan, United Kingdom, Ireland, and Italy. What’s up with the good old U.S. of A.? Why can’t we get it together?

How many films have we seen that feature lesbian relationships between A-list actresses that get nationwide releases? To this day that type of pairing is seen as an acceptable fantasy but the moment two men get involved it turns into a morality issue. They’re not trying to force guys off the straight (literally) and narrow and onto the beaches of Miami to find a boy toy. They just want to tell a story and entertain, that’s it.

Do you think they should have shelved I Love You Phillip Morris? Why do you think they did it?

Source: LA Times, MTV

ScreenCrave.com » Ewan McGregor

Haywire Trailer Will Beat You Silly

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