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Ryan Reynolds To Star In ‘Highlander’ Reboot?

Travis Woods — Fri, 18 May 2012 23:19:34 +0000

Because his presence worked so well for the Blade, Wolverine, and Green Lantern franchises, Ryan Reynolds may be the next Highlander in Lionsgate’s reboot of the original 1986 film, despite the fact that the actor has failed to bring much longevity to any franchise he becomes attached to (see also: Deadpool).

Reynolds is currently taking other offers, but word is that the actor’s representatives and Lionsgate are currently in talks to seal the deal to make the actor the next Highlander. No other details about the negotiations are known, beyond the fact that they are scoring both the actor and the reboot some press during a slow news week.

The Highlander reboot is set to be directed by Juan Carlos Fresnadillo (who filled the gap after Justin Lin bailed on the project last summer), with a script by Matt Holloway, Melissa Rosenberg, and Art Marcum. No projected release date is noted.

While Lionsgate hammers out the details on Highlander, Reynolds is still rumored to star in both the Deadpool spin-off and Green Lantern 2, despite the fact that both projects have stalled. You can see him next in RIPD with Jeff Bridges on June of next year.

Would Reynolds make a decent Highlander?

Source: /Film

Ryan Reynolds and Reese Witherspoon to Topline Big Eyes

Damon Houx — Mon, 23 Jan 2012 19:56:06 +0000

Ryan Reynolds and Reese Witherspoon are now attached to star in Big Eyes, the story of the Keanes and their infamous art. The film will be produced by Tim Burton, and written and directed by Scott Alexander and Larry Karaszewski, best known for creating the Problem Child franchise, and writing such bio-pics as Ed Wood and The People Versus Larry Flynt. The film has a Spring start date.

Though obviously both leads have a comic background, the story of Margaret and Walter Keane is no straight comedy. Walter became famous for his big eyed art but a divorce revealed that Margaret had done all the work herself. Going by Alexander and Karaszewski’s background, it looks to be a black comedy, and probably Oscar contender.

Alexander and Karaszewski released a statement and said this about their stars:

“Walter is a larger-than-life antihero — charming, funny, dangerous, and a little crazy. Ryan will knock it out of the park. As for Reese, she will be perfect as Margaret — soulful, decent, transforming from vulnerability to learning to fight for herself.”

So it’s something of a female empowerment film. Like many writers before them, the duo have knocked many of the films based on their screenplays, including the Problem Child films and Screwed. Of late the two worked on 1408, and wrote a version of the Percy Jackson sequel, but haven’t had much credited work for a while. As it goes with many high profile writers, that doesn’t mean they haven’t been working.

Are you familiar with the Keanes?

The Change-Up: Movie Review

Laura Aguirre — Fri, 05 Aug 2011 16:11:21 +0000

Ryan Reynolds and Jason Bateman are hitting the big screen again this year, this time David Dobkin style. It’s a body-switching movie! Reynolds is Bateman, and Bateman is Reynolds. Confused? You shouldn’t be, this has been done plenty of times before. The Change-Up is a comedy written by The Hangover writers Jon Lucas and Scott Moore. This bromance comedy also includes the always funny Leslie Mann and the charming Olivia Wilde. Dobkin managed to get an all-star cast together, but did he deliver a great comedy? Let’s discuss the good and the bad.

The Players:

Director: David Dobkin
Writers: Jon Lucas, Scott Moore
Actors: Ryan Reynolds, Jason Bateman, Leslie Mann, Olivia Wilde
Original Music by: John Debney
Cinematography by: Eric Edwards

The Plot:

Two friends, Mitch and Dave, who have drifted apart, now lead different lives, Dave is an overworked lawyer, husband, and father of three, and Mitch is a single, quasi-employed man-child. Both believe the other has a better life, and while peeing into a wishing fountain, the two remark that they wish they had each others’ lives. The next morning, they wake up to find themselves in each others’ bodies, living each others’ lives.

The Good:

Ryan Reynolds: There’s no doubt that Jason Bateman is a funny guy, he’s got a definitive sense of humor that makes him recognizable and he’s a pleasure to see. But in this movie, he gets out-shined by Reynolds. Reynolds aces both roles, which isn’t easy because both characters are very different. He’s completely believable as both Mitch and Dave. Mitch is a jerk who never apologizes for his behavior and it’s easy to dislike the character. But when Reynolds is Mitch, he brings laugh after laugh, while Bateman’s Mitch borders on annoying. Dave is a great, sensitive guy. He’s a husband and father. Both actors play a great Dave, but in the end, it’s Reynolds who wins my heart.
Bromance/Chemistry: As buddies, Reynolds and Bateman have great chemistry. Their story holds the water and in the end, you fall for both of them. The best scenes in the movie are when both actors are sharing the screen. There’s a dynamic between them and they’re very funny.
Leslie Mann: Mann plays a great housewife with an edge. She plays a similar to character to her role in Knocked Up and once again knocks it out of the park. Perhaps it’s her comfort zone, or maybe she just keeps getting type-casted, but either way we’re happy to have her because she’s so great in the film. She knows the ins and outs of a character like this. But it’s not all thanks to her. Dobkin and the writers created a character that was mature enough to carry the whole emotional weight of the film. Despite this being a comedy, it goes pretty deep. She’s funny. She knows what she’s doing. And she’s irreplaceable.

The Bad:

The Parts That Went Too Far: It’s not the f-bombs or nudity that go too far – one appreciates those things to be in abundance. After all it’s a rated-R movie. But The Change-Up goes too far, with poo and porn jokes. Once you’re staring a baby poo during the first five minutes of the movie, you realize it’s going to be that kind of movie. As a whole, the movie’s okay, but it’s the parts that go too far that keep this movie from being better. It would have been better to add more f-bombs and twisted jokes than to reduce the movie to poo and porn jokes. It was shocking, but it wasn’t funny.

Overall:

Body-switching movies have been done before, but not like this. This is a fresh approach. At times The Change-Up does goes too far, but the great performances make it worthwhile.

Rating: 7/10

The Change-Up hits theaters August 5, 2011.

Gallery:

Trailer:

Interview: Ryan Reynolds, Jason Bateman and Director David Dobkin Talk ‘The Change-Up’

Laura Aguirre — Wed, 03 Aug 2011 17:00:29 +0000

Jason Bateman and Ryan Reynolds are switching it up with their latest comedy, The Change-Up. Its premise may sound familiar, but Wedding Crashers director David Dobkin has managed to put a new spin on an old tale. The film has an all-star cast including the hilarious Leslie Mann and gorgeous Olivia Wilde. Check out our interview where Bateman, Reynolds and Dobkin talk about making the film, working with women, and pushing the barriers of comedy.

ScreenCrave: What did you enjoy most about shooting the film?

Jason Bateman: Working with this guy is pretty great. We didn’t do a whole lot of work because there was a lot of playing and there’s a lot of support. He’s got incredible ideas for what different to say if you’re tired of hitting that joke out of the park — which these writers, [they] write these incredible lines, but eventually you’re going to get tired of hearing that and you’re going to stop laughing at it. [Reynolds] comes up with one that is no better no worse but just beautifully different. Working with David is fantastic because the guy is incredibly professional and prepared so everything moved like people had been there before and knew what they were going. In a world of chaos, which is what a movie set is, it’s nice to be working with professionals.

Ryan Reynolds: I’ve admired [Bateman] for a long time, both personally and professionally. I use to pride myself that I could not break in a scene, you could do and say anything but he upturned it into an actual disability for me. There’s an entire movie that could just be cut of me tearing up and trying to hold it together and then standing at a perfect right angle for the scene because I can’t catch my breathe. That was really nice but pretty soon it got embarrassing.

Making The Change-Up:

SC: David, how did you approach directing this movie?

David Dobkin: The script was hilarious. It was the best script I’ve ever started a movie with. We had a lot of the blueprint down which gave us a lot of freedom to play. What I normally do is in rehearsals and I have a very long rehearsal process with my actors. In the rehearsal process we go through the scenes and we let any kind of ideas or inspirations that they may have come out in that room. Then I have the writers take it and get back into the script. By the time we’re on set, there’s not a lot of [spontaneity]. I know it’s appears that way and ad-libby but it’s not. It’s a natural study process to get to that point. That’s just the credit of the actors being really good actors. The other thing that I do when I am in the rehearsal room, I never get the scene to happen all the way, I bring it as far as I can, it’s foreplay, but you never want to cross the line because if you do, you’ll end up seeing a whole bunch of stuff that you love, then you’re going to force your actors to recreate something that happened, it won’t feel spontaneous or real. It’s a gamble, but you take it to where everyone understand, very specific, what the bulls-eye is but it doesn’t happen ’til you’re there on the day, which gives it a sense of excitement or a sense of it happening in those moments.

SC: Did you have Ryan and Jason in mind from the beginning?

DD: When I first read the script, I wrote down a very short list of actors, and they were both on that list. It was a list I brought to the studio, there were eight actors that had been approved for the movie, pre-approved and Ryan and Jason were off that initial list. It fit perfectly. You could see clues in both of their careers that they had performances that touched upon this thing but none of them had gone all the way with it. It’s fun. Part of casting is not putting people in roles where you’ve seen them before, I know that’s what everybody wants but it’s a little bit of the trick of going this is what you love about somebody but you’ve never seen them do this before. You can’t come up with a performance like what Vince Vaughn did in Wedding Crashes – roles are very specific, each one is a unique opportunity for that actors, there’s no two that are really the same, if you line it up at the right time with the right person you usually get something really combustible. I feel like both these guys nailed it on both sides, they worked hard to share characters and do that stuff.

SC: How did you two [Ryan and Jason] approach your characters? Did you study each other?

RR: Well, I first met Jason fifteen years ago. We’ve known each a long time, but I think I can speak for both of us, quite unilaterally, when I say none of us are good enough at our jobs to do an impression at each other.

JB: How dare you?

RR: We went with the essence of the other guy. We have a pretty high level of conceit right off the get go on a movie like this. We didn’t want audiences picking apart a performance as a spot on imitation of each other. It didn’t seem necessary.

JB: You’re not going to R-rated comedies to get a study in acting. I think you want to go in there and have a good time, laugh your ass off. Maybe get offended a couple of times and get the hell out. We’re not trying to win Oscars here or teach anybody any lessons. Having said all that,t his movie is about as high quality as you can get, with an R-rated comedy. The comedy pushes all boundaries and barriers, and happens to sneak in quite a bit of heart and relativity, if that’s possible in a concept where people switch bodies. It’s the reason that Ryan and I jumped at the chance to be in the film [because] of the quality of the script, what [Jon] Lucas and [Scott] Moore did with what is a concept that people are more than familiar with. There’s no reason to do another body-switching movie unless you’re going to do something different, and we do here. This is an R-rated body switching movie. It hasn’t been done before. You put the director of Weeding Crashers on that, I’m already in. We were lucky to be a part of it.

RR: He said that in one exhalation.

SC: Was it fun to do the body switch in this way?

RR: Every actor loves a challenge where you get to play two different people in the same film. For me, I think the only way to do it was [the way we did it]. It allows you to inhabit the bodies that these guys are in. To really experience their world. The fact that basically, every film where two drunk idiots piss in a magic fountain, great. But they switch bodies great. What happens after that was the reason to do the film. To have this mentally unhinged lunatic be looking after your children was something very appealing. There’s something fantastic about that set up and that pay off and vice versa. And this conservative guy is inhabiting the world of a guy working in porn. It’s absurd. That’s what it’s all about. If you see it through the perspective of other people, I don’t think it would be that rewarding.

JB: Ditto.

Working with female characters:

SC: David, how do you go about creating strong female roles in your films?

DD: I pay a lot of attention to those characters because they are real characters in the movie. Sometimes they get treated like ‘the wife or whatever or ‘the sex object.’ Every character is an opportunity to create a fully rounded three-dimensional character that can carry emotional weight. That can carry comedic weight. That can deliver on all of these other different ideas and I think early on I caught on to that idea and certainly the opportunity. Wedding Crashers was [where I saw] the women could drive all of these scenes and carry all of this comedy and push all this stuff and put the guys into a situation where they are in a more submissive situation which lets you go farther with sexual content. If it’s the other way around, it’s not funny. I looked into that. Plus, I think that they are interesting character.

Certainly in this movie, you knew when you read the script that for Leslie’s character, Jamie, she carries the entire emotional weight of the movie and you realize that the guys, at a certain point where spinning into like losing themselves and if you didn’t have that character in a real situation, you weren’t going to be able to follow the film to the end. For Olivia’s character it would have been a very easy role, all you needed really was a hot girl. It was very simple. It would have succeeded at that level, but it’s not interesting that way. You want something that’s compelling. You want the audience to fall in love with these characters as well and be invested in them.

I always look for strong women, and to play strong women I look to strong women who are strong actresses and can carry the dramatic weight and also have comedy timing. They were both amazing. I’m totally thrilled with how they both succeeded in the roles.

SC: Ryan and Jason, what was it like acting opposite Leslie Mann and Olivia Wilde?

JB: It fit really well in this film because there’s a lot of offensive things that [our] characters do, and to earn that acceptance from the audience and have it not be repugnant or repellent, the audience has to empathize with [us]. We are basically playing victim, a lot, throughout the whole film. That was very intelligent form the writer’s perspective. It let’s you do a lot of crazy things that the audience sort of feels bad for you. By having strong women dominating them and emasculating them at certain points, it just earns you more leeway, comedically. In an R-rated movie you want to push things as far as possible. I don’t know if that was a conscious effort on their part, but it work for the film.

RR: Leslie’s a fantastic comedic actress as we all know. A lot of these movies tend to [put women as two-dimensional characters], it could be very thankless. It’s very easy to just paint her as the nagging offensively, stereo typical wife role, but she’s complex and hot and funny and charming and interesting. Their life might be touch stale, but that’s what happens. Olivia, that girl just brings so much to the table. The mouth on her. Like a sailor. Just amazing. It takes a lot of comedic chops to play a role like that, and not let it turn like the person is just going along with it. I like that she’s getting this guy into as much trouble as his buddy was.

Pushing barriers in comedy:

SC: Do you have a preference between PG-13 and R-rated comedies?

RR: For me it’s always R. Every PG-13 movie comedy I’ve ever done, you always have that inevitable moment halfway through shooting where you call the studio to ask, “Are you sure we can’t go R with this because we just shot something terrible?” I understand why PG-13 exists. You’re appealing to four quadrants as opposed to two or three. The freedom is incomparable. You can get away [with more]. The only reason that you do a body swapping comedy, which has been done before obviously, but the only reason that you do it is if you can show that if we were to live in an absurd world where two drunk idiots piss in a magic wishing well and they switch bodies, you get to experience what it would be like. What it would be like is horrible. Horrible, horrible things would happen and terrible things would be said and done, and to bring that up under the screen in a PG-13 way, there’s absolutely no point. When it’s meaningful, in a movie like this, I prefer it. There’s [also] times when you’re in a PG-13 movie when it doesn’t need to be rated-R. It’s nice. It’s very easy to fall back on the the idea you can swear your way out of a scene. It’s nice when you can let it all hang out, and not worry too much about going too far, and if we go too far, well that’s the director’s fault and he can figure that out in post.

SC: Do you feel pressure to push the envelope, with movies like The Hangover?

DD: I don’t feel pressured. This movie was started two years ago. What showed up this summer was just a reaction to people embracing this kind of comedy. And I think, like anything, you can’t go doing the same thing over and over again. You want to push boundaries. If you’re in the lineage or Lenny Bruce and Richard Pryor and Eddie Murphy, you’re trying to do that. There was a long stretch, in the late 80′s and the 90′s, of PG-13 comedies and R-rated comedy made its way back to attention. Now that you’re in the arena, it’s like if you’re going to go do it, go do it. Just stretch it and see where people will go. I think there’s a part of it that, why does anyone want to go on a roller coaster if it’s not going to have an upside down loop on it? There’s no point. Everybody is suppose to get a bit sick. That’s the fun of it, and some people more than others. There wasn’t a consciousness. I had no idea what they were doing in Hangover II or in Bridesmaids for that matter and the writers wrote it all in the script. I was following a blueprint that was making me laugh out loud when I read it. That’s what’s fun about it. That’s what exciting.

SC: On set, did you have moments where you thought, ‘Maybe this is a bit much?’

RR: Yeah. There was a few of those moments. For me there was a couple of moments in the lorno (porno) that went a little far. I don’t typically look at a schedule in advance which would be a wise tip for some young, up and coming actor to know that when your mom is coming to visit. that was the two days that my mom came out to Atlanta to visit. I introduced her to my porn-mate and proceeded to get in there and do the best I could, without throwing up on someone’s back. That was tough. There was a few moments in that sequence that aren’t in the film that will perhaps be in the DVD which are just too far, way too far.

JB: I didn’t feel like there were gloves on during this film. We could have kept going further and further, but there’s a balance that you have to strike. You don’t want to get the audience numb to stuff that is shocking and that’s what makes Dave such a good director. If you have it all be shocking and crazy all the time you have just static. He’s got a great ability, as do the writers, to bring it down, have it touch earth every once in a while and then take off again. This is a pretty good movie.

DD: On set, I push everything as far as I possibly can and then I pull it back in the editing room based on what an audience thinks when I test it. We test these comedies a lot and everyone has a moment that goes too far. Anything everyone unanimously agreed on is probably not in the film anymore and interestingly enough you’ll be surprised how hard people laugh at something they said they didn’t like which I cannot answer to that phenomenon but that is part of being an R-rated director. You realize that you will watch people laugh about something and then afterward when you ask them they will say that is too far, and it should be removed. It’s a weird thing.

David Dobkin’s The Change-Up hits theaters August 5, 2011.

Warner Brothers Still Talking about Green Lantern 2

Damon Houx — Tue, 02 Aug 2011 18:45:20 +0000

The Green Lantern has a listed production budget of $200 Million dollars. Currently the film has made $114 Million domestic, with that total edging toward maybe crossing over $120 Million. Currently the international numbers list the all-in total at $40 Million, which means even if a studio got every dollar of every ticket (they don’t, the rule of thumb is usually a 2-1 ratio), they haven’t made a profit, and may never. And yet Jeff Robinov has told the LA Times that the sequel – which they are supposedly working on – needs to be “edgier.”

As with any movie like this, Ryan Reynolds, Blake Lively and Martin Campbell are surely locked into multi-picture deals to return, so the studio has the base they need to go forward. But what they haven’t proved is that anyone cared. Warners is going forward with a Clash of the Titans sequel, but though the domestic numbers weren’t great, the film was huge internationally, and did nearly half a billion dollars worldwide.

There are two reasons to keep talking this up. One is that they’re trying to keep interest going, and get people seeing the film, even though it’s perceived as a misfire or flop. This may not lead to a future movie, but it could lead to a break-even balance (not that Warner Brothers is having a bad summer, with both Harry Potter, The Hangover Part IIand Horrible Bosses being hugely profitable). The other is that they’re serious, in an attempt to bludgeon audiences into seeing more Lantern with a slightly different (more Batman-based) take. We’ve seen the studios pursue interestingly stupid attempts at using brand name recognition to get audiences in theaters, ala Battleship, so perhaps they would rather gamble on something that seems like a losing bet with name recognition than an unknown. Or perhaps international will save Lantern. Still, until we get closer, this just seems to be talk.

Do you want a Green Lantern sequel?

WB Says They’re Prepping Green Lantern 2

Damon Houx — Mon, 27 Jun 2011 19:06:35 +0000

After two weekends, Green Lantern has made a little less than $90 Million at the box office – which is low for a film that supposedly cost $200 Million (with a supposed additional $100 for advertising). And yet Warner Brothers suggested this weekend that they’re going forward with a sequel. At least that’s what The Hollywood Reporter is suggesting. Will Ryan Reynolds and Blake Lively get a second chance?

The film is considered something of an underperformer internationally, but all the numbers aren’t in yet. Still, its domestic box office fell hard this weekend, and the final American total should be less than $140, especially with direct competition this week from Transformers 3. Why then announce a sequel?

Two reasons: one is that it makes the current film look better, and we’ve seen some movies that didn’t do that awesome spawn a sequel if bad word from other entries in the franchise diminished current interest (that was the autopsy on Batman Begins numbers). Perhaps the world was too funky for regular movie goers to check it out theatrically, but once it hits home video there may be more interest in checking the film out. Lantern was not well received critically, with most reviews skewing negative (our review was mixed). But this may also have to do with “origin story” movie fatigue (Lantern is the third such film this summer, with another on the way).

The second reason is that the Green Lantern is a brand that needs more name recognition. The character isn’t as well known as Superman or Batman, and for regular viewers it may take some getting to know. But if they do another, how do they do it cheaper? If this film had a problem it’s that it didn’t do more with the outer space and fantasy elements. The universe of this character is not cheap, and going cheaper would be a greater disservice.So how do you do this universe on a budget? At the same time, Superhero movies – even if they are on the wane – are easier to sell than original properties. You’re already starting with a base awareness. If this didn’t work, you can say you learned from your mistakes.

All that said, Warner Brothers talked up a sequel to Bryan Singer’s Superman Returns while that film was flailing at the box office, and now they’re going with a second reboot of that franchise. Saying your doing something – or even throwing money at a script – is much, much cheaper than actually making a movie.

What are the real odds they make a sequel?

Green Lantern: Movie Review

Mali Elfman — Fri, 17 Jun 2011 01:00:54 +0000

After all the hype and build up, it’s finally time for Green Lantern to take a swing at the box office this weekend and show us what it’s got! This has been a film long time coming, one we’ve seen bits of since last year’s Comic-Con. Now it’s finally time for Ryan Reynolds to appear in his skin tight CGI spandex, spewing witty lines. The film is not perfect, and at times it feels extremely over-worked, but there are a number of good performances and enough entertaining moments that make it worth a journey to the theater. Though I would recommend saving yourself a couple of bucks and seeing it in 2D instead of 3D, you won’t miss out on anything. Find out more below…

The Players:

Director: Martin Campbell
Screenplay: Greg Berlanti, Michael Green, Marc Guggenheim, Michael Goldenberg
Screen Story: Greg Berlanti, Michael Green, Marc Guggenheim
Actors: Ryan Reynolds, Blake Lively, Peter Sarsgaard, Mark Strong, Temuera Morrison, Tim Robbins, Geoffrey Rush, Angela Bassett, Michael Clarke Duncan
Original Music by: James Newton Howard
Cinematography by: Dion Beebe

The Plot:

Hal Jordan is a bad-ass test pilot with a whole lot of issues when one day a mystical green ring that bestows him with otherworldly powers. Soon he is given all the powers he can imagine, and is asked to help keep the peace within the universe and save planet earth.

The Good:

Peter Sarsgaard: Sarsgaard steals almost every scene he’s in during the film (and not just because his skull takes up most of the screen) and most of the laughs. He brought a real sense of depth to the character and wasn’t afraid to play with it. He’s really the highlight of the film.
The Final Act: Though the film gets off to a slow start (see “The Bad”), the final act really picks up and finally we see the potential that we all knew Ryan Reynolds had, paying off. In the last 35 minutes they’re somehow able to recapture the tension and drama that’s needed for us to be invested in the film. Once they’re able to finally get to the actual film, they sore and it’s really a fun ride.
The Special Effects on Earth: For me, the special effects on earth were much more convincing than the ones on Mogo and in outer-space. The suit and the action sequences were much more grounded than they were in outer space (pun intended). Though the visual effects on Mogo and in space were impressive at times, it still felt like lots of green splashes of goo everywhere and like we were looking at a CGI world. I always prefer the realistic type of effects and I was far more impressed by the creativity they were able to bring to earth.

The So-So:

Ryan Reynolds: He shows such potential in this film at times that I hate to call him “so-s0″ but because of some poor editing choices or problems in the script, his innate humor was never given the chance to breathe nor strike a cord with the audience. He’s able to tackle the more challenging dramatic scenes quite well, it’s the humorous ones that just didn’t quite hit home — since we know he’s better than that, I’m going to assume it was a story or post-production issue, and not him. And if they’re able to keep up the pace of the last act, I’d happily go to see him in another Green Lantern film.
The Editing: As I spoke about with the timing of Ryan Reynolds humor, it felt like there was something off with the editing. In attempting to speed up the first act, they didn’t allow for the natural comedy that Reynolds is capable of and sped past all the entertaining bits to get to more exposition. THOUGH, one of the big things that brought the film back for me in the second act was the interesting cuts between Hal and Hector both changing. It’s hard to say is that was the editing, the writing or a combination of the two, but it was extremely well done.

The Bad:

The First Act: From bad editing, to music that sounded unfinished, to a plethora of plot-lines not properly being tied together, the first act of this film is slow and uninteresting. They needed to either slow down and explain the origins of the story or skip past some of the explanation. They begin the film somewhere in the middle and you get both too much and not enough at the same time.
The Music: I hate saying this, but it felt like an unfinished score. Howard is a great composer, one who has blown us away time and time again. I’m not sure if we heard pieces of the temp score because we screened the film early, or if they cut the film after they scored it and did not allow Howard to adjust the music to the new cuts, but something was definitely off. There are scenes where they just allow the music to drop out and others where the timing is off. Something tells me Howard is not happy right now because he’s better than this.

Overall:

Again, the film started out with both too much and too little, and needed to decide what it was and ground itself. Luckily, they were somehow able to get it back, set the tone and end the film with a bang. It’s not a perfect film and you can easily skip the 3D, but it was easy to watch and Sarsgaard’s performance and Reynolds charisma is enough to make it worth a trip to the theaters,

Rating: 6/10

Green Lantern in theaters June 16th!

Photo Gallery:

Trailer:

New Green Lantern Trailer – Que the Green Special Effects!

Mali Elfman — Wed, 04 May 2011 18:22:22 +0000

Well, well, well. It’s about time that we got the new trailer for The Green Lantern with a more intense look at the characters, more special effects, and more, more. After watching this trailer, it’s obvious that this film will be relying heavily of special effects, so much so that I’m not sure how much acting Ryan Reynolds will be able to do — though I’m sure if given the chance to charm or entertain he won’t fail to do so, but will he be given enough of the opportunity to make the film worthwhile?

Check out the trailer and tell us what you think….

Director Martin Campbell, who is most well known for his work in Casino Royale helms the project. We know that he’s able to deal with big budgets and yet still be respectful and true to a story from his Bond film, but to me this trailer just looks like a special effects reel with lots of over the top, vamped up characters. Hopefully this is just one of those trailers to get the visual effects crowd into the theaters and not a true representation of the film.

Hopefully Campbell is capable of handling the folklore of the Green Lantern Corps and the awe and wonder of the world while still keeping the story and character in place. There do seem to be a lot of baddies in the film, hopefully it all comes together.

I’ll say one thing, I’m curious! The cast is more than impressive, there are a lot of talented people who got together to make the film, the story has potential and there seems to be some interesting aspects to it.

The film is currently scheduled for release in 3D and 2D on June 17, 2011.

What do you think of the trailer?

Full Body Shots of Ryan Reynold’s Green Lantern

Damon Houx — Tue, 12 Apr 2011 19:50:53 +0000

When The Green Lantern was announced, it was also made public that star Ryan Reynolds would not be wearing a suit on set, but that the costume would be added later in CGI. So for every trailer and footage so far we’ve gotten a rough idea of how it’s supposed to look, but it’s hard to know if the trailers presented finished effects shots. Well, the film is due out June 17, so now we’re going to get the full body shots. Breaking News USA got the first images, and we present them here. Take a look…

It’s good to see that Warner Brothers has either course-corrected or fully engaged in their marketing campaign with this film. We’re a little more than two months away from the film hitting theaters, and now’s the time to get people excited. These are action stills but done in a comic book style.

Between this and the recent footage presentation at WonderCon, The Green Lantern is starting to look a lot more confident than it seemed a couple months back when all we had was a trailer that came across as an Iron Man clone. Now that the marketing has embraced its outer-space adventure elements and the scale, it looks like something we haven’t seen before.

In that way it’s interesting to compare it to Thor, which has gone the opposite route, and geared a lot of its recent marketing to selling the love interest and the comedy. How much you should sell to the faithful is an interesting question when it comes to comic book movies. We’ll see the results by the end of summer.

In brightest day, in blackest night – no evil shall escape my sight?

Tim Miller Signed On to Direct Deadpool

Damon Houx — Fri, 08 Apr 2011 23:30:40 +0000

In Gavin Hood‘s Wolverine film, a number of additional X-Men characters were introduced. The two most high profile were Deadpool (played by Ryan Reynolds) and Gambit (played by Taylor Kitsch). At the time Kitsch was a TV star, while Reynolds was a movie star, albeit mostly in comedies. It seemed odd casting, until right around release rumors circulated that Deadpool would get his own spin-off movie. Deadline Hollywood is reporting it now has a director: Visual Effects Supervisor Tim Miller.

Reynolds was talking at WonderCon about how he sees Deadpool as an R-rated film. That would be a nice change of pace, as it’s been a while since there’s been an R-rated comic book hero. But where Blade proved that it could work, The Punisher hasn’t played well in its multiple adapations to the big screen.

Reynolds is working on turning The Green Lantern into a franchise (audience willing), so he’d be pulling double duty, though Chris Evans has set the precedent for that. That said, with different studios (Warner Brothers vs. 20th Century Fox) and different comic book companies (DC vs. Marvel), this could get sticky. But I don’t think they can make the movie without Reynolds if it’s to be a big budget affair.

That said, Reynolds was all but assuredly signed to a contract for a Deadpool spin-off when he agreed to do Wolverine. At the time his stock was much lower, but between The Proposal’s box office success and him being Green Lantern and all, Fox may want to make that movie whether he wants to or not. I believe something similar happened to Jennifer Garner with Elektra. That they’ve hired a visual effects person to be the director doesn’t inspire as much confidence as hiring – say – Darren Aronofsky might.

Do you think Deadpool with happen?

Green Lantern Wondercon Footage Offers Scale, Other Worlds

Damon Houx — Mon, 04 Apr 2011 19:04:11 +0000

The Green Lantern - which is due out June 17 – has so far only had one trailer that left the fan-base cold. It featured a more jokey Ryan Reynolds as Hal Jordan, and it seemed to be played for laughs. For this weekend’s WonderCon presentation, Warner Brothers went the exact opposite direction with the Martin Campbell-helmed Superhero adaptation, and sold both the scale and the seriousness of the world of Green Lantern. Check it out…

There are a few moments of levity in the trailer – which play well – but for the most part the footage sells that this is world-building. It’s fun to look in the background, as the aliens go from humanoid (Mark Strong‘s Sinestro) to less so (Geoffrey Rush‘s voiced Tomar-re). And when the footage keeps to its space-based content – with Temuera Morrison’s Abin Sur rushing to earth after a ferocious attack – The Green Lantern looks like something we haven’t seen from a comic-book movie before. If this is the tone of the film, then the scale here will separate this from the comic-book pack.

The ending does concentrate on Earth, and there we see Peter Sarsgaard‘s Hector Hammond, who is obviously going through some transformation into an evil being. We also see very little of Blake Lively‘s character.

There’s a couple ways to look at this footage, but there’s no denying it’s amped up the expectations for The Green Lantern (especially since the first trailer was a dud). The main thing is that its makers knew their target demographic and sold it to them at WonderCon. There’s a lot of ground to cover in the film in terms of turning Hal Jordan into The Green Lantern, and we haven’t seen much of Blake Lively in action, so it’s hard to say that what was shown is representative of the whole, or just cherry-picked money shots.

We’re two and a half months away, so marketing is going to kick into over drive here shortly. But this is their best foot forward.

Can you recite the Green Lantern’s oath?

Photos: Denzel Washington, Ryan Reynolds on Set of Safe House

Krystal Clark — Tue, 08 Mar 2011 19:48:26 +0000

The first set photos from Ryan Reynolds and Denzel Washington’s latest film Safe House have hit the net. If you’ve been wondering where and when the movie would be filming, we’ve got some answers. Over on PopSugar, they’ve established that the actors have been lying low in South Africa. The shoot takes place in Capetown to be exact, where Reynolds looks like his usual self, but Washington appears to have been hit with the rough and ugly stick. What’s up with that? Check out the photos…

Safe House centers on the only surviving agent of an attack on a CIA safe house (Reynolds) as he tries to get a lethal prisoner (Washington) to a second safe house before being taken out by violent forces that want them both dead. Daniel Espinosa is directing the movie, which was written by David Guggenheim.

Reynolds beat out several of Hollywood’s most popular leading men to land the role of the agent in this film. Who wouldn’t want to go toe to toe with Washington? He’s officially acting with the best!

The cast currently includes Washington, Reynolds, Brendan Gleeson, Robert Patrick, Liam Cunningham, Tim Mcgraw Sam Shepard, and Ruben Blades.

Safe House is scheduled to hit theaters on February 10, 2012.

What do you think of the first photos from Safe House?

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