VarietyLatino.com just got a nice exclusive with Ryan Gosling‘s other half – Eva Mendes – about “How to Catch a Monster,” Gosling’s new project which he writes, produces and makes his directorial debut in.Read More
The “1-4-0″: ‘Last Night’ explores temptation from the female and male perspectives. Which one will give and the questions that surround it in is what this film centers on.
The Gist: Infidelity. Can people really be faithful to one another no matter how in love they are? This is the topic director Massy Tadjedin explores in an authentic, intimate, emotionally charged depiction of love in New York City. During an evening apart, married couple Joanna and Michael encounter tempting opportunities to cheat on each other: Michael spends time on a business trip with his sexy colleague, Laura, while Joanna crosses paths with a former flame, Alex.
What Works: I really enjoyed this film. ‘Last Night’ is a realistic look at what happens to people when sexual temptation is presented to them front and center. What most pulled me in was how director Tadjedin delved deep into the struggles of infidelity. The performances are modest here, but great casting choice in Eva Mendes who was perfect as Washington’s seductive paramour. This is an eye opener, one that shows how much pain and anguish one goes through when feelings of unfaithfulness begin to take hold. You stick around intensely engaged to see how the whole thing will it end. Will they cheat on each other, will you as a viewer lose faith in your own relationship because of it? The storyline is relatable, the outcome is unexpected, just like in real life.
What Doesn’t Work: If you’re not used to intensive dialogue, even one as interesting as this one, then you shouldn’t watch this film. It’s for people who enjoy cinema that cates to real issues that people can identify and connect with.
Pay or Nay? Pay. Keira Knightley is becoming good at acting in these indie romance NYC films that focus on women in search for love in the big city. The movie serves up a good dose of raw emotion and tension in the form of temptation. It’s a wonderful date movie, one which will perhaps spark many questions about your own relationship.
Eva Mendes is set to star in Wrecking Ball, the directorial debut of Beatrice Letterier. She is the wife of Louis Letterier, director of The Transporter, The Incredible Hulk and Clash of the Titans.
The film, described as a “dramatic comedy” which involves a fractious Christmas family reunion, and a secret to which a five-year-old girl holds the key.
Beatrice isn’t exactly a newbie behind the camera; she’s been directing commercials and music videos in Europe for some years now. Wrecking Ball is her first attempt at full-length though, but whether or not it also constitutes a first giant step across the Atlantic remains to be seen: it’s unclear so far whether this is a Hollywood project, or a European one that’s bagged an American star.
Mendes is thought to be playing a mother, but again, whether that’s the mother of the five-year-old or one matriarch among several in a large family, is yet to be revealed. The source suggests it’s a role with some dramatic heft to it which she has portryaed in Bad Lieutenant and We Own the Night.
Mendes is the first star attached, but it’s thought that her presence will help the film gain momentum. Expect further developments before too long.
A new trailer for Werner Herzog’s (Grizzly Man) Bad Lieutenant: Port of Call New Orleans has found its way online. The film is a quasi-remake of Abel Ferrara’s infamous 1992 film, which starred Harvey Keitel.
The new film stars Nicolas Cage as a crooked drug-addicted cop who takes sexual favors for bribes. The film co-stars Eva Mendes, Val Kilmer, Jennifer Coolidge and Fairuza Balk.
Filming began in July 2008 in Louisiana, and also around South Mississippi shooting some scenes at the Hollywood Casino in Bay St. Louis. A release date has yet to be scheduled.
The remake of the 1992 film Bad Lieutenant was first announced in May 2008 with Werner Herzog to direct and Nicolas Cage to star. The script for the remake was penned by TV writer William Finkelstein. One major change from the original film was moving the setting from New York City to New Orleans. Herzog insists that the film is not a remake, saying, “It only has a corrupt policeman as the central character and that’s about it.” At the Academy Awards in 2009, Herzog stated that he has never seen Ferrara’s film, saying “I haven’t seen it, so I can’t compare it. It has nothing to do with it.”
Abel Ferrara, director of the 1992 film, has been quoted by various media outlets as being very angry about this film. After the film was first announced, Ferrara was quoted as saying “As far as remakes go, … I wish these people die in Hell. I hope they’re all in the same streetcar, and it blows up.” When asked later for his response to Ferrara’s statements, Herzog stated that he does not know who Ferrara is, saying “I’ve never seen a film by him. I have no idea who he is.”
Watch the trailer after the jump, and leave your thoughts in the comments below.
Things have not gone as Frank Miller had hoped for. The Spirit only managed to collect $6,510,000 from Friday to Monday and $3,842,000 on Christmas day. That is considered a calamitous result for a big budget film over this holiday weekend.This is also bad news for the actors associated with it like Eva Mendes and Gabriel Macht.
I scoured the internet and found a few quotes summarizing this abysmal outcome:
“We can only hope that this poor opening – and presumed subsequent disappointing box office, as I can’t see this movie suddenly becoming a hit based on word of mouth – means that TPTB will rethink their plan to let Miller recreate Buck Rogers for a new generation.”
“Frank Miller’s interpretation of Will Eisner’s classic character met with horrified reviews from those familiar with the source material and poor reviews from everyone else. Spirit is considered the second straight misfire for Lionsgate, which also flopped with Punisher War Zone at the beginning of the month”.
“Frank Miller’s film adaptation of Will Eisner’s The Spirit was soundly pummeled by ‘Marley and Me.’ Perhaps it’s a mixed blessing: if recent superhero movie performances are an indicator of audience taste, maybe the superhero movie fad is finally over; no longer will studios be able to churn-out cookie-cutter crap with a cape and expect big box office returns. Only time will prove either theory true. If The Spirit is a good film, it may have been overlooked in the wake of the superhero fad’s death; it may (also) have been overcome by bigger box-office star-power; or it could just be a bad flick. Only time will tell.”
Let’s see if Frank Miller gets a big budget for Buck Rogers now. Only time will tell.