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‘Fast & Furious 5’ is a go in Brazil!

Those old parts Universal threw into the Fast & Furious machine churned out new cash and lots of it. Though you might expect the studio to be sitting back and counting their increasingly growing pile of loot, the gears are in motion to ride the franchise into another installment.

Universal confirmed today to E! News that a sequel to Fast & Furious is already in works. That could mean two studio execs shooting the breeze at the urinals or intense boardroom discussions. Either way there’s no doubt Universal wants to extend their winning streak while the going’s good.

The studio was forced into addressing the sequel after Paul Walker proclaimed during an interview this morning to MYfm’s Valentine that he and Vin Diesel are “without question” coming back for more.

Walker even went as far as to throw out a location, “This was supposed to be it (re: Fast & Furious) There wasn’t supposed to be the open-ended closing like there was. When I first read the screenplay, I was like, ‘Man, look what they’re doing.’ But without question, with the way things opened up, Vin and I will be coming back, we’re making a fifth one, and we’re going to Brazil, that’s it.”

With the studio’s bulging economy-defying checking account lets see those streets lined with Brazilian supermodels. There’s an extra $5 million at the box office alone.

Al Pacino to play Napoleon

Al Pacino, who has long been interested in tackling the character of Napoleon, is on tap to play the French emperor in a screen adaptation of Staton Rabin’s children’s book “Betsy and the Emperor.”

GC Corp., the venture capital fund headed by Adi Cohen and Joseph Grinkorn, has picked up rights to the project that had been held by the Bob Yari Co. GC, which will secure financing, has assigned “Betsy” to Killer Films, with plans to begin filming in late autumn.

John Curran (“The Painted Veil”) is attached to direct from a screenplay by Brian Edgar.

Producing are Killer Films’ Christine Vachon and Pamela Koffler as well as Zvi Howard Rosenman, Colleen Camp and Fonda Snyder. Cohen and John Wells will serve as exec produce.

Killer, Curran and Pacino are repped by CAA. Rosenman, Snyder and Rabin are repped by Lynn Pleshette for this project, and Camp is repped by Gersh.

First review of ‘Star Trek’!

Empire Magazine has revelaed the first review of the new Star Trek film being released in the U.S on May 8th. Let us know what you think of the review!

REVIEW
According to recently discovered 23rd-century history, James Tiberius Kirk was literally born of battle — the last fight he ever backed away from was the one he was delivered into. In purely Darwinian terms though, Jeffrey Jacob Abrams was forged by a 21st-century crucible far more unforgiving than a field of photon torpedoes: network television — not HBO, television.

Two movies in to what promises to be a storied career and the 42 year-old director has yet to find any gear but fifth. It’s as if his apprenticeship pacifying the ADD generation has inculcated a native fear of flipping. The heart-stopping second act of Abrams’ underrated M:I-III is a real-time mercy dash that would even leave Bourne breathless. For his latest mission impossible, Abrams sustains this improbable pace for even longer: Star Trek — yes, your dad’s Star Trek — moves like a racehorse that’s just been force-fed dilithium crystals.

Advance word that Abrams’ franchise reboot would witness fulfilment of the near-mythical Starfleet Academy project proves misplaced. The director and his Trekkie-credentialed writers, Roberto Orci and Alex Kurtzman, are so impatient to pitch their neophyte crew into full-blown battle that the Academy years are largely covered by a single title card — “Three Years Later”. Phasers permanently set on stun are not much fun, after all.

From the moment ‘Bones’ McCoy comically smuggles an academically suspended Kirk onto Captain Pike’s U.S.S. Enterprise, Star Trek XI hits warp factor IX and, save for an obligatory sojourn with Spock senior, maintains a velocity that would give Scotty night terrors. This is perhaps NCC-1701’s most radical refit yet — for the first time in the franchise, the Enterprise is a genuine thrill-ride.

Not that the crew are just along for the V-necks. Abrams can do character on the run and the plot deftly deals in decent-sized roles for all of the famous seven. Karl Urban’s gruff McCoy and Zachary Quinto’s piercing Spock stand out, and despite internet rumbling, Chris Pine is also absolutely fine. Of course, as you might expect, the acting mostly requires shouting declarative Trekbabble or wedging witticisms between set-pieces, but both Bruce Greenwood’s stoic Captain Pike and Eric Bana’s wounded Nero forage earthier notes amid the SFX sheen.

That Trek weakness for warping plotlines does bring the usual convolutions, but whenever the Vulcan side of your brain is tempted to pose frequently asked questions about time travel, the breakneck pace drags you forward through the movie’s own brisk running time. On the downside, Abrams is not quite able to apply the brakes in time for the third act, which prematurely climaxes before you have time to drink it in. Kirk has a nice Indy moment and the Enterprise does a good impression of the Millennium Falcon in the Battle Of Yavin, but Spock’s dogfight with a drill is unlikely to enter Starfleet legend — what is pointy ears doing flying anything? — and Bana’s Nero deserved at least one villain’s mulligan.

Those hoping for a battle of wits to equal Kirk and Khan — or for hardcore Trekkers, to rival the Balance Of Terror episode that introduced the Romulans — will be left wanting. This is a Sulu-sized miscalculation. The Enterprise is a handsome ship, as evidenced by the hero shot Abrams gives her in the rings of Saturn (let’s call it the screensaver), but she was built for games of Battleship, not Asteroids.

Indeed, where XI ultimately falls short of the very best Trek, or indeed of all great science-fiction since Jules Verne, is in its want of big ideas. As a MacGuffin the movie boasts red matter — like a massive snooker ball, only deadlier — but it doesn’t find enough time to showcase the grey variety.

Very much like its dynamic young cast, this Trek is physical and emotional, sexy and vital even, but it is not cerebral. The movie is not exactly empty-headed; indeed it has some smarts, but it doesn’t live up to the high-mindedness that was part of Gene Roddenberry’s original mission statement.

Where overarching themes can be discerned, they primarily relate to the nature of friendship and teamwork, which is all very well, but it’s a grunt’s eye view of battle. Even a captain would appreciate the importance of battlefield tactics and how they intersect with military strategy and, ultimately, political vision.

For anyone who has endured the longueurs of both the Star Wars prequels and Matrix sequels, the distinct lack of politicking and speechifying will doubtless come as a blessed relief, but in a time when the United States is engaged in two wars, the failure to even acknowledge the issues arising from space imperialism and the Prime Directive is to flinch from battle. Harsher critics may even deem it a dereliction of duty. Season three of the rebooted Battlestar Galactica turned half its cast into Iraqi-style insurgents — and that was on television.

Ultimately, any boldness one can attach to the going here really belongs to the rescue of the Trek franchise from cultural irrelevance. This is a not insignificant achievement. As Abrams has noted himself, making 45 year-old tricorders desirable for the iPhone generation is a hell of a tough gig. Doing this while simultaneously pandering to the doctorates in Klingon is a task of Herculean, nay Sisyphean, proportions.

But Abrams and his crew pull it off. Save for the typically muddy motives of the modern bad guy — oh, for a truly Evil Empire — there is nothing much to confuse the multiplex masses, while there are plenty of in-jokes and visual details for the forum-dwellers to chew over. More to the point, the film is sassy, young and hip in a way the franchise has not been since the ’60s. It’s neither The Hills in space nor fan fiction with a $150 million budget. Kudos is due.

There will, of course, be some disquiet from the faithful, and not just because Kirk’s birth is yucky and his besting of Kobayashi Maru comes off as cocky. Fans of the TV show will note planet-sized deviations from accepted Trek lore. To excuse their creative licence, writers Orci and Kurtzman have Uhura explain that Nero’s time-travelling misdemeanours has fashioned an “alternate reality”. It’s a nifty enough trick often used on the show, but what will really bamboozle the keepers of the canon is that unlike the many episodes that dabbled in fractured timelines, there’s no smallscreen amnesia to put things back in place for next week. The franchise has been permanently shifted to new rails: this is a world where Kirk doesn’t grow up to look like William Shatner. Trekkies had better get used to it. Welcome to the new ’verse.

The fanbase placated and a brand-new generation blooded, there is undoubtedly even better to come. The characters feel thin right now, not just because of the limited range of the new cast, but because ultimately they are characters playing characters, actors imitating icons. Once the new Enterprise crew are established in their own right and the franchise freed of all that expectation, the characters should start to feel properly human again — or at least, half-human.

Verdict
Odd-number curse be gone. The most exhilarating Trek to date marks a new future for Kirk and co. If this can boldly go on to seek out ideas to match its speed and style, a franchise is reborn.

Antonio Banderas to produce ‘Camera Café’ film

Antonio Banderas will exec produce a U.S. version of “Camera Café,” the hit French short comedy format.

David E. Saltzman will helm the first series of 35×3.5-minute episodes about life in an office as seen from the point of view of a camera hidden in the coffee machine.

Banderas will make a cameo appearance in the pilot as a delivery guy.

Series will start shooting this month to air on web platform MIO.TV. Execs hope to package it for TV for a second run.

“Banderas knows the show from Spain, and we’re very excited to have him as our ambassador,” said Nicolas Coppermann, managing director of Robin & Co., parent company of  Paris-based Calt Distribution, which created “Camera Café.”

MIO.TV, run by Manuel Garcia Duran, former manager at Spain’s Telefonica Media, financed the first 20 episodes and is negotiating with coffee brands for finance for the following episodes

Calt has sold localized versions of “Camera Café,” a pun on the French term camera cachee which means hidden camera, to 55 territories including China.

Sales inked at Mip TV included Lebanon’s MTV and Romania’s MVM.

Salma Hayek to work on Gabriel Garcia Marquez’s new film

Mexican-born film star Salma Hayek could take a lead role in an upcoming adaptation of the book “News of a Kidnapping” by Colombian writer Gabriel Garcia Marquez, the movie’s producer says.

Shooting is scheduled to start this October in Bogota and in Mexico on the adaptaion of the 1996 book, a factual account of the kidnapping of 10 journalists by notorious Colombian drug trafficker Pablo Escobar.

Producer Eduardo Constantini, from Argentina, told AFP he hopes for “the most international cast possible” and that Hayek is a possibility.
“Salma Hayek is very interested in the project, has read the script and is enthusiastic,” Constantini said in New York.

Garcia Marquez is considered one of the major writers of the 20th century. His books include the novels “One Hundred Years of Solitude” and “Love in the Time of Cholera,” which was made into a film.

‘Star Trek’ will have a sequel!

As Paramount Pictures readies the May 8 release of its “Star Trek” franchise relaunch, the studio is moving forward with a sequel, and has hired Roberto Orci, Alex Kurtzman and Damon Lindelof to pen the screenplay.

J.J. Abrams, who directed and produced the latest chapter, is onboard to produce the follow-up alongside his Bad Robot partner Bryan Burk. No decision has been made yet on whether Abrams will return behind the camera for the sequel.

Orci, Kurtzman and Lindelof also are receiving producing credit on the sequel.

Story is still in the embryonic stage, but the trio are aiming to deliver their script to the Melrose studio by Christmas for what would likely be a summer 2011 release.

“There’s obviously a lot of hubris involved in signing on to write a sequel of a movie that hasn’t even come out yet,” said Lindelof, co-creator with Abrams of ABC’s “Lost” who produced the upcoming “Trek” but did not contribute to Orci and Kurtzman’s screenplay. “But we’re so excited about the first one that we wanted to proceed.”

As for potential storylines, Kurtzman stressed that the writing team will wait to take a cue from fan reaction about which direction to go.

“Obviously we discussed ideas, but we are waiting to see how audiences respond next month,” he said. “With a franchise rebirth, the first movie has to be about origin. But with a second, you have the opportunity to explore incredibly exciting things. We’ll be ambitious about what we’ll do.”

Though Orci and Kurtzman have worked together as a writing team for more than 12 years, the duo has worked with Lindelof on only one screenplay: DreamWorks‘ “Cowboys and Aliens,” which they are currently writing together.

Paramount has high hopes for the “Star Trek” relaunch, and is pulling out all the stops on the marketing front. Studio began a full-scale campaign six months before the film’s May bow.