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Paramount to Turn World War Z and Star Trek Into Darkness Into Double Feature

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NewsDavid Crow8/28/2013 at 2:47PM

The summer movie season may be ending, but Paramount wants you to bask in it one last time with a 2-for-1 deal on their biggest tent poles.

The summer may be winding down as Labor Day approaches, but Paramount is determined to give audiences (and their coffers) one more week in the big budgeted sun. The studio has announced plans to double bill their warm weather tent poles, Star Trek Into Darkness and World War Z, for a week of special screenings in select AMC, Regal, and Carmike theaters around the country. The double feature will be offered in both 3D and traditional 2D formats, all for the price of ONE ticket.


 
This Grindhouse-esque play, which shall begin Friday and last until September 5, will breathe new life into the most successful Brad Pitt blockbuster to date. Despite online skepticism and snarking, World War Zreceived mostly favorable reviews and $526 million worldwide. Also, as the picture is less than $2 million away from crossing $200 million domestic, this rerelease will allow it to cross laughing all the way to a potential sequel. Meanwhile, Star Trek Into Darkness has grossed $458 million, and despite some controversy in the fan community, it has already forwarded the series for a new sequel that may even shoot next year.
 
But before looking on to new horizons, you have the chance to look back at two of the more popular summer 2013 entries.
 

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New International Trailer for 47 Ronin

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NewsDavid Crow8/28/2013 at 3:20PM

Keanu Reeves is a samurai who must fight mythical creatures and witches in new international trailer.

Ever wondered what a samurai epic starring Keanu Reeves would look like? Well, you have come to the right place!
 
In this new international teaser of 47 Ronin, we get a different glimpse at the Keanu Reeves action vehicle, which is headed our way on Christmas Day.
 
 
Directed by Carl Rinsch, 47 Ronin chronicles the story of Kai (Reeves), a half-breed samurai once rejected by this sacred community, as he is forced now into leading a group of 47 homeless Ronin warriors after an evil warlord kills their master and banishes them from their land. Together, they shall combat witches, monsters and mythical wonders both inspiring and terrifying.
 
47 Ronin also stars Iroyuki Sanada, Ko Shibasaki and Tadanobu Asano. The picture opens on December 25 in the U.S.
 
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15 greatest single location-thrillers of the last decade

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Odd ListCaroline Preece8/29/2013 at 8:18AM

Proving that small-scale shocks are often the most effective, here are 15 of the finest single-location thrillers of the last decade...

Playing on our fears of being trapped and alone, the single-location thriller updates old haunted house and home invasion stories to include new, more inventive locations, and it seems that filmmakers haven’t yet run out of ideas of how to scare the living daylights out of us. Some have played on modern fears of corporate meddling or reality television, while others have simply tried to expand their locations to icy prisons and public places.

To celebrate those great genre-bending efforts, here are a dozen and a half of our favorites from the last ten years (with a doff of the cap to Panic Button, a low budget Brit horror that just misses out)…

15. Devil (2010)

Shamelessly exploiting many people's paralysing fear of elevators, Devil pitches the situation of five strangers trapped inside a elevator in a high-rise tower block. Scary enough, right? Well some malevolent force soon turns up to start messing with them, too. Is there a murderer amongst them? Or is it some sort of demonic presence? One of the few good things to come from M Night Shyamalan for a few years, the movie is a surprisingly solid and entertaining thriller that asks, 'who can you trust?' Sure, we're watching stock characters speak contrivances at each other, but who said it had to be great art?

14. Vacancy (2007)

It always seems best, when creating a single-location horror, to keep your protagonist as much in the dark as possible. It certainly doesn't help his or her mental state once the shenanigans kick off, but it sure is fun to watch for the audience. Getting increasingly confused and agitated in motel thriller Vacancy is Luke Wilson's David Fox, who is compelled to check into a creepy road side motel with his wife after their car breaks down. They soon find hidden cameras in their room, and are forced to take part in a sadistic horror movie of their own.

13. Frozen (2010)

"It does for skiing what Jaws did for swimming" announces the trailer for Frozen, a low budget thriller set on a set of treacherous slopes. Stuck on a broken down ski elevator for over a week, three friends must figure a way down to safety before they either freeze to death, starve to death, or both. With chancing the sheer drop seemingly the best option, the movie remembers to add hungry wolves down below, and it's a case of choosing the lesser evil before they meet their maker anyway. Frozen is a bit of a forgotten gem, and ends up being quite grisly, as well as truly terrifying.

12. Identity (2003)

You'll have come to realise from reading this list, if not before, that motels are a great breeding ground for fear, tension and claustrophobic horror. Identity might just be the best example of motel-based horror in recent memory, following a seemingly disparate group of people driven to the hotel by a freak rain storm. As they start to bite the dust one by one, we come to realise that they might not be as disconnected as they first thought. It’s one of those thrillers that revels in its twist ending for a little too long, but whether you’re on board with it or not, it never diminishes the fun.

11. Exam (2009)

Part of the relatively new corporate horror subgenre, British movie Exam smartly plays on our fear of job interviews and formal business settings. Appealing to people who watch The Apprentice and its various off-shoots, the movie brings together a group of eager job applicants and puts them in a room together. Asked to answer a cryptic puzzle within 80 minutes, they are forbidden from leaving the room. The movie’s tension and sense of dread builds to a crisis point, and Exam is a fascinating insight into those dangerously ambitious minds we’re so fascinated by in current times.

10. Right At Your Door (2006)

Slightly different from some of the more elaborate films on this list, Right At Your Door poses a 'what would you do?' question when Los Angeles is devastated by a dirty bomb explosion. Told to stay home and seal themselves off from outside air, Brad's wife begins knocking on their door. Does he let her in and risk being exposed? Or does he keep her out, watching the consequences of those actions unfold on his own doorstep? The panic on both sides of the glass escalates, and we're asked to ponder what we'd do if the unenviable situation were our own.

9. The Killing Room (2009)

Working with the same ideas as Exam, The Killing Room flips it on its head by putting a group of homeless people in a room and testing their resolve. With corporate meddling behind the scenes, the movie turns into an intense psychological study of human nature and the ways we react when our survival depends on answering various questions. Elsewhere, a woman conducting the experiment starts to question their methods, and things unravel, fast.

8. Splinter (2008)

After motels and haunted houses, gas stations are probably the most popular venues for the subgenre. Such is the case in Splinter, which sees a young couple led there by ruthless carjackers. Soon they're trapped by some kind of infection, and people start being invaded by the mysterious entity one by one. The trouble is that there's no way of telling who's infected and who isn't from the outside, and the group already have some unresolved trust issues. The movie has a sense of fun that lifts it past other genre fare, but is also smart enough to scare us silly in the process.

7. The Mist (2007)

Of all the films to come out of Frank Darabont's love affair with Stephen King's work, The Mist must be the most unloved and unwatched of all. It's a travesty really, as the movie is a brilliant find for those who’ve gone and done some digging. In it, we focus on a gang of small-town residents who become trapped in their local grocery store when an alien-infested mist appears. Combining all the best parts of a Lord Of The Flies-style character study with a classic monster movie, it evolves into a tense and incisive two hour thrill ride with a famously down-beat ending.

6. Red Eye (2005)

You're never more trapped than when you're thousands of feet in the air, and Red Eye uses this truth to engage our claustrophobia and common fear of flying. In the movie, as Rachel McAdams' character flirts with Cillian Murphy at the airport, she has no idea he is actually involved in an elaborate murder plot. Kidnapped during the flight, her captor threatens to murder her father, and she's soon deeply involved in his plans to assassinate a prominent politician. It's more of a thriller than a horror, but uses its talented leads to great, creepy, effect.

5. Paranormal Activity (2007)

Paranormal Activity made a huge impact when it was released and it says a lot about its originality that the franchise is still going strong four films in. The first instalment bought its power with the famous static bedroom shot, used intermittently in an otherwise still housebound horror. As we watched the central couple sleep, searching each nook and cranny of their bedroom and hallway, the audience was tricked more than once into scaring themselves. The sequels may never have lived up to the novelty factor of this first movie, but we shouldn’t take the series’ simple horrors for granted.

4. Triangle (2009)

There's lots of wibbly-wobbly, timey-wimey stuff going on in mind-messing horror Triangle, in which a group of stranded sailors find themselves reliving a pattern of torment and violence over and over again. Realising they must break the pattern in order to survive their ordeal, they must stop themselves from crossing paths with other timelines throughout the movie. Complicated? Yes. But it's worth every minute when a modern thriller comes out as slick and entertaining as Triangle.

3. Pontypool (2008)

Zombie invasion movies are usually very 'big' films, preoccupied with violence, gore and impending doom. Pontypool, however, takes the opposite tack, and shows us the ascension of a full-scale zombie apocalypse from the confines of a Canadian radio station. As low of a budget as you can get, the movie uses such limitations to its ultimate advantage, with calls coming in from the outside and an impending realisation from within escalating the fear and panic for the audience right along with the characters trapped there.

2. Buried (2010)

The most strictly single-location movie on the list, Buried is a masterclass in how to keep an audience's attention whilst never actually going anywhere. Ryan Reynolds plays the unfortunate victim of a terrorist ransom plot, and he must survive in his makeshift coffin while negotiating his own search and rescue effort. Through a series of increasingly frantic phone calls, grisly demands, and in-coffin complications, Paul Conroy never loses our devoted attention and sympathy. It’s another one that proves how difficult it is to end with a rosy resolution, but this movie deserves all the plaudits for the terror and panic it incites from within one wooden box.

1. REC (2007)

Including its US remake, Quarantine, which - let's face it - ended up a shot-for-shot rehash anyway, REC is one of the most frightening zombie films, single-location thrillers, and found-footage horrors of all time. The masterstroke of the movie is that things are revealed to us at the same time as Angela, and the real time structure allows the terror to be amped up gradually, exploding spectacularly at the end. Of course, this tactic also means that we get minimal answers as to what was going on in the apartment block, leaving it cut short with many questions left unanswered.

Duncan Jones' Warcraft movie filming in January?

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NewsSimon Brew8/29/2013 at 8:20AM

The planned movie of Warcraft looks like it might finally be before the cameras in January, with Duncan Jones directing...

After a gestation period that has not been short, the long-mooted Warcraft movie looks like it's going to finally start shooting in January. The unconfirmed news has been broken by Production Weekly, which Tweeted that Legendary Pictures has set up offices at CMPP Studios in Vancouver. It cites a shooting start date for the feature of January 13th 2014.

As part of the split between Warner Bros and Legendary Pictures, the former had an option as to whether to distribute the Warcraft movie. It declined, and Universal was next in line. Again, while there's been no official confirmation, it would appear that the studio has agreed to pick up distribution duties.

Warcraft was, once upon a time, being developed by Sam Raimi as a project to direct. However, when he left the movie, in stepped Moon and Source Code helmer Duncan Jones. Given the strength of Duncan Jones' directorial record to date, the news of his appointment understandably went down very, very well. Not least here.

The plan remains to have the Warcraft movie in cinemas in 2015, it seems. As we hear more about it, we'll let you know...

Production Weekly (Twitter).

Star Trek Into Darkness and the missing Blu-ray extras

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NewsSimon Brew8/29/2013 at 8:21AM

It seems that at least half of the extras planned for the Star Trek Into Darkness disc release are now retailer exclusive...

Heading into UK stores next week, and arriving in the US a week later, is the DVD and Blu-ray release of Star Trek Into Darkness. But as US reviewers for the movie have started to receive their copies, it's looking as though Paramount has decided to hold back the bulk of the extra features from the disc release. Furthermore, it seems to be holding them back, in America at least, to provide different retailers with different exclusives.

The DVD release of Star Trek Into Darkness is apparently extras-free, whilst the Blu-ray features seven featurettes, that run to around 40 minutes. The review that's gone up over at The Digital Bits suggests that these are basic filler, the kind of press kit pieces that are interesting enough, but hardly substantive.

This in itself wouldn't be the best of news. But the issue here is that the filmmakers created a lot more in the way of extra features, yet they're not appearing on the main Blu-ray release.

Instead, they're being used as retailer exclusives. As such, the only way you can get the commentary track (on paper, arguably the pick of the extra features that we know about) that JJ Abrams and his team recorded is via an iTunes 'extra' download. From what we can make out, to get hold of it you need to pay full price for the 1080p download of the movie from Apple. So, if you want to watch the movie on Blu-ray with commentary, you have to pay twice, and press play on two devices at the same time. Which we can't imagine very many people want to do.

Furthermore, additional featurettes are only available as special downloads from CinemaNow and VuDu. And then there are additional featurettes that appear on bonus discs if you buy Star Trek Into Darkness from either Target or Best Buy in the US (although both of those stores seem to have different retailer exclusive extras).

According to the Amazon UK listing for the UK Star Trek Into Darkness release, we're only getting the main featurettes too that appear on the US disc, so what the arrangements are for the retailer exclusives over here are remains to be seen.

Understandably, this decision - to hold back extras from customers to entice retailers - has not got down well, and as Bleeding Cool switch out, "one of the qualities I appreciate in Blu-ray releases is that if I purchase a Blu-ray I then own the best release of that movie I can get, until another technology comes along. I have it in the best possible format currently available for home viewing and with all the special features that I may return to again and again in years to come. This disc isn’t that".

As it turns out, to get the full selection of extras for Star Trek Into Darkness, it looks like you're expected to buy the disc from an assorted of different retailers, and jigsaw them together. How can that be right and fair?

On the upside, the technical side of the Star Trek Into Darkness Blu-ray is reportedly very strong, and The Digital Bits has posted its review here

We await the UK disc with interest to see if the above is reflected over here. We fear it may be.

Bleeding Cool.

Disqus - noscript

Saw it in the theater. Why would I want to watch this disappointing, unimaginative, predictable mess, again?

I'm sorry, but this movie was horrible. Also, somehow, it completely forgot that Star Trek is all about the characters - not random, over the top, nonsensical, forced set pieces. Also, as a side note, models are better than digital.

Horrible movie that underperformed at the box office. Then to compound their mistakes, the studio decides on a money grab that is epic even by Hollywood standards. Not going to buy any of the Blu-rays. Even though I hated the movie..it was still a Star Trek movie and I was going to buy the Blu-Ray. No longer.

The Teenage Mutant Ninja Turtles Movie: Everything We Know

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NewsMike Cecchini8/29/2013 at 9:07AM

All the news we currently have on the Teenage Mutant Ninja Turtles reboot, including a look at the rejected script that sparked all the controversy!

The latest attempt to bring the Teenage Mutant Ninja Turtles to the screen has been somewhat more rocky than expected. After an early draft leaked, some controversial comments about the film's direction, and a constantly shifting release date, the Turtles reboot has dealt with a surge of conflicting information and fan rage. Whether it was something as seemingly innocuous as shortening the film's title to Ninja Turtles or the more drastic issue of giving the Turtles extraterrestrial origins, the latest Michael Bay produced, Jonathan Liebesman directed TMNT movie hasn't left us with any shortage of things to talk about.

The Story:

We don't know much about the current story, but an early draft of the screenplay (dated January 30, 2012) by Josh Applebaum and Andre Nemec (the gents who wrote Mission Impossible: Ghost Protocol) with the rather secret sounding title of "The Blue Door" leaked and sparked an internet firestorm when details were revealed. Having read this draft, I can tell you that it isn't nearly as bad as folks would have you believe. The controversy stemmed from the revelation that the Turtles' origins were extradimensional in nature (from Dimension X, as a matter of fact), although they BELIEVED that their origins were the familiar "turtles wading in mutagenic ooze" story from the comics, cartoons, and previous films.

"The Blue Door" was certainly no worse than Turtle films like Secret of the Ooze or Turtles in Time. If nothing else, we would have been treated to proper live-action versions of Bebop, Rocksteady, Krang (including his giant robot power suit), and the Technodrome. Unfortunately, the rest of the script is unremarkable in virtually every way other than a really perplexing final act, and some story choices that, even if you aren't a Ninja Turtle purist (we exist!), simply don't sit right.

Among those who voiced their displeasure with "The Blue Door" was TMNT co-creator Peter Laird, who offered his thoughts on the script saying that it "should be tossed out, deliberately forgotten, and...started again." However, Michael Bay was quick to point out that this draft "was written well before I, or anyone else at Platinum Dunes, was involved with the project. That script saw the shredder a long time ago." In a more recent interview, Bay was emphatic on the subject of whether the Turtles are aliens, saying "It's the ooze! It's from the original source material...I do listen to the fans and I do want this to be authentic." Even the Turtles' Raphael (Alan Ritchson) got in on the act when he said, "The assumptions, everything you read online is wrong."

So what, if anything, CAN we learn from "The Blue Door?" I think it's safe to say that the Turtles attitudes and personalities will remain intact...which isn't saying much, because they all behaved exactly as you would expect them to in the first place. It also seems likely, since the Turtles will be motion-capture/CGI creations, that their look (and their individual physical quirks) may survive. Note this description from page 15 of "The Blue Door": 

"Three enormous creatures, each standing near six-and-a-half feet. Turtles by the looks of the shells surrounding their cores. With arms and legs distinctly more humanoid. And rippled with muscles...you'll recognize them as our boys. But not in a way you've ever seen them."

There are individual physical and personality traits which distinguish them. Leonardo is described as "muscled like a middle-linebacker, he is the oldest of the turtles." Raphael is "the most yolked of the group. and boy does he need those massive shoulders to carry around that giant chip." Donatello is "the brainiest and most zen." While, unsurprisingly, Michelangelo is "the youngest and most free-wheelin'." Throughout the script, the Turtles use their shells offensively and defensively, even retracting their extremities completely within them in order to barrel through walls or bowl over foes. It wouldn't be surprising (or altogether unwelcome) to see some of this actually make it to the screen.



The Cast:

A look at the cast seems to confirm Bay's statement about The Blue Door having seen "the shredder" (we can only presume the pun was intentional). There is no mention of Bebop, Rocksteady, or Krang...not to mention Casey Jones, who was THE central human character in "The Blue Door" draft. On the other hand, the film has added a number of other characters who might be especially familiar to fans of the Teenage Mutant Ninja Turtles cartoon series (if not the comics) K. Todd Freeman plays Baxter Stockman, Whoopi Goldberg is Bernadette Thompson (April's boss), Will Arnett is April's cameraman, Vernon Fenwick, and Minae Noji plays Karai (who first made an appearance in the comics in 1992). None of these characters were present in "The Blue Door" draft, and it all seems to confirm Bay's statement (and Laird's wishes) that a page one re-write was done on the project, almost certainly with the involvement of Evan Daugherty (Snow White and The Huntsman) who isn't credited on "The Blue Door."

As for the Turtles themselves, they'll be voiced by the same actors who wear the motion-capture suits. Alan Ritchson is Raphael, Noel Fisher is Michelangelo, Jeremy Howard is Donatello, and Pete Ploszek is Leonardo. Seinfeldalum, Danny Woodburn is Master Splinter. And, of course, one character who will not require motion capture is Megan Fox as April O'Neil.

William Fichtner (recently seen in villainous roles in The Lone Rangerand Elysium) is Turtle arch-enemy, The Shredder. It's worth noting that in "The Blue Door" draft, Shredder was also not of Japanese origin, and that hasn't changed with this bit of casting. Then again, the actor told Screenrant that "I actually play a guy named Eric Sachs" in the movie, and that does sound like an anglicized version of Shredder's more familiar name, Oroku Saki. Might this be a plot point? If nothing else, it's better than the "Colonel Schrader" name from the first draft!

The Rest:

It was recently announced that Teenage Mutant Ninja Turtles was getting bumped from its June 6, 2014 release date to August 8, 2014. Paramount apparently didn't want to compete with its other toy-centric franchise film of the summer, Transformers 4. This allows additional time for post-production, since filming on the TMNT movie only wrapped on August 3rd. Given the intricate fight scenes that will likely be involved, combined with the amount of CGI that the main characters will require, we can only assume this is a good thing. We'll keep updating this as more information becomes available. Despite all of the controversy (or perhaps because of it) Paramount has been extraordinarily secretive about this film. 


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Disqus - noscript

This movie is going to suck mightily. Songs will be written about how bad it will be. Which sucks in itself, because I love the Turtles and want to see a good, new, live-action movie about them. All the casting aside from the Turtles(we won't know how good/bad they are until we see/hear them) sounds exactly like how SNL would do a parody of a Michael Bay directed or produced Turtle movie.

We should have heeded the Transformers fans warnings. ..

Batman vs. Superman Will Film in Detroit

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NewsMike Cecchini8/29/2013 at 11:01AM

It looks like Detroit will play the part of Gotham City in the upcoming Man of Steel sequel that pits Superman against the Dark Knight!

It looks like there's been one more piece of "casting" news for the Batman vs. Superman movie. With the announcement by the Michigan Film Office that Batman vs. Superman will film in Detroit, it seems logical that the Motor City will be playing the part of Gotham for the Man of Steel sequel. By bringing the production to Detroit, the film will spend approximately $131 million in the state of Michigan, and has been awarded $35 million worth of incentives, which "will be allocated out of the Fiscal Year 2014 budget."

"Detroit is a great example of a quintessential American city, and I know it will make the perfect backdrop for our movie,” said the film's director, Zack Snyder. Filming will take place throughout the first quarter of 2014. Three months of filming seems like it could be a substantial chunk of the movie, and if Detroit is indeed Gotham City, this could be one of the first indicators we have about the film's story.


One additional tidbit we can draw out of this is that Batman vs. Superman isn't the film's official title, and it's listed as "the as-yet-untitled feature film" in the press release. This shouldn't come as a surprise, as Batman vs. Superman is rather unwieldy. It's a relief, nevertheless. 

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Forget Bane, the Motor City is going to break these capes.

This is a huge win for Detroit on so many levels.

James Spader is Ultron in Avengers 2!

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NewsMike Cecchini8/29/2013 at 11:15AM

The celebrated actor will be the android villain in Joss Whedon's Avengers sequel, Avengers: Age of Ultron.

Not to be outdone by the competition, Marvel's Avengers: Age of Ultron has cast its villain. Marvel has announced that James Spader is Ultron. Spader, who will be playing a villain on NBC's upcoming The Blacklist, will be the malevolent artificial intelligence known as Ultron for Joss Whedon's Avengers sequel. 

For those who may not know, Ultron was created by Roy Thomas and John Buscema and first appeared in Avengers #54 in 1968. In the comics, Ultron was built by Hank Pym, better known as Ant-Man, although that likely isn't going to be the case in this film, since Edgar Wright has already stated that the protagonist of his Ant-Man film won't be showing up in Avengers: Age of Ultron.
 

The full press release from Marvel follows: 

"James Spader will face off against Earth’s Mightiest Heroes as the villain in Marvel’s Avengers: Age of Ultron, the sequel to 2012’s record-breaking Marvel’s The Avengers. The Emmy Award-winning actor will play Ultron in the Avengers’ much anticipated return to the big screen from writer/director Joss Whedon. The film comes to theaters on May 1, 2015. 

Spader earned three Emmy Awards for his role as Alan Shore on Boston Legal and The Practice, and will return to television this fall in NBC’s highly anticipated series The Blacklist. Most recently Spader was seen in the critically-acclaimed film Lincoln directed by Steven Spielberg and has previously worked with a long list of accomplished film directors including David Cronenberg, Curtis Hansen, Sidney Lumet, Mike Nichols, Tim Robbins, Robert Rodriguez, Steven Soderbergh, and Oliver Stone.  David Mamet also directed Spader in the Broadway play Race.

Avengers: Age of Ultron will bring the Marvel Universe’s biggest heroes together again to face one of their biggest villains, with Marvel’s The Avengers director Joss Whedon returning to write and direct the sequel. Marvel’s The Avengers was released in 2012 and went on to earn $1.5 billion worldwide, making it the third-largest grossing movie of all time.

Spader is represented by ICM Partners and his lawyer Melanie Cook at Ziffren Brittenham."

While certainly a momentous announcement, this isn't likely to generate the same kind of controversy that Warner Bros.' recent casting of Ben Affleck as Batman did. As of now, there's been no word as to whether Spader will wear a motion-capture suit or just provide Ultron's voice. There's sure to be more on this in coming days, though, so stay with us!

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James Brown Biopic Titled and Dated

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NewsDavid Crow8/29/2013 at 1:34PM

Get On Up, the new James Brown biopic from the director of The Help, is coming in 2014.

Universal Pictures is saying it loud: They’re making James Brown and they’re proud.
 
Universal has reported today that the studio will release their newly named Get On Up on October 17, 2014. This comes on the heel of news that Chadwick Boseman had finished talks to star as the Godfather of Soul.
 
The movie, to be directed by Tate Taylor (The Help), seeks to chronicle Brown’s journey from a young boy born into poverty to becoming one of the greatest artists of the 20th century, one who paved the way for many other black musicians.
 
Brown is recognized as one of the founding members of the funk musical genre. Born and raised in the Deep South, Brown came to national attention in the 1950s when his R&B vocal group, The Famous Flames, released hit ballads “Please, Please, Please” and “Try Me.” Brown would rise in the 1960s with success off the “Live at the Apollo” album, as well as songs like “It’s a Man’s Man’s Man’s World,” and “Say It Loud – I’m Black and I’m Proud.”
 
Boseman is coming off his star-making turn as Jackie Robinson in this spring’s 42.

 
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Rooney Mara to Replace Mia Wasikowska in Carol

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NewsDavid Crow8/29/2013 at 2:32PM

Rooney Mara is set to star in drama Carol about a 1950s-set unconventional relationship with Cate Blanchett, replacing Mia Wasikowska in the role.

Earlier this year, The Weinstein Company announced the acquisition of Carol, in which Mia Wasikowska would star opposite Cate Blanchett.
 
Well Deadline is now reporting that actress Rooney Mara has replaced Wasikowska to star as a 1950s department store personality who has become despondent in her hopes for a better life. She may find that when she strikes up a surprising relationship with a housewife (Blanchett) in a sham marriage that only maintains because she fears losing her daughter in a divorce.
 
The project is based on a novella by Patricia Highsmith and is to be directed by Todd Haynes of Far From Heaven.
 
Mara continues to rise in attention, as Sony Pictures has reportedly hired a new writer to adapt The Girl Who Played With Fire, the second installment of The Millennium Trilogy, noticeably without director David Fincher’s involvement. Where this announcement will leave that project is unknown.
 
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Louis Leterrier Returns for Now You See Me Encore

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NewsDavid Crow8/29/2013 at 3:38PM

Now You See Me sequel is moving forward and director Louis Leterrier has been tapped to perform another sleight of hand.

After the surprise summer success of May’s magic-caper Now You See Me, director Louis Leterrier (The Incredible Hulk, Clash of the Titans) has been tapped by Lionsgate and Summit to helm the sequel.
 
According to our friends at ComingSoon, Letterier had been considering doing a sequel since production wrapped on the original, as a final shot did set-up a continuation of the story. However, the scene was removed because the studios were unsure if the project would find a large enough audience.
 
Well nearly $300 million in worldwide receipts later, it looks like it is most definitely found one. And now, with the summer flick poised to release on DVD and Blu-ray on Sept. 3, news is starting to happen.
 
The first Now You See Me starred Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Morgan Freeman, Melanie Laurent, Dave Franco and Michael Caine.

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Getaway, Review

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ReviewDavid Crow8/29/2013 at 7:57PM

Like a short story written by an ADHD-raddled third grader addicted to Adderall, Getaway is only somewhat elevated by the glorious sight of Selena Gomez in a hoodie, holding a firearm.

A car speeds down a vaguely European looking motorway. In the blurry frenzy of motion, police vehicles zip through the weaving traffic after the Shelby Mustang Supersnake like a pack of particularly clumsy pooches attempting to keep pace with a UPS truck. They swerve, they collide and they go boom in fiery quick-cuts interspersed between shaky-cam close-ups. Spliced amongst all this carnage are dramatic flashbacks of our heroic driver coming home one Christmas Eve Morn to discover that his wife has been kidnapped by a shadowy and (again) VAGUELY European voice, trying his damndest to turn the 30-second “Good luck” scene from Taken into a full 90-minute film. It is a blazingly confusing set-piece. And it’s also the first five minutes of the picture. Welcome to Getaway.
 
Not to be mistaken as a remake of The Getaway (1994) with Alec Baldwin and Kim Basinger, which itself was a remake of a superior 1972 Sam Peckinpah movie starring Steve McQueen and Ali MacGraw, this Getaway is uniquely its own “story.” I am hesitant to use the word story without some type of qualifier, as this film suffers from a malady masquerading as a screenplay that even an ADHD-raddled third grader addicted to Adderall would be ashamed of. This ailment, credited to Gregg Maxwell Parker and Sean Finegan, proves particularly fatal by the time Selena Gomez enters the picture as a character known only as “The Kid,” which is still honestly a far more memorable signifier than the other lead cardboard panel’s insignia. But I’m getting ahead of myself.


 
Our lead hero’s name is Brent Magna (thanks IMDB!) and he is played with all the stoic emotion of a 64-bit NPC. It is striking to see Ethan Hawke, who also stars in arguably the best film of 2013 to date (Before Midnight), take part in one of the year’s absolute worst. However, blame cannot be placed on the actor. How much can he do when his entire character arc is explained to the audience within the first 90 seconds from a disembodied voice: Brent apparently washed out of professional racing some years back, but now he must DRIVE! He is not even given the dignity of showing his face onscreen until an entire action sequence, in which his point-of-view is shot from the first person, has been completed. He is then given a good 30 seconds to consider The Voice’s (Jon Voight on auto-pilot) offer before it’s back to the driving, and the crashing, and the booms-booms.
 
While watching this unaware-parody of a prologue, it struck me that this would be a terrific opening sequence to the new Grand Theft Auto V. Indeed, the whole scene plays like a great introduction to our new Niko stand-in: Someone appropriately gruff and heroic looking, but with an edge of counterculture rebellion (and who better for that than the former posterboy of Gen X?) ready to achieve his goals by running over every pedestrian standing in his way. Hell, halfway through the movie, as The Voice’s motives remain hidden for about 60 minutes, I even wondered if Voight’s character was just so impatient for GTAV that he was recreating it in his spare time with Brent. It would explain why he was constantly ordering Brent to ram civilian cars and drive on a variety of off-road locations, including a Christmas Eve-filled skating rink. He also provides Brent with his own chatty sidekick. Enter the Gomez.


 
I am not sure why someone down the line at Warner Brothers or Dark Castle Pictures thought putting Ms. Gomez in a film where she constantly sports a hoodie and waves a handgun would be a good idea…but thank you. It nearly makes the picture when she first attempts to carjack Hawke. Even the portion of the audience around me who applauded every explosion couldn’t suppress the giggles when The Kid dropped a curse word each ten minutes, proving she’s got ATTITUDE.
 
It turns out that the lustfully photographed Mustang belonged to the Kid before it got jacked two days prior, leading her to initially believe Brent is the bad guy. But soon, she is deep in it too when The Voice reveals she is not allowed to leave the car until his night of dictated havoc is done. Fortunately, The Kid is a tech wiz and can rewire all the cameras and audio bugs The Voice has placed in the car simply by clicking a few Apps on her iPad. “We got the cards now, asshole,” The Kid gloriously delivers in the film’s third act.
 
Honestly, Gomez’s expressionless stares and always perfectly placed, shimmering hair add little to the movie’s strength or weakness, because she too is a victim of being a vehicle for the action. This wouldn’t necessarily be a problem if the action had been visible. Getaway smacks headlong into the contemporary mistake that jittery cam close-ups and rapid-fire editing should be the techniques du jour for car chases. When one has no idea where the car is in relation to its pursuers or even what door handle they’re zoomed in on as the automotive engine roars along, it all becomes increasingly more like that video game: Fun to play, exceedingly dull to watch.


 
Director Courtney Solomon (Dungeons & Dragons) clearly was aware of this, as he emulates Claude Lelouch’s C’était un rendez-vous short film during his third act climax. When Hawke’s speedy pursuit of the bad guy across a German-ish countryside during a sunrise is captured entirely in a single uncut one-shot, Solomon successfully recreates a bit of the magic from that 1976 short film, which is hands down the best car “chase” ever committed to celluloid. Unfortunately, this highlights even further how lifeless, pointless and witless the rest of the direction of Getaway is with its haphazard attempts at suspense or thrills. Instead, it illustrates how one trapped inside the trunk of a speeding car would probably feel. An alternative that is not wholly unwelcome when compared to sitting through this cinematic road kill.
 
Den of Geek Rating: 1 out of 5 Stars
2

Zack Snyder defends the mass destruction of Man Of Steel

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NewsSimon Brew8/30/2013 at 8:34AM

Superman reboot Man Of Steel had no shortage of carnage as it headed to its conclusion. Director Zack Snyder explains why.

There isn't really anything spoiler-y here, but if you've not seen Man Of Steel, you may still prefer to err on the side of caution and give this story a miss.

With over $600m in the bank, Zack Snyder's reboot of the Superman franchise, Man Of Steel, got things back up and running for Warner Bros where that particular franchise is concerned. And, as you more than likely know, the next chapter in Superman's big screen adventures will be the 2015 valet/Superman movie, starring Henry Cavill and Ben Affleck.

Man Of Steel was a bit of a divisive movie, all considered, but one thing most agree on was that the wholesale destruction of the last half hour was borderline extreme. With a body count that would have comfortably run into the tens of thousands at least (hundreds of thousands, even), and the city of Metropolis more rubble than standing it seemed, 'carnage' would seem an appropriate word.

Snyder, though, has been defending that aspect of his movie in particular. "I wanted the movie to have a mythological feeling. In ancient mythology, mass deaths are used to symbolize disasters. In other countries like Greece and Japan, myths were recounted through the generations, partly to answer unanswerable questions about death and violence. In America, we don’t have that legacy of ancient mythology. Superman is probably the closest we get. It’s a way of recounting the myth".

Snyder was chatting to The Japan Times, and in the interview, he also talked about how he was telling a story of immigration with his Superman movie. You can read it in full here

Snyder is currently working on the story for the valet/Superman movie with David S Goyer. Snyder will then direct, and Goyer will pen the screenplay. The movie is due in cinemas in summer 2015.

Disqus - noscript

The more Snyder opens his mouth the more ignorant he seems. It's a shame that Batman has now been put in the hands of someone who defends senseless, out of place violence in such a simpleton manner. The entire second half of Superman was so over the top it became incredibly tiresome. His best work, to me, still is Dawn of the Dead -- the only film where he didn't have a huge budget so he had to rely on story.

I agree fully on Dawn of the Dead - love that movie so much - and partially agree on Superman. I don't think the entire second half is problematic but i described the climax as an example of ten minutes worth of excess making a great movie seem merely okay.

I hope that Zack Snyder get fired from the project and get replaced by Ben Affleck to direct the movie.

In 1978 I believed a man could fly. In 2013, I believed a man could mope in the most joyless manner and break people's necks.

I thought the damage portrayal was really good. Many people missed the point that Zod and his small army was a very destructive force. He was hell bent on destroying the human population. It allows for the government to be wary of Superman, and Lex Luthor can capitalize on new armaments to help defend against alien invaders since the world now knows it is not alone in the universe.

When titans fight, there is likely to be carnage. There's really no getting around that. You can try to sugarcoat it but then you end up with violence without consequences. That's hardly any better.

Dracula To Rise Again at Universal, Yet Release Date Buried Further

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NewsTony Sokol8/30/2013 at 12:06PM

Universal Pictures is looking at Dracula to be Legendary’s First Film with the studio.

Dracula is rising from the grave at Universal, the home of monsters as far as I’m concerned. Thomas Tull (no relation to Jethro Tull, the band or the farmer), who produced Godzilla and Pacific Rim, is taking the stake out of the heart of the long-dead count and bringing him back to life. Tull wants his first high-profile project at Legendary Entertainment to be Dracula for Universal Pictures. Dracula will be directed by Gary Shore. Luke Evans will put on the cape and the fangs. Dracula is already in production and should come out on Aug. 8, 2014.  Legendary is talking with Universal Pictures suits right now.

Legendary has a five year co-financing deal with Universal. Tull’s team wants to do the fourth installment of Universal’s planned Jurassic Park reboot franchise. Jurassic Park 4 should begin production next year. Legendary Entertainment committed itself to spend about $275 million a year on Universal films for the first two years of the deal. Legendary will put up about $350 million a year for the three years after that. No one at Universal or Legendary are really talking, because they are sworn to secrecy about money matters.

Legendary can pick from a number of Universal monster movies like Van Helsing and  the upcoming sequel to the Mummy. Legendary will decide about the Jurassic Park sequel after they see the script. Steven Spielberg is not on board for the next Jurassic Park movie because he costs too much.

Tull recently brought his money to Universal after a longtime deal with Warner Bros. saw releases of such films as Christopher Nolan’s Batman trilogy. Warner and Legendary suits battled epically over Man of Steel. Legendary already brought Seventh Son from Warner Bros. to Universal.

 

***UPDATE*** Following on the heels of Legendary Pictures and Thomas Tull joining the already deep-into-production vampire flick, Universal Pictures has announced thatDracula: Year Zero wil be pushed back from its original release date. Initially slated for an August 8, 2014 release, right around the time of Marvel Studios' latest gamble, Universal now plans to release the origin story of Vlad Tepes on October 3, 2014. More on this story as it develops...

 

SOURCE: VARIETY

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12 Years A Slave to Have Its Premiere at the New York Film Festival

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NewsDavid Crow8/30/2013 at 3:43PM

The harrowing drama about Solomon Northup, which stars Chiwetel Ejiofor, Michael Fassbender and Benedict Cumberbatch, will premiere in New York in October.

Fox Searchlight has announced that the official release for director Steve McQueen’s (Shame) upcoming 12 Years A Slave is slated to premiere at the New York Film Festival on October 8.
 
Despite having sneak previews at Toronto and the Telluride, Filum Festival, Deadline is reporting that the new harrowing historical drama starring Chiwetel Ejiofor will have its premiere at the 51st NYFF.
 
Based on a true story, 12 Years a Slave is to chronicle the harrowing life of Solomon Northup (Chiwetel Ejiofor), a free black man in Upstate New York who is abducted and sold in chains to a malevolent owner (Michael Fassbender). The movie will tell of his 12-year struggle for freedom and dignity, as well as the surprise encounter of a Canadian abolitionist played by Brad Pitt.
 
The film’s cast also includes Benedict Cumberbatch, Paul Dano, Paul Giamatti, Garrett Dillahunt, Sarah Paulson and Michael Kenneth Williams.
 
12 Years A Slave has its official U.S. release date on October 18.
 
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First Photo of Arnold Schwarzenegger and Harrison Ford in Expendables 3

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NewsDavid Crow8/30/2013 at 4:23PM

The former governor of California provides our first glimpse of the Terminator and Indiana Jones sharing the same frame in the upcoming The Expendables 3.

Many may be gearing up for a nice relaxing Labor Day Weekend, but on The Expendables 3 set, they are gearing up for many legends uniting, if however briefly. On former California Governor and current actor Arnold Schwarzenegger’s Instagram page, the actor shot out an image of himself with the legendary Harrison Ford, as well as director Patrick Hughes

 
Ford, the face of Indiana Jones and Star Wars, took on a part in this ‘80s action star retirement plan after Sylvester Stallone reached an unamicable falling out with former franchise star Bruce Willis. And judging by this photo, ol’ Indy does not look too keen on being there at the moment either.
 
Still, as worlds apart as the Ford and Schwarzenegger vehicles of yesteryear were, there is no denying that seeing them share the same space is somewhat of a treat. Will it be as much for the fans shelling out to see the smackdowns?
 
We’ll find out when Expendables 3 opens in 2014.
 
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Kurt Russell in Fast & Furious 7?

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NewsDavid Crow8/30/2013 at 4:40PM

The action icon is in talks with Universal Pictures to star in James Wan's debut entry in the action franchise, alongside Vin Diesel and Paul Walker, This would be Russell's first action film since Death Proof.

Remember when The Fast & The Furious franchise was not the biggest name in unapologetic action? Neither do I, because the series continues to pick up big names.
 
Take for example this latest report from Variety that actor Kurt Russell is in talks for an unspecified role in director James Wan’s first brush with the series, Fast & Furious 7. If cast, the action legend would join Vin Diesel, Jason Statham, Paul Walker, Tyrese Gibson and others for the rush.
 
Russell has been mum in action films since his turn as the baddie in Quentin Tarantino’s half of the 2007 Grindhouse double feature, Death Proof. He was slated to appear in last year’s Django Unchained before dropping out of the project. Still, Russell is a legend in the genre, having made his bones on projects that include Escape From New York, Tombstone and The Thing.
 
Fast & Furious 7is preparing to shoot in Atlanta for a July 11, 2014 release date.
 
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Alexandre Desplat to Score Godzilla Reboot

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NewsDavid Crow8/30/2013 at 5:03PM

The Oscar nominated composer of Argo is set to add the sweet, sweet overtures of Godzilla laying waste.

Celebrated film composer Alexandre Desplat has been tapped to score the next summer’s Godzilla reboot.
 
Desplat, who was recently nominated for Academy Awards for his scores of Argo and The King’s Speech, has had a varied musical career which includes The Tree of Life, Moonrise Kingdom and Zero Dark Thirty.
 
The film is set to retell the epic origin of Godzilla; a monster born from man and science’s arrogance, a creature who will wreck havoc on all sorts of cityscapes, we are sure.
 
Godzilla is in post-production, following a shoot by director Gareth Edwards. The film is set to star Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Ken Wantanabe, Juliette Binoche and David Strathairn. The project marks the final collaboration between Warner Brothers and Legendary Pictures and will be released into theaters and IMAX on May 16, 2014.
 
 
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Passion, Review

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ReviewDavid Crow8/30/2013 at 8:28PM

Brian De Palma's newest stab at an erotic thriller, this time with Rachel McAdams and Noomi Rapace, features lust, betrayal, murder and some freaky sex toys. So why does it feel like a spiritual sequel to Mean Girls?

Passion is a fairly bold title for a movie. It promises, heat, energy and, given that this is Brian De Palma, probably something pretty kinky when the only two truly major characters are women. However, despite some humorous nods to writer-director De Palma’s own previous work that range from Carrie to Femme Fatale, this film feels mistitled. A more fitting name simply would have been Meh.
 
Passion, an apparent remake of the French film Love Crime, puts in the requisite effort to qualify itself as an erotic thriller. We have an ice princess played with tightly wound perversion by Rachel McAdams, always in white or the more fitting red. There is also her introverted and repressed employee, a protégé waiting to be broken in. And once you throw in some freaky sex toys, incestuous urges, betrayal, murder and a scene of ballet, it likely appeared to producers as lurid as it sounds. Yet for all the hypnotically luscious shots and tantalizing photography, from the man who gave us Scarface no less, the result is something that is pretty to look at but as emotionally empty as a gimp suit.
 
Christine (McAdams) deceptively has it all. As an American living exceedingly well in modern Berlin, she runs the local branch of an international marketing firm and enjoys “the natives” being wrapped around her little finger. One disciple that she takes particular pleasure in is Isabelle (Noomi Rapace), an underling who idolizes and fantasizes her boss with all the wholesomeness of Mark David Chapman.
 
Still, it is only hugs and slightly more than customary kisses until Isabelle’s viral marketing campaign gets her a ticket to the New York HQ fast lane, which Christine had only dreamt of. Quicker than Isabelle can say “fetch,” Christine turns her life into a living hell. First she takes back the boyfriend they had been sharing, Dirk (Paul Anderson), and then she pushes away Isabelle’s unrequited friend, Dani (Karoline Herfurth). When Christine is finally moving into the climax of her scheming, something unexpected (for her) happens, turning this all into a rote Whodunit mystery.


 
To his credit, De Palma gorgeously photographs his picture. The colors pop while he pushes his ambivalent camera down the chic, ultra modern hallways of Koch International like they’re the tombs of humanity. He also enjoys playing with the color scheme to great effect. As mentioned, Christine alternates almost entirely between white and red whereas Isabelle is reliably in complete black. She also dons permanent slacks, lest we forget her somewhat vague gender role when around Christine. This is not to say that Isabelle is a lesbian, as she has just as much interest in Dirk as Christine. How else could she experience a taste of the goddess’ fire? Indeed, Dirk is very helpful, revealing that Christine likes bondage games that involve him wearing a pale mask with a blond wig. Isabelle questions in the film if this is a vanity quirk, however since Christine is a self-admitted twin, the implication is far ickier.
 
De Palma also takes great pleasure (likely his only on the project) in visually coveting his two leading ladies. McAdams is cattiness incarnate, which Isabelle mistakes for its beautiful packaging. Meanwhile Rapace, still clearly an “It Girl” to Hollywood filmmakers like De Palma, Ridley Scott and Guy Ritchie thanks to her iconic turn in The Girl with the Dragon Tattoo, has still yet to find an English language role that showcases the well of talent she displayed in the Swedish cinema. Here, she is asked to look scared, nervous, envious and aroused—but none of it really adds up to a fully complete character. The audience will understand Isabelle’s motives, particularly when Christine’s claws come out, but nobody could explain who Isabelle is as a person beyond her love for the ballet.
 
It all admirably reaches for some psychosexual form of All About Eve with the three chain links of female succession lined in a row. But besides mistakenly following the Anne Baxter character, as opposed to Betty Davis, it never quite works because the central relationship does not feel like one amongst adults. The way Christine and Isabelle tease and prod each other between bursts of loving confessions reaches much closer to the perceived high school antics that McAdams broke out from.


 
In fact, throughout the movie’s brisk running time, it becomes evident that Christine is likely who Regina George grew up to be. McAdams’ infamous capital B villain from Mean Girls makes a return to the big screen as a nasty Queen Bee who still handles all her problems through abject humiliation and boy-toy thievery. Unfortunately, given the highly competitive corporate world Passion seeks to build, it all coming down to a video of Isabelle crying in a parking garage over losing the guy, landing Christine’s gameplan closer to grool than cruel.
 
Ultimately, Passion is a beautiful looking movie with some scandalous images that would be frowned upon in polite society. Yet structurally, it is not all that different from any Mean Girl movie, except this time we are actually satisfied with McAdams’ comeuppance.
 
Den of Geek Rating: 2.5 out of 5 Stars
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Bradley Cooper Is Rocket Raccoon with First Official Pic

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NewsDavid Crow8/30/2013 at 8:38PM

Movie star Bradley Cooper is on the last stretch of closing a deal to voice one of Marvel Studios' funkiest characters yet: Guardians of the Galaxy's Rocket Raccoon.

***UPDATE***It has now been confirmed that Bradley Cooper has closed his deal to play Rocket Raccoon. Marvel Studios announced the news themselves on their website that the Hangoveractor has agreed to voice the furry critter with quite the mouth.

Reads the press release:
 
Rocket Raccoon has finally found his voice!
 
Academy Award-nominated actor Bradley Cooper has officially joined the cast of Marvel's "Guardians of the Galaxy," lending his voice to the fan-favorite raccoon that will join Peter Quill (Chris Pratt), Gamora (Zoe Saldana) and Drax (Dave Bautista) on their epic adventure.
Cooper has previously starred in "Silver Linings Playbook," for which he was nominated for an Oscar®, "Limitless,""Place Beyond the Pines" and the "Hangover" trilogy, the latter of which has grossed $1.4 billion globally. He will next be seen in "American Hustle" which will reunite him with "Silver Linings Playbook" director David O. Russell. "Guardians of the Galaxy" will mark Cooper's first voiceover work.

  This news follows on the heels of Cooper joining Warner Brothers and Jay Roach’s Lance Armstrong cautionary tale, where he may or may not play the disgraced cyclist.



 
James Gunn has long teased who would play the voice of the character and with Vin Diesel confirming on Facebook that he is working on a deal to play Groot, it was only a matter of time before we heard who they had in mind for Rocket Raccoon.
 
Now cast, the Silver Linings Playbook star will join, at least vocally, Chris Pratt, Zoe Saldana, Benicio del Toro, Glenn Close and Karen Gillan in Marvel’s burgeoning cosmos. With a cast like that, it’s easy to see why anyone could become a true believer.



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