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. As a director Nick Cassavetes is probably best known for helming the wildly popular adaption of Nicholas Sparks' life-spanning romance novel The Notebook. The smashing success of that tearjerker led to his helming another devastating drama based on chick lit, 2009's My Sister's Keeper. But for his next venture, Cassavetes is leaving the drama behind and embracing the dark side of comedy. Variety reports Cassavetes has signed on to direct Fox's The Other Woman. Penned by Melissa Stack, the script has been described as First Wives Club for a younger generation. The story centers on a woman in love who is shocked to discover he beau is married. Outraged, she goes to his wife, and the two decide to team up to get revenge on the man who cheated on them both.
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. Last November, Cameron Diaz was attached to star while Kristen Wiig was reportedly in talks. But Variety's sources say Diaz is no longer with the project, and no mention is made of Wiig's involvement. We should get word on who will headline soon though, since the studio's looking to have both the female leads locked down by the end of next week. Without stars attached, it's difficult to know what to make of this will-be movie. For one, though Cassavetes has acted in comedies like The Hangover Part II, he has not yet helmed one. He was slated to direct an action-comedy called Cali, but that feature is currently on hold. For her part Stack is a newcomer, though one with a lot of buzz thanks to her 2007 Black List script I Want to **** Your Sister, which is now in development at MTV Films.
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. All around The Other Woman seems a wild card, but if they get the right talent it could prove a winner. With so many titles to choose from, Netflix Instant's library can be overwhelming. So we offer this biweekly column as a tool to cut through the clutter by highlighting some now streaming titles that pair nicely with the latest theatrical releases. Looking to Parker, Hansel & Gretel: Witch Hunters, and Movie 43 for inspiration, we've pulled together a selection of mind-blowing action movies, fascinating fairy tales and raunchy ensemble comedies. Jason Statham stars as the titular master thief who seeks vengeance on the crew that turned on him and left him for dead. Teaming up with an unscrupulous real estate agent (Jennifer Lopez), Parker plans to hijack the duplicitous crew's next take.
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. Michael Chiklis, Bobby Cannavale, Nick Nolte, Clifton Collins Jr., and Patti LuPone co-star; Taylor Hackford directs. With a convoluted plot and major misfires, Parker will likely be a flick quickly forgotten. But if you enjoy action movies centered on captivating criminals, you're sure to check out this tense trio that includes a face-snatching terrorist, a charismatic bank robber, and a daring drug dealer/devoted dad. Face/Off (1997) FBI agent Sean Archer takes going undercover to a new extreme when he has plastic surgery to swap faces with imprisoned terrorist Castor Troy. But when this unhinged criminal escapes—with Archer's face—the tables are turned in a crazy game of cat and mouse. John Travola and Nic Cage star and swap roles with a flare that's insanely fun to witness; John Woo directs.
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. Out of Sight (1998) Jennifer Lopez cemented her movie star status with this whip-smart crime comedy that co-stars George Clooney. He's a bank robber with a smile that makes tellers melt, and she's a federal marshal who is as sassy as she is fearless. Their meet-cute takes place in the trunk of a car as he escapes prison. Later, as she tries to track him down, their game of cat and mouse only adds fuel to the fire of their smoldering shared attraction. Ving Rhames, Steve Zahn, and Don Cheadle co-star; Steven Soderbergh directs. Sleepless Night (2011) Beginning with a bloody shoot out in the streets, this tautly paced thriller follows Vincent, an undercover police office whose allegiance is called into question when a bust goes bad.
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. When a drug lord kidnaps his teenaged son, Vincent can't go to his cop colleagues and so must infiltrate the kingpin's nightclub to get his boy back. This crime thriller out of France has been universally cheered by critics, and described as a mash-up of Die Hard, 24 and Taken. What else could you possibly want? Tomer Sisley stars; Frédéric Jardin directs. Making an adaptation of a book told in the first person is more than enough of a challenge, but as you can imagine that task is only made harder when the protagonist happens to be a zombie. Not only do you have to deal with widening perspective and creating a larger world, you also have to deal with the fact that from outward appearances the hero is a mumbling, stumbling, brainless bag of meat that spends every moment dreaming of devouring human flesh.
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. This was the principal issue facing Jonathan Levine when he first came aboard to adapt Isaac Marion’s novel Warm Bodies - and an important element of the story I recently had the pleasure of discussing with the writer/director. Set in a world overtaken by the living dead, the movie centers on R (Nicholas Hoult), a zombie leading a meaningless existence of boredom and hunger. But that all changes when he meets Julie (Teresa Palmer), a beautiful live human whose boyfriend R has devoured. But as R and Julie get closer they both discover that something is changing within him, and that something could change the entire world. Check out my full interview with Levine below in which he talks about not only accessing the mind of a zombie, the challenge of the film’s shifting tones, the wonderful, eclectic soundtrack, and the rule established in the editing room: if it’s funny it goes into the movie.
Well, it’s interesting because it’s not as scary as you might think, because you read the book and you’re not like, “Wow, I can’t believe I’m so scared of this,” you’re like, “Oh, no one has done this before!” It’s so rare when you’re making a movie that you can be like, “Well, nobody has done this before!” I can’t think of things that nobody has thought of. So that’s exciting! Once you start from that place it’s actually more liberating than scary. But I think the bigger challenge is that in the book it’s all obviously internal monologue and it’s like translating that into a movie, so we had to get the voice-over – which we worked really long and hard on and I got a lot of help on – and it’s mostly in the screenwriting phase. Because once I cast Nick [Hoult] I was like, “Okay, that guy will take care of that. He’s awesome.” I just have to be there every once in a while to remind him of stuff, but he’s awesome. I don’t have to worry about that. That’s the great thing about being a director. You have your list of things you have to worry about and things you don’t have to worry about. If you can hire someone or cast someone who equates to not having to worry about, it’s great! It’s like one of a thousand things you can check off [laughs]. You have so many things you have to worry about. But mostly it was in the screenwriting phase, getting that point of view down. In the book it’s so very deliberately in the zombie’s point of view, but in the movie you have to kind of break point of view a little bit. And you want to, because you want to get more of Teresa [Palmer]’s story, you want to get more texture of the world. So that was a challenge too: breaking point of view but still having the spirit of Nick’s point of view. And I think we were able to do that okay.