LOS ANGELES (Reuters) - Troubled star Lindsay Lohan arrived late for Monday's start of her trial on charges of reckless driving and lying to police over a June car crash, after she flew to Los Angeles from New York overnight.
Lohan, wearing a white and pink pants suit, turned up in court more than 45 minutes late after a morning dash from Los Angeles International Airport to the courthouse following a private jet flight from New York.
A bystander threw glitter at her as she walked into court through a phalanx of photographers and camera crews.
Lohan, 26, has pleaded not guilty to reckless driving, obstructing police, and lying to police when she said she was not behind the wheel when her Porsche sports car smashed into a truck on June 8, 2012, in Santa Monica, California.
The actress, who is still on probation for a 2011 conviction for stealing a necklace, faces the prospect of being sent to jail if she is convicted on the latest charges, or if she is deemed to have violated the terms of her probation.
The three misdemeanor charges each carry potential jail terms ranging from three months to a year. But even if Lohan is not convicted, the judge has the power to sentence her to jail for more than 200 days if he determines the actress violated her probation in the 2011 jewelry case.
Monday's trial went ahead after the failure of weeks of behind the scenes negotiations over a possible plea bargain for the 'Mean Girls' actress, who has been to jail for brief periods and entered rehabilitation for drinking and drug problems multiple times since 2007.
Lohan's new attorney, Mark Heller, told reporters earlier this month that Lohan had started a new round of psychotherapy and wanted to give inspirational speeches to school kids in a bid to turn her life around.
However, it's not clear if either of those projects have gotten underway. Lohan has spent much of the three months since being charged over the Santa Monica car crash in New York, where she has been photographed at nightclubs, concerts, and fashion and charity events.
Lohan's once promising Hollywood career has been seriously damaged by her numerous legal troubles. A comeback performance as late screen legend Elizabeth Taylor in the TV movie 'Liz & Dick' in November was largely panned by critics.
(Reporting By Eric Kelsey, editing by Jill Serjeant and Eric Beech)
Monday, March 18, 2013
Sunday, March 17, 2013
Disney's "Oz" keeps magic spell on movie box office
(Reuters) - Walt Disney Co's 'Oz the Great and Powerful' reigned over movie box offices in its second weekend, following up its strong debut a week earlier with $42.2 million at U.S. and Canadian theaters.
The 'Wizard of Oz' prequel starring James Franco beat newcomer 'The Call,' a thriller about a 911 operator trying to save a kidnapped girl. The movie starring Halle Berry earned $17.1 million from Friday through Sunday, according to studio estimates.
'The Incredible Burt Wonderstone,' a comedy featuring Steve Carrell and Jim Carrey as dueling Las Vegas magicians, finished the weekend in third place. It conjured up $10.3 million.
Sony Corp's movie studio released 'The Call.' 'The Incredible Burt Wonderstone' was distributed by Warner Bros., a unit of Time Warner Inc.
(Reporting by Lisa Richwine and Chris Michaud; Editing by Will Dunham)
The 'Wizard of Oz' prequel starring James Franco beat newcomer 'The Call,' a thriller about a 911 operator trying to save a kidnapped girl. The movie starring Halle Berry earned $17.1 million from Friday through Sunday, according to studio estimates.
'The Incredible Burt Wonderstone,' a comedy featuring Steve Carrell and Jim Carrey as dueling Las Vegas magicians, finished the weekend in third place. It conjured up $10.3 million.
Sony Corp's movie studio released 'The Call.' 'The Incredible Burt Wonderstone' was distributed by Warner Bros., a unit of Time Warner Inc.
(Reporting by Lisa Richwine and Chris Michaud; Editing by Will Dunham)
Friday, March 15, 2013
Universal picks newcomer Trevorrow to direct "Jurassic Park 4"
LOS ANGELES (Reuters) - Hollywood newcomer Colin Trevorrow was named the director of the long-awaited fourth installment of dinosaur movie franchise 'Jurassic Park' on Thursday.
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, would be the executive producer of 'Jurassic Park 4,' but he would not direct.
Trevorrow, 36, is little known in Hollywood. He made his feature film directorial debut with the independent time travel comedy 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and has made a TV movie and documentary.
Universal said 'Jurassic Park 4' would be made in 3D and was scheduled for release on June 13, 2014.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
'Jurassic Park III,' directed by Joe Johnston, was released 12 years ago, but its $368 million worldwide box-office take was well below that of the first two films.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler and Peter Cooney)
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, would be the executive producer of 'Jurassic Park 4,' but he would not direct.
Trevorrow, 36, is little known in Hollywood. He made his feature film directorial debut with the independent time travel comedy 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and has made a TV movie and documentary.
Universal said 'Jurassic Park 4' would be made in 3D and was scheduled for release on June 13, 2014.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
'Jurassic Park III,' directed by Joe Johnston, was released 12 years ago, but its $368 million worldwide box-office take was well below that of the first two films.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler and Peter Cooney)
Thursday, March 14, 2013
Universal picks newcomer Trevorrow to direct 'Jurassic Park 4'
LOS ANGELES (Reuters) - Hollywood newcomer Colin Trevorrow was named on Thursday as the director of the long-awaited fourth installment of dinosaur movie franchise 'Jurassic Park.'
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, will be the executive producer of 'Jurassic Park 4' will not direct.
Trevorrow, 36, is little known in Hollywood. He directed the independent movie 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and had previously made a TV movie and documentary.
Universal said that 'Jurassic Park 4' will be made in 3D but did not announce a release date.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler)
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, will be the executive producer of 'Jurassic Park 4' will not direct.
Trevorrow, 36, is little known in Hollywood. He directed the independent movie 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and had previously made a TV movie and documentary.
Universal said that 'Jurassic Park 4' will be made in 3D but did not announce a release date.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler)
Miyazaki father and son team up for 'From Up on Poppy Hill' film
By Zorianna Kit
LOS ANGELES (Reuters) - Japanese animator Hayao Miyazaki and his Studio Ghibli have, under their belt, some of Japan's biggest global anime movie successes, including 'Princess Mononoke' and 'Spirited Away,' which won an Academy Award in 2003.
Far less known, until now, was Miyazaki's son Goro, who worked as a landscaper for years so as not to compete with his famous father, but later designed the Ghibli Museum in Tokyo and debuted as a director in 2006 with 'Tales from Earthsea.'
Now, for the first time, the pair has teamed up on a film, with Hayao, 72, as co-writer and 46-year-old Goro as director, overcoming a contentious relationship stretching back years.
'From Up on Poppy Hill,' opening in U.S. movie theaters on Friday, is set in Japan in 1963 and focuses on a high school romance threatened by a secret.
Goro Miyazaki talked to Reuters recently, via a translator, about working with his father, a man he was once estranged from.
Q: Umi, the female protagonist in 'Poppy Hill,' has been raising flags for a decade for her deceased father. While yours is very much alive and well, did Umi's longing for her dad stir up anything for you when it comes to your own famous father?
A: The common thread between myself and the character is that the dad was always out working and was never really around. I'd be lying to you if I didn't say that there were times when I thought that maybe my dad should have died a little earlier, just as the character did. I feel like I can really empathize with a child's longing for an absent father.
Q: Now that you're working together, how closely was your father involved in the making of 'Poppy Hill?'
A: He said, 'I will take care of the planning and the screenplay and everything else is your responsibility.' That was the agreement on the roles. But once we began work, he would come around, wander into the room and instead of talking to me directly, he would start looking at the artwork on the walls and mutter suggestions on how to do things a little bit this way, a little bit that way. He never came and talked to me directly.
Q: Did you have to accept his suggestions?
A: More often than not, his advice really hit the mark. So begrudgingly, I often had to take it.
Q: You seem like reluctant working partners. How long does this date back to?
A: Shortly after I started making my first film, I had a huge fight with my father. For a long time we didn't talk. He was opposed to the idea of me directing a film. He felt that it would be ridiculous for somebody with no experience to, all of a sudden, go into directing. He would tell me about how much he had to struggle in his days to get to that place where he could have the opportunity.
Q: What helped you reconcile?
A: Having my (now four-year old) son - his grandson - allowed us to start talking again.
Q: Has your last name been a help or hindrance in your career?
A: Both. The opportunity I received to make this film obviously had something to do with the family name. But once you make the film and it goes out into the world, that name becomes a heavy burden.
Q: Because you're judged by the standards set by your father's work?
A: I think that is true. But it all comes down to how I deal with it. Until recently, I was very jaded about that whole thing, but now (I've turned the corner) and the reason for that actually ties in to my next project, which unfortunately I can't disclose at the moment.
Q: How similar are you and your father?
A: We're both short-tempered and also a little bit dark when it comes down to it, way down deep.
Q: How are you not alike?
A: This may be partly due to the different worlds that we were born into and the different generations, but Hayao Miyazaki is an idealist. He thinks in terms of how people should be, how the world should be.
Q: Where does that stem from?
A: That comes from the fact that he grew up in this post-war period where things were changing and people had this strong ideal about how society should behave. Those of us who were born during a time when that society was much more structured already, we can't share that same sentiment.
Q: This post-war period is exactly the time period 'Poppy Hill' is set in. Why do you think he wrote it for you to direct?
A: It was a time that most Japanese look fondly upon as the one time things were just right. It's after the war and the ravages. It's that point in history where Japan was able to enjoy a brief moment of peace.
(Editing by Elaine Lies and Bernadette Baum)
LOS ANGELES (Reuters) - Japanese animator Hayao Miyazaki and his Studio Ghibli have, under their belt, some of Japan's biggest global anime movie successes, including 'Princess Mononoke' and 'Spirited Away,' which won an Academy Award in 2003.
Far less known, until now, was Miyazaki's son Goro, who worked as a landscaper for years so as not to compete with his famous father, but later designed the Ghibli Museum in Tokyo and debuted as a director in 2006 with 'Tales from Earthsea.'
Now, for the first time, the pair has teamed up on a film, with Hayao, 72, as co-writer and 46-year-old Goro as director, overcoming a contentious relationship stretching back years.
'From Up on Poppy Hill,' opening in U.S. movie theaters on Friday, is set in Japan in 1963 and focuses on a high school romance threatened by a secret.
Goro Miyazaki talked to Reuters recently, via a translator, about working with his father, a man he was once estranged from.
Q: Umi, the female protagonist in 'Poppy Hill,' has been raising flags for a decade for her deceased father. While yours is very much alive and well, did Umi's longing for her dad stir up anything for you when it comes to your own famous father?
A: The common thread between myself and the character is that the dad was always out working and was never really around. I'd be lying to you if I didn't say that there were times when I thought that maybe my dad should have died a little earlier, just as the character did. I feel like I can really empathize with a child's longing for an absent father.
Q: Now that you're working together, how closely was your father involved in the making of 'Poppy Hill?'
A: He said, 'I will take care of the planning and the screenplay and everything else is your responsibility.' That was the agreement on the roles. But once we began work, he would come around, wander into the room and instead of talking to me directly, he would start looking at the artwork on the walls and mutter suggestions on how to do things a little bit this way, a little bit that way. He never came and talked to me directly.
Q: Did you have to accept his suggestions?
A: More often than not, his advice really hit the mark. So begrudgingly, I often had to take it.
Q: You seem like reluctant working partners. How long does this date back to?
A: Shortly after I started making my first film, I had a huge fight with my father. For a long time we didn't talk. He was opposed to the idea of me directing a film. He felt that it would be ridiculous for somebody with no experience to, all of a sudden, go into directing. He would tell me about how much he had to struggle in his days to get to that place where he could have the opportunity.
Q: What helped you reconcile?
A: Having my (now four-year old) son - his grandson - allowed us to start talking again.
Q: Has your last name been a help or hindrance in your career?
A: Both. The opportunity I received to make this film obviously had something to do with the family name. But once you make the film and it goes out into the world, that name becomes a heavy burden.
Q: Because you're judged by the standards set by your father's work?
A: I think that is true. But it all comes down to how I deal with it. Until recently, I was very jaded about that whole thing, but now (I've turned the corner) and the reason for that actually ties in to my next project, which unfortunately I can't disclose at the moment.
Q: How similar are you and your father?
A: We're both short-tempered and also a little bit dark when it comes down to it, way down deep.
Q: How are you not alike?
A: This may be partly due to the different worlds that we were born into and the different generations, but Hayao Miyazaki is an idealist. He thinks in terms of how people should be, how the world should be.
Q: Where does that stem from?
A: That comes from the fact that he grew up in this post-war period where things were changing and people had this strong ideal about how society should behave. Those of us who were born during a time when that society was much more structured already, we can't share that same sentiment.
Q: This post-war period is exactly the time period 'Poppy Hill' is set in. Why do you think he wrote it for you to direct?
A: It was a time that most Japanese look fondly upon as the one time things were just right. It's after the war and the ravages. It's that point in history where Japan was able to enjoy a brief moment of peace.
(Editing by Elaine Lies and Bernadette Baum)
"The Incredible Burt Wonderstone" review: this magician comedy has almost nothing up its sleeve
By Alonso Duralde
LOS ANGELES (TheWrap.com) - Desperate for publicity, old-school Vegas magicians Burt Wonderstone (Steve Carrell) and Anton Marvelton (Steve Buscemi) decide to spend a week locked inside a plexiglass box suspended over the Vegas strip. 'Remember,' advises their assistant Jane (Olivia Wilde), 'all you have to do is nothing.'
It's a funny line, but one also suspects it was the production motto for 'The Incredible Burt Wonderstone,' a movie that always seems poised to deliver big laughs but, once the smoke and the pigeons clear, leaves you only with a mild chuckle or two.
The film falls squarely into the formula that Will Ferrell popularized - let's find something dorky and look at characters who take it totally seriously - but 'Burt Wonderstone' can't decide if it wants to bury glitzy, cornball, Vegas-style magic or to praise it, resulting in a comedy that occasionally talks tough but ultimately reveals a bland, mushy center.
Our hero is introduced as an unpopular, bullied child; Lyle Workman's score goes into minor-key overdrive when poor little Albert (Mason Cook) gets beaten up on his birthday, only to come home to an empty house, a note from his working mom, a box of cake mix and one present. But that present turns out to be a magic kit endorsed by the legendary Rance Holloway (Alan Arkin), and the kid is hooked. (Any resemblance between Rance Holloway and Harry Blackstone Sr. is entirely intentional.)
Magic not only stimulates Albert's imagination, it's a way for him to bond with fellow outcast Anton, and the two become inseparable. A few decades later, they're headlining in Vegas with a show that spotlights their 'Magical Friendship' - except that off-stage, they're hardly speaking. Burt has become absurdly vain and pompous, and their show, while still popular, is stale and repetitive.
Stealing their spotlight is Steve Gray (Jim Carrey), a 'street magician' of the David Blaine-Criss Angel school, and while his shtick is more about self-mortification and less a matter of prestidigitation, audiences go wild for his TV show, 'Mind Rape.' Which leads to the Plexiglass-box incident, and after that goes awry, Anton leaves the act, leaving Burt to try to do the same show by himself, with no one filling in the other half of the dialogue.
Canned by hotel mogul Doug Munny (James Gandolfini), Burt is reduced to living in a shabby motel and entertaining at an old folks' home. (There's no transition from top of the heap to bottom of the barrel; the words 'Reno,' 'Laughlin' and 'Branson' are never spoken.) Will a chance encounter with the aged Rance Holloway help Burt get his magical mojo back?
Take a wild guess. Obviously, in a movie like this, it's about the journey and not the destination, but screenwriters Jonathan Goldstein and John Francis Daley ('Horrible Bosses') and director Don Scardino keep the proceedings mild when they could be wild. Worse, they assign each character one or two defining traits, and then we see them indulge those flaws over and over and over again until they're not remotely funny anymore.
Carrell and Carrey are operating in their wheelhouses with these absurd showmen, but they're hemmed in by the script's limited parameters and they quickly grow tedious. Their redundant cartoonishness becomes so wearying that Wilde and Arkin wind up stealing the movie by underplaying.
We know from 'The Prestige' and any number of other movies about magic that illusion is all about what you do while you're distracting the audience. It's too easy to look right through 'The Incredible Burt Wonderstone,' which means it can never really dazzle us.
LOS ANGELES (TheWrap.com) - Desperate for publicity, old-school Vegas magicians Burt Wonderstone (Steve Carrell) and Anton Marvelton (Steve Buscemi) decide to spend a week locked inside a plexiglass box suspended over the Vegas strip. 'Remember,' advises their assistant Jane (Olivia Wilde), 'all you have to do is nothing.'
It's a funny line, but one also suspects it was the production motto for 'The Incredible Burt Wonderstone,' a movie that always seems poised to deliver big laughs but, once the smoke and the pigeons clear, leaves you only with a mild chuckle or two.
The film falls squarely into the formula that Will Ferrell popularized - let's find something dorky and look at characters who take it totally seriously - but 'Burt Wonderstone' can't decide if it wants to bury glitzy, cornball, Vegas-style magic or to praise it, resulting in a comedy that occasionally talks tough but ultimately reveals a bland, mushy center.
Our hero is introduced as an unpopular, bullied child; Lyle Workman's score goes into minor-key overdrive when poor little Albert (Mason Cook) gets beaten up on his birthday, only to come home to an empty house, a note from his working mom, a box of cake mix and one present. But that present turns out to be a magic kit endorsed by the legendary Rance Holloway (Alan Arkin), and the kid is hooked. (Any resemblance between Rance Holloway and Harry Blackstone Sr. is entirely intentional.)
Magic not only stimulates Albert's imagination, it's a way for him to bond with fellow outcast Anton, and the two become inseparable. A few decades later, they're headlining in Vegas with a show that spotlights their 'Magical Friendship' - except that off-stage, they're hardly speaking. Burt has become absurdly vain and pompous, and their show, while still popular, is stale and repetitive.
Stealing their spotlight is Steve Gray (Jim Carrey), a 'street magician' of the David Blaine-Criss Angel school, and while his shtick is more about self-mortification and less a matter of prestidigitation, audiences go wild for his TV show, 'Mind Rape.' Which leads to the Plexiglass-box incident, and after that goes awry, Anton leaves the act, leaving Burt to try to do the same show by himself, with no one filling in the other half of the dialogue.
Canned by hotel mogul Doug Munny (James Gandolfini), Burt is reduced to living in a shabby motel and entertaining at an old folks' home. (There's no transition from top of the heap to bottom of the barrel; the words 'Reno,' 'Laughlin' and 'Branson' are never spoken.) Will a chance encounter with the aged Rance Holloway help Burt get his magical mojo back?
Take a wild guess. Obviously, in a movie like this, it's about the journey and not the destination, but screenwriters Jonathan Goldstein and John Francis Daley ('Horrible Bosses') and director Don Scardino keep the proceedings mild when they could be wild. Worse, they assign each character one or two defining traits, and then we see them indulge those flaws over and over and over again until they're not remotely funny anymore.
Carrell and Carrey are operating in their wheelhouses with these absurd showmen, but they're hemmed in by the script's limited parameters and they quickly grow tedious. Their redundant cartoonishness becomes so wearying that Wilde and Arkin wind up stealing the movie by underplaying.
We know from 'The Prestige' and any number of other movies about magic that illusion is all about what you do while you're distracting the audience. It's too easy to look right through 'The Incredible Burt Wonderstone,' which means it can never really dazzle us.
Wednesday, March 13, 2013
"Veronica Mars" movie? It could happen - thanks to Kickstarter
By Brent Lang
LOS ANGELES (TheWrap.com) - Fans have been craving a 'Veronica Mars' big-screen adventure ever since the cult series finished up its CW run six years ago.
Thanks to the power of crowd-sourcing, the youthful sleuth so memorably played by Kristen Bell may finally make her movie debut.
Bell and creator Rob Thomas have launched a Kickstarter page with the goal of raising $2 million in a month. If they get it, they say that Warner Bros., which owns the rights to the series, has agreed to pick up the cost of marketing and distribution if they're able to show enough fan interest.
'I am currently the happiest blonde in a hamster ball the world has ever seen,' Bell writes on the Kickstarter page. 'We have been waiting so long to make this movie dream a movie reality, and it's because of YOUR commitment, YOUR persistence, that we finally have a chance. We just have one more step to go. You have banded together like the sassy little honey badgers you are and made this possibility happen.'
And she promises that 'if we hit our goal, we will make the sleuthiest, snarkiest, it's-all-fun-and-games-'til-one-of-you-gets-my-foot-up-your-ass movie we possibly can.'\
For the uninitiated, the noirish 'Veronica Mars' followed an aspiring private investigator through high school and later college as she was tutored in the art of deduction by her detective father. It was never a ratings blockbuster, but it did inspire a passionate following.
Thomas said that if the goal is reached, the movie will be shot over the summer and post-production will happen in the fall, with a 2014 release date. Backers of the film will get digital copies within days of its release.
To entice fans to open their wallets, the 'Veronica Mars' team is promising set visits, premiere tickets, DVDs of the show's first three seasons and video greetings and voicemails from the cast. The size of the gift is dependent on the size of the donation.
So far it seems to be working. In less than 24 hours, the project has raised more than $400,000 from more than 5,000 backers.
LOS ANGELES (TheWrap.com) - Fans have been craving a 'Veronica Mars' big-screen adventure ever since the cult series finished up its CW run six years ago.
Thanks to the power of crowd-sourcing, the youthful sleuth so memorably played by Kristen Bell may finally make her movie debut.
Bell and creator Rob Thomas have launched a Kickstarter page with the goal of raising $2 million in a month. If they get it, they say that Warner Bros., which owns the rights to the series, has agreed to pick up the cost of marketing and distribution if they're able to show enough fan interest.
'I am currently the happiest blonde in a hamster ball the world has ever seen,' Bell writes on the Kickstarter page. 'We have been waiting so long to make this movie dream a movie reality, and it's because of YOUR commitment, YOUR persistence, that we finally have a chance. We just have one more step to go. You have banded together like the sassy little honey badgers you are and made this possibility happen.'
And she promises that 'if we hit our goal, we will make the sleuthiest, snarkiest, it's-all-fun-and-games-'til-one-of-you-gets-my-foot-up-your-ass movie we possibly can.'\
For the uninitiated, the noirish 'Veronica Mars' followed an aspiring private investigator through high school and later college as she was tutored in the art of deduction by her detective father. It was never a ratings blockbuster, but it did inspire a passionate following.
Thomas said that if the goal is reached, the movie will be shot over the summer and post-production will happen in the fall, with a 2014 release date. Backers of the film will get digital copies within days of its release.
To entice fans to open their wallets, the 'Veronica Mars' team is promising set visits, premiere tickets, DVDs of the show's first three seasons and video greetings and voicemails from the cast. The size of the gift is dependent on the size of the donation.
So far it seems to be working. In less than 24 hours, the project has raised more than $400,000 from more than 5,000 backers.
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