CharlieSheen Tagged Articles at Cinematical

Making unnecessary sequels and cashing in on current events are two of Hollywood's favorite things. So when an opportunity arises to do both at the same time, you better believe they're going to do it! Hence the long-rumored sequel to 1987's Wall Street, which Variety reports is being fast-tracked to capitalize on the stock market's new relevance in ordinary people's lives.

The sequel will focus on Gordon Gekko, the slick-haired, suspender-wearing corporate-raiding devil played by Michael Douglas in the original, newly released from prison as the sequel begins. Variety says 20th Century Fox intends for Douglas to star, though he hasn't signed on yet. But why wouldn't he? The last time he played this part, he got an Oscar for it, and it's not like he's super-busy making super-awesome movies these days. The sequel reportedly doesn't involve the Charlie Sheen character at all, which is probably just as well. The other one and a half men would get lonely without him.

The screenplay is being written by Allan Loeb, who wrote 21 and who also happens to be a licensed stock broker. He knows his greed and his card-counting and his shady gambling practices -- he sounds like a good fit. A director hasn't been assigned, but it's safe to assume it won't be Oliver Stone again.

Does any of this sound like a good idea to you? Yes, people are talking about Wall Street (the financial market, not the movie) again -- but they're talking about how much they hate it, and how angry they are at those greedy bastards for contributing to the economy's current screwed-up condition. The sequel is going to be a tough sale if it tries to make Gekko's "greed is good" mantra seem appealing or exciting again. On the other hand, if Gekko is humbled and chastened now, will he still be interesting? What direction do you think the Wall Street sequel should go?

"Well, this is the biggest depression since The Notebook." -- Paris Hilton

I'll be the first to bash Paris Hilton on any given day of the week, but I must admit these fake presidential videos starring Hilton have brought us one or three actual laughs. In her latest video, just posted over at Funny or Die (watch it after the jump), Paris Hilton is joined by one of our greatest fake presidents, Martin Sheen, as the two discuss what it takes to become the nation's next fake president. Both take on such issues as the economy, foreign policy (which Hilton calls FoPo) and Iraq. Toward the end even Charlie Sheen makes an appearance, but then bails to take in a jacuzzi. While I'm not so keen on the word 'president' being associated with Hilton in any way, shape or form, part of me wouldn't mind watching her host a debate. The girl has a larger fanbase than either candidate, and I'm sure she'll choose questions that keep them on their toes. "Prada or Gucci ... and why? Senator Obama, we'll start with you." What say you?

As Scott pointed out in his review, you need not fear that this week's Superhero Movie is another brainchild of Jason Friedberg and Aaron Seltzer, whose satanic perversions of the parody genre -- Date Movie, Epic Movie, Meet the Spartans -- have been terrorizing unsuspecting audiences every year since 2006. Superhero Movie was actually directed by Craig Mazin, a protégé of the Zucker-Abrahams-Zucker dream team responsible for Airplane! and The Naked Gun, and produced by David Zucker himself. But it, too, is plagued -- albeit to a much lesser degree -- by what's turning out to be the problem with the entire modern generation of spoofs going back to Scary Movie: relentless pop culture specificity.

The basest incarnations of this, of course, are the Friedberg-Seltzer monstrosities, which may be worthless as comedies but which could prove valuable to historians because they indicate precisely what dominated the American zeitgeist in the few months before their release. It's too generous to call these films' vulgar spasms "jokes," but to the extent that's what they are, they depend entirely on either audience members' awareness of US Weekly-type factoids such as Britney Spears' shaving her head or their recall of particular scenes and characters in recent box-office hits. That's not to say that these kinds of jokes can't be funny -- the problem with Friedberg and Seltzer, as others have pointed out, is that they think throwing something current on the screen ("Look, Paris Hilton!") constitutes humor. But they do limit comedies' universal appeal and staying power.

I just wanted you to know that I tried really hard to work in a crack about Denise Richards being thrilled about this particular headline ... but I've never really enjoyed cheap shots all that much, so I'll just leave it at that. Bloody Disgusting is now reporting that Charlie Sheen has been hired by Twisted Pictures to star in their new untitled horror flick. It was last April when the news first hit that the duo behind the Saw franchise were hard at work on a new story to gross out audiences with.

This one will center on a happy couple whose child is kidnapped and then killed by a pedophile. Unsatisfied with the results of the court system, the two decide to kidnap their son's killer and exact a little revenge of their own. The film had originally been titled Tortured, which is pretty self-explanatory, but it looks like Mark Burg and Oren Koules might have dropped the title to avoid confusion with an upcoming crime thriller starring Laurence Fishburne.

Rob Lieberman has already been hired to direct Marek Posival's script. Liberman has mainly worked in TV but he has directed a few features, including Fire in The Sky back in 1993. Posival is a relative newcomer and this will officially be his first feature film. Now that Saw is hopefully wrapping up for good, it will be nice to see Twisted Pictures try something a little different -- with maybe the exception of the odd musical.

John Hughes is a major hero of mine. I can't overstate the impact his movies had on me growing up, and he is a major influence on and inspiration to me now. As I mentioned in my National Lampoon's Vacation post today, there simply wasn't a better writer of film comedy in the 1980s. As far as his "teenager movies" go, 1986's Ferris Bueller's Day Off might just be his masterpiece. So it is with much apprehension that I report the following news -- there may be a sequel on the way. A completed script is being shopped around Hollywood, and Steve Spears at Stuck in the 80s has read it. So why am I not more excited? The reclusive Mr. Hughes had nothing to do with it. It was written by an Arizona-based screenwriter named Rick Rapier.

Titled Ferris Bueller 2: Another Day Off, the proposed sequel takes place on the eve of Bueller's fortieth birthday. Spears, a major Hughes enthusiast, calls Rapier's script "a blast. I read it in a single afternoon and was impressed with the care Rapier took with the original story and characters. The story has the same feel, humor and pace as the 1986 movie, which should please hard-core Ferris fans." The storyline finds Ferris 20 years older and living off a hugely successful self-help career, a la Tony Robbins. His best friend Cameron (played in '86 by Alan Ruck) manages the business. Turning 40 shakes Ferris up, and he decides to take the day off, "sending Cameron, his business associates and family into a frenzy." In addition to Ferris and Cameron, most of the supporting characters are in the script. Sloane Peterson (played in '86 by Mia Sara) is now "a Hollywood star going through a rough marriage." Ferris' sister Jeannie (Jennifer Grey) is now married to the guy from the police station (Charlie Sheen). Rooney (Jeffrey Jones) doesn't work for the school anymore, but has devoted his life to getting revenge on Ferris (What's he going to do at this point, murder him?). Even Ben Stein's character is in there, now working at an airline.

Rapier wants all the original actors to return, and he wants John Hughes to direct. I think the odds of that happening are mighty slim. For starters, Hughes has never directed a script he didn't write, and I strongly doubt he'd start by helming some random dude's take on one of his most beloved characters. In addition, Hughes hasn't directed a film since 1991's Curly Sue (the only bad film the man directed). Nobody wants Hughes to return more than me, but if a Bueller sequel was to be his comeback film, wouldn't he write it himself? I've been hearing rumors of a Ferris sequel for years (along with talk of sequels for Sixteen Candles, The Breakfast Club, Pretty in Pink...), and I had always heard Matthew Broderick was down for it -- if Hughes wrote and directed. So where does that leave Rapier's script? I sure hope we're not going to see some direct-to-video craptacular with Charlie Schlatter being pursued by Richard Riehle. Anybody remember this?

Twenty years have passed since 1987's Wall Street taught America that "Greed is good." The film won Michael Douglas a Best Actor Academy Award for his blistering performance as Gordon Gekko, a high-powered corporate raider. I re-watched Wall Street recently. It is definitely a product of the 1980's (ginormous cell phones, etc.) but still holds up, and has spawned a lot of imitators, like the very good Boiler Room. And now a sequel is on the way -- 20th Century Fox has just sealed a deal to bring the character of Gekko back to the big screen. At the end of Wall Street, Gordon Gekko had been busted with the help of his protege, played by Charlie Sheen. His fate was left up in the air, but the sequel confirms that he went to jail. The new film will take off with Gekko out of jail and "resuming his machinations on a global scale in the hedge-fund era." The title will be Money Never Sleeps -- which is one of Gekko's mottos.

Douglas is returning to the role and as for Gekko, he says "I don't think he's much different. He's just had more time to think about what to do." The new film's writer, Stephen Schiff (The Deep End of the Ocean, True Crime), says Gekko will be restyled and might just have an influence on big business fashion all over again -- "If you weren't wearing suspenders before Wall Street, you were certainly wearing them after." (I hate to contradict the man, but I've never worn suspenders in my life). Master of machismo Oliver Stone co-wrote and directed the original Wall Street, but will not be back for the sequel, despite having been begged for months by Douglas and Schiff. Schiff doesn't think Bud Fox, Charlie Sheen's character, will return either, and that surely rules out Martin Sheen as well. Remember that scene in Hot Shots! Part Deux where Martin and Charlie Sheen pass each other on the river, point, and yell "I loved you in Wall Street!" That was hilarious.

According to a story that originally ran in the New York Post last week, Charlie Sheen and Esai Morales are in talks to bring the real-life story of William Rodriguez to the big screen. Rodriguez was working as a janitor on 9/11 and had the only available master key to the WTC complex when the first plane struck. Thus, the 20-year veteran helped firefighters evacuate the north tower by traveling alongside them, unlocking doors and saving lives.

In an interesting twist to the Rodriguez story, the hero later turned around and slapped a lawsuit on President Bush claiming the Commander in Chief orchestrated the 9/11 attacks in order to justify wars in Afghanistan and Iraq. Not surprisingly, the lawsuit was dismissed and will not be mentioned in the film. Also involved in the project is writer-director David Marconi, though I must stress that nothing here is official. Is it just me, or do you also think Hollywood should take a bit of a break from the 9/11 films? Ya know, we wouldn't want to cash in on a "hot topic," right?

[via Movie Blog]

(Welcome to a new weekly feature at Cinematical, Guilty Pleasures, where our staff of writers will offer short pieces on the movies that they feel just that little bit ashamed about loving.)

I once, at a panel, heard San Francisco Chronicle writer Neva Chonin say one of the smartest things I've ever heard about pop culture: She was talking about music, and how the most amazing thing about it was that it could give you a different perception of time -- that when you heard a song you loved, it took you back to all the times you'd experienced it, and gave you a chance to experience time in a non-linear fashion. So it is with movies, and for me, Red Dawn. Red Dawn came out in 1984. I was 15; Reagan-era Cold War anxieties had me twitchy (or, rather, twitchier), and my membership in The Royal Canadian Air Cadets -- teen-age Boy Scouts with planes and the occasional trip to the rifle range -- gave me a social context of like-minded youth. There was a Cold War, but what if it went hot? What would that be like?

And then Red Dawn came out. Forget that to anyone with a shred of logic in their capacities, the film was laughable -- The Soviets would send crack paratroopers to capture the heartland? What resource were they hoping to seize, flatness? -- when you're 15, your critical faculties are, at best, minimally developed. Red Dawn had a bunch of every-kids -- Charlie Sheen, Patrick Swayze, C. Thomas Howell and more -- dealing with the arrival of the Red Menace. The film had action; it had suspense; it had gritty (or, at least, gritty by the standards of a 15-year-old) questions of wartime justice and tactics. It had hissable villains, too -- swarthy, stoic Cubans (led by Ron 'Superfly' O'Neal, which I wouldn't fully appreciate for years) and pallid, vampire-like Russkie bastards. It was, in short, perfect.

Times have changed; politics have changed; most cruelly of all, Charlie Sheen has changed. And yet, when I stumble across Red Dawn on cable -- where it will live forever -- I'm drawn in magnetically, fighting and struggling alongside the Wolverines and Powers Boothe, hooked by a premise so iron-strong and idiotic that it shoves me over every plot hole, every logic fault and every snag in John Milus' dialogue. Watching Red Dawn in the here-and-now, my 'adult' mind may recoil, but my heart -- and that skinny, dorky 15-year old, terrified of Nuclear War -- is enraptured by the power of cheap drama and cheap heroics that, God help me, still work on some level.