JeremyIrons Tagged Articles at Cinematical

If you like classic French movies like I like classic French movies -- and get a kick out of modern-day interpretations of same -- then check out the clips below. (Go ahead, I'll wait.) In their original incarnations, neither Curtis Hanson's 8 Mile nor John McTiernan's Die Hard: With a Vengeance scream out "50s!!! 60s!!!" or "France!!!," but, nonetheless, they're the type of clips, courtesy of Buzzfeed, that set the imagination soaring,

Fair warning: the fairly lengthy clips (almost four minutes each) are part of a viral campaign for Stella Artois beer. The marketing message is kept to a minimum. With 8 Kilometres, it's the idea of a rap battle taking place in a beatnik bar between two hepcats with a cool jazz band in the background, filmed in black and white. Instead of a heated war of words, it's more like a rather cordial exchange of philosophies. The lead actor is no Eminem, but who is?

Dial Hard moves the action to a colorful coastal city in 1963, with a perky tune playing in the background. Instead of Bruce Willis as McClane and Jeremy Irons as the evil bomber Simon, we get "Inspector Jean Meglain" playing a game of cat and mouse via telephone with "Simone." In this version, Inspector Meglain has a different set of priorities

After the jump: Dial Hard.

Okay, really this should be more of a top 100 list, so these seven are more "off the top of my head" than any kind of definitive selection. There are several kinds of Oscar snubs. There are talented actors, artists and filmmakers who have never been nominated, and others who have been nominated many times and never won. There are great films that received one or two nominations in minor categories (Vertigo, Singin' in the Rain) and great films that received none at all. The ones I've chosen here are the ones that, especially in retrospect, seem like the most obvious omissions.

1. Naomi Watts in Mulholland Drive (2001)
Watts did receive a nomination two years later for 21 Grams, though that was clearly a case of making up for this mistake. In 2001, no one gave a slyer or more canny performance, in any film, in any category. Watts not only plumbed the depths of her soul for material, but also stretched to two opposite extremes of the character's personality, making up the two parts of this great, enigmatic film. It was historically important that Halle Berry won the Oscar that year, but considering the other nominees: Renee Zellweger (Bridget Jones's Diary), Sissy Spacek (In the Bedroom), Judi Dench (Iris) and Nicole Kidman (Moulin Rouge), Watts' snub is a real head-scratcher.

News like this is what I wait for when writing about movie news -- announcements that merge so many good things that you can't help but get the tingle of excitement. The Hollywood Reporter posts that Julie Taymor is taking on William Shakespeare yet again, and with one starry-eyed and stellar cast. Strike that ... THE stellar cast.

This time around, we get The Tempest, but with a spin -- there's a bit of gender bending. Prospero, the deposed Duke of Milan who became a sorcerer, is getting a sex change so that Helen Mirren can play the part. The lovely Mirren will be joined by Jeremy Irons, who will play Prospera's brother Alonso, Djimon Hounsou, who will tackle Caliban, Russell Brand as the jester Trinculo, Alfred Molina, who will be the drunken Stephano, Ben Wishaw as the spirit Ariel, and Felicity Jones as Prospera's daughter, Miranda. Oh, but that's not all -- Geoffrey Rush is in negotiations to play Prospera's ol' ally and adviser, Gonzalo. Since things are being changed up a bit, here's how THR describes it: "Shakespeare's play mixes romance with fraternal politics and the supernatural. As revised for the screen, it will center around Prospera, her daughter Miranda (Jones) and a shipwrecked crew full of Prospera's enemies."

After seeing Taymor's Titus, I never dreamed another Shakespeare adaptation could compare, until now. I say this having seen every single one of Will's plays performed at least once, and thinking that Patrick Stewart's Prospero was practically untouchable. But now, with this cast? I'm in love.

But still, Taymor is changing things up, so sound off below: Taymor, gender-bending, and The Tempest -- yay or nay?

There's no question Appaloosa is a Western. It's set in 1882 in the New Mexico Territory, it has tin-star-wearing city marshals getting into gunfights with ornery cusses, it includes some scenes involving problems with Indians -- the whole nine yards. But underneath all that, it's really just a buddy movie, a rough-and-tumble, no-girls-allowed, steak-and-potatoes romp that happens to be set in the Old West. It's as much Don Quixote and Sancho Panza as it is Butch and Sundance.

The buddies are Virgil Cole (Ed Harris, who also directed) and his sidekick, Everett Hitch (Viggo Mortensen), an inseparable pair of freelance peacekeepers and expert gunmen. At the film's outset, they are hired by the dusty frontier town of the title to protect it from Randall Bragg (Jeremy Irons), a devious rancher whose band of ne'er-do-wells occasionally murders local citizens, including the previous city marshal. With Cole as the new marshal and Hitch as his deputy, the two set about enforcing law and order.

One of the town's new ordinances, under Cole's direction, is that you can't bring guns inside the city boundaries. He informs a couple of Bragg's men of this when they show up at the saloon one day.

"That's the law," Cole says.

"Your law," replies one of the men, scoffing.

"Same thing," Cole says. OH SNAP!

As the director, co-screenwriter and star of Appaloosa, Ed Harris follows up his Oscar-nominated work as an actor-director in 2000's Pollock with an adaptation of Robert B. Parker's novel, revolving around two old friends and partners (Harris and Viggo Mortensen) in 1882 New Mexico trying to enforce the rule of law in a town threatened by a corrupt power-broker (Jeremy Irons). Harris spoke with Cinematical in Toronto about working on Appaloosa, adapting Parker's novel, co-starring opposite Mortensen and how hard it was to find financing for a traditional Western like Appaloosa: "Pretty hard. I mean, it was very interesting; people really responded to the script, and if the budget for it had been half of what it was, we probably could have got it made pretty easily. ... But we needed the budget to serve the production values; it called for that. I didn't want to make a little intimate art-house film. I wanted to make something that respected the space that it took place in ... it deserves it; it calls for it; so, it was pretty tough; it was a real battle."

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I don't necessarily have a soft spot for westerns -- although 3:10 to Yuma, Seraphim Falls, and The Proposition certainly didn't hurt that cause -- but because we as moviegoers aren't exactly inundated with them, it always feels like they tend to have more effort and care put into them than most other genre fare.

Judging from the MSN exclusive trailer for the upcoming Appaloosa, this looks to follow suit as Ed Harris (who also directed and co-wrote the film) and Viggo Mortensen (for whom Harris played an adversary in A History of Violence) deal with lawlessness in a small town out west, while the widowed Renée Zellweger surely tempts them both.

Toss in a supporting cast that includes Jeremy Irons and Lance Henriksen (that reminds me, The Quick and the Dead merits mention as well), and the benefit of my doubt at least has been earned. Appaloosa is scheduled to play Toronto in September, followed by an October 3rd release.

All because they want to give some money to Music Matters, a non-profit group that supports music education for kids, Rhino Records is letting Ewan McGregor do horrible vocal things to cover Sade. Wow is that scary to type. McGregor's version of The Sweetest Gift is just one track on an album of "night-themed songs and lullabies" called Unexpected Dreams: Songs from the Stars, which Rhino will unleash on April 11.

A saving grace of the situation is that several of the stars - including Jeremy Irons, who will be singing Bob Dylan, and John C. Reilly, singing something called Lullaby in Ragtime - have legitimate musical backgrounds, and the rest of them were forced to work with a vocal coach before stepping into the recording booth. But, really. Can't Rhino just give Music Matters someone money without subjecting us to Teri Hatcher singing The Beatles? Is that too much to ask?