amy heckerling Tagged Articles at Cinematical

A whole bunch of casting rumors have arrived online this week, pushing some, like CHUD's ever-vocal Devin Faraci, to write an editorial-ish piece on why we shouldn't really be paying too much attention to these rumors because, well, they're rumors. And while your parents may have told you that rumors come from a stork who brings them in its mouth and drops them off on your pillow, the reality of the situation is that rumors can start from just about anywhere -- whether it's something overheard by some blabbermouth low-level assistant at an agency or something that's completely fabricated for more internet traffic (I'm looking at you The Sun and The Daily Express!), these days it's really hard to tell. That being said, rumors can be fun because they foster discussion and get those inner studio exec wheels turning in our brains, so here are a few making the rounds right now.

Spider-Man 4
Who: Julia Stiles
Role: Unknown, though with recent information somewhat confirming that Black Cat will be a character, folks are assuming she tried out for that part.
Source: UGO are the ones claiming Stiles met with a casting company in New York City to discuss joining the film in some capacity.
Our Thoughts: Stiles has been in a lot of films throughout her career, though she's dabbled in the big-budgeted before playing Jason Bourne's sidekick in all three Bourne movies. Thus, she definitely brings enough bad-assery to play a Spidey villain, and also enough sincerity to play a Spidey ally. Good choice for Black Cat in my opinion.

I hope you don't hate vampires, because they don't seem to be going anywhere. Now Amy Heckerling, the woman behind Fast Times at Ridgemont High and Clueless, is getting in on the bloodsucking. According to Screen Daily, Parlay Films has grabbed the international rights to an upcoming romantic comedy called Vamps, that Heckerling will write and direct.

"The film will be a modern-day tale of two young female vampires living the good life in New York until love enters the picture and each has to make a choice that will jeopardize their immortality." Krysten Ritter will star as one of the lead vamps, and they're still searching for the other bloodsucker. This marks a big jump from the actress, who has moved from bubbly side gigs on shows like Gilmore Girls and Veronica Mars to some cinematic supporting roles, a lead gig in the web series Woke Up Dead, and now her first starring film job.

Perhaps I'm being overly hopeful, but it's time for Heckerling to bring us her next comedy classic, and I'm hoping this is it. There was a 13-year span between Ridgemont and Clueless, and it's been 14 years since Cher found love with Josh, so could this be the next Heckerling extravaganza we won't want to heckle? Or, just another project in an oversaturated market?

While skimming my feeds, I came across a post at THR about a Stanley Kramer celebration called "Films That Changed the World." It immediately got me thinking of world-changing cinema, and how much a film can impact us. But try as I might, I couldn't come up with films that changed my world, and instead, kept going back to the story. See, this new series is celebrating the films connected with the iconic filmmaker that were socially conscious. First up: Yentl.

It wasn't so much the film that kept grabbing me, but a quote by Kramer's daughter, Kat: "The history-making film, the first major studio production ever produced, directed and co-written by its female star, shattered Hollywood's glass ceiling like no other film ever did." I wish I could say that it shattered that glass ceiling. If it did, we wouldn't have such abysmal percentages of women in the industry -- both in it and writing about it. Last year, 25 years after Yentl, women didn't even hit 20% of all directors, producers, writers, and the rest of the big behind-the-scenes roles in the industry. We couldn't even hit 10% of all directors. Not even a quarter. Not even a tenth.

That's not a shattering of the glass ceiling, it's a crack in the glass that few women survive when they try to pull themselves through. It's monumental when a woman directs a big, supernatural romance (Twilight), and sadly not surprising when she's then pulled from it. More specifically, it was monumental for a woman to helm it from the pens of other women, even though the film is geared towards the girls itching for a little dark, vampiric action. Women directing for girls? Shocking!

The only way to stretch that crack, and just possibly create that shattered ceiling Kat Kramer was talking about is to do it again. And again. And again. Sadly, it can't just be with solid, noteworthy work. For every wonderful Protagonist, there needs to be a ceiling shake by Amy Heckerling, or a solid kick by Kathryn Bigelow, or Mary Harron -- blockbusters, hits, action, and horror that prove we're not all clumsy romance fiends and fashion victims. It's a fact that seems to be forgotten much too often.

I was assigned to review I Could Never Be Your Woman last year about this time, but the theatrical release date was pushed back at the eleventh hour. The movie then had a fall release date ... which also vanished. Now this romantic comedy starring Michelle Pfeiffer and Paul Rudd and written/directed by Amy Heckerling has gone direct to DVD with no U.S. theatrical release at all. You'd think this must mean the movie is a real stinker, but that's not the case. (Entertainment Weekly has an interview with Heckerling that tells the story behind the release problems, which seem to be grounded in financial and distribution snafus.)

I Could Never Be Your Woman is almost an entertaining, lightweight comedy, except for one flaw: its message is about as subtle as those in a Disney sports movie. Rosie (Pfeiffer) is a 40-year-old TV writer/producer who fears she is growing too old for her job, and too old and ugly for romance. When she falls for Adam (Rudd, who was in Heckerling's Clueless back in 1995), who auditions for a bit part on her show, she continually tries to halt the relationship because the age gap worries her so much. The young people all seem to be jeering at her; the old guys get to be fat and jerky and have no trouble finding work or attractive partners. Meanwhile, her teenage daughter Izzie (Saoirse Ronan) has just started being interested in boys, and she is suffering from body issues too.

The hills are alive with the sound of Griswold! This s**t's been around for a very long time!

-- Clark W. Griswold (Chevy Chase)

I'm reviewing all the films in the Vacation series over the next couple weeks, and in preparation I've been re-watching each of the movies. I thought I'd be able to save myself some time and skip National Lampoon's European Vacation, as I just saw it again a couple of months ago. Then I took a seat at the computer and realized I couldn't remember a damn thing about the film. I saw it a few times growing up, I saw it very recently, and yet nothing was sticking out in my mind. European Vacation is that kind of movie -- not terrible necessarily, just instantly and powerfully forgettable.

The movie would seem to have everything going for it. Sure, Harold Ramis was out as director, but was replaced by the great Amy Heckerling (whom I recently saw at an Elvis Costello concert, which earns her unlimited cool points even without the movie career). Heckerling was hot off the excellent Fast Times as Ridgemont High and the cult favorite Johnny Dangerously, and seemed a perfect fit for the material. John Hughes returned to flesh out the story and co-write the script. Chevy Chase and Beverly D'Angelo were reprising their classic roles.

So why is European Vacation so completely underwhelming? I intended to start each Vacation entry with a memorable line from the film, and it took me forever to pick a decent one for European. Where is Hughes' sparkling, endlessly quotable dialogue?