emily mortimer Tagged Articles at Cinematical

These people just landed a part in a movie and you didn't:

Sorry boys, but Jessica Alba has officially become a math nerd. Oh yes, Variety tells us the actress has signed on to star in An Invisible Sign of My Own, based on the book by Aimee Bender. Marilyn Agrelo (Mad Hot Ballroom) will direct the flick, which follows a woman who becomes obsessed with numbers and math ... and then lands a gig as a second-grade math teacher. Hot, steamy gratuitous love-making scene not included.

Val Kilmer has decided he needs more action in his life, as the dude has hopped onboard the crime thriller Fake Identity for Nu Image/Millennium Films. The film, to be directed by Dennis Dimster-Denk (or Triple D, as I like to call him), tells of a doctor (Kilmer) who, while working in Chechnya, helps a woman escape from her would-be assailant and then watches a whole movie's worth of crazy stuff happen to him. (Variety)

I know, I've totally been waiting for Michael Caine to kick some serious ass too! Luckily, Variety tells us the actor has joined the British crime thriller Harry Brown. Who's Harry Brown, you ask? Well, he's an "elderly former serviceman drawn to vigilantism while living in a run-down 'burb rife with gangs, guns and drugs." Daniel Barber directs, while Emily Mortimer co-stars as a policewoman. And LL Cool J raps ... "Caine gonna knock you out ..."

Some news bites for your Friday:

• There's a new drama that's begun production called Saint John of Las Vegas, and Variety reports that it has collected a pretty sweet cast -- Steve Buscemi, Romany Malco, Emily Mortimer, Tim Blake Nelson, John Cho, Emmanuelle Chriqui, and Peter Dinklage. Said to be loosely based on Dante's Inferno, of all things, and written by new scribe Hue Rhodes, Buscemi stars as "an ex-gambler who's under the tutelage of a maverick insurance fraud investigator (Malco)." I'm not quite sure how that works, but you can be sure that there'll be a lot of struggle and vice. And John Cho in a drama? Will he finally be breaking out of his usual comedic gigs?
• In other news, that untitled parkour pic that I mentioned back in February of 2007, starring Channing Tatum, is still in the works. Variety reports that New Line is finally shooing the project into production early next year, with Richie Smyth making his feature directorial debut. The film is said to be about a NYC cop who has to infiltrate a group of parkour-loving bank robbers. Does this mean Tatum has to learn himself some parkour? And I still want to know: Will David Belle be involved?

With the much buzzed-about Transsiberian expanding to Los Angeles this Friday, August 8th, Cinematical has been given an exclusive clip from the film for you to check out. Above, watch as Ben Kingsley, Emily Mortimer and a four-eyed Woody Harrelson discuss the advantages and disadvantages to living in the old U.S.S.R. while on a Trans-Siberian train ride from China to Moscow. Eventually, our young American couple (as played by Mortimer and Harrelson) will meet another couple and find themselves entangled in a web of drugs and murder. Cinematical's Jeffrey M. Anderson says Transsiberian "is more like a classic thriller in the Hitchcock vein, even taking place on a train as many of Hitch's films did." And speaking of Jeff, he's been all over this one -- check out his review over here, as well as interviews with both director Brad Anderson and star Emily Mortimer. Word of mouth is very good for this one (85% on Rotten Tomatoes), so definitely check it out when the film arrives in your neck of the woods.

Here's the current release schedule:

Aug. 8
Los Angeles (see theater list below)

Aug. 15
Chicago
Washington DC
San Francisco

Aug. 22
San Diego
Atlanta
Denver
Houston
Dallas
Seattle

Aug. 27
Minneapolis

The whole idea of secret children who come out of the woodwork is challenging as it is. Should the secret be revealed, or should it stay hidden? How do you make up for lost years? How do you integrate them into the family? Now, imagine that you're part of the law, and you find out that your secret kid is in jail. That's the basic idea behind a new indie comedy called City Island, and The Hollywood Reporter has posted that Julianna Margulies, Emily Mortimer, and Alan Arkin have joined the cast.

Andy Garcia had previously signed on to play Vince Rizzo, "a Bronx prison official who realizes that an inmate (Steven Strait) is his secret love child. His efforts to become his guardian lead to comic complications." Marguiles is taking on the role of Garcia's wife, and it seems that the man is also looking to become an actor because Arkin will play a teacher in the acting class, and Mortimer will be a fellow student he becomes friends with. Garcia's real-life daughter Dominik Garcia-Lorido will play his daughter, and Ezra Miller has also nabbed an undisclosed part.

I really don't know how all of this acting works into prison officials and long-lost bad boy sons, but we should see soon enough. The film went into production this week in the Bronx.

This never occurred to me before, but "train" movies are a really interesting sub-genre. You could program an entire two-week film festival of train movies, from comedies (The "Three Stooges" shorts, The General, The Darjeeling Limited) to suspense movies (James Bond, Strangers on a Train, Murder on the Orient Express, Runaway Train) and tons of others. It's the perfect setting for a movie: it's a limited space, but long -- for chases -- and it moves through the frame as opposed to sitting still like a hospital room or a warehouse. Plus, unlike an airplane, there are plenty of beautiful views going by outside. And so, if the train movie is a genre, it follows that it needs a solid genre director to add another potential classic to the list.

Brad Anderson (no relation to me, by the way) is such a director. Like Howard Hawks or Billy Wilder, he has been able to effortlessly leap between dark, genre films (Session 9, The Machinist) and romances (Next Stop Wonderland), and even weird combinations of the two (Happy Accidents). His films may not reach the pinnacles of great art, but each and every one of them represents a good, sturdy, entertaining example of sheer, joyful craftsmanship. Anderson's fifth feature (not counting his early, hard-to-find The Darien Gap) is Transsiberian, a film that I would be proud to add to the list of recommended train movies. The title train runs from Beijing to Moscow and crosses through some pretty remote, snowy terrain; it's a great place for something devious and sinister to happen. (The 1973 Peter Cushing / Christopher Lee film Horror Express took place on the same train!)

Emily Mortimer, 36, first popped onto the radar as Hugh Grant's only decent bind date in Notting Hill (1999). She couldn't compare with movie star Julia Roberts, but she had a cute, unassuming quality; she could grow on you. And she grew on moviegoers throughout the rest of the decade, in Wes Craven's Scream 3 (2000), Kenneth Branagh's Love's Labour's Lost (2000), Stephen Fry's Bright Young Things (2003), Woody Allen's Match Point (2005) and David Mamet's recent Redbelt, as well as switch-hitting between oddities like The Pink Panther and Lars and the Real Girl. If she once had a sweet, shy quality, she eventually shattered it by appearing naked -- and hugely vulnerable -- in Nicole Holofcener's Lovely & Amazing and brandishing a big gun and an even bigger attitude in Ronny Yu's Formula 51. Her role in Brad Anderson's new thriller Transsiberian -- co-starring Woody Harrelson and Ben Kingsley -- draws on all that experience. She plays Jessie, a former bad girl now doubtfully married to a church-going, happy-go-lucky train nut. After a peace mission in China, they take the title train and wind up entrenched in drugs, murder and other unforeseen troubles. The charming Ms. Mortimer recently spoke to Cinematical in an all-too-brief, yet enjoyable phone conversation.

His namesakes Paul Thomas Anderson and Wes Anderson made immediate genius debut splashes on the movie scene, but Brad Anderson, 43, has taken a slower, more indirect route, one more like the long, steady careers of John Ford and Howard Hawks. (By the way, none of these Andersons are related, and I am not related to any of them.) Brad Anderson has turned into a solid, dependable genre director, highly skilled and capable of making any kind of movie. Unlike most filmmakers today, his films are based on ideas, stories and characters rather than marketing concepts, and so they tend to hold up well past their sell-by date. So far they include the romantic comedy Next Stop Wonderland (1998), the sci-fi romance Happy Accidents (2000), one of the decade's best horror films, Session 9 (2001) and the haunting The Machinist (2004).

Opening July 18, Anderson's new film Transsiberian is more like a classic thriller in the Hitchcock vein, even taking place on a train as many of Hitch's films did. Woody Harrelson and Emily Mortimer star as American couple Roy and Jessie, on their way back from China and taking the famous train. Ben Kingsley also stars as a Russian narcotics detective. Roy and Jessie meet a younger, traveling couple, Abby (Kate Mara) and Carlos (Eduardo Noriega), and find themselves entangled in a web of drugs and murder. Normally, the man is the hero in this type of story, but this time it's Jessie, a reformed "bad girl" making a go of it in her marriage with the simple, happy Roy (a train nut). Cinematical recently enjoyed a brief phone conversation with Mr. Anderson, and that's where we began:

A confession: I have a downright unnatural willingness to laugh at a) people falling down, and b) people being hit by things. I think it's among the highest forms of humor. So it shouldn't surprise you to learn that I consider The Pink Panther -- the Peter Sellers version -- a national treasure. It may surprise you a bit more to learn that I thought the 2006 Steve Martin/Shawn Levy version was reasonably watchable. But, I mean, what did you expect from someone who adores a well-timed pratfall?

Sony has posted a teaser for the sequel here. The Pink Panther 2 is directed by Harald Zwart (Agent Cody Banks and the underrated One Night at McCool's), and has Steve Martin's Inspector Clouseau team up with a bunch of similarly bumbling international detectives to track down a thief of historical artifacts. In addition to the first film's Jean Reno and Emily Mortimer, it will also co-star Andy Garcia, Alfred Molina, Aishwarya Rai, and John Cleese (who's taking over for Kevin Kline). I don't know how I feel about Clouseau being placed among similar nincompoops -- part of the franchise's appeal is the way its protagonist is sort of an island of incompetence. But the teaser did get a chuckle out of me, if only for the look on Martin's face after pronouncing "Well then, I'll just go back home."

Did I mention that I also find bad French accents very funny?

When David Mamet's Redbelt was announced, the initial simple summary seemed bizarrely incongruous: A noted playwright and dramatist making a film about martial arts? But while Redbelt involves the worlds of Jiu-jitsu and mixed martial arts, it's really just another way for playwright, screenwriter and director Mamet to look at the world. As martial arts instructor Mike Terry (played by Chiwetel Ejiofor) is taken from his noble (but underfunded) studio and plunged into the greed and glitz of Hollywood and commercial fighting.

As Mike tries to hang on to the things that matter to him in a world that dismisses honor as unprofitable, Mamet's script and direction create a film that somehow puts a philosophical twist on traditional fight films while also embodying everything we love about them. Cinematical spoke with Mamet and Ejiofor in Los Angeles.

One of the challenges of being a great artist is that not all of your art is going to be great. The Beatles wrote several songs that lesser acts would have turned into careers, but that nonetheless lack the power of "Yesterday" or the joy of "I Wanna Hold Your Hand"; George Orwell's The Road to Wigan Pier is an excellent work of journalism, but not nearly as good as Homage to Catalonia. Redbelt, the latest film from writer-director David Mamet, is not as impressive or thought-provoking as some of his other dramatic works, like Glengarry Glen Ross or House of Games or Oleanna; at the same time, it's an exciting, engaging mix of drama and action supported by an immensely appealing lead performance by Chiwetel Ejiofor (Dirty Pretty Things, Children of Men).

Redbelt's subject and setting may make it seem incongruous -- Why is one of America's greatest playwrights making a film about mixed martial arts and Jiu-jitsu? -- but it's actually in keeping with Mamet's other recent entertainments like Spartan, his work as a co-creator of The Unit and his pseudonymous work on the screenplay for Ronin. Redbelt fits in with these projects: They have a kind of heroic stoicism under them; they're stories of honorable men in a dishonorable world. They've all got a kind of muscular poetry, too, a hard-bitten nobility that's still a little sad about the edges.