• Joseph Gordon-Levitt (Don Jon) is nearing a deal to produce a big screen adaptation of Sandman and is rumored to be in talks to direct and star in the comic book adaptation as the character Morpheus. David S. Goyer (The Dark Knight) is penning the adaptation of Neil Gaiman’s classic graphic novel for Warner Bros. Gordon-Levitt can be seen next in Sin City: A Dame to Kill For (out Aug. 22, 2014). [Deadline; BadassDigest]
Tag: Joseph Gordon-Levitt (11-20 of 65)
When Sundance announced the films in competition for the 2014 festival yesterday, its organizers noted that they were impressed by the caliber of cinematic artistry — mostly due to technology — that freed up filmmakers to experiment with different genres. No category of the festival is more rooted in genre than Park City at Midnight, the late-night section that specializes in horror and the supernatural, and this year’s slate has several potential breakouts. “The Midnight lineup came together in a way that is about the strongest group we’ve ever had, top to bottom,” says Trevor Groth, Sundance’s director of programming. “I think a lot of those films are going to be real hot acquisitions — titles like Dead Snow 2, The Guest, Cooties. I think all of those are going to be big business, because they work on such great, fun genre levels.”
In addition to the Midnight movies, Sundance also announced lineups for its Spotlight, New Frontier, and the inaugural Sundance Kids sections on Thursday. One highlight in the eclectic Spotlight category, which features extraordinary films that may have previously played a festival or two elsewhere, is Locke, the real-time thriller starring Tom Hardy from Eastern Promises writer Steven Knight. “This is Tom Hardy in a car the entire time, speaking on a phone…as his world crumbles around him,” says Groth. “The dimensions of story that they weave into it, both through his performance and the dialog, is truly remarkable. It was one of the more unique watches we had this entire process.”
The New Frontier section welcomes back Joseph Gordon-Levitt and his hitRECord franchise. He launched the collaborative art project at Sundance in 2010, has returned for live shows since, and now has hitRECord on TV, a new kind of variety show that invites anyone with an Internet hook-up to join the fun.
Another interesting entry in that section is The Better Angels, the Abraham Lincoln movie about the women who steered him as a child toward his destiny, starring Jason Clarke, Diane Kruger, Brit Marling, and Wes Bentley. If it seems like an odd fit with New Frontier on paper, Groth explains that isn’t the case. “It’s a very artful approach to telling the story,” he says, pointing out that writer/director A.J. Edwards edited Terrence Malick’s last film, To the Wonder. “New Frontier is a section for ‘art’ and innovative storytelling, and A.J. tells this story in a very lyrical, poetic way. The audience’s expectation for having it in New Frontier will be, I think, the best way of having that film seen. When you read it on paper, it feels very straightforward: It’s Lincoln as a boy. But it ends up being much more meditative and experiential than that.”
Click below for a complete lineup of recently announced films. More categories, including Sundance Premieres, will be unveiled on Monday. The Sundance Film Festival runs Jan. 16-26.
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The superhero-industrial complex seems to want Joseph Gordon-Levitt in a cape, but the Don Jon star, who was left with the keys to the Batcave at the end of The Dark Knight Rises, apparently isn’t on the verge of donning a crime-fighting costume any time soon. Variety had reported on Monday that Gordon-Levitt was a frontrunner — along with Paul Rudd — for the role of Ant-Man in director Edgar Wright’s take on the Marvel hero that already has a July 31, 2015 release date. But the 32-year-old star tells the French edition of the Huffington Post that people shouldn’t believe everything they read. “You know I’m very transparent when there is news in my career,” he said. “I’m always the first to tell my fans if there’s really something happening, so if you don’t hear it from me, it’s just people spouting out rumors.”
He also told the French-language AlloCine outlet that reports that he’d passed some Ant-Man tests were false.
Technically, semantically, everything Gordon-Levitt reportedly said is not exactly a denial about his potential involvement in the project. But maybe Rudd now has a slight edge?
Box office report: 'Cloudy With a Chance of Meatballs 2' rolls past 'Rush', 'Don Jon' with $35 million debut
Four years after the original Cloudy With a Chance of Meatballs stormed theaters, Sony’s $78 million sequel Cloudy With a Chance of Meatballs 2 topped the chart once again, earning $35 million in its first weekend. The film opened in an ultra-wide 4,001 theaters, and it notched a strong $8,748 location average.
The first Cloudy scored $30.3 million in its debut frame on the way to a $124.9 million finish. Most prognosticators were expecting Cloudy 2 to finish above the $40 million mark — in the same range as Sony Pictures Animation’s Hotel Transylvania, which opened last September with $42.5 million, the best September debut in history. Cloudy 2 finished a bit below that, but it still notched the fourth best September bow of all time behind Transylvania, Insidious Chapter 2 ($40.3 million), and Sweet Home Alabama ($35.6 million).
The film benefited from a lack of animated competition in the marketplace. Planes, the last animated title to hit theaters, debuted nearly two months ago, and moving ahead, Cloudy should endure quite well due to a dearth of family films in October. The next kiddie flick entering theaters is the Thanksgiving-themed Free Birds on Nov. 1. Thus, Cloudy, with its “A-” CinemaScore grade, should have no trouble playing to parents and children for weeks to come.
Last weekend’s champion, Prisoners, locked up another $11.3 million in its second frame, with a 46 percent drop from its $20.8 million debut last weekend. Warner Bros.’ $46 million revenge thriller, which stars Hugh Jackman and Jake Gyllenhaal, has now earned $39 million. Despite great reviews, though, the drama is facing serious competition from other well-reviewed adult fare such as Rush and Don Jon (and next weekend’s Gravity), which could limit its final box office potential.
That said, Ron Howard’s Formula One racing drama Rush raced off with a rather lackluster $10.3 million in its expansion from five theaters into 2,297 locations. The Universal-distributed film, which stars Chris Hemsworth and Daniel Brühl, marks a major decrease from Howard’s last sports drama, Cinderella Man, which punched up $18.3 million in its 2005 debut. For Hemsworth, Rush (obviously) started off slower than both Thor and The Avengers, but it also under-performed compared to his non-superhero vehicles The Cabin in the Woods ($14.7 million) and Red Dawn ($14.3 million). The film will need great word of mouth to drive it to profitability, and given its strong “A-” CinemaScore, it may achieve that. Also working in Rush‘s favor? Its relatively low $38 million budget.
Two newcomers rounded out the Top 5, though both finished the weekend with rather lackluster totals. The Paula Patton-starring romantic comedy Baggage Claim flew away with $9.3 million from 2,027 theaters, while Joseph Gordon-Levitt’s porn-addiction comedy Don Jon pulled in a more tepid $9 million from 2,422 theaters. Baggage Claim‘s “A-” CinemaScore grade suggests it could find an audience in the weeks to come, though Don Jon’s weak “C+” grade may signify challenging word of mouth (despite strong reviews) down the road. Fortunately, Don Jon cost only $6 million to produce, so it should turn a nice profit for Relativity. Fox Searchlight did not disclose the budget for Baggage Claim.
1. Cloudy with a Chance of Meatballs 2 – $35 million
2. Prisoners – $11.3 million
3. Rush – $10.3 million
4. Baggage Claim – $9.3 million
5. Don Jon – $9 million
Further down the chart, Eugenio Derbez’s Spanish-language comedy Instructions Not Included scored another $3.4 million from 948 theaters, for a remarkable $38.6 million cumulative total. The film surpassed Pan’s Labyrinth ($37.6 million) this weekend to become the highest-grossing Spanish-language film in U.S. box office history. It’s a major winner for young distributor Pantelion, a joint venture of Lionsgate and Mexican media company Televisa.
This weekend, Sandra Bullock’s ultra buzzy sci-fi thriller Gravity floats into theaters — as does the rather unbuzzy Justin Timberlake-Ben Affleck thriller Runner Runner. Check back to EW to see how both films fare at the box office.
Box office update: 'Cloudy With a Chance of Meatballs 2' wins Friday with $9.3 million; 'Rush' races into second place
Sony’s $78 million sequel Cloudy With a Chance of Meatballs 2 pulled in $9.3 million on its Friday debut, putting it at the top of the box office. The film will easily outgross the original Cloudy With a Chance of Meatballs‘ $30.2 million debut, though it will likely miss the $40 million mark that most prognosticators assumed it would reach this weekend. Cloudy 2 should make it rain to the tune of about $35 million.
In second place, Ron Howard’s Formula One racing drama Rush drove away with $3.7 million on Friday after expanding from five theaters into 2,297 locations. The film, which stars Chris Hemsworth and Daniel Brühl, should score about $11 million this weekend — a big step down form Howard’s last sports drama, Cinderella Man, which punched up $18.3 million in 2005. READ FULL STORY
Don Jon, Joseph Gordon-Levitt’s feature directorial debut in which he also stars, hits theaters today. When EW’s current coverboy stopped by Entertainment Weekly Radio (SiriusXM channel 105) to talk with editor Jess Cagle about his career, he spoke not only about the Sunny Jim peanut butter commercial that began it at age 6, but also about filming a guest spot on Quantum Leap (pictured) when he was 11 — in an episode that its star, Scott Bakula, directed. Listen to Gordon-Levitt explain why those two memories stick out for him in the clip below, and you’ll understand exactly why he grew up to be a man who wears so many hats. READ FULL STORY
It was summer of 2011, and Joseph Gordon-Levitt arrived in New Mexico hoping to catch a Black Widow.
The actor had arranged a meeting with Scarlett Johansson, who was in Albuquerque filming The Avengers, and though he played it casual, this encounter would be a critical part of getting his first film as a writer-director off the ground. The two had crossed paths before, but didn’t know each other well. He was hoping she would take a chance on him.
This is how he won her over for the sexy satire Don Jon, which opens today, starring the two of them as a young New Jersey couple who are dazed, confused, and underwhelmed by their own fantasies.
In the R-rated comedy Don Jon, opening Sept. 27, Joseph Gordon-Levitt plays a twentysomething New Jersey gym rat and self-styled ladies’ man whose ability to maintain normal relationships with women is hampered by his obsession with online porn. While his girlfriend, played by Scarlett Johansson, swoons for the fantasies on display in Hollywood romantic comedies, Jon (Gordon-Levitt) wonders how the flesh-and-blood women he meets can ever measure up to the virtual vixens on his computer screen. If this sounds like pretty racy subject matter for a mainstream movie—well, it is. But Gordon-Levitt, who wrote and directed Don Jon, says he was interested in exploring how the media shapes our perceptions and expectations. “Pornography is a huge, huge part of our media culture,” he tells EW in this week’s cover story. “The message Don Jon is trying to bring to light—and make fun of—is reducing people, especially women, to nothing but sex objects.”
Unless you happened to take a strict vow of celibacy around 1991, you know that the Internet is, to a large extent, one massive porn delivery system. By one recent measure, 30 percent of all data transferred across the web is some form of pornography, and porn sites attract more unique visitors each month than Amazon, Twitter, and Netflix combined. What no one is quite sure about, though, is what effect this is having on us—and, in particular, on the generation of people reared in the Internet age. What kind of influence has growing up in an era of instantly accessible online porn had on men—and, for that matter, women—who are now in their 20s? Just how many real-life Don Jons out there are wrestling with the impacts of their porn use? READ FULL STORY
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