John-Locke wrote:Just Wait until John Cena (WORD LIFE) gets thrown onto the scene by WWE Films, He's got a film called "The Marine" which is basically another Walking Tall remake, and if that goes well I heard WWE are planning on remaking Predator with an all WWE cast.
Bill Simmons wrote:Before Steve McQueen, Hollywood didn’t produce action movies in the modern sense. You never saw John Wayne trapped on a luxury yacht with scheming terrorists, or Paul Newman tearing through Paris to find his kidnapped daughter. If you needed a testosterone fix, you survived on a never-ending slew of Westerns and war movies, or any plot in which our heroes took an inordinately long time to plan an escape. Occasionally, Hollywood threw a curveball like Cool Hand Luke, but even those movies starred accomplished actors and had loftier goals than just “Meet our hero … he’s about to kick some ass.”
McQueen changed everything in 1968 with Frank Bullitt, a renegade San Francisco cop who … (wait for it) … PLAYED BY HIS OWN RULES!!!!! Check out the poster for Bullitt and tell me this movie couldn’t be remade right now with Mark Wahlberg.
That poster’s formula (“gun-toting tough guy + dangerous word + aggressive tagline”) unknowingly created the recipe for five decades of cop movies. McQueen had flexed his action muscles before — most famously with the motorcycle scene from The Great Escape — but these were different stakes. Hold on, the mob murdered a witness Bullitt had been protecting? Sayonara, rulebook!!! The movie’s signature scene: a revolutionary, way-way-way-ahead-of-its-time car chase that paved the way for The French Connection, To Live and Die in L.A., Ronin, The Bourne Supremacy, and the entire Fast & Furious franchise. Other than that, it wasn’t a huge deal. Check out McQueen’s Mustang zooming through the streets of San Francisco, and keep in mind, this scene was basically Julius Erving trying to dunk from the foul line, or Jimmy Snuka climbing to the top of the steel cage to leap on Bob Backlund.
Maane Khatchatourian wrote:Jackie Chan is in high demand.
According to the legendary action star, he’s been approached for three potential sequels: “Expendables 4″, “Rush Hour 4″ and “Drunken Master 3.”
“Sly (Stallone) wants me for ‘Expendables 4,'” he told Den of Geek earlier this week. “I said, ‘okay.’ Because they already asked me to be in two and three, but I refused. Well, I didn’t refuse, but I said, ‘Sly, can’t we just do you and me? Not just a bunch of people and me only coming out for five minutes.'”
It appears that Chan is holding out for a bigger role or an anti-“Expendables” pic with just two action stars. That’s probably best as “Expendables 3″ flopped in the box office on Friday when it made its franchise-worst debut. The pic is also set to be the series’ lowest-grossing opening.
“So if I’m in ‘Expendables 4,’ I want it to be me and him,” he said. “Then it might be interesting. Otherwise you just come out for five minutes.”
Every Frame a Painting wrote:Some filmmakers can do action. Others can do comedy. But for 40 years, the master of combining them has been Jackie Chan. Let’s see how he does it.
Moriarty wrote:nd sure enough, there's one franchise where Vin Diesel in front and center and pretty much the center of the thing that is positively gigantic. Universal has had tremendous luck with the "Fast and Furious" franchise, and even after the untimely and emotionally devastating death of Paul Walker, the team behind the films rallied and finished the last movie and turned it into the biggest success of the series so far. These films are so big that logic would dictate that everything else Diesel touches turns to equivalent gold…
… but it's not true. Not at all. When Vin originally left the "Fast & Furious" series, it was because he was poised for gigantic stardom, and it felt like they were going to start building new series around him. After all, "Pitch Black" wasn't a big hit in 2000, but it had an audience, and it seemed like Universal could give him room to do something much bigger building off of that with "The Chronicles Of Riddick." Between those two films came the first "Fast and the Furious" and "xXx," the James-Bond-of-extreme-sports movie, and when "xXx" and "Riddick" underperformed, suddenly it was like people didn't know what to do with him. "The Pacifier" may be the all-time favorite film of at least one working film critic (Jeremy "Mr. Beaks" Smith, I'm looking at you), but it did not expand his audience or build on his success at all. "Find Me Guilty" may be a nice performance, but it doesn't really work as a film as a whole, and no one saw it. By the time he agreed to make a surprise appearance at the end of "The Fast and The Furious: Tokyo Drift," it felt like a Hail Mary pass on his part, a desperate attempt to return to one of the few things that had worked. One more big action/SF attempt, "Babylon A.D.", tanked completely before there was a full-blown "Fast & Furious 4" with Dominic Toretto at the center of it in 2009.
RolandDeschain1 wrote:Rob Cohen said that when he was casting F&F he rang Spielberg to ask about working with Vin on SAVING PRIVATE RYAN. Cohen says there was a long pause on the end of the line, then Spielberg said: "There's a reason I killed him first..."
Who knows how much truth there is in any of it? I heard reports that he is still a nightmare to work with on the F&F movies, and apparently he's demanding much more creative control.
Matthew Belloni & Kim Masters wrote: In addition to the trauma surrounding Walker's death, which required rewriting the script and concocting elaborate special effects (and the use of his brothers as body doubles) to resurrect the actor for key scenes, sources say Diesel proved extraordinarily difficult. As a producer, he is said to have questioned even small details on elaborate action sequences, often holding up the complex production. He also was known to summon filmmakers to repeated late-night script sessions to make him comfortable with his character and dialogue.
Diesel's spokesperson says any suggestion that he was tough to work with is "complete nonsense," and Wan's rep denies any on-set friction beyond the pressure of soldiering on after Walker's death.
Brandon Staley wrote:The cinematic universe is largely considered an invention of the modern Hollywood era, but if that’s the case, then actor Kurt Russell must have been ahead of his time back in the ‘80s when he pitched a project that would have brought together big-name actors to play their most iconic action heroes in a single film. The project would have seen the likes of Sylvester Stallone, Arnold Schwarzenegger and Bruce Willis in a team-up movie to rival “The Expendables.”
“They all had one best character that I thought would be interesting, in the action world, to put those guys together,” Russell said in an interview with FOX 5 DC reporter Kevin McCarthy. “That would have been a realistic version of what Marvel did, but it was like talking to a wall. I thought it would have been cool. Let them be the characters that they are.”
Russell, who plays the living planet Ego in the upcoming “Guardians of the Galaxy Vol. 2,” said he would have reprised his “Escape from New York” role as Sake Plissken, but that might not have garnered the result studio heads were looking for.
“My thing about that was, if I was going to be Snake in that, the only problem was that I’m going to have to produce the movie because all Snake’s gonna do is walk in, look at them and leave,” Russell said.
Russell was one of the many ‘80s actors who enjoyed a career playing primarily action-oriented roles. He played the world-weary, apathetic Snake Plissken in the 1981 dystopic John Carpenter-directed movie “Escape from New York” and its 1996 sequel, “Escape from L.A.” Alongside him, Stallone gained worldwide acclaim for his role as Vietnam veteran John Rambo in 1982’s “First Blood” and its subsequent follow-ups. In 1988, “Die Hard” put Willis on the map as John McClane, a police detective who continuously finds himself thwarting terrorist plots. Schwarzenegger defined much of the ‘80s action genre with films like “Predator” in 1987, “Commando” in 1985 and “Terminator” in 1984.
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