What's next, 'The David Initiative?'
But who will play the iconic blonde bombshell?
One-sheet reveals other actors will star in the film besides Tom Cruise
Yes or no, the more important question is 'Why?'
Studio Ghibli takes on the teeny, tiny world of 'The Borrowers'
'The First Avenger' on DVD, Blu-ray and Blu-ray 3D - plus an exclusive clip from the Blu-ray
There is something very appealing in the gee-whiz earnestness and plucky patriotism of "Captain America: The First Avenger" (Paramount), a red, white and blue superhero journey wrapped up in the nostalgia of the World War II era, where American pluck and moral certainty made the battle.
As the title hints, it is something of a feature-length prologue to the upcoming superhero extravaganza "The Avengers," showing us exactly why the star-spangled Captain is the standard bearer of superhero ideals. Next to the psychotic obsession of Batman and the wisecracking, fun-loving spirit of Spiderman, Cap is the boy scout of the genre: brave, virtuous, earnest, so square he's almost hip. And the film owes all due credit to Chris Evans, who brings a convincing mix of pluck, modesty and duty to the role, embodying an icon without turning it into parody. He's the guy who steps up at every challenge, whether he's the scrawny, sickly, 4-F Brooklyn kid constantly scrapping with bullies while trying every trick to enlist or the super soldier leading a squad of howling commandos against greater numbers to take out The Red Skull, Hitler's madman of a freelance mini-Fuhrer.
But the film is also an old-fashioned piece of two-fisted comic-book heroism with a patina of nostalgia and World War II patriotism. It's a big film with sturdy production values, great forties costumes and sets and technology, terrific World War II Europe settings and Tommy Lee Jones as the flinty but dedicated American Colonel who is all about the men and the practical approach to winning the war and protecting his soldiers from reckless harm.
'I jump into all my roles open heart, open mind.'
In "The Rum Diary," Amber Heard's Chenault -- gorgeous and earthy, enigmatic and plain-spoken -- is caught between the boozy, woozy idealism of Paul Kemp (Johnny Depp) and the more sober, serious and scary realpolitik of the capitalist Sanderson (Aaron Eckhart) . We spoke with Heard in l.A. about period glamour, the film's subtext and her never-released-in-America horror classic "All the Boys Love Mandy lane."
When you read the script and there's so much focus on glamour and tropical Puerto Rico in the '60s and great cars, does that sink in, or do you have to show up on set in the outfits, in the car, in the art deco lobbies to really appreciate it?
Heard: The beautiful thing about this story is that Puerto Rico is, in many ways, a character in our story. Puerto Rico is a texturally rich platform; it's beautiful and visceral and has all these things about it that really loans itself toward our story, but it's also very much a part of the world that gave Hunter S. Thompson this story and mirrors his own journey as he's writing this story. The duality and dichotomy of what was happening at the time in Puerto Rico and still exists in Puerto Rico in many ways mirrors the situation that we have in our story: The Paul Kemps of the world versus the Sandersons of the world, and that weight, that mode of operating, that struggle, that perfect place for this story to happen.