Christopher Plummer is Replacing Kevin Spacey in ‘All The Money In The World’ A Month Before Its Release

 

Ridley Scott’s drama about the true story of the Getty family, All The Money In The World, is set for release next month. It features an all star cast led by Michelle Williams, Mark Wahlberg, and, until very recently, Kevin Spacey. The film was completely finished and had an official trailer.

Now, in the wake of the sexual assault allegations against Spacey, Scott is making a move unprecedented in film history: reshooting all of Spacey’s scenes with a new actor, while still adhering to the December 22 release date.

Spacey will be replaced by the legendary Christopher Plummer (the captain in The Sound of Music), in the pivotal role of J. Paul Getty, the oil tycoon who refused to pay his 16-year-old grandson’s ransom after he was kidnapped. Williams, Wahlberg and the entire rest of the cast and crew all agreed unanimously to reshoot Spacey’s scenes, Deadline reports. The film had also been set to close out the AFI Film Festival, but has been pulled.

Spacey’s role took between 8 and 10 days to film, and his character plays a pivotal part in the story, obviously. Scott has once before had to reshoot important parts of a film, when Oliver Reed died during production of Gladiator – though these are obviously very different circumstances. No other major film has ever attempted reshoots so close to release – even Woody Allen’s September (1987), which saw the director recast and reshoot several parts after editing.

Take a look at the now defunct trailer for All The Money In The World below.

 

Nobody Makes Cormac McCarthy Revise

Okay, so, wow: I don’t think any of us expected a Cormac McCarthy-penned, Ridley Scott-directed, Bardem-and-Fassbender-and-Pitt-and-Cruz-and-Diaz-starring film like The Counselor to be quite so stupid. I mean sure, Scott may not have directed an interesting movie since Hannibal, but what was going on with that script, Cormac? It was almost like he took one pass at the thing and washed his hands of the entire project. Did that grizzled old bastard novelist totally punk Hollywood on this one?

With a narrative so undercooked but also this pompous and prosey (which, to be fair, is how everything tends to sound in McCarthy books like Blood Meridian and Outer Dark, but those are stylized Gothic period pieces set centuries ago, not contemporary narco-violence thrillers), you might assume that the screenwriter here in fact put too much into the story, word-wise; didn’t let the characters breathe. And it’s true that the actors are often struggling to make these baroque lines sound at all plausible—to say nothing about the scene where Cameron Diaz has sex with a car. But I have a different theory.

You see, McCarthy wasn’t always an entity in the land of movies. Suddenly, however, the Coen brothers blew us away with an adaptation of No Country For Old Men, and people were sufficiently horrified by a film version of The Road—a post-apocalyptic novel, mind you, that McCarthy was inspired to write because of his own new very young son. Seeing that he had a chance to score another jackpot for his family before he died, he signed on to write The Counselor, then handed over a slim treatment sprinkled with a bunch of crummy dialogue he’d cut out of his superior fiction over the years.

“Brilliant!” said everyone at the studio. “We can’t wait to see the next draft.” To which McCarthy no doubt replied: “What next draft?” while flying away in a private jet made of money, back toward his desert ranch or wherever it is he holes up and ignores everyone not worth his time. Well, Cormac, I have to admit, I fell for your name, hook, line, and sinker; I paid a theater to see a movie that would’ve been better screened on an 18-hour flight cramped in coach or in a morphine haze on a hospital bed. I’m not even mad, really—I just aspire to one day give as few fucks as you do. Bravo.

 

See the English Trailer for Ridley Scott’s ‘The Counselor’ + Stills & An Excerpt From the Script

Yesterday, we got the long-awaited first glimpse at Ridley Scott and Cormac McCarthy’s upcoming drug trade thriller The Counselor. Albeit in Russian, the teaser provided us with a slick and intense look at the sleazy crime drama starring Michael Fassbender, Brad Pitt, Javier Bardem, Penelope Cruz, Cameron Diaz, and many more. Telling the story of a a man who finds himself embroiled in a dangerous world when he witnesses a drug trade and the nefarious characters he becomes involved with, The Counselor is set to have its theatrical release on October 25th.

But now, not only is there an English trailer for your viewing pleasure but a slew of new photos from the film courtesy of EW. And if you didn’t catch The New Yorker’s article on McCarthy’s script for the feature a few weeks back, check out an excerpt from the next below via The Playlist:
 
…the septic-tank truck on a two-lane blacktop road in central Texas. A late-model sedan is following it, two men in the car. The passenger in the sedan plugs a flashing red roof light into the cigarette lighter in the dash and reaches out the window and places the light on the roof of the car. Then he takes a black box off the seat and holds it at the window and turns it on and it begins to emit a police-siren sound. The septic-tank truck slows and pulls over onto the verge and comes to a halt. The sedan pulls in some distance behind it and the two men get out, putting on white Stetson hats. They are dressed in boots and tan slacks and white shirts and wear automatic sidearms. The driver of the truck—the wire man—watches them in the rearview mirror. The boots of the co-driver of the truck are moving back along the passenger side of the truck. The driver starts the truck and pulls away. The two men in the road have almost reached the truck and they draw their pistols and run forward. The co-driver of the truck is now lying in the bar ditch, and when the truck clears his position the two men in the road are exposed directly in front of him and he opens fire on them with a pistol, dropping one of them dead in the road and wounding the other in the leg. The wounded man dives into the ditch on the other side of the road. The truck has come to a stop again, angled slightly toward the road, and the driver opens fire on the wounded man with a pistol from the truck window. The wounded man presses himself flat in the ditch and takes careful aim with his pistol and shoots the driver in the head. The driver’s pistol clatters into the road. The co-driver in the ditch sees the pistol fall. He studies the far side of the road and then backs down into the ditch and crouches and runs along the ditch toward the truck. The wounded man sees the man’s back moving along the ditch and he stands and fires three rounds after him. The last round hits the tank of the truck and brown sewage starts to spout from the hole. The co-driver reaches the truck and opens the door and clambers in over the body slumped on the floor and, crouching over the body, he reaches and pushes the clutch to the floor with his hand and drops the shifter into first gear and reaches and releases the emergency brake. He pushes down the accelerator with one hand and lets the clutch out with the other and the truck moves forward into the road. The wounded man climbs out of the ditch and hobbles back to the car and gets in and shuts the door. He lays the pistol on the seat and reaches under the seat and takes out an AR-15 machine pistol with a twenty-round clip and pushes off the safety and starts the car and pulls out down the road after the truck. The truck has wandered to the far side of the road and the car pulls up along the passenger side of the truck and the wounded man opens fire with the AR-15, emptying the clip into the door of the truck. Then he backs away and pulls to the verge and sits watching. The truck veers slowly off the road in front of him and rolls down into the bar ditch, where it tilts up onto two wheels and balances for a moment and then drops back onto all four wheels and sits there in silence. In the rearview mirror, the man in the car can see another car approaching, very small on the long stretch of blacktop road. He can see the pistol lying in the road and, beyond that, the dead body. The approaching car is shimmering in the heat waves off the road. The man’s trouser leg is dark with blood to his boot. He places his hand on his thigh and leans forward slightly in pain. He turns the AR-15 on the seat and ejects the empty clip and reaches under the seat and gets hold of a small canvas bag and puts it in his lap and unzips it and takes out a loaded clip and loads the AR-15 and pushes back the slide with the heel of his hand. The approaching car has slowed. Now it stops. It turns sideways in the road and backs up and swings around and heads back the way it came. The wounded man has opened the door and he steps out and levels the AR-15 and opens fire on the fleeing car. He empties the clip and then lowers the gun and stands watching. The car slows and drifts off the road and down into the bar ditch and comes to a stop. The man reaches into the car and gets another clip and reloads the AR-15 and turns and goes down the bank to the truck.

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The Movies We Hated In 2012

My colleague Hillary Weston and I see a lot of movies. Sure, we both loved a bunch of movies this year, such as the delightful Moonrise Kingdom, the biting Bachelorette, the lovely Beasts of the Southern Wild. But there were a few that we downright hated. While we don’t always agree on which movies were, in fact, the worst, here’s a brief list of the films from this year that drove us into fits of fury.

Prometheus

Ridley Scott’s sort-of-prequel to Alien left me with more questions than answers. For example, why did they hire Guy Pearce to play an old man instead of, I dunno, an actual old person? Would that automated surgery machine take my health insurance? What’s Michael Fassbender’s daily caloric intake? (It must not be too high.) What I did take away was this: there is no way that this has anything to do with Scott’s original masterpiece other than casually tossing around “Alien prequel” will gain a lot of buzz. I couldn’t have explained the plot of this movie five minutes after leaving the theater, and I had thankfully forgotten Prometheus until I decided to come up with the worst movies I’d seen this year. So there you have it, folks: Prometheus is completely forgettable until you try your best to think of things that are horrifically bad.—TC

To Rome With Love

Oh Woody, how I love thee. But just because you have spent your entire career putting out film after film—back to back every year for what seems like an entire century now—doesn’t mean you should allow yourself to be so sloppy. Honestly, I doubt he even liked it, as even Allen’s character felt like someone doing a bad impression of himself. (Larry David, Owen Wilson, and Will Ferrell have all played better Woody Allens.) And don’t even both trying to find anything intelligent or redeeming about the women that populate the picture. Ellen Page’s boyish waif seductress was, to borrow a term in just about every one of his movies, "a pseudo intellectual" who was both manipulative and hollow; Greta Gerwig was an oblivious and passive goof who was supposed to be an intellectual but looked like an witless idiot; Alison Pill’s character was about as bland and lifeless as the canvas pants they wrongly put her in; and even the brilliant and beautiful Judy Davis had absolutely nothing to work with. The whole Penelope Cruz hooker storyline was absurd and a narrative bore, the Roberto Benigni "comedic" meditation on celebrity and the ego was unbearable to watch, and the father-turned-opera-singer sideline was no better than this Flintstones episode. By far the best part of the film was when I left to get a jumbo box of M&Ms and had to spend five minutes searching for the candy attendant. —HW

Silver Linings Playbook

There’s at least one movie released every Oscar season that everyone but me seems to like. This year, David O. Russell’s choppy mess of a movie fills the Little Miss Sunshine slot. Furthermore, this is the first movie that has ever forced me to leave the theater early. What did I hate most? The over-the-top quirkiness of the script? The propensity for each character to explain his or her madness rather than convey them with their actions? The fact the last thirty minutes are better than the first hour-and-a-half, at least according to every person I know who claims I cannot judge it solely on the first two-thirds of the film? (Go watch The Godfather and try to tell me the same thing, folks.) I’ve never been so grateful for Jessica Chastain, who will surely quash Jennifer Lawrence’s shot at an Oscar next spring. —TC

Lola Versus

After seeing Daryl Wein and Zoe Lister-Jones’s sophomore effort, I recall writing down a few initial thoughts: "This movie has little to no genuine feeling. The dialogue was trite. The characters were like posed mannequins in an Anthropologie window attempting to tell a joke." And the worst part: even the wonderful and talented Greta Gerwig as Lola and a score by Fall On Your Sword could not save this shallow attempt at an anti-typical romantic comedy. The filmmakers are both young, intelligent people who have lived in New York for years, but I have to wonder: have they ever spoken to other humans? Every moment was contrived and two-dimensional, and it was filled with pathetic portrayals of wallowing that weren’t even accurate save for the lovelorn title character’s affinity for binge drinking and sleeping with people she would later regret. Lola chastises herself, saying "I know I’m slutty, but I’m a good person," even though it’s made clear that her ex was the only person she had slept with until they broke up, and then she sleeps with two other guys. Even the sparse scenes with her ex have absolutely no chemistry, and neither character exhibit qualities that would make you root for them not to wind up alone. All in all, it’s a film that apparently takes place in New York, but not a New York you’ve ever seen. —HW

The Dark Knight Rises

Here’s the thing: I knew I would hate this. But I had to see it, because to completely avoid the movie blockbuster of the summer would prove my own ineptitude at being a blogger. (And, as a blogger, it is my duty to share my opinions.) Christopher Nolan finally wrapped up his dour Batman trilogy with an overwrought political epic complete with as many of The Christopher Nolan Players as possible. Christian Bale brooding? Check. Tom Hardy being gay-question-mark? Yup. Marion Cotilliard for no particular reason? Uh huh. And leave it to Nolan to even strip away all the fun from Catwoman, who, as played by Anne Hathaway, is more like an old, unenthused tabby who only occasionally gets to ride some stupidly overdesigned motorcycle. Don’t get me started on the fact that it took a good forty-five minutes for Batman to actually show up; it was less of a superhero movie and more of a chance for Christopher Nolan and co-writer/brother Jonathan to an Oscar-clip monologue to every single character. —TC

The Paperboy

I don’t know why I expected more from the guy who interpolated shots of incestuous rape with images of bacon sizzling on a griddle in Precious, but I can say without wavering that The Paperboy was not just my least favorite film of the year—it’s also the worst movie I’ve ever seen. I’m all for a piece of well-made trash, but no amount of scrubbing would reveal a diamond under those layers and layers of shit. It’s misogynistic, homophobic, exploitative all around, and relies on the popular opinion that the South is a cesspool of murder, rape, racism, alligators—things that can only take place down there. And something must be said when Macy Gray delivers the best performance in a cast made up of Zac Efron, Nicole Kidman, Matthew McConaughey, John Cusack, and Scott Glenn. —TC

Joey Ciccoline’s ’88:88′ Heads to Ridley Scott’s Your Film Festival

Short films are a tricky business. Everything is thrown off kilter as you’re asked to deliver an idea and convey an emotional landscape in a brief amount of time but with the power of something autonomous. But what exactly makes a good short film? Well, it seems that Ridley Scott has been searching for the answer to that with his Your Film Festival. Back in June, we urged you to vote for the short film, 88:88, a 14-minute science fiction wonder by Joey Ciccoline. The film was one of fifty selected by Scott, and, this morning, it was announced as one of the ten finalists. The lucky filmmakers will be flown to the Venice Film Festival later this month to showcase their work before a grand jury (which includes Scott and Michael Fassbender) choose the final film. From there, the grand prize winner will receive a $500,000 grant to make their own original content produced by Scott, Fassbender, and a first-rate team.

To say this is the opportunity of a lifetime seems like an understatement. For independent filmmakers, the chance to get your work seen and to grab Hollywood’s attention would typically be daunting task in the climate of today’s film industry. But with this festival, Scott has helped to give them an outlet as we explore a whole world of cinema lurking beneath the major studio productions.

Our money is still on Ciccoline’s 88:88, a film that is enjoyable and captivating for its brief 14 minutes and leaves its viewers craving for more. And isn’t that the point of who the winner should be? Not only because the film in itself is fantastic, but because you’re just dying to see what else this director can do.

The finalists are:

88:88, Joey Ciccoline & Sean Wilson (USA)
Bat Eyes, Damien Power (Australia)
Cine Rincao, Fernando Grostein Andrade & Fernanda Fernandes (Brazil)
The Drought, Kevin Slack (USA)
El General, Diego Pino Zamora (Bolivia)
The Guilt, David Victori Blaya (Spain);
North Atlantic, Bernardo Nascimento (United Kingdom)
Super.Full., Niam Itani (Lebanon)
Scruples, Adrian Powers (Australia)
This Time, Ramy EL-Gabry (Egypt)

Movies Opening This Weekend, In Order Of How Much We Like Their Trailers

Some people judge a movie based on reviews, other will go see something just because it features a favorite actor. Here, we’re judging this weekend’s offerings based solely on what we see in the trailers and ranking them accordingly.

Prometheus: What more could you want from a movie? Space travel, disaster, Ridley Scott and a stellar cast, including the fantastical Noomi Rapace, make this the trailer to beat this weekend. And it’s going to own the box office, so there’s also that.

Bel Ami: Does this movie, featuring Robert Pattinson as a social-climbing ladies’ man in ancientish Paris, look good? Not really. Does the trailer get us excited? Absolutely. There’s no way that two hours of this powdered-wig seduction would hold our attention, but for a few minutes it’s exciting enough to rank highly.

Dark Horse: The latest from Todd Solondz looks funny, offbeat and perhaps less I-need-a-shower-after-this than his previous work. And even though Selma Blair kind of looks like Katie Holmes is trying to escape from her face, this coming attraction definitely does its job.

Safety Not Guaranteed: Aubrey Plaza and Mark Duplass can sell almost any movie, and this Seattle-based caper about a guy who thinks he’s discovered the secret to time travel doesn’t need a whole lot of help in that category. This movie doesn’t look like it’s going to scratch our blockbuster itch, but if Prometheus is sold out, we’d definitely sneak in.

Lola Versus: We love Greta Gerwig, we really do, but there’s something a bit too post-rom-com about this movie, from the looks of the trailer, to draw us in. Ask again when it’s on TV on a rainy Sunday afternoon, but chances are we won’t be rushing to the multiplex.

Peace, Love and Misunderstanding: Unless you’re taking your mom to the movies for, uh, Father’s Day, no way.

A History of ‘Prometheus’ Trailers

Ridley Scott’s Prometheus, an Aliens precursor, won’t be out until Friday, but anticipation is building—in no small part thanks to bits and pieces released on the web. Today’s tidbit is one of the most interesting of them all. A two-minute featurette has dropped explaining how the film’s namesake spaceship was designed.

Featuring interviews with production designers, the films writers and stars like Charlize Theron and Michael Fassbender, the clip reveals not only the thinking behind the way the spaceship was designed, but also shows off some never-before-seen footage of the film.

This isn’t the first bit that Scott and his band of merry moviemaker have dropped for us, however. There was the first trailer, which dropped last year and got tongues wagging immediately about the still-far-off film.

There was the second, twice as long trailer that hit in March.

The international trailer also dropped in March.

And a series of featurettes and cast interviews has been trickling out slowly ever since, all adding up to what filmmakers surely hope is a huge, Avengers-style opening weekend. Considering what we’ve seen so far, it’s not at all impossible.

Watch the Full Length Trailer for ‘Prometheus’

Ridley Scott’s Prometheus got its full length trailer premier at WonderCon yesterday.  For those who zone out at anything high-budget sci-fi, don’t click away so fast.  The flick functions as a sort of prequel to Alien and has got some major star power with Noomi Rapace, Charlize Theron, and a surprisingly (disappointingly) clothed Michael Fassbender as part of a team that sets out to uncover the origins of mankind and ends up going to battle with interstellar creatures. Tagline: “In space, something can hear you scream.”

Prometheus hits theaters June 8th.

Ridley Scott Could Direct Cormac McCarthy Script

Ridley Scott and Cormac McCarthy have at least one thing in common: they won’t and perhaps can’t stop doing their life’s work, even at their advanced age. Scott is 74 years old, but he continues to pick up new films on the reg. Oscar obsessives will foam over his new project, as he’s close to signing on to direct Cormac McCarthy’s first ever spec script, The Counselor. McCarthy himself is 78, which means there’s no time like now for him to get into the Hollywood game after so many of his books (The Road, No Country for Old Men, All the Pretty Horses) have been adapted into films.

Nothing is set in stone, but Deadline says that Scott intends to make it his next project after his sci-fi epic Prometheus comes out this summer. The Counselor is supposed to be characteristic of the lawless, morally grey worlds that McCarthy frequently explores in his novels: it’s about a powerful lawyer who tries to get involved in the drug business, but of course, things go awry. “Since McCarthy himself wrote the script, we get his own muscular prose directly, with its sexual obsessions," said producer Steve Schwartz. "It’s a masculine world into which, unusually, two women intrude to play leading roles. McCarthy’s wit and humor in the dialogue make the nightmare even scarier. This may be one of McCarthy’s most disturbing and powerful works.” No one does macho and tortured like our friend Cormac, do they?