Her shot at playing Linda Lovelace probably didn’t go as planned, so it’s time for Malin Akerman to take on a classier figure — if Blondie can be considered “classy” in the first place. ShowBlitz has learned that the actress will be seen as the ’80s icon for CBGB, an account of the infamous New York City rock club and its owner, Hilly Kristal, who Alan Rickman will inhabit; his Harry Potter co-star, Rupert Grint, is expected to play Dead Boys guitarist Cheetah Chrome.
Past reports have indicated that these three will be the central figures of CBGB, and when one looks over the club’s history — in terms of performers, events, and societal significance — you get some idea of the scope director Randall Miller (Bottle Shock, Nobel Son) will be aiming for. His own, prior credits give me a bit of pause, even if Rickman likes him, but a script that encapsulates all of this and throws in some good tunes should, on the whole, be fine.
Then there’s a far more contentious biopic to be discussed. I’m referring to Joshua Michael Stern‘s Jobs, the Ashton Kutcher-starrer that will examine a thirty-year period in Steve Jobs‘ life — from his early, rebellious days to a corporate reinstatement at the start of this millennium. Casting on this one’s been a little low-key — since nearly all discussion has surrounded the lead role’s casting — with Josh Gad being the only noticeable addition; he’ll play Apple co-founder Steve Wozniak.
Now, Variety reports that Ahna O’Reilly (The Help) has come aboard in the pivotal role of Chris-Ann Brennan, who was a romantic acquaintance of Jobs during his younger days, as well as the mother of his first child. (He, famously, denied paternal connections for years, but still named the Lisa computer after their daughter during this period.) That romantic faux pas on his part should be a backbone of sorts for Jobs, so let’s hope they can handle tricky territory with ease and grace.
Are you confident in either casting choice?
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we believe it’s our duty to highlight the recent, recommended titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of […]
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