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Michelle Monaghan Boards Brosnan and Wilson’s ‘Coup’; Ezra Miller Joins ‘Madame Bovary’ With Mia Wasikowska

Posted by , on May 11, 2012 at 4:33 pm 

I let out a chuckle or two when Owen Wilson went Behind Enemy Lines (sorry) by singing for The Coup, but I’ll admit: the subsequent additions have me changing the old tune piece by piece. About a week after Pierce Brosnan got in on the fun, Deadline reports that Michelle Monaghan is now locked to play the wife of Wilson‘s character, himself the patriarch of an American family trying to escape a political (you guessed it) coup led by violent rebels in a foreign land.

Helmed by John Erick Dowdle and Drew Dowdle (Devil, Quarantine), The Coup is said to be a Taken-like story with, if I’m not mistaken, a little more international politics and intrigue to top it off. Brosnan‘s character might be the only one of relative interest, however — despite the slight similarity to a prior role — being “a mysterious and ultimately heroic government operative.” (That should be a step-up from some Sarah Jessica Parker movie and Mick GarrisBag of Bones.) Shooting will commence this October.

Next up, Variety says Ezra Miller (We Need to Talk About Kevin) is slated to co-star with Mia Wasikowska in a new, big-screen take on Madame Bovary. Here, the young talent will be playing a love interest our semi-titular character, Emma; I assume, in this case, we’re talking about Charles, the doctor who earns Emma’s scorn for a generally ho-hum demeanor. It should be interesting to see Miller — who’s often been cast as a devious or downright evil character — try and inhabit that sort of role, but an expansion of his range is exactly what I want to see, anyway.

Cold Souls writer-director Sophie Barthes is helming for Occupant Entertainment, while Paul Giamatti is also slated to appear; he’s set to play Monsieur Homais, “the town apothecary who is a close confidant of her husband Charles and threatens to reveal [Emma's] steamy indiscretions.” On top of all this good casting, there’s also the promise of a “fresh” and youthful [&] contemporary” take on the material. (With that, it almost sounds as though Barthes is taking a route not unlike the one Cary Fukunaga traversed with Jane Eyre.) Production kicks off this fall.

Are these additions promising news for either film?


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