(Photo by Tracy Bennett/©Columbia Pictures)
The critics haven’t always been kind to Adam Sandler over the course of his film career, but box office receipts don’t lie — his detractors have been handily outnumbered by his many ardent fans, many of whom have been laughing it up over the SNL vet’s shtick for decades. His filmography’s certainly had its share of ups and downs, but it includes some of the biggest — and most eminently quotable — comedy hits in recent memory, from Billy Madison to Happy Gilmore, as well as a number of beloved rom-coms like The Wedding Singer and 50 First Dates, and indie gems in the form of The Meyerowitz Stories and Punch-Drunk Love. In fact, one of his latest was exactly that: 2019’s Uncut Gems, the intense crime thriller from the Safdie bros, drew some of the highest critical acclaim of Sandler’s career.
Watch out for hired goons, giant penguins, and, of course, Bob Barker, and let’s take a look at his entire filmography, from the best Adam Sandler movies to the worst, ranked by Tomatometer!
Romantic comedies often rely on a specific formula to dole out warm fuzzy feelings and fantasy wish fulfillment, so it’s no wonder they’re frequently dismissed as disposable fluff. Sometimes, though, that’s exactly the sort of undemanding entertainment you’re in the mood for, and when that mood strikes, there’s nothing quite as satisfying as some familiar comfort food, even if it amounts to empty calories. This isn’t to say all rom-coms are bad; some of the best movies ever made fall into the genre. But we all have our guilty pleasures, and as Valentine’s Day rolls around, we invite you to bask in some personal favorites that, for one reason or another, failed to enrapture the critics. Snuggle up with your dearly beloved — or a gallon of your favorite ice cream — for these Rotten rom-coms we love anyway, and let us know what you’d put on the list.
Always a bridesmaid, never a bride… until you fall for a newspaper columnist who writes a piece about your dilemma, that is. This one’s got everything you’d expect from the genre — the unrequited love, the wacky sibling, the good-looking red herring, the explosive misunderstanding, the subsequent self-realization and redemption — and it even sort of mirrors the plot of another movie on this list (Runaway Bride). But writer Aline Brosh McKenna (The Devil Wears Prada, Crazy Ex-Girlfriend) infuses the admittedly familiar proceedings with wit and heart, and the world hadn’t quite learned to hate Katherine Heigl just yet.
If you need someone to play a guileless sweetheart who rises every morning with a sunny disposition and absolutely no memory of the previous day, you could do a lot worse than Drew Barrymore, who helps ground this Adam Sandler vehicle even as she perpetually suffers a reverse Groundhog Day of sorts. To his credit, Sandler manages to tone it down a notch, and Rob Schneider is great in the only type of role he should ever play: the goofy sidekick. Yeah, it’s crude in spots and the high-concept premise is a bit of a stretch, but it’s also genuinely charming if you let down your guard.
Considering the cast of America’s Sweethearts, there probably isn’t a more appropriate title for any film on this list. Catherine Zeta-Jones may never have scored anything quite as iconic in the genre as When Harry Met Sally, Say Anything, or half of Julia Roberts‘ filmography, but the combination of Roberts, John Cusack, and Billy Crystal in an outsized romantic farce set in Hollywood? Come on. It’s a little uneven and not as funny as it should be, given the wackiness of its story, but it’s got some hilarious bits, and it skewers the industry pretty thoroughly while offering a reason for Cusack and Roberts to combine their rom-com powers for once.
She’s the betrayed fiancée on her way to France to win back her lover; he’s the gruff, “hygiene-deficient” Frenchman who uses her as an unwitting mule to smuggle the goods he needs to start his own vineyard. Do they bristle at each other at first? Yes. Do they eventually fall for each other? Yes. Does he rush to the airport to declare his love for her? Yes. Is it all wonderful? Yes. Chemistry can go a long way, and in French Kiss, Meg Ryan and Kevin Kline make such a convincing odd couple that it makes up for some of the film’s other shortcomings.
It’s reasonable to assume the premise of Rear Window might not make for a jaunty romantic comedy — and a lot of critics would largely agree with you — but there’s something to be said about a movie that utilizes a murder (albeit staged) as the catalyst for a meet-cute. Specifically, it’s a ballsy move, and it only works becaue Freddie Prinze Jr. is at his heartthrobbiest here and Monica Potter flusters with grace. Mix them together with a bit of action and you’ve got a Grosse Pointe Blank for the teenage set.
Sometimes, all you need to put a little spark in your love life is a change of scenery. That’s the idea behind The Holiday, which stars Cameron Diaz and Kate Winslet as two women from opposite sides of the Atlantic who agree to swap houses for Christmas and end up in relationships (one with Jude Law and the other with Jack Black). It’s a simple premise that plays out as you might expect, but it benefits tremendously from its cast, Nancy Meyers‘ directing, and the kind of earnestness frequently absent from modern rom-coms.
Ah, the friend zone, the relationship quagmire that slowly engulfs and suffocates the best of us before we even realize we’re in it. Back in 2005, a pre-Deadpool Ryan Reynolds fled this platonic impasse in Just Friends as Chris, an overweight nerd who returns to his 10-year high school reunion with a slimmer bod and a pop star on his arm, only to find he still has feelings for his childhood crush and BFF (Amy Smart). It’s not the first time we’ve seen this story play out, but Reynolds is in prime goofy-leading-man mode here, and the supporting cast, which includes Anna Faris, Chris Klein, and Stephen Root, is golden.
Like a lot of the films on this list, Just Wright fell victim to its own overreliance on genre cliches. Also like a lot of the films on this list, Just Wright is entirely enjoyable if you can look past those cliches. Queen Latifah and Common — two stars previously better known for their musical talents — prove they can hold a film together, and their easy interplay elevates an otherwise predictable film. It also doesn’t hurt that the cast is rounded out by people like Paula Patton, Phylicia Rashad, and Pam Grier.
Jennifer Lopez entered the rom-com game a bit later than some of her contemporaries, but films like Maid in Manhattan paved the way for a long career as a big-screen sweetheart that continues to this day. Here she plays the titular hotel housekeeper, who’s mistaken for a high-profile socialite by a senatorial candidate (Ralph Fiennes) and begins a romance with him under false pretenses. You can pretty much guess where it goes from there, but thanks to Lopez’s bubbly charisma, it’s a breezy Cinderella story with a lot of heart.
Ask anyone to name their top five underrated rom-coms and The Proposal is likely to make the list. This fan favorite pairs immensely likable stars Sandra Bullock and Ryan Reynolds in a comedy about a publishing exec from Canada facing deportation who makes a deal with her assistant in exchange for his hand in marriage — and the accompanying citizenship status that comes with it. Of course they discover feelings for each other that weren’t there before, and it all culminates in a last-minute desertion and a public declaration of love, but with Bullock and Reynolds leading the way and a supporting cast that includes Mary Steenburgen, Betty White, Craig T. Nelson, and a scene-stealing pup named Kevin, it’s so much better than it has any right to be.
Pretty Woman is widely recognized as the standard-bearer of modern romantic comedies, so it’s not surprising that the director (Garry Marshall) and stars (Julia Roberts and Richard Gere) of that film decided to give it another go. Is it as charming? Not exactly, but the familiarity feels like a warm blanket, and Roberts and Gere are such pros that they make it work. The film gets docked a few points for following formula, but that’s par for the course here, and at the end of the day, it’s just so damn likable that it doesn’t really matter.
One thing Sweet Home Alabama has over its peers from the get-go is that its central romance takes place between a couple who are already married. There’s no awkward first meeting, no getting-to-know-you phase, and no secrets to unravel… save for the fact that Melanie, played by Reese Witherspoon, is hiding her Deep South roots and estranged husband (Josh Lucas) from her new fiancée (Patrick Dempsey). In other words, this is a reconciliation rom-com, which puts a slightly different spin on the proceedings, and it’s populated by a killer cast that includes Candice Bergen, Fred Ward, Jean Smart, and Mary Lynn Rajskub, among others. Thanks to that cast — and Witherspoon’s effortless charms — the film is tender and funny in all the right ways.
The Sweetest Thing is road-trip rom-com about three club-hopping besties banding together to reunite one of them with the hot guy who got away. It’s also a movie that stops midway through for an impromptu musical number about penis size in the middle of a Chinese restaurant. Does it have many insights to offer about love and singlehood? Maybe not, but in a pre-Bridesmaids era, seeing a trio of capable actresses carry a raunchy comedy from the female perspective is something of a revelation.
Nothing in Win a Date with Tad Hamilton! is overtly nasty, which is why it endures as a good-natured exemplar of the rom-com genre. Even when Josh Duhamel is playing the cad, he’s kind of charming, and you can’t help but sympathize with Topher Grace‘s Pete a little. But it’s Kate Bosworth who carries the film on her shoulders with her wide-eyed wonder and makes you root for her every step of the way, no matter who she ends up with. Throw in a great cast that includes Nathan Lane, Ginnifer Goodwin, Sean Hayes, and Gary Cole, just to name a few, and you’ve got yourself a cute little romance to cuddle up with, even if it sometimes feels like it’s just going through the motions.
Movies can transport you from your life for a little while, but did you ever let the movies transport you in life? Every country and virtually every way of life has been captured on film, so it’s rather irresistible to catch the travelling bug from the silver screen.
Today, let Rotten Tomatoes be your travel guide, as we present 10 places whose architecture, landscape, and beauty have given life to some famous movies in history. Navigate the cities below and fire up your wanderlust!
What is your top movie vacation spot?
Adam Sandler‘s latest, "Click," traffics in a premise that most of us have probably considered at one point or another: Wouldn’t it be cool if we could control everything around us with the push of a button? And would that necessarily be a good thing? But lemme tell you something about Hollywood, kids: good ideas are a dime a dozen. And the critics say "Click," like an aimless round of channel surfing, is pretty inconsistent, veering from yuks early on to goopy sentiment toward the end. It’s at 22 percent on the Tomatometer, but we know that Adam Sandler is pretty critic-proof; his average Tomatometer is 29 percent, and we love him anyway.
"Waist Deep" is an attempt to cross gritty urban action with a story of redemption; unfortunately, according to critics, it’s not terribly successful. The plot involves an ex-con, played by Tyrese Gibson, who must venture outside the law in order to recover his kidnapped son. While a number of critics say the film is well-made and well-meaning, others say it’s too violent and far-fetched to be truly compelling. At 44 percent on the Tomatometer, this "Waist" is only sporadically worth watching.
"Wassup Rockers:" Skateboarding is not a crime.
Also opening this week, albeit in limited release: "The Road to Guantanamo," a searing mix of documentary and fiction, is at 92 percent; "The Hidden Blade," a subdued samurai tale, is at 85 percent; "Leonard Cohen: I’m Your Man" is at 75 percent, which will perhaps prompt the fans of the cult figure to exclaim, "Hallelujah!"; and "Wassup Rockers," Larry Clark‘s film about a wild day in the life of a posse of teenage skaters, is at 38 percent.
Although Father’s Day has passed, Hollywood brings out two very different stories about dads and their wacky adventures this weekend with Adam Sandler‘s comedy Click and Tyrese Gibson‘s actioner Waist Deep, both opening in theaters on Friday. Comedy has been ruling the box office throughout the month of June and that trend should continue until the Man of Steel arrives next week.
Looking for his seventh trip across the $100M mark, Adam Sandler returns to the big screen with his latest comedy Click. Released by his favorite studio Sony, the PG-13 pic tells the story of a man who comes across a magical remote control that gives him the power to manipulate his whole world, from his family at home to his boss at work. Frank Coraci follows up The Wedding Singer and The Waterboy by directing the funnyman for a third time while Christopher Walken, David Hasselhoff, Kate Beckinsale, and Henry Winkler co-star. Sandler, who turns forty this year, is moving on from his slacker roles playing a husband and father. This makes sense as his fan base is aging too.
The comedian typically picks films with unique concepts and Click is no different. The story is not run-of-the-mill, but an interesting what-if scenario that will make audiences curious. Trailers and commercials have been funny so another blockbuster that satisfies moviegoers is in the works. Over the last eight years, Sandler has seen his bigger hits like Waterboy, Big Daddy, Anger Management, Mr. Deeds, and 50 First Dates all open in the $37-42M range with opening weekend averages of more than $11,000 each time. His most recent film The Longest Yard scored a bit better last summer opening to $47.6M over the Friday-to-Sunday portion of the long Memorial Day holiday weekend. The guy comes out with about one movie per year so audiences don’t get too much of him.
Young men make up the actor’s bread and butter, however you don’t open north of $40M by just appealing to this group. Female appeal is also solid with his films and Click should click with chicks too. Still, Nacho Libre and The Fast and the Furious sequel will be in their second weekends and even though both are expected to drop hard, the duo will still provide some competition for Sandler. However, since Waist Deep is looking to be a relatively small pic in the marketplace, this weekend shapes up to be one where Click is the only major new wide release. That should make frequent moviegoers like teens and twentysomethings look at it as the only new game in town.
Sony has invested heavily in the marketing push and summer is a time when people want to laugh so the returns should be healthy. Opinions of critics should not matter much. One of the most reliable box office draws around, Adam Sandler will see the widest opening of his career with a launch in 3,748 theaters this weekend. That could push Click to around $43M over the Friday-to-Sunday span.
Tyrese Gibson plays an ex-con on a fast and furious hunt to get back his kidnapped son in the new action drama Waist Deep from Focus Features’ Rogue Pictures division. Directed by Vondie Curtis Hall (Glitter, Gridlock’d), the R-rated film also stars Meagan Good, Larenz Tate and hip hop star The Game. Gibson jumped from the modeling world into movies and has become a player although his roles have always been opposite other established box office draws. This time, he anchors solo as none of his co-stars have a track record of opening films on their own.
Waist Deep will play primarily to an urban audience with African Americans making up the largest component. Whites are not likely to show much interest. This same audience powered ATL to a stellar $11.6M bow from 1,602 theaters this past spring. However, Waist does not seem to have the same level of hype plus it will debut in fewer theaters. Most of the film’s competition will come from The Fast and the Furious: Tokyo Drift which is likely to fall sharply this weekend. The marketing push has been targeted and is trying to appeal to fans of The Game who in recent years has developed a large fan base. Opening in 1,004 theaters, Waist Deep might shoot up about $6M this weekend.
Opening in limited release this weekend, Roadside Attractions offers the controversial film The Road to Guantanamo which tells the story of a group of Pakistani men from England who are detained while traveling to Afghanistan and imprisoned and tortured by the U.S. military. Told through a mix of interviews with survivors and re-enactments of the events, the R-rated pic won the best director prize at this year’s Berlin Film Festival and hits 15 theaters in North America before expanding.
After two laps as box office champ, the Disney/Pixar animated hit Cars looks to decelerate some more this weekend for a second place finish. The film’s 43% second weekend decline was the biggest for any Pixar toon since 1999’s Toy Story 2 which was coming off of a Thanksgiving holiday launch. Cars should see its drop stabilize since this weekend’s offerings should not pull away too many young children. A decline of 40% to about $20M could result giving the Lightning McQueen pic $152M in 17 days.
Jack Black flexed some amazing muscles last weekend with the debut of Nacho Libre. Adam Sandler will provide some stiff competition for young males so a sizable drop of 50% could occur giving Paramount a weekend take of around $14M. That would still give the wrestling comedy a solid $54M in ten days.
The Fast and the Furious: Tokyo Drift also debuted impressively last weekend tapping into a similar audience, but a steep sophomore crash is imminent. The last film in the franchise, 2003’s 2 Fast 2 Furious, tumbled 63% in its second race. This latest Universal sequel has also burned through its upfront crowd plus will face competition for young guys from Click and for the urban audience from Waist Deep. A hefty 60% fall would leave Tokyo Drift with $9M for the weekend and $42M in ten days.
Keanu and Sandra snuggled up to a decent, but not spectacular, opening for their romance The Lake House. Adult women will not be too distracted by the new options so a moderate 40% drop could result. That would give the Warner Bros. release $8M for the frame and a ten-day tally of $29M.
LAST YEAR: Topping the charts for a second straight weekend, Batman Begins grossed $27.6M dropping 43% from its opening giving Warner Bros. an encouraging hold. Nicole Kidman and Will Ferrell powered their new comedy Bewitched into the number two slot opening with $20.1M. The Sony release found its way to $62.3M. Fox’s Mr. & Mrs. Smith placed third with $16.8M in its third fight. Two new releases rounded out the top ten. Disney’s Lindsay Lohan film Herbie: Fully Loaded opened to $12.7M and $17.7M over five days, while Universal’s zombie flick Land of the Dead bowed to $10.2M. Final grosses reached $66M and $20.5M, respectively. In limited release, the inner city dancing documentary Rize opened to $1.6M from 352 theaters for a $4,474 average putting it in 12th place. Lions Gate collected $3.3M by the end of its short run.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Nosy moviegoers just couldn’t stay away from a high-profile lovers quarrel as the anti-romantic comedy The Break-Up starring Vince Vaughn and Jennifer Aniston surprised the industry this weekend by opening at number one, shoving the comic book juggernaut X-Men: The Last Stand into second place in only its second weekend.
The mutant sequel was widely expected to remain atop the North American charts. The only other new face in the top ten was the global warming documentary An Inconvenient Truth which expanded and jumped into the number nine slot while still in limited release. Overall, the box office remained healthy with the top four choices gobbling up most of the business.
Jen and Vince attracted millions of fans to theaters with The Break-Up which debuted with an estimated $38.1M over the weekend beating all expectations. Universal launched the date movie in 3,070 locations and averaged a stellar $12,395 giving the studio its best opening yet this year. It was also the third biggest debut ever for a romantic comedy trailing the $43.1M of Hitch and the $39.9M of 50 First Dates which both premiered just days before Valentine’s Day. Women fueled the business for Break-Up. Studio research showed that a whopping 67% of the audience was female while the crowd was evenly split between those over and under the age of 30. Vaughn and Aniston play a couple that breaks up, but still decides to live in the same condo together.
Produced for $52M, The Break-Up sparked lots of media attention over the past year because of Aniston’s split from ex-husband Brad Pitt and her new relationship with Vaughn. Curiosity seemed to attract the former Friends star’s core audience of young women while men were far less interested. Universal’s marketing pushed the starpower and the lack of any other new wide releases kept the attention on Break-Up. Plus, the marketplace has not offered any star-driven films aimed at women in several weeks. Critics, however, gave little support with many panning the film finding it lacking in both romance and comedy. Aniston scored the second biggest opening of her career after 2003’s Bruce Almighty ($68M) while Vaughn enjoyed his third largest after 1997’s The Lost World ($72.1M) and last summer’s Mr. & Mrs. Smith ($50.3M). The Break-Up, however, marks new career highs for each actor in a leading role.
After a record-breaking Memorial Day weekend opener, X-Men: The Last Stand crumbled in its second weekend plunging 67% to second place with an estimated $34.4M. After ten days of release, the mutant sequel has hauled in a staggering $175.7M domestically. Most industry watchers had expected the super hero pic to remain at number one this weekend, but a stronger-than-expected opening by Break-Up coupled with a larger-than-expected decline for X-Men led to a second place finish. Given that loyal fans all rushed to the theaters on the debut frame and the added holiday boost, a steep drop was widely anticipated, but a drop of two-thirds was especially high. Subsequent weeks should stabilize a bit, but based on its trajectory, the third X-Men film looks to be headed to a domestic tally of $230-240M which would still make it the biggest hit of the trilogy.
Holding steady in third place once again this weekend was the animated film Over the Hedge which slipped only 24% to an estimated $20.6M in its third outing. After 17 days, Paramount has collected an impressive $112.4M with the DreamWorks production. After three weeks of having the family market virtually to itself, Hedge will face some stiff competiton next weekend when Disney and Pixar race into theaters with Cars.
Losing a reasonable 43% of its audience in its third weekend, The Da Vinci Code ranked fourth with an estimated $19.3M. That pushed the 17-day total to a stunning $172.7M making the religious thriller the year’s third biggest domestic hit behind Fox’s Ice Age and X-Men sequels. Overseas, Da Vinci continues to lead the box office for the third straight weekend delivering sizzling results. The Ron Howard-directed smash grossed an estimated $51M, down 44% from last weekend, boosting the international tally to a towering $409M. With a sensational $582M in global grosses (70% of which is from outside North America), The Da Vinci Code will shatter the $600M mark by the end of the week.
The top four films ruled the weekend accounting for 88% of all money spent on the top ten films. All other players in the marketplace grossed under $5M each.
Dropping only 33% and finishing fifth for the frame was the spy sequel Mission: Impossible III with an estimated $4.7M which pushed Paramount’s domestic cume to $122.7M. For the fourth consecutive weekend, the ocean liner disaster film Poseidon followed right behind Tom Cruise’s actioner and dropped 40% to an estimated $3.4M. Warner Bros. has taken in just $51.7M thus far.
For the first time in five years, the month of May ended without any of its releases hitting the $200M mark. But while none of this year’s early summer contenders has come close to last year’s Star Wars Episode III which had amazingly smashed through the $300M mark at this point, collectively the hits have managed to measure up to 2005. The aggregate gross of the top five May films this year is $635M which is up 2% from this same point a year ago. Instead of flocking to one giant megahit, moviegoers have been spreading the same amount of money across a collection of popular films.
Sony’s hit kidpic RV continued to hold up well slipping only 21% in its sixth weekend to an estimated $3.3M. The Robin Williams film has taken in $61.8M to date. Lionsgate witnessed a surprisingly strong hold for its horror entry See No Evil which dipped 26% and grossed an estimated $2M. Total stands at $12.4M.
Proving that it is more than just a blue-state hit, Al Gore‘s global warming documentary An Inconvenient Truth expanded into major markets and hit the top ten grossing an estimated $1.3M from only 77 theaters. The Paramount Vantage release averaged a stunning $17,299 over the weekend and raised its cume to $1.9M after bowing last week in just four theaters in New York and Los Angeles. This Friday, Truth widens to the Top 25 markets with about 150 total theaters before going national on June 16 in 450-600 locations.
The PG-rated film has quickly nabbed the title of must-see summer doc this year and hopes to follow in the footsteps of last year’s March of the Penguins and 2004’s Fahrenheit 9/11 as non-fiction films that crossed over to become pop culture events. Those films rank as the top-grossing documentaries ever with $77.4M and $119.2M, respectively. This weekend, the former Vice President’s environmental pic became the first film of the year to enter the top ten while playing in fewer than 200 theaters.
Break-Up and Inconvenient Truth bumped two spring films out of the top ten. Universal’s controversial 9/11 thriller United 93 dropped 43% to an estimated $464,000 after spending five weeks in the top ten. The $15M film has grossed $30.6M to date and should collect a bit more before ending its theatrical run. Fox’s animated sequel Ice Age: The Meltdown has spent eight of its ten weekends in the top ten and is now headed for the finish line grossing over $191M to date. The PG-rated hit remains the top-grossing film of 2006 thus far and has unearthed more than $625M worldwide.
Opening this weekend in limited release was the Lionsgate sports drama Peaceful Warrior which took in an estimated $77,000 from ten sites for a solid $7,700 average. Also debuting, but with weaker results, was the Korean action film Typhoon with an estimated $48,000 from 24 theaters. The Paramount Vantage release attacked nine markets and averaged a dull $2,009.
The top ten films grossed an estimated $127.9M which was up 2% from last year when Madagascar climbed into the number one spot with $28.1M; but down 30% from 2004 when Harry Potter and the Prisoner of Azkaban opened in the top slot with a June record $93.7M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
It’s been a long time coming, but it seems like New Line is about to mount a big-screen adaptation of DC Comics’ Shazam character … and they seem to be starting off in a decidedly comedic direction: The helmer will be Peter Segal, whose films I will list if you click the "more" button…
From The Hollywood Reporter: "Peter Segal has come aboard to direct "Shazam!" — an adaptation of a DC Comics’ comic book series featuring Captain Marvel — for New Line Cinema. Segal also will produce along with Michael Ewing via their Callahan Filmworks banner. The comic series focused on young Billy Batson, who becomes the superhero known as Captain Marvel when he utters the magic word "Shazam!" The name is an acronym for six gods and heroes of the ancient world as well as their attributes: the wisdom of Solomon, the strength of Hercules, the stamina of Aries, the power of Zeus, the courage of Achilles and the speed of Mercury. Writers on the long-gestating project include William Goldman and Bryan Goluboff."
As promised, here is Peter Segal’s filmography: Naked Gun 33 1/3: The Final Insult (1994), Tommy Boy (1995), My Fellow Americans (1996), Nutty Professor 2: The Klumps (2000), Anger Management (2003), 50 First Dates (2004), and The Longest Yard (2005). (I can see it now: Adam Sandler as Shazam!)
"Prison Break’s" Dominic Purcell has been tapped to star in a new monster movie called "Primeval." It’s a giant-croc chiller from a first-time feature director and the scribes who gave you "Terminator 3."
Says The Hollywood Reporter: "Dominic Purcell is set to star in "Primeval," a killer-crocodile thriller that would serve as the feature debut of veteran television director Michael Katleman for Touchstone Pictures. Orlando Jones also has signed on to the movie, which is being produced by Gavin Polone and his Pariah shingle. The high-stakes adventure follows a news producer, reporter and cameraman who are dispatched to South Africa to track down and bring home alive a legendary 25-foot crocodile known as Gustave. However, their quarry proves far more elusive and deadly than they anticipated, and their situation turns even more perilous when a feared warlord targets them for death. Purcell plays the producer, while Jones portrays the cameraman. Scribe duo John Brancato and Michael Ferris ("The Game," "Terminator 3: Rise of the Machines") wrote the screenplay, which is inspired by a man-eating crocodile in Africa."
This project is not to be confused with "Rogue," which is another flick about a big, hungry reptile coming from "Wolf Creek" director Greg McLean. That one stars Michael Vartan & Radha Mitchell, and is presently penciled in for a Dec ’06 release date.
Responding to an op-ed piece lamenting the recent passing of Japanese-American actor Pat Morita and the dearth of respectable roles for Asians in Hollywood, Schneider wrote his letter to correct the assumption that he, with his cockeyed performance in "Dates," was just another Caucasian actor playing to stereotypes in the vein of Mickey Rooney in "Breakfast at Tiffany’s." In fact, the erstwhile "Deuce Bigalow" is half-Filipino, but that’s beside his point. Citing black and brown-faced performances like Orson Welles‘ titular Moor in "Othello," Schneider argues that actors should be cast "irrespective of ethnicity, race or in my case ‘looks.’"
He also notes that the real-life Ula, on whom his Tongan "Dates" caricature was based, approved of his being cast in the role.
You might recall Schneider’s previous brush with the world of journalism earlier this year, when he dashed off an angry, ill-researched letter to the Los Angeles Times in response to a front-page article dismissing his sequel "Deuce Bigalow: European Gigolo" as an example of studio-produced junk. His full-page attack ad ran in the trades and lambasted Times writer Patrick Goldstein as a mean-hearted, third-rate reporter; it was later revealed that Schneider’s own online research had overlooked at least one of Goldstein’s industry-granted writing awards.
With the recent stir over casting in the upcoming "Memoirs of a Geisha," Schneider’s take on authenticity in acting provides an interesting, if controversial, counterpoint to the argument against Chinese actresses playing Japanese roles. Is this Schneider’s appeal to become Pat Morita’s Asian comic-relief successor? Will "Deuce Bigalow 3: Memoirs of a Gigolo" elicit angry protests across the globe, splitting the collective conscience of movie-going audiences everywhere?
According to The Hollywood Reporter, the big-screen adaptation of "Get Smart," which stars Steve Carrell as a hapless secret agent, will be directed by Peter Segal, the guy who brought you "The Longest Yard," "50 First Dates," "Anger Management," "Nutty Professor 2," and "Tommy Boy."
"Peter Segal has signed on to direct "Get Smart," the big-screen adaptation of the classic TV series for Warner Bros. Pictures. Steve Carell is attached to star as hapless secret agent Maxwell Smart, who was played by the late Don Adams on the small screen. Created by Mel Brooks and Buck Henry, the series saw Adams act as Agent 86, a spy for CONTROL, fighting the evil forces of KAOS. The big-screen version, which has just undergone a rewrite by Tom Astle and Matt Ember, will contemporize the setting, with CONTROL falling on hard times and not getting the big government funding other spy agencies, like the CIA, do."
Popular funnyman Steve Carell has signed to star in the tentatively titled "High T," which deals with a guy who has a little too much manliness on his hands.