Posterized: Joe Wright's "Pan" and Peter Pan Movies

Jackman and Wright talk on setYou have to admit that Joe Wright was asking for it. He went and titled his Peter Pan epic, Pan, which is functioning like a command for the nation's critics who have done so mercilessly. It probably didn't help that he uglified one of our most handsome movie stars (no one needs to see Hugh Jackman going the Johnny Depp route). Worse, he truly stepped in it early on by casting the very white Rooney Mara in one of the few iconic roles meant for a Native American actress. (This issue has been discussed at very high volumes in the past few years since moviegoers and the media are sick to death of Hollywood's white-washing. But Hollywood is still wearing ear plugs.)

Will you see his latest despite the reviews?

And how many Peter Pan related movies have you seen? (More on Peter and Joe after the jump)

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NYFF: Spielberg's frosty Bridge of Spies

Manuel reporting from the New York Film Festival on Steven Spielberg's latest Cold War film.

Bridge of Spies opens with a man working on a self-portrait. There’s a weariness to his features that he’s ably translating from his mirrored reflection onto his canvas. There’s a purpose to every brush stroke he takes. He works methodically. Silently.

Spielberg, long admired for large-scale adventures and expertly crafted action sequences, seems to have entered a quieter phase of his career. While War Horse seemed to play to his strengths, while trying John Ford on for size, the talky Lincoln showed that the director could create a kinetic urgency even in what was, for the most part, a chamber piece about laws and votes. Bridge of Spies pushes further still in this direction. Yes, we’re dealing with spies, and fallen aircrafts, government agents and tense phone calls, but at its heart, this is yet another installment of the Cold War-as-bureaucracy genre. [More...]

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Washington's August Wilson Deal

Manuel here with some big Denzel Washington news. While talking at the Wallis Annenberg Center for the Performing Arts, Washington revealed he has signed a deal with HBO to bring all ten of August Wilson’s plays to the screen. Yes, all ten!

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Michael Snowbender

David here with some festive casting news.

It won't look anything like this.

Variety reports that the ever-present Michael Fassbender is in talks to star in The Snowman. I know what you’re thinking, but no, this isn’t Fassy’s Jack Frost. He’ll star as Harry Hole, in the adaptation of the seventh entry in Norwegian crime novelist Jo Nesbø’s book series. It’s a chilly series from Scandinavia, which has been owning the crime drama – mainly on TV – for the past half a decade at least, with massive successes like the original The Killing.

You may have heard talk about the series for a few years now – Working Title optioned the rights a while back, with the original intention to create a series akin to the Alex Cross films (Along Came a Spider, etc.), and it even had none other than Martin Scorsese mooted as a director at one point. He’s since moved into an exec producer role, leaving the director’s chair open for a more suitable candidate: Tomas Alfredson, whose next move we’ve been awaiting since Tinker Tailor Soldier Spy and whose global breakout Let the Right On In shows exemplary form for bringing the Scandinavian cool to the screen.

Hole (that’s pronounced “Hoola”, according to Nesbø) is standard detective stuff, the “stereotype of the hardboiled, troubled maverick”: abrasive, heavy smoker, alcoholic, and – naturally - an unusually perceptive detective. With Fassbender’s strong, ruminative presence bringing Hole to life, and Alfredson’s detached, observant style, this hopefully makes for a crime drama with all the bracing chill of the books.

What do you reckon? Christmas cheer or a snow-go?

HMWYBS: Angels in America (2003)

What follows is a republishing of a piece I'm proud of from our very first season of Hit Me With Your Best Shot (you can see the index of all six seasons here) when I was somehow far more concise with "Best Shot" despite feeling like I was overdoing it. I've added in notes and links for contributions from other Best Shot participants and I'd like to thank Manuel heartily before we begin for his fascinating contextual work on HBO's long history of LGBT films and series this summer and for sharing this week's HBO LGBT episode with us for our redo episode of this Great Work. Read that piece before you read this. Ready? Let's begin...

Tony Kushner's extraordinary two part stage epic Angels in America centers around two overlapping young couples in the mid 80s, struggling married Mormons, pill popping Harper and her closeted husband Joe and the gay couple Louis and Prior they become connected spiritually (Harper befriends Prior... in her dreams) and physically (Joe becomes Louis's other lover). But it's also about politics, immigration, religion, identity, and evolution and encompasses multiple other characters from Louis's outspoken gay friend Belize, to Joe's mother, to the evil lawyer Roy Cohn, the dead Communist Ethel Rosenberg, and a frequently orgasmic Angel who descends on many of the players. This masterpiece was adapted for the screen in 2003 by Oscar winner Mike Nichols. Along its journey it won 7 Tonys, The Pulitzer, and later 5 Golden Globes and 11 Emmys and here's the thing: it deserved every single prize. If you haven't seen it drop everything (seriously everything) because it is unmissable. I've seen it performed on stage three times in three different states with wildly different budgets and casts and seen the miniseries a few times too... and every single time it's a fascinating prismatic living thing, like it will always be teaching you, entertaining you, and provoking you.

Rather than limit myself to one shot I'm picking one from each of its chapter. This I can manage!

Chapter 1 "Bad News"

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