Hell hath no fury like an angry former child actor who hates his own show.
HBO's The Girl is the first of two movies about one of cinema's most iconic filmmakers, Alfred Hitchcock, that are rolling out in the next month; the Anthony Hopkins-led Hitchcock opens in limited release over Thanksgiving weekend. Neither one is a straight-up biopic either, instead choosing to focus their attention on a relatively limited window in the Master of Suspense's career -- Hitchcock takes place during the production of Psycho, while The Girl unfolds within the roughly two-year window during which he made The Birds and Marnie. Both movies are also less concerned with how these particular movies came together than in exploring the psychology of the man who made them. And the picture they paint of the Master of Suspense isn't exactly flattering.
Setting a Philip Marlowe-like detective story, complete with pulpy dialogue and a twist-laden narrative, in high school sounds like a recipe for disaster. But writer/director Rian Johnson somehow pulled it off in his 2005 breakthrough Brick, a movie that's acquired a devoted cult following in the seven years since its release. Johnson himself has gone on to acquire a significant fanbase as well, through his work on movies like The Brothers Bloom and two terrific episodes of Breaking Bad, Season 3's "Fly" and Season 5's "Fifty-One." His latest feature Looper, which opens on Friday, reunited Johnson with his Brick star Joseph Gordon-Levitt, who plays Joe, a hitman living in a near-future where time travel is used by the Mob to get rid of any undesirables. These assassins -- or "loopers" -- are tasked with killing the people their bosses send back in time, a job that Joe carries out with relish... that is until he discovers that his next target is none other than his future self (Bruce Willis). On a recent publicity tour though New York, Johnson sat down to talk with us about time travel movies, whether he'll ever revisit Brick and if he'll be directing one of the finale eight episodes of Breaking Bad.
During its first season, Up All Night seemed to revamp itself every few episodes as it tried to strike the right balance between being a domestic comedy about two new parents and a workplace sitcom set at an Oprah-like daytime talk show. In its second season premiere, the show went through one last (I hope) reboot, abandoning the talk show angle once and for all and bringing it all back home, seemingly for good.
And on the seventh day, Snooki gave birth.
The most surprising thing about BBC America's heavily hyped, hugely ambitious first original scripted series, Copper -- which follows the exploits of a New York city detective who patrols the streets of Lower Manhattan circa 1864 -- isn't that 19th century police work was so different than it is today: it's that the cop show formula seems to remain the same, no matter the era. Brought to you by creative team responsible for the late, great police drama Homicide: Life on the Street (that would be Tom Fontana, who co-created the show, and Barry Levinson who is on board as the executive producer), Copper may take place in the past, but it mostly sticks to contemporary genre rules.
Emmy episode submissions are in. Let the second-guessing begin!
If there is a seventh season of Mad Men -- which there most likely will be, don't worry -- it won't just be Don
smoldering sitting in his office alone.
The only awards show that gives power to the people who are least qualified to have it picks a pair of the least-qualified hosts around.
Knowing Matthew Weiner, we won't be seeing any more of the SCDP gang until sometime in the middle of 2013, if we're lucky -- if we're not, it might not be until 2014. Sure, that gives us time to process all of the jaw-dropping moments of Season 5, but there are also so many Mad Men idiosyncrasies we'll miss after the show ends its season this Sunday.
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