plus 3, Keanu Reeves Says (Jokes?) He’s “Trying” To Get Another Bill & Ted Movie in Theaters - Slashfilm.com

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• Keanu Reeves Says (Jokes?) He’s “Trying” To Get Another Bill & Ted Movie in Theaters - Slashfilm.com
• Katie Price confirms movie project - AZCentral.com
• Alice grows up in Tim Burton’s new Wonderland movie - Arkansas Online
• 'The Hurt Locker,' Oscar's latest little-movie-that-could, wins 6 Academy Awards - Oregonian

Keanu Reeves Says (Jokes?) He’s “Trying” To Get Another Bill & Ted Movie in Theaters - Slashfilm.com Posted: 08 Mar 2010 12:50 PM PST The internet is abuzz that a new Bill & Ted movie might be in the works, but sadly the source of the speculation isn't that substantial. On the red carpet for the Academy Awards, MTV asked Keanu Reeves if we'd be seeing a new Bill & Ted sequel in the future. Reeves laughed and responded by saying "I'm trying, I'm trying." MTV journo Josh Horowitz asked if he was joking, to which Reeves responded "I'm not…" Alex Winter and Keanu Reeves back together again? "We'll See." You can watch the clip from yourself embedded after the jump. It's very hard to tell if Reeves is just trying to appease the MTV interviewer or is actually serious about his reply. Either way, I think another Excellent Adventure may be years and years off. Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction. This posting includes an audio/video/photo media file: Download Now

Katie Price confirms movie project - AZCentral.com Posted: 08 Mar 2010 09:51 AM PST Katie Price is making a movie of her life. The former glamor model - who married cage-fighter Alex Reid in a surprise Las Vegas ceremony last month - is in negotiations to have her autobiographies adapted for the big screen and thinks the project will go into production soon. She said: "I've got four autobiographies, well, they're four diaries. I've found a producer and he's already got three of them - I'm giving him the other one and that's what they're doing." Katie - who has three children, Harvey, seven, Junior, five, and Princess Tiaamii, two, from previous relationships - claims to have someone in mind to portray her in the movie, but refused to be drawn on who. She told U.K. TV show 'GMTV': "I'm not going to give any information, but I know it's going to be a mad film." Katie - who released her first autobiography 'Being Jordan' in May 2004 and subsequent installments 'Jordan: A Whole New World' and 'Pushed to the Limit' in April 2006 and February 2008 respectively - is currently working on her fourth tome, which focuses on her break-up with ex-husband Peter Andre. She has warned the 'Mysterious Girl' singer - who is the father of her two youngest children - to be "scared" of its contents. She said recently: "I'm not going to hold anything back, I'd be very scared if I was him. You just wait. It's time the truth came out about me and Peter." Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction.

Alice grows up in Tim Burton’s new Wonderland movie - Arkansas Online Posted: 04 Mar 2010 09:06 AM PST ADVERSTISMENT LITTLE ROCK — In Tim Burton's Alice in Wonderland, Alice has grown — not by "drink me" potion or "eat me" cake — into a 19-year-old, according to the review in Friday's MovieStyle section. Working from Linda Woolverton's very Hollywood screenplay adaptation of Lewis Carroll's classic tale, Burton shifts the story from a child Alice to a near-adult Alice, viewing her journey through a drearier, more dangerous looking-glass. One does get a bit queasy hearing of such classics "updated" as if they're local TV newscasts. The film, which opens Friday, quickly fast-forwards 13 years and Alice (played by the startlingly promising Mia Wasikowska) is lured back to Wonderland by the familiar, punctually paranoid rabbit (voiced by Michael Sheen). Cast as the Mad Hatter is Johnny Depp, in a role so befitting him that it might seem too obvious. In Tim Burton's Alice in Wonderland, Alice has grown — not by "drink me" potion or "eat me" cake — into a 19-year-old, according to the review in Friday's MovieStyle section. This article was published March 4, 2010 at 11:02 a.m. Make a comment on this story. Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction.

'The Hurt Locker,' Oscar's latest little-movie-that-could, wins 6 Academy Awards - Oregonian Posted: 08 Mar 2010 03:39 AM PST By Shawn Levy, The Oregonian March 07, 2010, 9:33PM View full sizeDirector Kathryn Bigelow and various producers of "The Hurt Locker" celebrate. "The Hurt Locker," had no big-name stars, a director best known for action films, was made for $11 million, grossed less than $13 million and told a terrifying tale of the grave cost of a contemporary war -- not the stuff of the typical Hollywood blockbuster or, even less, the typical Oscar-winner. But last night, the film about an Iraq War bomb disposal expert was the big winner at the 82 Academy Awards, taking home the prizes for best picture and best director along with four other awards, most of them in head-to-head combat with "Avatar," the global boxoffice champion that had to settle for three Oscars and a distant second place on the night. Accepting the prize for best director, Kathryn Bigelow became the first woman so honored (and, in fact, only the fourth ever nominated). Bigelow, receiving her trophy from Barbra Streisand, thanked her screenwriter, cast and crew before dedicating her prize to the men and women serving abroad in the military. "The Hurt Locker" also won for its editing, sound editing and sound mixing, categories in which "Avatar" was also nominated. In turn, the cinematography prize went to "Avatar" over "Hurt Locker," and "Avatar" also won prizes for art direction and visual effects, categories for which "Hurt Locker" wasn't nominated. The two films had been handicapped by Oscar-watchers as neck-and-neck in the weeks leading up to the Academy Awards, but momentum seemed to have shifted in "The Hurt Locker"'s direction in the final days. The contest was given extra spice because the creators of the two films -- "Locker"'s Bigelow and "Avatar"'s James Cameron -- were briefly married nearly 20 years ago. That narrative took back seat, though to a tale about big and small Hollywood. "Avatar" is a big studio film with profound implications for the way movies will be made in the future, but "Hurt Locker" is the sort of small, deeply committed work that characterizes the independent film world and has, in recent years, come to dominate the Oscars. In an effort to get more studio fare into the awards mix, the Academy expanded the best picture category from 5 to 10 nominees, but, as with "Slumdog Millionaire," "No Country for Old Men," and "Crash" a little film was triumphant. View full sizeJeff Bridges sharing his Oscar with his late parents.The prize for best actor went, as had widely been expected, to Jeff Bridges, truly playing the role of a lifetime and a career as a drunken country music star in "Crazy Heart." The son of an acting mother and father and brother of acting siblings, he made his debut as an infant and, at age 60, won his Oscar in his fifth nomination. He thanked his late parents, Lloyd and Dorothy Dean Bridges, for introducing him to such a "groovy profession," called a lot of people "man," spoke lovingly to his wife of 33 years, and generally made everyone feel great about the whole long evening. Sandra Bullock was named best actress for her work in "The Blind Side" in her first-ever Oscar nomination. The star, best known for romantic comedies, was awarded for her role as a well-to-do woman who gives a home to an African-American teenager who turns out to be a gifted athlete. She dedicated her prize to "the moms who take care of the babies and the children no matter where they come from" and then, especially, her own late mother. Earlier in the evening, "Crazy Heart" won for best original song, a category that was in no way diminished by not being preceded on the broadcast by performances of the nominees. Rather, clips of the songs as they appeared in their respective films were shown, giving audiences who hadn't seen the movies some real feel for their dramatic context. Some Oscar-winning songs that only played over the end credits of their films might not look so good in this sort of light. That was only one of the notable changes in an Oscar show that featured co-presenters for the first time in decades. Alec Baldwin and Steve Martin were sometimes quite funny in a two-man comedy act in which Martin played a wry ditz with Jack Benny's timing to Baldwin's Dean Martinish smoothy. It felt a little Friars Roast-ish, which wasn't necessarily a bad thing. But Oscarcast giveth and Oscarcast taketh away. The introductory production number with Neil Patrick Harris was a surprise that came off well, but the same could not be said for the bizarre interpretive dance numbers that were used to introduce the nominees for best musical score. There was a lovely tribute to the late writer-director John Hughes, with clips from his films and speeches by Matthew Broderick, Molly Ringwald, Macaulay Culkin and others whom he worked with as young actors. But then there was a rather arbitrary salute to horror films, a genre traditionally ignored on Oscar night. As is also traditional, the first prize of the evening went to one of the supporting players, in this case, the German actor Christoph Waltz for his already immortal role as a crafty SS officer in "Inglourious Basterds," Quentin Tarantino's comic-book reboot of World War II. He gave a lovely and gracious speech comparing the making of the film to an oceanic expedition. Just as Waltz had won virtually every prize in the run-up to the Oscar, so had Mo'Nique given an acceptance speech at every awards show to date for her ferocious work as a vicious and evil-hearted mother in "Precious." Her speech on Oscar night, like her performance, was full of unexpected feist and fire. View full sizeMo'Nique wins again The prize for original screenplay went to "The Hurt Locker"'s Mark Boal, who thanked America's troops in Iraq and Afghanistan and "the 4000 who didn't come home" before mentioning, almost sheepishly, that he had recently lost his father. Later on, Geoffrey Fletcher won an Oscar for adapting the screenplay of "Precious" from the novel "Push" by the novelist known as Sapphire. "The Cove," a film about dolphin slaughter in Japan, won the Oscar for best documentary feature. The prize for the best animated feature film went to "Up," the only one of the nominees that was also a finalist in the best picture category. Writer-director Pete Docter accepted the award for his film about an lonely widower and his floating house, which beat out a field that included "Coraline," the debut feature of Portland's Laika Entertainment. "Up" was also cited for Michael Giacchino's lilting and affecting original score. "El Secreto de Sus Ojos," from Argentina, won the best foreign language film prize in an upset over Germany's "The White Ribbon," which won the top prize at the Cannes Film Festival as well as a Golden Globe. "Star Trek" won the Oscar for best makeup, and "The Young Victoria" was cited for its costumes. As so often, audiences were told in advance that this year's Oscar show would be tighter, brighter, less stodgy, less old-fashioned. And in the main it was all those things, coming in at just under three-and-a-half hours and generally peppy if sometimes quite strange. Like the great American novel, the perfect Oscarcast seems to be a mirage that many pursue but none ever attains. But last night's show had comedy, pathos and, if you're an awards-race freak, some real drama. As these things go, it was a bit of all right. And if it's longest remembered for the triumph of a small movie and the woman who directed it, well that's a fine legacy for an awards show. Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction.

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