The Man From U.N.C.L.E looks pretty awesome.
The first trailer for Guy Ritchie's take on the iconic 1960s spy series The Man from U.N.C.L.E has rolled out online and the British filmmaker appears to have made a movie - or at least attempted to make a movie - that is stylish, humorous and action-packed.
Henry Cavill replaced Tom Cruise in The Man From U.N.C.L.E
In the big-screen adaptation, Henry Cavill plays Napoleon Solo, a slick American spy who teams up with Russian Illya Kuryakin (Armie Hammer) to stop a rogue organization that is fully nuclear equipped. The duo's only real lead is the daughter of a vanished German scientist who is key to infiltrating the shadowy organization. They now face a race against time to save the world - which just sounds awesome, doesn't it?
Continue reading: First Look at Guy Ritchie's 'The Man from Uncle' [Trailer + Pictures]
Elizabeth Debicki - 2015 G'DAY USA Gala featuring the AACTA International Awards presented by Qantas at Hollywood Palladium - Arrivals at Hollywood Palladium - Los Angeles, California, United States - Saturday 31st January 2015
Baz Luhrmann (Moulin Rouge) is the perfect director to take on F. Scott Fitzgerald's iconic novel about the American dream, simply because he's an expert at showing the emptiness of hyperactive excess. The film is a feast for the eye from start to finish, but it also eats away at us with its bleak story of people who live the high life even though it leaves them naggingly unsatisfied.
The tale is told by Nick (Maguire), trying to work through his life-changing summer in 1922 Long Island, where he rented a small cottage across the sound from his wealthy cousin Daisy (Mulligan), who is married to his college pal Tom (Edgerton), an all-American sportsman with an eye for other women. Next door to Nick's cottage is the vast mansion owned by reclusive millionaire Jay Gatsby (DiCaprio), who throws outrageously raucous parties for New York's celebrity class. But Nick realises that Jay only does this to catch the eye of Daisy, because he's still in love with her after a romance five years earlier. Now he wants to take her away from Tom, and he needs Nick's help.
It's tricky to know whether Luhrmann is celebrating Gatsby's luxuriant lifestyle or offering a cautionary tale about the emptiness of materialism. Obviously, the story is trying to do both, and Luhrmann fills the surfaces with decadent extravagance, filling the air with wafting fabric, buckets of glitter and exploding fireworks. Like a lavish 3D pop-up book, the party scenes are wildly over-the-top, as are smaller gatherings in opulent city flats or roaring open-top cars. These people's lives are so vacuous that they live at top speed, always in search of the next thrill. And it's difficult not to see Gatsby's earnest quest as just another greedy acquisition.
Continue reading: The Great Gatsby Review