Keanu Reeves changed his mind about participating in the movie when he saw the trailer, meaning director Peter Atencio had to find a role for him at the last minute!
The director of the imminently released movie Keanu have spoken about how they eventually managed to get Keanu Reeves to provide a voiceover role in the film – at the very last minute!
The action-comedy film concerns two friends, played by comedians Keegan-Michael Key and Jordan Peele, who go in search of the titular cat, who is lost. 51 year old Reeves was initially approached to take part in the movie, considering it bore his unusual name, but he turned the opportunity down last year.
So, the makers went ahead anyway and completed the movie, releasing a trailer in early February. This was seen by Reeves’ sister, who mentioned to him that it looked great and told him he should get involved.
Rell has just broken up with his partner and he's in a complete self-absorbed world. Continuously housebound and alone, he feels like his life has ended. Enter Keanu. When Rell hears a faint meowing coming from outside his house he discovers a young kitten on his doorstep just waiting to find a new home. Suddenly, Rell feels a new sense of life, his kitten is the best thing to ever happen to him and Rell's best friend, Clarence, completely confirms these feelings.
Finally able to leave the house, Rell and Clarence go out only to return to find Keanu gone and only his little kitten collar left. So begins a quest to save Keanu. It turns out that the kitten has been taken by a local gangster, in order to get Rell's new pride and joy back, the two are going to have to get down and dirty in a world far from their usual suburban lifestyle.
Keanu was directed by Peter Atencio and written by Jordan Peele and Alex Rubens.
Scotty Galban and his partner Joey are New York City cops, whilst Scotty usually sticks to the rules, his partner has been tempted by dirty money. When Joey is found on an underground rail road track with a knife in his back, Scotty immediately goes to the scene.
Scotty wants justive for his partner but he also knows Joey was taking money from drug dealers and by finding his murderers, he might just bring a lot of dark secrets to light that are best kept unknown. With few leads, Galban begins to piece together his partners last steps and his dodgy dealings - one of his first leads him to a teacher, Isabel, who he feels is connected to the case in more ways than she's letting on.
Exposed is a gritty 'whodunnit' based in a modern day New York City directed by Declan Dale.
Indie filmmaking is one of the best niches to find super-talented directors and writers; and none more so than Richard Linklater. Having recently received a flood of praise for the extraordinary and innovative 'Boyhood' - a movie filmed over thirteen years with the same actors - actors and movie makers everywhere join this appraising documentary marking 21 years of amazing cinema from this artist. With works including the decade spanning romance trilogy 'Before Sunrise', musical comedy 'School of Rock', animated thriller 'A Scanner Darkly', crime drama 'Bernie' and underdog flicks 'Slacker' and 'Bad News Bears', the Texan cine-hero continues to produce imaginative and totally unique, genre-crossing stories with comedy 'That's What I'm Talking About' and a 'School of Rock' TV series marking his upcoming projects.
Continue: 21 Years: Richard Linklater - Clips
With Halloween just around the corner, "Ouija" had a clear advantage this weekend.
Clearly, moviegoers are already getting into the Halloween spirit this weekend and the not-so-highly rated horror flick Ouija reigns supreme at the box office. After a highly contested weekend, the film about a group of high-schoolers, who get into trouble after an attempt to contact their dead friend checked in with $20 million. Meanwhile, the Keanu Reeves starrer John Wick (a Tom Cruise-style action flick, except with less plot) came out of nowhere to score second place with $14,1 million (stats according to Box Office Mojo).
Fury, riding on favourable reviews and Brad Pitt-heavy marketing, ended up third, but it was a close race. The psychological war drama… thing checked in with $13 million. This brings Fury’s total to an impressive $46 million – not a great performance outside the winter season, but with a great fan approval rating (90% of fans liked it, according to Rotten Tomatoes) and great critical performance (77% “fresh”) it’s already gathering some early Oscar buzz.
Continue reading: "Ouija" Brings Scares To The Box Office Ahead Of Halloween
Brad Pitt's 'Fury' swept aside 'Gone Girl' - though it may struggle to pull in the audiences next weekend.
It was undoubtedly the star pulling power of Brad Pitt that helped David Ayer's World War II drama Fury accelerate past Gone Girl to the top of the box-office this weekend. Pitt and his tank buddies took $23.5 million in ticket sales to finish at No.1, whilst David Fincher's mystery thriller took a creditable $17.8 million to drop to second place.
'Fury' is said to be one of the most violent movies of the year
In third place was Fox's animated feature The Book of Life, which took $17 million, and Disney's Alexander and the Terrible, Horrible, No Good Very Bad Day took $12 million.
Continue reading: Is Brad Pitt's 'Fury' Too Violent?
Keanu Reeves came face to face with an intruder in his own home - check out his incredible reaction.
We've seen Keanu Reeves defy gravity and jump between realities as Neo in The Matrix, but we weren't prepared for how incredibly calm he reportedly remained when faced with a complete stranger in his own home.
Keanu Reeves remained calm when faced with an intruder in his home.
Gerard Butler has departed the 'Point Break' sequel.
Gerard Butler has quit the Point Break remake because of a confluence of factors, including creative differences and a scheduling conflict. Butler was set to play the Zen-infused thief originally played by Patrick Swayze, opposite Keanu Reeves' Johnny Utah in the 1990s classic action movie. Luke Bracey will take Keanu's role in the remake.
Gerard Butler, Chilling at the Beach
Point Break will start shooting in late June and will last several months, though Ericson Core and his team are on the hunt for a new star. Insiders say production company Alcon is intent on maintaining its start date and will recast the part in the coming weeks, according to the Hollywood Reporter.
Continue reading: Gerard Butler Quits 'Point Break' Remake, But Who Will Replace Him?
The actor promotes his new movie '47 Ronin' and describes his transformation into warrior Kai.
Keanu Reeves has spoken about his latest role as Kai, the orphan-turned-warrior, who is an outcast due to his half British, half Japanese background. 47 Ronin may not have fared well at the hands of critics but for those who love historical action movies, a little fantasy and enough CGI and special effects to make your eyes water, the action epic is sure to be a hit nonetheless.
Keanu Reeves Talks About His Character Kai In The Movie '47 Ronin.'
In the film, Kai is saved from a brutal life of slavery by the mysterious Tengu monks and joins a small group of Japanese samurai warriors. The group are exiled after the dishonourable death of their leader and Kai is enlisted into the "47 Ronin," an elite group of fighters who vow to seek revenge against the army that has killed their master.
It's not been a good decade-and-a-half for Reeves, and 47 Ronin hasn't changed that
It’s quite telling that Keanu Reeves’ best effort - on Rotten Tomatoes at least - is a documentary about the rise of technology in film – an interesting and engaging subject for film lovers and geeks, something nearly all movie critics would claim to be.
Will 'Ronin' become a cult hit?
After that, films from the 80s and 90s, like 'Dangerous Liasons', 'Speed', 'The Matrix' and 'Parenthood', are the only ones with unanimous critical praise. The reviews since the turn of the millennium, though, paint a slightly different picture, with 'The Matrix Reloaded' his biggest critical success at 73%.
Continue reading: Big Surprise: Keanu Reeves' 47 Ronin Is Total Rubbish, Critics Say
Dench, Gordon-Levitt, Winslet and Louis-Dreyfus are all in Britain to present their new films at the London Film Festival, and a raft of new trailers promise action, drama, fantasy mayhem and a starry WWII adventure...
The stars continue to be out in London in the second week of the 57th London Film Festival. Judi Dench and Steve Coogan were on-hand with their new film Philomena, Joseph Gordon-Levitt got the crowd screaming outside the cinema before the screening of his writing-directing debut Don John, and. Click here for Philomena trailer and pics, or here for pics and the trailer for Don Jon and you can browse through our photo gallery of this week's Labor Day premiere in London.
Julia Louis-Dreyfus was also at the festival with filmmaker Nicole Holofcener for the UK premiere of their intelligent, offbeat romantic-comedy Enough Said, which features one of the final performances from the late James Gandolfini. It opens in British cinemas this weekend. You can read our Enough Said review here.
Keanu Reeves - Keanu Reeves' 1973 Norton Commando 750 motorcycyle Los Angeles, California - A woman parking on Roxbury Drive backed her Mercedes GLK SUV into Keanu Reeves' classic 1973 Norton Commando 750 motorcycyle, while the actor was inside a medical building. The Beverly Hills Police were called to the scene and reported the details to Reeves upon his departure from the building. The star was seen checking his bike over before taking the necessary insurance details of the woman from the police officer, in case he has damage to report after a further assessment Thursday 6th October 2011
Pippa (Wright) is married to the much-older Herb (Arkin), a publisher who hates that he's now retired. But it's Pippa whose world is starting to unravel, as she reaches the point where she needs more than being a trophy wife and mother to two now-grown kids (Kazan and McDonald). Her sleepwalking antics indicate that her subconscious has already figured this out, but it'll take a look at her childhood (played by Lively and youngster Madeline McNulty) to help her see what she needs to do next.
Continue reading: The Private Lives Of Pippa Lee Review
When a huge spherical object lands in New York's Central Park, a first response team led by members of the military and scientific community set out to explore its purpose. Dr. Helen Benson (Jennifer Connelly) makes contact with a strange being exiting the orb, but said creature is accidentally shot by a soldier, mandating immediate medical care. Eventually, the humanoid-looking alien named Klaatu (Keanu Reeves) explains his purpose. Mankind's lack of environmental concern and overall violent nature has led other civilized planets to mandate the destruction of the entire population. While the Secretary of Defense (Kathy Bates) plans an armed solution, Helen helps Klaatu escape, and along with her stepson Jacob (Jaden Smith), she tries to convince the extraterrestrial emissary that humanity is worth saving.
Continue reading: The Day The Earth Stood Still (2008) Review
The story is your basic high-concept Hollywood action premise. Utah is a young, eager FBI agent assigned to the Los Angeles bank robbery task force. His crusty veteran partner, Angelo Pappas (Gary Busey), has been trying for years to bring down a highly professional crew of bank robbers called the Ex-Presidents (known as such because they disguise themselves with novelty masks of former presidents during their robberies). Despite the ridicule of his colleagues, Pappas has long held the belief that the Ex-Presidents are surfers who use the robbery money to fund their presumably lavish lifestyle. So, with nothing else to go on, Pappas and Utah come up with the plan that Utah will go undercover as a surfer in order to infiltrate the beach-loving subculture and bring down the Ex-Presidents.
Continue reading: Point Break Review
When Richard Linklater released Waking Life in 2001, he became the granddaddy of a whole new kind of filmmaking process. The film had been shot and edited like a normal feature, then sent to computer jocks who basically painted over each frame, giving the images a surreal quality of undulating colors that fell somewhere between photography and animation -- an acid-trip philosophy lesson.
Linklater returns to the same technique once again (and for the last time, from what he has said, due to rampant production difficulties) for a much more literal acid trip. Based on the Philip K. Dick novel of the same name, A Scanner Darkly is a feature-length PSA on the evils of drugs and the potentially-as-damaging efforts to ferret them out of society.
Continue reading: A Scanner Darkly Review
Director Alejandro Agresti's The Lake House, based on a South Korean film called Il Mare, takes the premise that launched movies such as Back to the Future and Frequency and asks, "What would a good boyfriend do with these powers?" The powers in this case involve a mystical mailbox that connects two would-be lovers who are living two years apart. Unfortunately, the answer to that question ends up being "Nothing interesting enough to last for almost two hours."
Alex Wyler (Keanu Reeves) is an architect living in Chicago who has recently bought the lake house built by his cold, uncaring father (Christopher Plummer). Kate Forster (Sandra Bullock) is a doctor living in Chicago who has recently moved out of the same house. She leaves a note in the mailbox for the next tenant, which is received by Alex who, puzzled by the note's references to objects that aren't there (yet), writes back. Eventually the two figure out that they are, in fact, living in different years - Alex in 2004, and Kate in 2006. She doesn't bother to tell him how the election turned out.
Being lonely workaholic types and apparently lacking a broadband connection, they decide to continue the correspondence. Rather than ask for stock tips or sports scores, Alex opts instead to do little favors for Kate, planting a tree that will later grow out in front of her apartment complex, or leaving graffiti for her on a wall that no one bothers to clean or write over for two years. As they grow closer, Alex discovers why he can't be with Kate in his present, while Kate struggles with trying to meet him in hers.
The Lake House is the type of film that could make a fantastic half hour episode of The Twilight Zone, but needs to bring a lot more to the table if it wants to stretch to feature length. For starters, the dialogue does not sound like it came from the pen of a Pulitzer Prize-winning playwright, but that's David Auburn's name right there in the opening credits. Reeves and Bullock are serviceable in their roles, with Reeves playing 10 percent less wooden than usual and Bullock conveying forlorn with aplomb, but none of this is terribly new or interesting. If anything, Alex's B-plot relationship with his father, which prompts a speech Auburn must have copied and pasted from a better script he had lying around, merits more screen time than the A-plot it barely services.
Agresti's direction at times results in some interesting visuals, including clever attempts to show the pair occupying the same space at different times in one shot. Meanwhile, attempts to have the characters verbalize their written correspondence just make them seem like they're talking to themselves. And while the story has some fun with the notion of a postal bridge across time, the poorly concealed plot points make it seem like there's some mystical mailbox at the end of the film sending us everything that's going to happen before we're halfway into the movie.
In the end, The Lake House is not a particularly bad film, but it's not a particularly good one, either. It smacks mostly of wasted potential, and the sense that the phrase "close enough" informed too many choices. If I were sending letters back in time to someone advising them on which films to skip, I'd probably forget to even mention this.
Pass the salt, Sady.
Following one of the most pitiful title sequences I've ever seen, The Watcher actually proceeds to become one of the most pitiful thrillers I've ever seen. And that takes some doing... but let me tell you how.
Continue reading: The Watcher Review
All that's needed is a guy getting hit in the nuts and a food fight to have the first film solely based on cinematic clichés. I can't wait to see the deleted scenes when it comes out on DVD.
Continue reading: Hardball Review
Alas, it doesn't look good. Bill and Ted are walking mistakes as it is. They can't pronounce Socrates and believe Caeser was "a salad dressing dude." But their grasp of superlative adjectives like triumphant and gnarly is impressive indeed, so maybe there's hope.
Continue reading: Bill & Ted's Excellent Adventure Review
Bill & Ted's Excellent Adventure was a tremendous hit in 1989 and a sequel was immediately in the works. Where the first film took our stoner heroes through time, Bill & Ted's Bogus Journey upped the ante and took them to hell. Literally, the original title of the film was Bill & Ted Go to Hell. The plot is awash in weird humor and outlandish gags as Bill and Ted attempt to defeat two evil robotic versions of themselves, avoid death, save history, and otherwise remain cool.
Continue reading: Bill & Ted's Bogus Journey Review
As near as I can tell, this is the story of Jjaks (Keanu Reeves, and no that's not a typo), his brother Sam (Vincent D'Onofrio, "Gomer Pyle" from Full Metal Jacket), and Sam's slutty new wife Freddie (Cameron Diaz). Everyone's pretty miserable (ostensibly having something to do with their humdrum Minnesota existence). And Sam and Jjaks fight a lot (ostensibly over Freddie).
Continue reading: Feeling Minnesota Review
Some of the grumpier nerds also love to point out that The Matrix rips off a bunch of anime; I usually can't care less about anime, but I would point out that its story has a lot in common with Dark City, which came out over a year earlier.
Continue reading: The Matrix Review
Phoenix, in interviews, was clearly thrilled when writer/director Gus Van Sant credited him with having written this scene in Van Sant's wonderful 1991 movie My Own Private Idaho. He should have been. Emotionally, it's a doozy, and it serves as the point at which these two fractured lives separate into their own trajectories. Mike's takes him back again and again to the same dogged search for love and the same stretch of empty highway. Scott's takes him to Italy, where he falls in love with the beautiful Carmella (Chiara Caselli) and, ultimately, to an encounter in Portland with his street mentor Bob (William Richert). Here the movie takes an unexpected Shakespearean turn as Van Sant lifts fragments from Henry IV, casting Scott as Prince Hal to Bob's Falstaff, even as Mike's story continues on in the real world. We know from Shakespeare that Scott will turn his back on his old friends and assume the throne in the end. If Mike is heartbroken it's because life in the real world is hard; that's why we have private ones.
Continue reading: My Own Private Idaho Review
As parents Audrey and Mike Cobb, Tilda Swinton and Vincent D'Onofrio seem an odd choice, but it's an absolutely perfect one. Director Mike Mills may not have the best ear for story or subject matter (the source novel by Walter Kirn, should likely have been left on the unfilmed backlist) but he's dead-on when it comes to tone and casting. A pair of tired out working-class adults in a small Northwest town who can't quite accept being grownups, they have their two boys call them by their first names. Everything around them betrays this hope, of course, with Audrey working night shifts as a nurse at a celebrity drug treatment clinic just to catch a glimpse of an addict TV star she's got a girlish crush on, and Mike as the beaten-down manager of a sporting goods store unable to forget that but for an injury he could have gone pro.
Continue reading: Thumbsucker Review
Kevin Kline plays Joey Boca - a guy who runs a pizza parlor in Seattle - as an oversexed, extremely Italian workaholic who is able to explain his chronic infidelity by saying with a straight face, "I'm a man, I got a lotta hormones in my body." It's a clown's performance, a filmmaker doesn't bring Kline in for this sort of role and demand subtlety but rather one that's so over-the-top it achieves a kind of genius that Kline also showcased in his similarly stereotypical role in A Fish Called Wanda (in that one, he played a clown's view of an American abroad, here he's the clowning pizza man, bad accent, bushy mustache and all).
Continue reading: I Love You To Death Review
The setup goes a little something like this. Jack's dating Marin (Amanda Peet), the feisty daughter of buttoned-up Diane. During a weekend trip to the Hamptons, Jack's libido loses out to his ticker, and he suffers a cardiac arrest. The local doctor (Keanu Reeves) prescribes plenty of bed rest for Jack, then makes a pitch for the lovely Diane, to her blushing delight.
Continue reading: Something's Gotta Give Review
This is the world of writer William Gibson, and it seems like a pretty interesting place to visit. It's unfortunate that Johnny Mnemonic does very little in this setting and comes off as little more than a remake of Tron, without the lightcycle sequence.
Continue reading: Johnny Mnemonic Review
A gripping study of teen ambivalence and the utter lack of angst, River's Edge is a creepy, powerful, and underseen picture that features some virtuoso performances (notably Crispin Glover's Layne, who organizes an ill-conceived campaign to get John out of town). Featuring some of the most inventive and believable dialogue, the locals (including Keanu Reeves and Ione Skye as the only kids even remotely bothered by the death of their friend) are at a loss for what to do. Atmospheric and numbing, the picture is an obvious precursor to Twin Peaks, and a better template David Lynch couldn't have found. The story is loosely based on a real murder, which makes it all the more chilling.
Continue reading: River's Edge Review
In 2003, no one needs to be told, because everyone fully knows what the Matrix is. The idea of the Matrix has entered the popular lexicon. Magazines, with utter seriousness, create polls asking whether readers think we are really living in the Matrix. And people say yes, apparently unable to realize that it is only a movie.
Continue reading: The Matrix Reloaded Review
One treat for you shallow ladies in the crowd (guilty!) is the return of Keanu Reeves as the romantic, studly leading man. He's still as dumb as a post, but he's the fitting hero to such a dumb and implausible tale. He plays Nelson Moss, a hot shot ad man with swank things but too regimented a life to enjoy them. After a fateful run-in with carefree Sarah Deever (Charlize Theron) at the DMV, she tracks him down, and tries to convince him that he should move into her shabby-chic hippie spread for a month to become a better man. Apparently, she's done this sort of thing with other men before him with great success.
Continue reading: Sweet November Review
Almost every Catholicism-cloaked supernatural thriller since The Exorcist" has demonstrated an inherent lack of originality, falling back on the same tiresome genre staples: Possessed young women and tied-to-bed exorcisms, "lost" books of the Bible that allow the screenwriter to invent plot-convenient mythology, and a troubled hero trying to prevent some kind of demonic cross-over into our plane of existence.
One of the few exceptions was 1997's "The Devil's Advocate," in which Keanu Reeves gave one of his few truly fine performances as a gifted young defense lawyer whose life is torn apart when he accepts a prestige position in a big-city firm and discovers (too late) its literally Satanic origins. But apparently that was a fluke because Reeves is back to his usual monotoned self in "Constantine," revisiting the same genre as a routine demon-slayer who plays second fiddle to expensive special effects.
A chain-smoking tough-guy super-exorcist who lives in the grittiest part of downtown Los Angeles, John Constantine can see what normal mortals can't -- the angels and "soldier demons" who take human form and battle daily for men's souls. He has personally seen the nuclear-apocalypse-like fires of Hell (when technically dead for two minutes during a teenage suicide attempt) and has spent his life trying to buy his way into Heaven by dispatching devilspawn spirits back from whence they came, often with a golden, cross-shaped shotgun/flamethrower designed by an overzealous props department.
Continue reading: Constantine Review
Surprisingly, the redemption-by-baseball picture "Hardball" is not some warm-fuzzy "Bad News Bears" clone transplanted to the projects. It's considerably better than that.
Yes, it is about a drunk, gambling-addicted ticket scalper who spitefully agrees to coach a ghetto little league team for $500 a week to pay off a two angry bookies. Yes, the scalper is played by the historically vacuous Keanu Reeves, and yes, he's going to learn What's Really Important In Life from endearingly foul-mouthed street kids who live cautionary-tale type lives of inner city strife.
But as fast as "Hardball" sets up such eye-rolling clichés, director Brian Robbins knocks them down. There are no inspirational montages of the squad pulling together and honing their skills. The well-financed rival team? Present and accounted for, but not a major subplot. Ditto for the schoolteacher romantic interest (Diane Lane) and the headstrong tenement mom whose respect Reeves must earn.
Continue reading: Hardball Review
Warning: This review begins with a wildly off-subject tangent.
O, woe! What hope can we have for director Sam Raimi's 2002 "Spider-Man" movie now that he has made two utterly conventional Hollywood flicks in a row?
Once a tongue-in-cheek sovereign of campy cult classics like "Evil Dead 2," "Darkman" and "The Quick and the Dead" -- not to mention the producer of TV's uber-campy "Xena" -- Raimi went straight two years ago with the chilling psychological thriller "A Simple Plan." Then last year he went soft with "For Love of the Game," a middling, maudlin baseball romance starring Kevin Costner.
Continue reading: The Gift Review
"Sweet November" may be a work of romantic hokum about a savage power-yuppie who learns to slow down and discover love in the arms of a quirky, perky girl with a tragic secret -- but as such sappy movies go, this is one that hits all the right notes.
Keanu Reeves and Charlize Theron proved they have couples chemistry as husband and wife in "The Devil's Advocate." Here they do the opposites-attract thing with great success and use their charisma to overcome what by all rights should be a script full of romantic clichés.
Reeves plays shallow, ruthless, arrogant ad industry hotshot Nelson Moss, who shows his astronomical self-centeredness in the picture's opening scene. It's early morning and he's having sex with his girlfriend -- until his alarm clock goes off. The second it does, he says "thanks, that was great" before jumping up, walking across his uber-modern high-rent loft, turning on his entire wall of high-tech TVs and brainstorming an ad campaign for a major client.
Continue reading: Sweet November Review
Keanu Reeves has finally begun to realize what kinds of roles he's right for: grunt cop in "Speed," computer hacker dude in "The Matrix," and now, a rise-to-the-occasion substitute football hero in "The Replacements."
He's perfect for the quarterback role in this entirely predictable but utterly entertaining gridiron comedy about a mixed bag of working class joes and forgotten college football stars rounded up to play again by an NFL team when their spoiled millionaire players go on strike.
Washed-up collegiate rocket-arm Shane Falco (Reeves) is living on a beat-up houseboat and makes a living scraping barnacles off the bottom of yachts when coach Jimmy McGinty (an ideally-cast Gene Hackman) comes calling, hoping Falco will don shoulder pads and a helmet once again and lead the fictional Washington Sentinels through the last four games of their unfinished season.
Continue reading: The Replacements Review
Keanu Reeves may very well be the least convincing, least frightening serial killer in the history of the psycho-thriller genre in "The Watcher."
Starring as a supposedly brilliant whack job who strangles lonely young girls with piano wire, he delivers his dialogue as if every line ended with the word "dude" and somebody dubbed it out in post-production.
"Shall we dance (dude)?" he grins goofily at a simpering girl he's tied to a chair, shaking his ratty surfer hair from side to side as a voice-over by haunted FBI guy James Spader explains that Reeves likes to revive his victims over and over in order to torture them.
Continue reading: The Watcher Review
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