Henry Cavill: ‘Man From U.N.C.L.E.’ Aiming For September Start Date

COMIC BOOK RESOURCES

Thursday, August 1st, 2013 at 4:30pm PST - by TJ Dietsch

After decades in limbo, The Man From U.N.C.L.E. movie may finally be making its way to the big screen. While running down the show’s 35-year journey to film, Variety also dropped some new information about director Guy Ritchie’s adaptation, which stars Henry Cavill and Armie Hammer.

Ritchie and company are looking to start filming in London and Italy on Sept. 7. The piece also firmly states that Cavill will play Napoleon Solo while Hammer is Illya Kuryakin, the main characters from the original NBC series.

Also, the film will actually be set in the ’60s, which sets it apart from the modern day setting of the another 60s spy reboot, the Mission: Impossible franchise.

READ MORE HERE:http://spinoff.comicbookresources.com/2013/08/01/man-from-u-n-c-l-e-aiming-for-september-start-date/ 

Box Offices, final weekend of 2011 - Tom Cruise Is No Meryl Streep (Neither's Anyone Else, for That Matter) (E-OnLine)

Today 11:53 AM PST by Joal Ryan

Paramount Pictures, The Weinstein Co.

For a second straight holiday weekend, Tom Cruise's Mission: Impossible—Ghost Protocal led the box office.

But it was Meryl Streep's Iron Lady that really ruled.

Debuting at four theaters, the Streep Oscar vehicle, a biopic of former British Prime Minister Margaret Thatcher, averaged a New Year's weekend-best $55,000 per screen, BoxOffice.com reported.

Cruise's Ghost Protocol, meanwhile, continued to sell tickets at a nice clip, banking another $31.3 million.

With a domestic total of about $134.1 million, Ghost Protocol, just two wide-release weekends into its run, has already outgrossed the last M:I movie, Mission: Impossible III.

Overall, the weekend marked a solid end for 2011, and and solid start for 2012, with five films grossing at least $15 million each, up from three films last New Year's. Even New Year's Eve finally delivered, on its title as well as its all-star cast, with ticket sales double what they were Christmas weekend.

Among Steven Spielberg movies, Best Picture candidate War Horse once again showed more muscle than The Adventures of Tintin, at least domestically. Worldwide, it's Tintin that's the star.

Among awards-season hopefuls just getting started, the Iranian film A Separation ($66,598 at three screens, per BoxOffice.com) and Gary Oldman's Tinker Tailor Soldier Spy ($1.2 million at 57 screens) loomed large, while the Angelina Jolie-helmed Golden Globe nominee In the Land of Blood and Honey ($8,363 at two screens) struggled again.

Well, not everyone can be The Iron Lady. Or Streep.

Stay tuned Monday for four-day, holiday-weekend totals. For now, here's a rundown of the top movies, as compiled from the studios' Friday-Sunday domestic estimates and BoxOfficeMojo.com stats:

1. Mission: Impossible—Ghost Protocol, $31.3 million
2. Sherlock Holmes: A Game of Shadows, $22.1 million
3. Alvin and the Chipmunks: Chipwrecked, $18.3 million
4. War Horse, $16.9 million
5. The Girl With the Dragon Tattoo, $16.3 million
6. We Bought a Zoo, $14.3 million
7. The Adventures of Tintin, $12 million
8. New Year's Eve, $6.7 million
9. The Darkest Hour, $4.3 million
10. The Descendants, $3.7 million

Read more: http://www.eonline.com/news/tom_cruise_no_meryl_streep_neithers/283434#ixzz1iFL7eLJe

Awards Box Office: 'Tinker Tailor Soldier Spy,' 'The Artist' Make Gains (The Hollywood Reporter)

6:47 PM PST 12/27/2011 by Pamela McClintock        

 

"Tinker Tailor Soldier Spy"

"Extremely Loud and Incredibly Close" off to promising start and Wim Wenders' 3D German dance film "Pina" scores impressive opening for a documentary.

British specialty pic Tinker, Tailor, Soldier, Spy continued to do strong business over Christmas weekend, besting much of its competition in key theaters -- all the more notable considering it was shut out of Golden Globe and SAG nominations.

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The Focus Features' film, headlining Gary Oldman and also starring Colin Firth and Tom Hardy, made a major push late last week when upping its theater count from 16 to 55 as it moved into additional top markets, such as Dallas, St. Louis and Portland. Working Title produced the film, based on John Le Carre's novel.

Tinker Tailor grossed $1.1 million over the four-day holiday weekend for a stellar location average -- the currency by which limited releases are judged -- of $19,201, the best of any film save for Wim Wenders' German dance documentary Pina, which posted a pleasing theater average of $30,608 as it opened in three theaters, grossing $91,823 for IFC Films.

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Tinker Tailor, which has now earned $2.2 million in the U.S., is holding its own against both indie and commerical films in upscale and arthouse theaters.

For example, it came in No. 2 at the Landmark theater in West L.A. on Monday, beating Steven Spielberg's new Christmas film War Horse, Warner Bros.' new awards entry Extremely Loud and Incredibly Close, Sherlock Holmes: A Game of Shadows and The Artist. The only movie to do slightly more was David Fincher's The Girl With the Dragon Tattoo, which grossed $8,396, compared to $8,274 for Tinker Tailor.

At an upscale art theater in Minneapolis, Tinker Tailor posted an opening four day gross of $32,804, compared to $16,804 for The Artist in its debut. And at the Lincoln Square theater in Manhattan, Tinker Tailor bested Extremely Loud on Monday. It also did stellar business in Dallas, grossing $32,811 for the four days, compared to $23,680 for Dragon Tattoo and $11,735 for The Artist.

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"The film is sustaining its momentum with pretty big numbers, even though the competition is enormous," Focus president of distribution Jack Foley said. "There is national recognition now of the film, which now moves into its fourth week."

And Tinker Tailor isn't just drawing older audiences, evidenced by a strong debut in Portland, where arthouse fans are younger.

Regardless of whether Tinker Tailor is beating it in certain locations, The Artist -- an awards frontrunner -- is doing impressive business for a silent, black-and-white film.

On Dec. 23, the Weinstein Co. upped The Artist's count from 17 to 167 locations in a key test for the French pic. The Artist did well, grossing $1.3 million over the four-day holiday weekend for a location average of $7,876 and domestic cume of $2.8 million as it heads into its fifth week of play.

Among new specialty films, Extremely Loud opened on Dec. 23 in six theaters, grossing $114,000 for a strong average of $19,000.

Pina's opening performance is noteworthy for a documentary. The film is Germany's official selection for the Oscar for best foreign language film.

Angelina Jolie's Bosnian war film In the Land of Blood and Honey likewise debuted on Dec. 23 in three theaters, grossing $25,459 for a location average of $8,486. FilmDistrict is distributing the film.

Sony PIctures Classics' Carnage, directed by Roman Polanski, posted a per theater average of $11,626 in its second weekend, grossing $81,838 for a cume of $199,048.

With many off of work this week, the specialty box office should see brisk midweek business.

http://www.hollywoodreporter.com/news/tinker-tailor-soldier-spy-the-artist-awards-box-office-276451

The Six Top Spy Television Spy shows - Spooks, Mission Impossible, etc.

 

TV's top secret agents have always charmed viewers but who's your favourite when it comes to spy v spy?

Darren Boyd (left) and Robert Lindsay in Sky1 comedy Spy. Photograph: Sky

Darren Boyd takes to satellite-beamed screens tonight in Sky1's new action comedy Spy. A sort of a Johnny English 2.0, the show follows a loveable loser who accidentally gets a job at MI5. You know the schtick: hilarity ensues as a bumbling idiot who can't even muster the dexterity to tie his own shoes inadvertently saves the day with his hapless heroics. It's a role that seems tailor-made for the former Green Wing actor, but a quick glance into the dusty tomes of television history shows us that he's not the first to have been tapped on the shoulder.
In fact, since the first cathode ray tubes began to hum, episodic espionage has become something of a fixture on the small screen. But who's done it best? Here's our pick of the six best spy series. Let us know what you think below

Mission: Impossible (1967-73 and 1988-90)

With one of the most iconic intros in TV history, Mission: Impossible exploded onto screens in the late 1960s and became one of the most successful spy show to have snuck its way onto the schedules. After a hugely popular original run, the show returned to screens in the late 80s, before Tom Cruise went and ruined it all with a glitzy Hollywood remake in which the star poses meditatively in the foreground while something explodes in slow motion behind him.

Tinker Tailor Soldier Spy (1979)

John le Carre's engrossing tale of cold-war espionage is currently garnering much acclaim on the silver screen, but for many it will be most fondly remembered in the form of this superb miniseries starring Alec Guinness as George Smiley. Along with the equally impressive (some would argue even better) Smiley's People, it made it into the Guardian list of the Top 50 TV shows of all time.

Spooks (2002-2011)

The quality has ebbed and flowed since a stunning debut series but Spooks has remained one of the best spy shows on the box, with a willingness to push boundaries that other shows shy from. Across 10 seasons (Spooks will shortly be retired from service) it has attracted an enviable cast including Matthew Macfadyen, Rupert Penry-Jones and Hermione Norris – all of whom fans constantly feared would be dispatched with the flick of a deep-fat fryer.

The Saint (1962-1969)

What is it about spy shows and top-notch theme tunes? The Saint, which proved a training ground for Roger Moore's later work on Her Majesty's secret service, is up there with Mission: Impossible in terms of memorable music. But it's not only the catchy title sequence that sticks in the mind's eye, Moore too was excellent as Simon Templar, the Robin Hood of small screen spies; a free spirit who'd work on both sides of the law so long as it followed his strict moral compass.

The Man From U.N.C.L.E (1964-1968)

U.N.C.L.E employees Napoleon Solo and Illya Kuryakin – played brilliantly by Robert Vaughn and David McCallum respectively – were the heart and soul of a show that followed the duo's attempts to thwart the amusingly acronymic THRUSH and its designs on world domination. Counting Bond supremo Ian Fleming among its creative team it's perhaps no surprise that U.N.C.L.E was an astronomic success.

Danger Man (1960-1968)

Patrick McGoohan's titular secret agent provided some welcome relief from the increasingly outlandish exploits of his conniving contemporaries in the 1960s. While others revelled in intricate plots and cutting-edge gadgetry, Danger Man offered a more realistic take on the spy drama format, with hard work rather than laser beam-spouting timepieces saving the day and the shades of grey implicit in intelligence work put front and centre.

Honourable mentions

The Avengers (1961-1969)
The Avengers evolved into one of the first examples of TV spy-fi, a sub-genre that concerned itself with pantomime-esque super-villainy and outlandish adventure over espionage and intrigue.
Get Smart (1965-1970)
Mel Brooks lampoons the hell out of James Bond and co.
Alias (2001 – 2006)
Perhaps the best-in-show for modern stateside spy series, Alias provided television whizz JJ Abrams with his first real hit.

Posted by Daniel Bettridge Friday 14 October 2011 10.04 EDTguardian.co.uk

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