Posted on Tuesday, March 11th, 2014 by Angie Han
Fletch Won had already been in the works for a decade when it landed at Warner Bros. in 2011 and, at first, it seemed like this iteration might be a non-starter as well. The project went through several screenwriters, none of which quite managed to crack it (Kevin Smith being the most famous). In the meantime, we heard almost nothing else about it.
But at long last, the movie is taking a big leap forward as Jason Sudeikis has been tapped to star. The Saturday Night Live alum takes over the classic role from another Saturday Night Live alum, Chevy Chase. The latter starred in two Fletch movies during the 1980s. More details on the new version after the jump.
Read More »
Please Recommend /Film on Facebook
Over the holidays, it’s easy to lose track of what’s going on on Twitter. Many of us are too busy sitting around with our families, eating big meals or maybe going to the movies. If you fall into that category, you probably missed Kevin Smith‘s tell-all tweet marathon revealing an interesting story of how Ben Affleck asked him to direct a non-Miramax movie, why Fletch Won never happened, and more. But don’t worry. We’ve got it all embedded for you after the jump. Read More »
If the ’80s gave a sniffling speech at the Decade Achievement Awards, Harold Faltermeyer and his scores would be thanked somewhere after Shigeru Miyamoto and Super Mario Bros. and Magic Johnson’s Lakers. A classically trained German composer with an affinity for rock and disco, Faltermeyer got his start in Hollywood assisting mustachioed electro-don Georgio Moroder on soundtracks for Oliver Stone’s provocative Midnight Express and Adrian Lyne’s jail-bait fave Foxes. With the release of Beverly Hills Cop in 1984, everyone acknowledges how Faltermeyer’s theme song, “Axel F,” hopped into bed with America’s zeitgeist like few songs before or since. The track’s equation of urgent nightlife synths plus cool-black-dude drum effects, then buffered to an upbeat Cali finish, not only paralleled the confident, crowd-pleaser m.o. of sure-shot producers Jerry Bruckheimer and Don Simpson, it embodied and celebrated it.
Soon following “Axel F,” Faltermeyer crafted incredibly memorable and fun themes/scores for Fletch and Top Gun, rising to the occasion by sonically matching the unmatched charisma of Chevy Chase and Tom Cruise on screen in the mid ’80s. Reflecting on the three themes today, not to mention his work on actioners The Running Man and Tango & Cash, it’s difficult to express how Faltermeyer shaped the way audiences then and now remember the ’80s as a time of just-plain-exciting innocence and excess, a time when the buddy-cop formula and toothy superstar grins felt fresh. It’s this feeling and nostalgia Kevin Smith is paying pop-homage to with Cop Out, another bid for a mainstream hit from the ’90s slacker auteur starring Bruce Willis and Tracy Morgan. Smith personally requested Faltermeyer—who’s remained inactive on major soundtracks since the ’92 copper Kuffs—score the film with his signature sound. The catchy result is felt by several critics to be the best thing about the action-comedy. (Stream it here.)
In an interview with /Film, Faltermeyer talked about his creative process and about “crazy shit” including the late Don Simpson’s finesse with a Ferrari.
Read More »
Gregory Mcdonald died on Sunday at age 71 in Pulaski, Tennessee. Mcdonald is best known as the best-selling author of the Fletch book series, which was later adapted into a feature film series starring Chevy Chase. Mcdonald’s Running Scared and The Brave were also adapted for the big screen. Mcdonald had 26 published books and won the Edgar Allen Poe Award twice. Before writing the Fletch novels, Mcdonald was a journalist for the Boston Globe. He is survived by his wife, Cherlye, and five children.
Mcdonald ‘s most recent brush with Hollywood involved the development of a Fletch prequel called Fletch Won. Kevin Smith was originally attached to write and direct but left when studio heads weren’t confident in Jason Lee for the lead role. Scrubs writer/director Bill Lawrence came on board with Zach Braff attached to star. Both Braff and Lawrence left the project in 2007, replaced with Accepted director Steve Pink. No word on the current state of the project.