Moviefone looks back at the troubled release of Martin Scorsese's New York New York for its 35th anniversary
Awards Daily someday my prince will come... or not. On Brave and more in 2012
Serious Film gets into spoilers to revel in the whiteboard of terrors in Cabin in the Woods
Movie|Line Magic Mike already making Broadway transfer plans. Huh.
The Incredible Suit happy third birthday to this fun blog
Rope of Silicon applies Pixar storytelling rules to Brave to see where it went wrong... um. If you think it went wrong. It's not a perfect movie but I'm surprised by how much some people don't like it.
Vulture first look at Shirley Maclaine in Downton Abbey. Yes!
How Are You I'm Fine Thanks illustrates the Scooby Doo gaga at the beach. Great stuff.
GQ interviews Elisabeth Moss on Peggy's Journey in Season 5 of Mad Men... and Season 6
Empire spreads the rumor that three Avatar sequels will shoot back to back. I can think of better things for Sigourney Weaver to do with her time and I loved Avatar.
TMZ more old footage of Channing Tatum's stripper days
Alexa here. In honor of Magic Mike opening this weekend and Nathaniel's Stripper Week -- yes, the blog is going there -- I thought I'd celebrate my favorite film stripper, Natalie Wood as the titular Gypsy Rose Lee (née Louise Hovick). Of course, the film is far from one of the best musical adaptations put on film; if only Ethel Merman had been given the chance to put her Broadway signature performance of Mama Rose on screen (Rosalind Russell was such a drag). But it is probably the rabid Natalie Wood fan in me that can't see anyone else as Gypsy.
Here are some curios (and one of my own) in celebration of the charming ecdysiast.
Click for more including a gorgeous illustration and a bizarre marketing tie-in from 1962.
Today marked the 30th anniversary of Blade Runner, one of the most influential movies of all time. The last time I saw the picture was 5 years ago for its restored 25th anniversary . T'was quite a mindfuck to see a movie so clearly 80s looking like it just came from the lab. For the anniversary I thought I'd share this previous article on Roy Batty's famous final monologue...
I've lost track of the times I've seen people steal from it, particularly in the art direction/ production design world (the world that spawned auteur Ridley Scott, don'cha know?). Roy Batty (Rutger Hauer), the leader of a freethinking band of androids known as "replicants" is the best character in the movie. He's scary yet soulful and sympathetic... like a 21st century Frankenstein monster. [More after the jump]
Raise your arms together in unison and sing it with me. Go on, raise 'em -- you know how she do.
What are we singing about exactly? Evita, kids. To celebrate the film's recent 15th anniversary they've rereleased the movie musical adaptation of Andrew Lloyd Webber's megahit on DVD & Blu Ray. From the press release:
Join two of the world’s greatest and most enduring superstars, Madonna and Antonio Banderas, in the epic musical event that is Evita. Directed by award-winning filmmaker Alan Parker, Evita is the riveting true-life story of Eva Peron (Madonna), who rose above childhood poverty and a scandalous past to achieve unimaginable fortune and fame. Despite widespread controversy, her passion changed a nation forever...Now, with a new state-of-the-art digital restoration, you can experience every astonishing scene and unforgettable song like never before!
Awards obsessives will remember that Evita correctly won Best Original Song at the Oscars ("You Must Love Me") as well as three Golden Globe Awards including Best Actress for Madonna. Yes, she's an award-winning actress. Shush!
I've got three copies of the rerelease to give away to musically inclined readers. Anyone can enter but you'll have to e-mail me by Friday, June 29th with the following:
- "EVITA" in the subject line
- Name and Shipping Address (I'll have to share it with Walt Disney if you win but otherwise it's private)
- A short note about your Evita experience -- even if you haven't seen the movie -- whether its Madonna-related, musically inclined, political or stage focused. I may quote you on the site so be forewarned.
- BONUS POINTS: if you send a photo of yourself for publication in the famous Evita pose up top, I'll double your entry though the winners will be drawn at random.
I'll give you an example. Here's me singing about my love for Madonna as Evita.
I look slightly possessed but it's appropriate because that's how I get with Madonna. True story: I practically knocked over an old lady to get to my middle-middle seat on the sold out opening night at my favorite Salt Lake City movie theater. I'm not proud of the old lady part but that opening night was sacred and she was in my way!
Yes, that's a Breathless Mahoney doll in my cleavage. What of it?
Take One: Terri (2011)
The last couple of years have brought Reilly a trio of great dramedic roles. He showed real range in a slight but noteworthy career shift from his usual broader comedies to Cyrus, Carnage and Terri. The third film which is about the lonely life of an overweight high school outcast (Jacob Wysocki) was a particularly great role for Reilly. He was unassuming, believable and much more curiously sombre than in most of the roles we've seen him play to date. (He also played Tilda Swinton’s husband in We Need to Talk about Kevin last year, though his role was largely, though I'd argue unfairly, labelled as miscasting.) Playing Assistant Principal Fitzgerald here Reilly gets to balance that oddball characteristic of his – the one where he does that shouty-then-calm bafflement – with more introspective modes of expression. His first meeting with Terri, who is called to his office for wearing PJs to school, is a beautifully played example of Reilly’s ability to quickly establish a strong, unconventional personality, and then let an audience work out and appreciate what that character is all about. He’s pally one minute and almost comically aggressive the next – especially with the ‘problem’ students. He’s probably the only adult figure in these kids’ world who resembles an authority figure but who can serve it to them on a level they might understand. Watching Reilly in Terri you see just how perfectly he understands certain ‘types’ (here the hardened know-it-all with a hidden nice side) and how that understanding allows him to blend the comic and tragic aspects of his characters in a fresh manner.