Stop Trying to Make Link Happen

Next Movie can you recite all of Mean Girls in half an hour? This guy in a pink shirt can. 
AV Club Netflix knows you're lying about all those highbrow films you claim you watch!
Pop Matters this is a pretty great interview with Courtney Love about her short but fascinating career as an actress with The People Vs Larry Flynt as its focus
The Playlist Woody Allen needs the right idea for his eventual "shot in Sweden" film -- he's already done his Bergman riff (Interiors) so what could he do? 
Dark Horizons on how they're filming Quicksilver (Evan Peters) super-speed for the new X-Men flick 

Playbill It looks like Clint Eastwood's A Star is Born has been shoved aside for a different musical he's interested in since he's set to start filming his take on Jersey Boys later this month. Several cast members have been plucked from the stage show including Tony winning John Lloyd Young
Empire a new Legolas still from The Hobbit: The Desolation of Smaug (I shudder every time I type that title. Such a horrible title) 
Esquire What I've Learned: Woody Allen Edition

YouTube you've heard that 8 year old Nicki Minaj-addict Sophia Rose Grace got the Little Red Riding Hood role in Into the Woods right? This furthers my wariness about the movie.  That's actually kind of a tricky part which is usually cast older since uh... her whole plot is kind of a sexual metaphor
Coming Soon filming began today on Black Sea, the latest from Kevin Macdonald (The Last King of Scotland) an treasure-hunt thriller starring Jude Law
In Contention reminds that This is Martin Bonner comes out this week. I thought it was already out but no matter. Go see it. It's good.
MovieWeb a television series based on The Exorcist may be on the way. No word on what happened to the previous series based on The Exorcist (from Martha Marcy May Marlene's Sean Durkin) that was supposed to be heading our way.

Young Natalie: Thoughts on one of the great child performances of all time

Hi all, it’s Tim. With Natalie Wood Week upon us, there will be much talk of the actress’s run of films as a beautifully virginal ingénue, or her transition into roles as troubled adults and young women. But I want to pause on the threshold of all those Splendor in the Grasses and West Side Stories to pay tribute to the an earlier era in the Life of Natalie, when she became one of the best-loved child actors of the 1940s (and a good time it was for child actors, too).

The film that put her on the map was Miracle on 34^th Street, of course, released when the actress was a mere eight years old in 1947. It wasn’t her first credited role (that would be the Claudette Colbert/Orson Welles vehicle Tomorrow Is Forever, from 1946), nor even the first movie to showcase her to good effect; earlier that same year, she’d been a solid presence in the supernatural melodrama The Ghost and Mrs. Muir, though that film ultimately didn’t ask very much of her besides being cherubic and innocent (this would remain true of a frustrating number of her vehicles throughout her later career). Simple, even if the simple ability to be a dazzlingly cute kid without it spilling over into tackiness was already enough to mark Wood out as more than just one more saccharine little girl ready to fill the void left by Shirley Temple’s ascendance into her late teens.

Miracle on 34^th Street was something entirely different.

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Here She Is Boys! Here She is World! Here's Natalie!

Presenting... Natalie Wood Week for her 75th anniversary. Anne Marie kicks it off as Natalie flings her kit off.

Let’s get this out of the way now: GYPSY is not a great movie musical. It’s not even a good movie musical. It’s not the best Natalie Wood musical, nor is it her best performance in a musical. In fact, you’d be forgiven for almost missing her entirely behind Rosalind Russell in full Auntie-Mame-mode, all personality and no pipes. But despite these glaring flaws, Gypsy is a significant film; significant to Natalie Wood’s career, significant to us as star worshippers, and significant to the countless young actresses since who have tried to mature their images. It’s significant because this is the movie where Natalie Wood (literally) strips herself of her ingenue status and steps into full-blown sex symbol stardom. [more...]

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"The East," Or, What Do We Think of Brit Marling? Alexander Skarsgård?

Please allow me to catch up. The following double feature is "old" news by internet standards but since I am valiantly trying to say at least something about everything I see, it won't always be instantaneous. I know that in my role as a well known film blogger of Oscar leanings, I'm supposed to embrace my role as Opinion Maker rather than point out the fluid mutating nature of opinions. But, here's a little secret about me (and I suspect most critics): I don't always have a clearcut opinion. Which is where you come in to today. Here are two blondes I've been staring at intensely lately: Alexander Skarsgård & Brit Marling. They are also busy staring intensely at each other in the eco-terrorism thriller The East. 

Help me solidify my vague opinion of them after the jump!

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Further thoughts on M. Night Shyamalan's apocalypse

Picking up where we left off: having tracked the steady descent in quality through the filmography of M. Night Shyamalan, it felt like it would be a good idea to revisit the man now that the weekend is over, and we've all had a chance to see his latest, After Earth. Though, based on its shockingly anemic box-office take, I'm guessing that most of you did not take that chance.

Good for you, because I did see the film, and wow, was it ever the wrong decision. Happily it does, as reported, reverse the plunging downward trend of his career: it's better across the board than The Last Airbender. But it still very clearly isn't a good movie and in one particularly respect it sharpens what might be the most disappointing element of Shyamalan's fall.

Looking all the way back to 1999's The Sixth Sense, one of the things that still impresses the most is the excellent central performance the director pulled out of 10-year-old Haley Joel Osment. Three years later, Signs had solid, if not quite as great work from Rory Culkin and Abigail Breslin. But After Earth is now the second film in a row where Shyamalan is working with a child actor in the lead role, and it's the second time in a row where that child's performance is abysmal: Jaden Smith's turn as the sci-fi hero of this new film is stilted and painfully one-note, with a one-size-fits-all expression of dull surprise, sometimes paired with a watery grin to connote "excitement".

Topped off with the unimpressive visuals and the film's slack narrative development - the way that the ending comes feels less like a conclusion and more like the camera got bored and decided to wander away from the story - and it's hard to see what Shyamalan brings to the table that anybody who knew how to yell "action" couldn't have supplied. Is it time to declare Shyamalan's career over?