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Entries in Julianne Moore (161)

Sunday
Sep162018

TIFF Review: "Gloria Bell"

by Chris Feil

Naturally, English language remakes of already great (and recent, at that) foreign language treasures are a dubious business. But Sebastián Lelio’s revisiting of his own Gloria, formery led by the immaculate Paulina García, presents a convincing alternative to other misguided or less effective attempts. Now titled Gloria Bell and starring Julianne Moore, this version is one not only worthy of its predecessor, but an equal that may even edge it out ever so slightly...

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Thursday
Jul192018

Months of Meryl: The Hours (2002)

John and Matthew are watching every single live-action film starring Meryl Streep. 

#29 —Clarissa Vaughan, a higher-up and hostess of the New York literary scene attempting to throw a party for her dying friend.

MATTHEW:  Even before Meryl Streep stepped before the cameras as the unraveling hostess Clarissa Vaughan on Stephen Daldry’s The Hours, the actress already possessed a role in Michael Cunningham’s Pulitzer-winning, tripartite meditation on love, loss, and Virginia Woolf. Early on in Cunningham’s 1999 novel, Clarissa, while shopping for flower, catches sight of a movie star who may be Streep or Vanessa Redgrave or, much less excitingly for Clarissa, Susan Sarandon emerging from her trailer with an “aura of regal assurance.” Streep’s ephemeral appearance in what will prove to be one of the most pivotal days of Clarissa’s life signifies, quite literally, the sublime; her quasi-cameo is a perfect encapsulation of one of those chance, indirect encounters with a famous face that we use, with varying levels of embarrassment, to distract us from the mundanities of our daily routine, a glimpse of the extraordinary amid the everyday. That Streep the Star, who was gifted a copy of "The Hours" by Redgrave’s late daughter Natasha Richardson, is removed from Daldry’s film speaks to the many, many excisions that occur within any page-to-screen transfer, but it also informs us that Streep’s cinematized Clarissa Vaughan is simply beyond distraction...

I will always appreciate Daldry’s version as a rare if principally partitioned meeting of three extraordinary screen stars...

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Sunday
May132018

Beauty Break: Happy Mother's Day! 

Michelle Pfeiffer with her daughter Claudia Rose early onHappy Mothers Day to any of our readers who are mothers and Happy Mother's Day to all of your mothers, too. Herewith some of our favorite actresses with their first born...

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Thursday
May102018

Cannes Carpet #1: Cruz, Bingbing, Adjani, Moore and more...

by Nathaniel R

Chloe, Chiara, Fan Bingbing, and Carey

With Cannes two days strong now, let's survey the first round of fashions with 16 of the most memorable looks to date. Chloe Sevigny has moved past her fashion muse days but still brings the style while jurying one of the sidebars. It's sort of a starchy pleat with silver gift wrapping. (I don't know what I'm looking at exactly which is sometimes welcome!) Actress Chiara Mastroianni, child of not one but two bonafide legends (Mastroianni & Deneuve, don'cha know) appears to have stepped out of the 1980s directly into 2018. From a distance the dress is like a splatter painting on acid. And Fan Bingbing generally brings several trunks (or maybe trucks?) worth of fashion to Cannes. This Ali Karoui mint-green strapless number is the best of them so far...

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Tuesday
Feb062018

T'weetweek, T'Challa! 

a semi weekly collection for those w/ or w/out twitter curated by Nathaniel R

After the jump little jewel tweets on Saoirse Ronan, ASL in film, Russell Crowe on his next film, and Jessica Chastain relating to Lady Bird. But first Black Panther...

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Tuesday
Jan162018

The Flesh is Weak: Body of Evidence at 25

 by Seán McGovern

Madonna is a lot of things: Singer. Mother. Grammy Winner. Cosmetics Magnate. She is also a “movie killer”. But Body of Evidence, which turns 25 this week, is not entirely her fault. Nor, sadly, is it camp enough, ludicrous enough or, really, bad enough for the opinion of it to have changed after all these years.

Body of Evidence arrived at a particular nexus of Madonna's career. Riding on the wave of Like A Prayer, pushing boundaries with the Blonde Ambition Tour and the exuberant Truth or Dare, Madonna's imperial phase began to dip with her boundary-pushing take on sex and erotica; namely, SEX and Erotica. While Madonna would remain unapologetic, Body of Evidence, and the accompanying explicit period in career concluded with one of the most consistent criticisms of Madonna: rigid-perfectionism and managed-spontaneity...

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