The buzz keeps building for Michelle Williams’ performance as the famous blonde that gentleman most preferred. In four videos for My Week With Marilyn, which opens Nov. 23, Williams continues to balance the duality of the famously fragile bombshell. In one of the two new clips, she’s playful and spontaneous, surprising her new friend (Eddie Redmayne) in the backseat of her car. In another, though, she’s a lost little girl as Vivian Leigh (Julia Ormond) deigns to address her during a visit to see her husband, “Larry” Olivier (Kenneth Branagh), on the set of 1957’s The Prince and the Showgirl. Watch below: READ FULL STORY
Tag: Best Actress Oscar (31-40 of 106)
The beauty of this year’s Sundance Grand Jury prizewinner, Like Crazy, is in how vividly it portrays the exciting, scary, and tear-your-heart-out nature of first love. The film’s leading lady, Felicity Jones, has already earned a Gotham Award nomination for her breakout performance and can be considered a long-shot candidate for an Oscar nod as well. (In a weaker year for actresses, she’d be a shoo-in.) The movie scored an impressive $30,000 per theater in its debut weekend of release. Now, in advance of its second frame, Paramount has put together four emotional montages, each representing one aspect of the film: “I Want You” (available on Moviefone), “I Need You” (available on Apple), “I Love You” (available on Fandango), and “I Miss You” — the last of which you can see exclusively below. Add the words “…like crazy” to the end of the montage titles and you have a pretty good idea of what the movie is about. READ FULL STORY
Besides being the film whose Cannes press conference caused such a ruckus, Lars Von Trier’s Melancholia was one of the most fascinating movies to play at that festival this year. The beautiful and ambitious film is comprised of two segments: Part one takes place at the drama-filled wedding reception of Kirsten Dunst and Alexander Skarsgard (how’s that for a gorgeous couple), and part two, a while later, follows a severely depressed Dunst, her sister (Charlotte Gainsbourg), and brother-in-law (Kiefer Sutherland) as they await the possible collision between Earth and the newly-discovered planet Melancholia. Dunst’s performance won her the Best Actress prize at Cannes and could score her an Oscar nod (though it’s quite a crowded field this year). Audiences can currently see Dunst and Skarsgard as newlyweds on demand or when the film hits theaters on Nov. 11; in the meantime, here’s an exclusive clip of the pair near the beginning of the film as they try to maneuver a stretch limo on a winding and narrow driveway. The clip doesn’t begin to scratch the surface of the film’s gravitas, but it gives you a sense of Von Trier’s uniquely naturalistic style. READ FULL STORY
The Iron Lady has gotten some weighty support.
The Meryl Streep biopic about British Prime Minister Margaret Thatcher was picked up for distribution in the United States by The Weinstein Co., which has a good track record with British biopics. Last year, Harvey and Bob Weinstein steered The King’s Speech through a contentious award season to an ultimate Best Picture win at the Academy Awards.
They are likely to push for a repeat of that recent history with this film, which focuses on the 1982 Falklands War and co-stars fellow Oscar-winner Jim Broadbent as Thatcher’s husband, Denis. Phyllida Lloyd, who worked with Streep on Mamma Mia!, is directing. READ FULL STORY
We Need To Talk About Kevin has delivered a gut-punch to the Cannes Film Festival.
The movie, about a mother (Tilda Swinton) grappling with the aftershocks of a school massacre perpetrated by her sociopathic son, played like an early-morning waking nightmare at the start of the movie gathering’s second day. It earned raves, deeply affecting critics, and stirring predictions that it would claim the festival’s Palme d’Or grand prize before most of the rest of the screenings had a chance to play.
It’s hard to describe We Need To Talk About Kevin simply as a drama – director Lynne Ramsay’s film gets under the skin like a horror story …
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The Black Swan controversy keeps on spinning. In an interview with ABC’s 20/20 that aired Friday, Sarah Lane — the dance double who has contended Portman did “5 percent” of the full-body dancing in the film — said that the filmmakers who have come to Portman’s defense are “completely lying.” Director Darren Aronofsky said in a statement last month that, of the 139 dance shots in the film, 111 are of Portman “untouched,” while 28 are of Lane: “If you do the math, that’s 80 percent Natalie Portman.”
“I’m not speaking because I feel like I should be heralded,” Lane said to 20/20‘s Elizabeth Vargas. “I’m speaking because [the filmmakers] are completely lying about the amount of dancing Natalie did in the movie. When those incorrect things are coming out, and they threaten the entire principle of ballet, then I feel like I need to say something.” Lane also said she “expected” Portman not to thank her in her Oscar acceptance speech, and that she doesn’t feel “all disgruntled” by the omission. You can watch a clip of the interview below: READ FULL STORY
Years ago, during a periodic stylistic house-cleaning to scrub away overused words from the pages of Entertainment Weekly, an editorial ruling banned the word “icon.” Our top editor declared that EW writers were throwing the word around all too freely, bestowing the honor based on lowered standards. Artists and celebrities of the moment might be popular, or hot, or artistically inventive, or possessed of cool wardrobes and haircuts, but that did not automatically make them — in the definition approved by Webster’s Ninth New Collegiate Dictionary and the EW copy department — “an object of uncritical devotion.”
Elizabeth Taylor was an icon — the mortal Hollywood actress for whom the grand Greek word might as well have been invented. READ FULL STORY
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