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Tag: Best Actress Oscar (31-40 of 107)

Glenn Close, Elizabeth Olsen set for 'Therese Raquin' -- EXCLUSIVE

Jon Kopaloff/FilmMagic; Tim Whitby/Getty Images

As two leading contenders for this season’s Best Actress awards, Albert Nobbs star Glenn Close and Martha Marcy May Marlene breakout Elizabeth Olsen will definitely be seeing a lot of each other over the next few months. And after the awards season ends, the pair will go head-to-head for the period drama Therese Raquin. A source close to the production tells EW exclusively that Close and Olsen will costar in the film, based on the 19th century novel and play by Emile Zola. It’s set to shoot in the spring.

Described as a dark, erotic thriller, the film, set in Paris in 1867, follows young Therese (Olsen), who is forced by her aunt, Madame Raquin (Close), into a loveless marriage to her sick, spoiled first cousin. Therese soon becomes obsessed with her husband’s friend Laurent and is pulled into a devastating affair with him that unravels all of their lives. Close has been attached to the project for years; the role of Laurent has yet to be cast.

Therese Raquin will be directed by Charlie Stratton, who also wrote the screenplay adaptation. The film is being produced by Mickey Liddell (The Grey) and William Horberg (The Kite Runner).

Dave on Twitter: @davekarger

Read more:
The gender-bending ‘Albert Nobbs’ poster
‘Albert Nobbs’ trailer
Meet Elizabeth Olsen — VIDEO

More 'Marilyn' clips: Michelle Williams' Monroe meets her match

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

'Like Crazy': Check out the 'I MISS YOU' montage -- EXCLUSIVE

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

Glenn Close's gender-bending 'Albert Nobbs' poster -- EXCLUSIVE


Of all the actresses working regularly today, Glenn Close has the most Oscar nominations without ever winning a trophy. In the 1980s, Close scored five Oscar nods in only a seven-year period, for The World According to Garp, The Big Chill, The Natural, Fatal Attraction, and Dangerous Liaisons.

Now, 23 years after her last Academy recognition, she is a lock for her sixth career nomination for her impressively convincing turn as the title character in Albert Nobbs (out Jan. 27), where she plays a woman who must pass as a man in Ireland in the late 1800s in order to keep her job as a hotel worker. Close’s performance earned raves at this year’s Toronto film festival and will easily compete with the likes of Viola Davis (The Help), Michelle Williams (My Week With Marilyn), Charlize Theron (Young Adult), Tilda Swinton (We Need to Talk About Kevin) and Meryl Streep (The Iron Lady) for this season’s five Best Actress slots.

EW has the exclusive debut of the Albert Nobbs poster, which includes Close along with Mia Wasikowska and Aaron Johnson, but leaves out one of the film’s most notable attributes: Close’s spectacular costar Janet McTeer, who’s a likely Best Supporting Actress nominee for her fantastic performance in the film. Check it out below:  READ FULL STORY

Kirsten Dunst and Alexander Skarsgard as newlyweds in 'Melancholia' -- EXCLUSIVE VIDEO

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

Can the ladies of 'The Help' score Oscar nods?

Dale Robinette

The fantastic early box office performance for The Help only, well, helps its awards chances. At this point, the movie seems to have all the ingredients for Oscar attention: mostly positive reviews, through-the-roof audience reaction, and just a smidgen of controversy. It seems to me like Emma Stone and Viola Davis should be campaigned as Best Actress while the rest of the strong female cast (including Octavia Spencer, Jessica Chastain, and Sissy Spacek) belongs in the supporting category. Some people have written to me on Twitter suggesting that Davis would stand a better shot in supporting, but the film really feels like her character Aibileen’s story so such a move would feel quite disingenuous.

While the whole cast is impressive, my hunch is that Davis and Spencer are the best bets at nominations. With the Venice/Telluride/Toronto awards-bait onslaught only days away, I’d argue that Davis and Spencer are the two strongest female contenders from the first eight months of the year. (Other longshot candidates so far: Hanna‘s Saoirse Ronan for lead and Bridesmaids‘ Melissa McCarthy or Win Win‘s Amy Ryan for supporting.)

Of course Davis and Spencer will both face much tougher competition over the next four months: The Iron Lady‘s Meryl Streep, We Need to Talk About Kevin‘s Tilda Swinton, Carnage‘s Kate Winslet and Jodie Foster, Young Adult‘s Charlize Theron, My Week With Marilyn‘s Michelle Williams, Albert Nobbs‘ Glenn Close, and War Horse‘s Emily Watson are all on their way. But after this year’s shut-out of African-American acting nominees, there’s a decent shot next year’s contenders will be more racially diverse.

But I’m also bracing for a bit of backlash as Davis and Spencer’s Oscar buzz grows. After all, they stand to be nominated for playing maids—just as Gone With the Wind‘s Hattie McDaniel did over 70 years ago. As one of my Twitter followers wrote me the other day: “would be nice if black women could get oscar worthy work for something other than roles w such stereotype baggage attached.” I hear you. But what’s worse: a nomination for playing a complex women who happens to be a maid, or no nomination at all?

Dave on Twitter: @davekarger

Cannes Film Festival: Meryl Streep's 'The Iron Lady' biopic gets pickup


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

Cannes Film Festival shocked by 'We Need to Talk About Kevin,' horror tale of parental nightmare

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 …

Read More …


Natalie Portman's 'Black Swan' double on '20/20': Filmmakers are 'completely lying'

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

Which Cannes films could become Oscar contenders?

Last year, several films that played at the Cannes film festival — including Biutiful, Blue Valentine, Another Year, and Inside Job — ended up scoring major-category Oscar nominations. Now that this year’s Cannes lineup has been announced, let’s take a very preliminary look at which films could become next year’s award contenders.

This Must Be the Place Just look at this photo of Sean Penn as an ’80s new-wave star. Are you as intrigued as I am? The film, directed by Italian filmmaker Paolo Sorrentino, is a bit of a mystery, but when Penn takes on a physically transformative role, it usually piques the Academy’s interest.

We Need to Talk About Kevin I’m already hearing great things about Tilda Swinton’s performance as the distraught mother of a school gunman. After her strong turns in Julia and I Am Love failed to gain awards-season traction, it would be terrific to have her back in the game.

Martha Marcy May Marlene Director Sean Durkin’s moody drama (one of the best films I saw at Sundance this year) features another creepy supporting turn from this year’s Winter’s Bone nominee John Hawkes as a charismatic cult leader. And rising star Elizabeth Olsen carries the film with her memorable breakout performance.

The Tree of Life It’s never great when a movie finally has its premiere years after it was shot. But director Terrence Malick’s last three films all received at least one Oscar nomination. And the cast (featuring Brad Pitt, Sean Penn, and touted up-and-comer Jessica Chastain) certainly has potential.

The Skin I Live In The first feature-length collaboration between Pedro Almodóvar and Antonio Banderas in over 20 years is alone cause for celebration. Though it’s an adaptation of a novel rather than an original screenplay, Almodóvar’s works are always strong contenders to become Spain’s foreign-language submission.

For Cannes updates and Oscar news throughout the year, follow me on Twitter: @davekarger.

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