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Tag: Beyonce (1-6 of 6)

Video: Beyonce debuts 'Fifty Shades of Grey' teaser


In typical Beyoncé fashion, the singer unexpectedly posted a video on her Instagram last night teasing the upcoming Fifty Shades of Grey trailer complete with a slowed-down remix of her 2003 song “Crazy in Love.”


'The Great Gatsby' trailer: Beyonce covers Amy Winehouse. Plus: Lana Del Rey and Florence + The Machine

The new trailer for Baz Luhrmann’s glitter-bomb adaptation of The Great Gatsby features three songs from the Jay-Z-produced Gatsby soundtrack, and it’s an apppropriately eclectic and wackadoo anachronistic mix. There’s Beyoncé and André 3000 covering Amy Winehouse’s “Back to Black.” There’s Lana Del Rey — certainly a minor character in her own tragicomic F. Scott Fitzgerald short story — with the heretofore unreleased track “Young & Beautiful,” which used to be called “Will You Still Love Me.”

Last up is Florence + The Machine, who have a song called “Over The Love” that includes the lyrics “I can see the green light/I can see it in your eye.” Somewhere, a high schooler is already adding that song to the end of their sophomore-English PowerPoint Presentation, “The Man With The Yellow Car: Color Themes in The Great Gatsby.” The point is, Fitzgerald would be proud/too drunk to care. Watch the trailer: READ FULL STORY

Casting Net: Ben Affleck coming into 'Focus.' Plus: Beyonce leaves 'A Star is Born'

• Not so much a casting “net” as a casting “release” item: Beyoncé has bowed out of Clint Eastwood‘s long-gestating remake of A Star is Born due to scheduling difficulties and the lack of a male star. About an up-and-comer who falls for a dimming male star, the film was put on hold after Beyoncé became pregnant. Will Fetters had penned the latest version of the script. The first version of the film was released in 1937, with Janet Gaynor and Fredic March; then again in 1954, with Judy Garland and James Mason; and finally in 1976, with Barbra Streisand and Kris Kristofferson. [Variety] “I was looking forward to the production of A Star Is Born and the opportunity to work with Clint Eastwood,” said Beyoncé in a statement Tuesday evening to “For months we tried to coordinate our schedules to bring this remake to life but it was just not possible. Hopefully in the future we will get a chance to work together.”

Ralph Fiennes is in talks to join the ensemble of writer-director Wes Anderson‘s The Grand Budapest Hotel, playing the concierge of the eponymous establishment with the Wes-Anderson-y name of M. Gustave. [Variety]

Ryan Reynolds is in initial talks to star in the psychological thriller The Voices, about a man who works at a bathtub factory who owns a talking cat (that’s evil, obvs) and a talking dog (that’s good, of course). Marjane Satrapi (Persepolis, Chicken with Plums) will direct from a Black List script by Michael R. Perry (Paranormal Activity). [Deadline]

Nicolas Cage and Hayden Christensen will star in Outcast, a period action pic set in medieval China. Veteran stunt man Nick Powell will make his feature directorial debut from a script by James Dormer (Cinemax’s Strike Back). [TheWrap]

-Solvej Schou contributed to this report.

Read more:
Casting Net: Anne Hathaway joins Mindy Kaling-penned comedy. Plus: Ron Perlman, Paul Dano
Casting Net: Kim Basinger joins Paul Haggis’ romantic drama ‘The Third Person.’ Plus: Patricia Clarkson, Katee Sackhoff
Casting Net: Samuel L. Jackson and Dominic Cooper face ‘Reasonable Doubt.’ Plus: Adam Brody, Trey Songs, Demian Bichir

Casting Net: Beyonce, Josh Hutcherson, Colin Farrell going 'Epic.' Plus: Adam Sander, Olivia Wilde

Adam Sandler is in negotiations to replace Mark Wahlberg in the family football comedy Three Mississippi. The switch, made due to issues with Wahlberg’s schedule, instantly makes the premise of the film more plausible. Which is easier to believe: that a family headed by Will Ferrell would always win a Thanksgiving tackle football game against Sander’s family, or Wahlberg’s? Sean Anders (That’s My Boy) will direct. [Vulture]

Aaron Johnson and Christopher Mintz-Plasse are nearing deals to reprise their roles in Kick-Ass 2, along with Chloe MoretzJeff Wadlow (Never Back Down) will direct. [Deadline]

• Olivia Wilde has joined Amy AdamsJoaquin PhoenixRooney Mara, and  Samantha Morton in Spike Jonze’s untitled new film, reportedly about a guy who falls for a computer voice. [Deadline]

Read more:
Casting Net: Stallone and De Niro eyeing boxing comedy ‘Grudge Match.’ Plus: Gary Oldman, Dominic Monaghan, Anne Hathaway
Casting Net: Adam Shankman comedy eyeing all-star cast. Plus: Jude Law, Michelle Pfeiffer, Gillian Anderson, Taran Killam
Casting Net: ‘Thor 2,’ ‘Iron Man 3′ land new villains. Plus: Anthony Hopkins, Bradley Cooper, Owen Wilson, Olivia Wilde

Clint Eastwood in talks to direct Beyonce in 'A Star is Born' remake

Beyonce-Clint-EastwoodImage Credit: Janet Mayer/PR Photos; Duffy-Marie Arnoult/WireImage.comNo, it’s not an Onion headline: Warner Bros. confirms to EW that Clint Eastwood is indeed in talks with the studio to direct a remake of the musical A Star is Born, and Beyoncé is in negotiations to star. (Deadline first reported the news.) At one point last year, Nick Cassavetes was reportedly attached to direct the third remake of the classic story (it’s best known for George Cukor’s 1954 version starring Judy Garland), with Beyoncé as the young starry-eyed ingénue and Russell Crowe playing the has-been who lends her a helping hand. Crowe has apparently fallen out of the picture. No word yet on who Eastwood is considering for the male lead.

Lady Gaga: With the 'Telephone' video, she stars in her own mini-movie, and it's a natural born thriller

lady-gaga-beyonce-telephoneLady Gaga declares, and revels in, the power of her superstardom in every frame of the astonishing, long-form video for “Telephone.” Back in the Stone-Age-of-pop days when MTV actually stood for “music television,” an epic-length video was one of the ultimate signatures of a pop star’s prestige. Michael Jackson, of course, patented the form with “Thriller” and “Bad;” by doubling the length of a standard video, and by recruiting red-hot filmmakers (John Landis, Martin Scorsese) to put their stamp on his work, he was melding the aesthetic/promotional promise of music videos with the myth-making propensities of movies. He was placing himself on a pedestal of icons that, implicitly, reached back to those of Hollywood. But if Jackson’s long-form videos were, in every sense, miniature movies, they were not, at least to my eyes, his greatest videos. Irresistible as it may have been, the night-of-the-living-chorus-line dancing in “Thriller” took a step back from the magic of “Billie Jean” and “Beat It” — to me, it had a slightly dated Broadway stodginess — and the “Bad” video was delirious but also a bit cheesy in its update of West Side Story delinquency.

Lady Gaga, in “Telephone,” proves a far shrewder and more daring manipulator of music-video-as-movie imagery. She uses our collective cinematic memory not just to brand herself with the past but to assert herself into the future — to extend her image as a rock-star freak, a bad romantic man-eater, and a natural born feminine killer. I can’t add a lot to Tanner Stransky’s celebration of the video’s kitschy-camp delights (those cigarette glasses! those Diet-Coke-can hair curlers!), but what possesses me about “Telephone” is the way that Gaga, working with the Swedish director Jonas Akerlund, fuses kitsch and danger, exhibitionism and movies to create a sense of the uncanny. The video doesn’t feel long, like an overly extended production number. It’s intense and organic and perpetually surprising (no matter how many times you’ve seen it), a dream that keeps erupting.

Lady Gaga, in the last year, has singlehandedly revived the excitement of music videos, and now she revives the true, enticing promise of a long-form video event: the revelation of exposure. We want to see a side of the star that we haven’t been shown before, and sure enough, Lady Gaga, in “Telephone,” gives us a teasing new chapter in her pop-surreal, wigs-and-sunglasses version of the Dance of the Seven Veils. Her standard thing, of course, is to be shrouded, as she is in the video’s bitch-or-be-bitched early prison scenes. But then, when she picks up that prison phone and starts to sing, staring into the camera, with purple lipstick and Amy Winehouse mascara, she brandishes, right in our faces, what she’s always hiding — the harsh ethnic beauty of her features. Then comes the transformation: On the line “Sorry, I cannot hear you,/I’m kinda busy…” she bares her teeth, and it’s more than a stance. It’s a new kind of rock & roll rage — the Madonna of the ’80s reconfigured as a homicidal punk tigress. She doesn’t even want to talk to a man — she’s too busy! READ FULL STORY

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