Lions for Lambs (2007)
What’s interesting, however, is how nearly every actor featured in this has atoned for their sins with either one transcendent project or a career devoted to eclipsing that which earned them such scorn. Take Kristen Stewart, who’s getting Oscar buzz for her work in Oliver Assayas’ Personal Shopper, or Keanu Reeves, who seems to have found his true calling in the John Wick series
Cruise remains one of Hollywood’s last big movie stars, a bankable talent who almost exclusively stars in major films that are expected to make a pretty penny at the box office. In recent years, Cruise has leaned hard on large-scale studio projects, from the enduringly popular “Mission: Impossible” franchise to pricey studio outings like “Oblivion” and “Rock of Ages,” and while he’s still a major marquee name, his career is lacking the kind of daring and exciting choices that once made it stand out.
Her nomination for Florence Foster Jenkins this year -- as Best Actress in a Comedy or Musical -- marks her 30th in 38 years. She will also receive the Cecil B. DeMille Award, the first person to get that honor in the same year as a nomination in over two decades. (Sophia Loren managed it in 1995.)
Related: Meryl Streep Once Feared Aging in Hollywood Would End Her Career: 'I Thought Each Movie Would Be My Last'
Ahead of tonight's show -- which will no doubt provide at least one more "Yas, Meryl! Yaaas!" moment -- here are 13 reasons why she is and will forever be the Queen of the Golden Globes:
1. She earned her first nomination in 1979 as Best Actress in a Supporting Role for The Deer Hunter. (She lost to Dyan Cannon for Heaven Can Wait.) Meryl was nominated
Tom Cruise continues to deliver in blockbuster movies: but it can't just be us who'd love to see him making a few more leftfield choices.
Over the weekend, we got the release of the trailer for 2017’s The Mummy movie. In it, as many were quick to point out, Tom Cruise is soon running again. Few actors run with the speed and intensity of Tom Cruise on the big screen, and few actors seem committed to the productions they take on in the manner that Cruise is. Whenever we’ve interviewed anyone to do with a Tom Cruise movie, they all volunteer just how far the man goes out of his way to have a chat, make them feel settled, and make them feel part of things.
See related Matt Reeves interview: Dawn, Andy Serkis and blockbuster filmmaking Dawn Of The Planet Of The Apes review
Appreciating it’s internet law,
For the last 30 years, not only have I sat and watched every single Tom Cruise film that has come out since 1986, I have done so in an actual, honest-to-goodness movie theater. That's a total of 33 silver screen experiences (34 if you count his Austin Powers in Goldmember cameo), including the latest, Jack Reacher: Never Go Back. Yeah, you might say I'm a fan.
However, prior to the start of this streak -- and
[Read the whole post on screenanarchy.com...]
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Over the past decade, films that have gone to the fest looking to establish a wave of support, only to more or less crash on the rocks, include Emilio Estevez’s “Bobby,” Robert Redford’s “Lions for Lambs,” Edward Zwick’s “Defiance” and “Love & Other Drugs,” Clint Eastwood’s “J. Edgar,” Sacha Gervasi’s “Hitchcock,” John Lee Hancock’s “Saving Mr. Banks” and J.C. Chandor’s “A Most Violent Year,” to name a few.
This year, the festival — which kicks off Nov. 5 — boasts three compelling world premieres in opening night, centerpiece and closing night slots, respectively: Angelina Jolie’s “By the Sea,” Peter Landesman’s “Concussion
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
You haven’t seen a movie like this before. Even a wild label like “revisionist feminist postapocalyptic historical western home-invasion horror drama” doesn’t quite do it justice. The Keeping Room is a thrilling experience in how it defies categorization even as it pulls in bits and pieces from various genres in a way that shakes them all up, and in how it finds a fresh perspective on a scenario that is familiar in many of its aspects via the simple yet radical approach of telling its tale through the eyes of women.
This isn’t quite a western: we are not on the untamed frontier but,
One of my favorite books, and favorite movies of the decade, is Moneyball. Telling the story of how A’s General Manager Billy Beane and his front office used statistical analytics – called Sabermetrics – to put together a winning team off a low budget and undervalued players. I’ve always enjoyed that side of Baseball, how integral we evaluate statistics is to the sport, so I thought it was high time I brought it to how we evaluate movies. Given that film is a subjective medium, the only real hard statistic we have to evaluate is box office returns. So, each week I will be taking a look at the weekend numbers and seeing what Baseball statistics have to say about them.
Here are the
The actor portrays Luis, a longtime friend and criminal cohort of Scott Lang, who gives him a place to crash after his release from prison. Luis also sets up the heist that essentially introduces him to Hank Pym (Michael Douglas), setting him on a path to become the Ant-Man. When Scott is tasked with pulling off an improbable heist,
The American Film Institute’s AFI Fest opens tonight in Hollywood with the world premiere of J.C. Chandor’s A Most Violent Year. The film stars Oscar Isaac and Jessica Chastain as a couple trying to run a business and live in New York City during 1981, which was statistically one of the city’s most violent years. This is Chandor’s first film to premiere in Los Angeles. Though the film is hoping to garner some Oscar nominations, only six of the past 14 films to open AFI Fest have gone on to receive Oscar nominations and none have been for best picture.
Of the six films to garner Oscar nominations, the only film to win an award was 2005’s Walk the Line, which resulted in Reese Witherspoon taking home the Oscar for best actress. The Johnny Cash biopic scored four other nominations, including film editing and best actor.
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