The trailer for the Jay-Z and Will/Jada Pinkett Smith-produced Annie has arrived, and though the song “Tomorrow” may contain one… Read More
When the Coen Brothers took home a bundle of awards for their 2007 adaptation of Cormac McCarthy’s No Country for Old Men, including the Oscars for Best Picture, Best Director, and Best Adapted Screenplay, the 1992 National Book Award winner found himself shot into a whole new realm of fame. By then, McCarthy was already on a professional hot streak: in April of 2007 Oprah had picked his latest novel, The Road, for her Book Club. Literature lovers had already known of McCarthy’s greatness, but now everybody knew, and everybody wanted to read him. You could hardly go anywhere without seeing somebody clutching a copy of the book the Coens had adapted, or the post-apocalyptic novel that Oprah loved so much (and would eventually be turned into a well-received 2009 film). … Read More
“Gwyneth Paltrow is not the most courteous scooter driver,” went the Vulture headline last week, and skimming it, this reader had one immediate thought: there is not one thing in that headline I care about. I don’t care about scooters; I don’t care about who is and is not good at driving them; and I especially don’t care about how the Oscar-winning actress stacks up in the scooter-courtesy derby. But here’s the real question: why does anybody care? … Read More
Plenty of people grumble about trailers not delivering the movie they promise, but only one man — New Zealander J. Congdon — got Paramount Pictures to refund the cost of his Jack Reacher ticket, because the movie didn’t include the badass cliff explosion that got him to spend money on a Tom Cruise movie in the first place. In fairness to Paramount, this kind of thing happens all the time; trailers are often cut months before the picture itself is finalized, leading to all sorts of shots, jokes, and scenes that don’t show up in the finished product. It’s all part of the tricky world of film advertising, where the goal is to lure you into the theater, and not necessarily to reflect the tone, story, or (certainly) quality of the film in question. Trailer cutting is kind of an art form unto itself, which is why we so often see trailers that get us all in a tizzy, only to wander out of the movie they’re selling in a befuddled and disappointed stupor. After the jump, we look back at ten movies that were far better in two-minute form. … Read More
You’d think that making (mostly) perfect films on an almost-yearly basis would leave Joel and Ethan Coen little time to script other people’s movies. And yet, here is a trailer for Gambit, a remake of the 1966 Michael Caine/Shirley MacLaine comedy of the same name, which was given to the Coens to write way back in 2003 and attached to several directors — including Alexander Payne and Robert Altman — at various times. The man who finally ended up making the film is Michael Hoffman, whose unusual career has included such films as Soapdish, Restoration, The Emperor’s Club, and most recently 2009’s The Last Station. His version stars Colin Firth as an art curator plotting to dupe his horrible boss (Alan Rickman) into buying a faux Monet, with the help of a cowgirl played by Cameron Diaz. The delightful Cloris Leachman, Tom Courtenay, and Stanley Tucci round out the cast.
Judging by the trailer, the wit and playfulness with which the Coens approach comedy made it into Hoffman’s version. The wackiness factor is high, Firth is endearingly disheveled, Diaz’s accent is appropriately campy, Tucci is doing his artiste thing, and Rickman is briefly naked (in a SFW kind of way). Even if we might have preferred to see the Coens behind the camera, we’ll go along for this ride. Let us know if you agree. … Read More
1. The Mert & Marcus-shot cover for the September issue of Vogue — which features Lady Gaga in an amazing, fuchsia Marc Jacob dress — leaked online late last night, and boy is it a looker! [via Refinery29]
As we mentioned in our June Indie Preview, one of our favorite movies of the month is Your Sister’s Sister, Lynn Shelton’s smart and sophisticated indie rom-com featuring Emily Blunt, Rosemarie DeWitt, and Mark Duplass. But even great moves can have their little flaws, and one thing did nag at us a bit while watching the film: how is it that Blunt and DeWitt are sisters, but have completely different accents? Blunt speaks in her natural British (instead of adopting an American accent, as she did to match onscreen sister Amy Adams in Sunshine Cleaning), and DeWitt keeps her American accent (instead of adopting one to match Blunt’s, as Alison Brie did in The Five Year Engagement). It doesn’t ruin the movie or anything, but it did get us thinking about other movies where we didn’t completely buy the familial connection of the characters; after the jump, we’ve assembled ten of the most egregious examples. … Read More
Well, I’m sorry, but we just couldn’t resist. After our first two “Famous Faces in their Film Debut” video essays took the Internet by storm, we found that with a bit more digging, we could unearth enough new goodies to warrant a third (but final, probably) entry in the series. So check out a squeaky-voiced Tom Cruise, a little tiny Angelina Jolie, an even tinier Robert Downey Jr., and a young (but somehow still old-looking) Tommy Lee Jones, among many other oddities, after the jump. … Read More
It’s all part of the ritual. First we spend months predicting the nominations, then we complain about the nominations, then we predict the winners to the point where there are no surprises during the ceremony itself, so we then complain about the show. Yes, folks, Oscar season came to a close last night, with trophies going to The Artist, Hugo, Meryl, Octavia, and Plummer over the course of the 193-minute ceremony hosted by Alan Shemper Billy Crystal.
Were there great moments? Sure: the legitimately emotional acceptance speeches by Octavia Spencer and Christopher Plummer, the candid charm of Meryl Streep, the terrific byplay of Emma Stone and Ben Stiller, some good old-fashioned slapstick from Will Ferrell and Zach Galifianakis, and a Chris Rock monologue that made us wonder why the hell he wasn’t hosting again. But overall, the night was indisputably awkward — possibly even more awkward than last year’s James Franco art-installation fiasco. After the jump, we’ll run down a few of the evening’s more uncomfortable moments. … Read More