In the current ultra-managed, publicist-controlled, sound-byte-driven media atmosphere, you don’t get to hear stars really speaking their minds anymore — at least, not about anything fun, like how they really feel about their fellow stars. But occasionally a little something sneaks through the PR wall, both now and back in Hollywood’s golden age, sometimes as whispers, sometimes as gossip, sometimes long after the fact. And thus, we present another, long-overdue installment of our ongoing series (following authors, filmmakers, and musicians) of really famous people really cutting each other …Read More
Larry Kramer wouldn’t shut his mouth. It’s probably because of his outspoken nature, the bridges he burned and the politicians he pissed off, that the government’s recognition of the AIDS epidemic — an acknowledgement that didn’t come soon enough — turned what for years was misunderstood as a plague that only affected a small population of unfortunates (i.e., gay men) into a disease that the average American knows does not discriminate based on sexuality or race. Kramer’s work in the early ’80s, both as a founding member of Gay Men’s Health Crisis and the author of the monumental off-Broadway play The Normal Heart (which had its New York premiere in April 1985, nearly 15 months before President Reagan publicly acknowledged the crisis for the first time), was an indelible asset to the early days of HIV/AIDS awareness. As his autobiographical play, now getting the star-studded HBO film treatment, asserts, Kramer’s efforts were, for years, overshadowed by his rabble-rousing and the government’s indifference to the disease that was affecting millions.
It’s a big week for murderers whose stories became movies — both Bernie Tiede (played by Jack Black in Richard Linklater’s Bernie) and Michael Alig (played by Macaulay Culkin in Party Monster) are now free men, reminding us that when films are based on true stories, the lives that inspired them continue after the credits roll. Here’s a look at what became of Tiede and Alig, and several other real people who became Hollywood …Read More
If you’re dating or married, Valentine’s Day can be a high-stress holiday: figuring out what to get your partner, how much is trying too hard, how much isn’t trying enough, where to go, what to do, what not to do, and whether this really is the right night to bring up that previously unmentioned lovechild. But if you’re, shall we say, between partners, February 14 is a miserable day indeed, an interminable blizzard of flowers and candy and bullshit. Who needs it? So if you’d like to shy away from the syrupy romantic fare typical of Valentine’s Day movie-watching, fear not; here are a baker’s dozen anti-romantic movies for your weekend …Read More
When Tracy Letts’ epic three-hour play August: Osage County debuted on Broadway in October 2007 after a critically acclaimed run at Steppenwolf Theatre Company in Chicago (where Letts is an ensemble member), it was immediately clear that it was a modern theatrical classic. The play took well-worn territory — the dysfunctional family drama — and turned it on its head: the lengthy production boasted an impressive set (a three-story house) and a cast of 13 characters who throughout the evening yelled and screamed, climbed over tables, and broke down in tears. It was both funny and depressing, and it was an immediate hit, spawning a national tour and various international productions. Even before Letts nabbed a Pulitzer Prize and the production swept the Tony Awards, it was clear August would become a film.
Every year, Forbes releases its lists of Hollywood’s highest-paid actors and actresses, presumably to give schoolteachers and cops and social workers an opportunity to think a little harder about their choices. This week saw the release of the ten highest-paid actresses list, topped by Angelina Jolie at $33 million a year. Putting aside the rather glaring issues of gender pay — that top $33 million paycheck would barely land Jolie in the top ten of male actors — here’s a question: Angelina Jolie? Seriously? Angelina Jolie hasn’t appeared in a movie since 2010. (The year, not the forgotten 2001 sequel.) That film, The Tourist, is mostly remembered these days as the punchline for Golden Globes stories. It made a little bit of money, but certainly not enough that its leading lady should still be coasting on it. Yet this year’s Forbes lists are mostly interesting as confirmation of what we’ve been suspecting for a while: that movie stars don’t matter anymore.
Welcome to Flavorwire’s streaming movie guide, in which we help you sift through the scores of movies streaming on Netflix, Hulu, Amazon, and other services to find the best of the recently available, freshly relevant, or soon to expire. This week, there’s good stuff from Johnny Depp, Leonardo Di Caprio, George Clooney, Drew Barrymore, Tommy Lee Jones, Julia Roberts, Alex Karpovksy, John Hodgman, Bob Hoskins, Lena Dunham, and more. Check them out after the jump, and follow the title links to watch them right now.
Pixar’s charming and sweet Monsters University hits theaters today, and while its primary subject matter is the scare-propelled world of monsters and magic doorways laid out in 2001’s Monsters Inc., it also falls easily into the long and distinguished tradition of college movies (including several direct shout-outs to Animal House). In acknowledgment of this tradition, and as a handy summer viewing guide for those of you entering (or returning to) the collegiate world come fall, Flavorwire presents a detailed syllabus of movies about college, a step-by-step and course-by-course rundown that enables you to have the college experience without actually going to …Read More
Because he was too young, because he was so admired, and because he made possibly the first great television show of the 21st century, James Gandolfini’s untimely death is an enormous loss. I, like many others, will never shut up about what Gandolfini brought to The Sopranos. Yes, in the post-Goodfellas era, it wasn’t hard to see a big, dark dude with a North Jersey twang and suspend your disbelief. Gandolfini’s physicality and heft didn’t hurt, nor did the fact that he often appeared on screen surrounded by actors from the Scorsese canon. The man knew how to play a gangster, and there were moments in The Sopranos when he performed on the level of James Cagney.