Marion Cotillard

Does Tinder Make You Feel as Much Like a Slab of Meat as This Slab of Meat? Links You Need to See

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“All good things must come to an end” is a truism that, of late, the film and TV industries have been proving to be a false-ism. Until each and every granule of history and previously made art is plucked from its resting place and forced into contemporary “relevance,” we won’t have to face the fearful idea of…new ideas. And, unfortunately, it’s hard not enjoy a lot of these revisitations. Earlier, we ecstatically reported on the release of new images from the upcoming Wet Hot American Summer Netflix prequel, and, on the very same day, photos of the cast from the remake of the O.J. Simpson trial (okay, that was a real-life event) — aka Ryan Murphy’s American Crime Story: The People vs. O.J. Simpson — were released. Check out Paper‘s comparison of these images of the trial’s new cast members to those of the original cast…right, of real people. 
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From Cannes to Lifetime: A ‘Grace of Monaco’ Disaster Timeline

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Dozing off on the couch Memorial Day evening with a belly full of improperly cooked-out burgers and cheap beer is a bit of a holiday tradition (in our house, anyway), but this year, there’s a particularly fascinating bit of television programming for you to nod off to: Grace of Monaco, in which Oscar winner Nicole Kidman plays iconic movie-star-turned-princess Grace Kelly. This was supposed to be a giant movie: opening the Cannes Film Festival, awards season push by the Weinstein Company, Oscar glory. Instead, it’s quietly making its stateside debut on Lifetime, a network better known for cringe-worthy original biopics and tales of women in jeopardy. So how did such a prestige project end up on a punchline network? Let’s roll the tape.
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The 5 Best Movies to Buy or Stream This Week: ‘A Most Violent Year,’ ‘The Immigrant’

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There aren’t any giant, ubiquitous hits among this week’s new streaming and disc releases; instead, it’s our favorite kind of week, full of great picks for viewers who are willing to take a risk. We’ve got an intelligent and prickly crime thriller, a period melodrama full of life and force, a horror/comedy that’s simultaneously terrifying and charming, a rehabilitated ‘80s flick, and a terrific female buddy comedy.
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‘Two Days, One Night’ Uses a Fairy Tale Formula to Tell an Adult Morality Tale

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It’s probably safe to assume that you recall the fairy tale of the Three Little Pigs. In case, however, you’re a folkloric vegetarian, it centers around a certain Big Bad Wolf who, like a wandering salesman, travels to the poorly constructed homes of three pig siblings, knocks on their respective doors, then begins huffing and puffing and blowing their houses down. His attack isn’t completely architectural: he then eats the pigs (all but the last, who, SPOILER, built his house out of bricks). But what, you might well ask, do the Three Little Pigs have to do with the Dardenne Brothers’ captivating new film, Two Days, One Night? More than you might think, in fact.
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Why Is the Weinstein Company Dooming Two of Its Best Oscar Prospects? [UPDATED]

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If you have more than a passing interest in the Academy Awards, you’re probably well past the realization that the presumptive criteria for those awards — high quality — often has very little to do with the films that are nominated and awarded. Sure, merit doesn’t hurt, but it certainly isn’t necessary; far more important is the quality and quantity of a film’s Oscar campaign, mounted by studios and distributors with the intensity (and sometimes the cost) of a political operation, complete with advertisements, mailings, and glad-handing. And the modern Oscar campaign was perfected by Harvey Weinstein, the face of the Weinstein brothers, who turned Mirmax and the subsequent Weinstein Company into Oscar factories, via notoriously aggressive campaigning (and occasional alleged “dirty tricks” against opponents). And yet, as 2014 draws to a close, The Weinstein Company is all but burying two viable awards contenders — and the only plausible explanation is ego and spite.
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