I’m not really sure what Emma Roberts is up to these days, besides avoiding the sun this summer, but everybody’s favorite pasty hottie went see-through out in LA the other night, and that’s always newsworthy as far as I’m concerned. Unfortunately though, she didn’t conveniently “forget” to wear a bra underneath, which would’ve made this an even bigger story. Clearly, Emma needs a new management team. And I’d be more than happy to volunteer. I’ve got a bunch of great ideas — granted, most of them involve sex tapes and bikini yoga, but hey, you go with what works, right? Call me! Photos: PacificCoastNews Continue reading →
Since you know how I’m always on the lookout for new hotties, I want you perverts to meet Kryss Littlewood . (You’re welcome.) I can’t tell you too much about her, because I’m lazy and the only thing I was able to find was her Instagram , but here’s hoping we find out a lot more about this seriously amazing hottie in the future. Including what she looks like a bikini. Fingers crossed. Photos: Alejandro Bauducco Continue reading →
Let’s face it: The Big Wedding was more fun when it was fat and Greek — or loud and French, in the case of this adaptation of Gallic laffer Mon frere se marie . Writer-director Justin Zackham awkwardly blends feel-good pablum and raunchy sex jokes with the expected nuptial ingredients: something old (just look at that cast), something new (the groom is an adopted Colombian with three moms to manage), something borrowed ( Nancy Meyers called, she wants her ideas back) and something blue (handjobs at the rehearsal dinner, etc.). It’s all catnip for the easily pleased, suggesting possible sleeper success amid louder early-summer studio fare. Skewing older than other recent R-rated wedding comedies such as Bridesmaids and Bachelorette , The Big Wedding all but ignores the happy couple in favor of the “bigger” sixtysomething names in its starry ensemble: Robert De Niro , Diane Keaton and Susan Sarandon . As in Jean-Stephane Bron’s 2007 original, the grownups’ childish antics threaten to upset the whole event. Misleading title aside, young Missy and Alejandro’s union is a relatively small affair, held in the groom’s backyard and consisting of only about 100 guests. The vanilla bride ( Amanda Seyfried , who’s been down this road before in Mamma Mia! ) and her swarthy husband-to-be (British actor Ben Barnes , Prince Caspian in the Chronicles of Narnia series) have known each other since childhood. What makes their engagement interesting is the fact that Alejandro was born in Colombia and raised by an upscale Connecticut couple with two kids of their own. Naturally, Alejandro wants his birth mother, Madonna ( Patricia Rae ), to attend, but he doesn’t have the nerve to tell the conservative Catholic woman that his adoptive parents, Don and Ellie Griffin (De Niro and Keaton, a million miles from The Godfather: Part II ), have been divorced for the past decade. Instead, he begs Don to stash his new g.f., Bebe (Sarandon), and pretend that everything’s still rock-solid between him and Ellie — the sort of arrangement that must seem all too familiar to The Birdcage star Robin Williams (unusually restrained as the ceremony’s Irish priest). Surely The Big Wedding ’s paucity of genuinely inspired moments is due less to Williams’ involvement than its other officiant, Zackham, who has captured the bright, hyper-sunny look of Nora Ephron and David Frankel movies (simply by using d.p. Jonathan Brown) without grasping those helmers’ gift for comedy. The film isn’t so much funny as it is merely amusing — a laundry list of inappropriate and potentially embarrassing moments that strive mightily, but never quite manage to land the laugh. The awkward situations begin with Ellie’s arrival at her former home. Letting herself in, she accidentally walks in on Don going down on Bebe (who was once Ellie’s best friend and, evidently, still manages to excite the man she stole 10 years earlier). After the three grownups agree to Alejandro’s charade, Ellie turns the tables, enjoying a 40-minute morning-sex session loud enough to convince not only Madonna but everyone else within a two-mile radius that she and Don are still compatible. Meanwhile, the Griffins’ two biological children show up with plenty of their own issues. Lyla (a high-strung Katherine Heigl) has just broken up with her long-time b.f., has unexplained barfing spells and faints at the sight of a maternity ward. You don’t have to be an obstetrician to recognize the symptoms, though her slow-on-the-uptake brother Jared ( Topher Grace ) inexplicably diagnoses her as having a mild concussion. Unlike the rest of his hot-blooded family, Jared has sworn to wait for sex until marriage, but at 29, he’s having second thoughts — and the first available female to cross his path is sister-by-adoption Nuria ( Ana Ayora ), who stayed behind in Colombia when Alejandro moved to the States. In the French version of such a scenario, one wouldn’t be surprised by the ensuing sexual antics, but all that rumpy-pumpy seems rather inappropriate in the remake’s upper-crust East Coast milieu. Presenting De Niro’s character as a recovering-alcoholic sculptor only goes so far to explain his licentious nature: He turns up drunk in one scene, reveals all the family secrets, and then sobers up immediately. Otherwise, he’s the pic’s go-to guy for delivering too-eloquent speeches, which occur with regularity whenever the script requires a heart-tugging moment. Such emotional ploys come more naturally to Zackham (who hit it big with The Bucket List script) than comedy does, offering a much-needed dose of charm to the otherwise formulaic festivities. More on Robert De Niro: ‘Silver Linings Playbook’: Alternate Ending Includes Jacki Weaver’s Braciole Recipe Follow Movieline on Twitter .
Let’s face it: The Big Wedding was more fun when it was fat and Greek — or loud and French, in the case of this adaptation of Gallic laffer Mon frere se marie . Writer-director Justin Zackham awkwardly blends feel-good pablum and raunchy sex jokes with the expected nuptial ingredients: something old (just look at that cast), something new (the groom is an adopted Colombian with three moms to manage), something borrowed ( Nancy Meyers called, she wants her ideas back) and something blue (handjobs at the rehearsal dinner, etc.). It’s all catnip for the easily pleased, suggesting possible sleeper success amid louder early-summer studio fare. Skewing older than other recent R-rated wedding comedies such as Bridesmaids and Bachelorette , The Big Wedding all but ignores the happy couple in favor of the “bigger” sixtysomething names in its starry ensemble: Robert De Niro , Diane Keaton and Susan Sarandon . As in Jean-Stephane Bron’s 2007 original, the grownups’ childish antics threaten to upset the whole event. Misleading title aside, young Missy and Alejandro’s union is a relatively small affair, held in the groom’s backyard and consisting of only about 100 guests. The vanilla bride ( Amanda Seyfried , who’s been down this road before in Mamma Mia! ) and her swarthy husband-to-be (British actor Ben Barnes , Prince Caspian in the Chronicles of Narnia series) have known each other since childhood. What makes their engagement interesting is the fact that Alejandro was born in Colombia and raised by an upscale Connecticut couple with two kids of their own. Naturally, Alejandro wants his birth mother, Madonna ( Patricia Rae ), to attend, but he doesn’t have the nerve to tell the conservative Catholic woman that his adoptive parents, Don and Ellie Griffin (De Niro and Keaton, a million miles from The Godfather: Part II ), have been divorced for the past decade. Instead, he begs Don to stash his new g.f., Bebe (Sarandon), and pretend that everything’s still rock-solid between him and Ellie — the sort of arrangement that must seem all too familiar to The Birdcage star Robin Williams (unusually restrained as the ceremony’s Irish priest). Surely The Big Wedding ’s paucity of genuinely inspired moments is due less to Williams’ involvement than its other officiant, Zackham, who has captured the bright, hyper-sunny look of Nora Ephron and David Frankel movies (simply by using d.p. Jonathan Brown) without grasping those helmers’ gift for comedy. The film isn’t so much funny as it is merely amusing — a laundry list of inappropriate and potentially embarrassing moments that strive mightily, but never quite manage to land the laugh. The awkward situations begin with Ellie’s arrival at her former home. Letting herself in, she accidentally walks in on Don going down on Bebe (who was once Ellie’s best friend and, evidently, still manages to excite the man she stole 10 years earlier). After the three grownups agree to Alejandro’s charade, Ellie turns the tables, enjoying a 40-minute morning-sex session loud enough to convince not only Madonna but everyone else within a two-mile radius that she and Don are still compatible. Meanwhile, the Griffins’ two biological children show up with plenty of their own issues. Lyla (a high-strung Katherine Heigl) has just broken up with her long-time b.f., has unexplained barfing spells and faints at the sight of a maternity ward. You don’t have to be an obstetrician to recognize the symptoms, though her slow-on-the-uptake brother Jared ( Topher Grace ) inexplicably diagnoses her as having a mild concussion. Unlike the rest of his hot-blooded family, Jared has sworn to wait for sex until marriage, but at 29, he’s having second thoughts — and the first available female to cross his path is sister-by-adoption Nuria ( Ana Ayora ), who stayed behind in Colombia when Alejandro moved to the States. In the French version of such a scenario, one wouldn’t be surprised by the ensuing sexual antics, but all that rumpy-pumpy seems rather inappropriate in the remake’s upper-crust East Coast milieu. Presenting De Niro’s character as a recovering-alcoholic sculptor only goes so far to explain his licentious nature: He turns up drunk in one scene, reveals all the family secrets, and then sobers up immediately. Otherwise, he’s the pic’s go-to guy for delivering too-eloquent speeches, which occur with regularity whenever the script requires a heart-tugging moment. Such emotional ploys come more naturally to Zackham (who hit it big with The Bucket List script) than comedy does, offering a much-needed dose of charm to the otherwise formulaic festivities. More on Robert De Niro: ‘Silver Linings Playbook’: Alternate Ending Includes Jacki Weaver’s Braciole Recipe Follow Movieline on Twitter .
Daisy Fuentes still considers Secaucus, New Jersey, as her home, even though her parents left New Jersey for Miami.Her youngest brother Alejandro is currently a student at George Mason University. Daisy Fuentes (born November 17, 1966 in Havana, Cuba) is a Cuban-American television host, model, and comedian. Daisy Fuentes broke barriers as MTV#39;s first Latina VJ (Signed to MTV US and MTV Latin America simultaneously), and as Revlon#39;s first Latina spokesperson to be signed to a worldwide co
When asked about his picture with Nicole Kidman, Mr Jonal Chong, 48, said in Mandarin: “The picture was taken in 2002 at the premiere of Birth in London.” Birth was a 2004 film directed by British director Jonathan Glazer and starred Kidman as a widow who was convinced that her dead husband had been reincarnated as a 10-year-old boy. TAKE a look at these pictures. The one on the far right shows Hollywood A-list actress Nicole Kidman standing beside Spanish director Alejandro Amenabar. The oth
Over the course of 2,700 words, comedian and actor Patton Oswalt thoroughly and explicitly underlines everything that’s wrong with pop culture at the dawn of 2011. “When everyone has easy access to their favorite diversions and every diversion comes with a rabbit hole’s worth of extra features and deleted scenes and hidden hacks to tumble down and never emerge from, then we’re all just adding to an ever-swelling, soon-to-erupt volcano of trivia, re-contextualized and forever rebooted,” he writes in Wired . “We’re on the brink of Etewaf: Everything That Ever Was–Available Forever.” For reference, that’s bad. Don’t worry, Oswalt will helpfully explain why. [ Wired ]
The latest entry from the “If it makes you feel terrible, it must be great!” school of filmmaking, Alejandro González Iñárritu’s Biutiful has it all: Charming, intelligent, wholly innocent children who suffer at the hands of their wackadoodle manic-depressive mother. Desperate immigrants who toil away under exploitive working conditions for greedy employers who care more about profits than about human lives. Dead babies. Cancer. Nothing says “Awards Season” like feel-bad cinema, and with Biutiful, Iñárritu hauls out the big guns.
Take a look at the $25,000-a-month Los Angeles mansion that pop supernova Lady Gaga is currently renting . Five bedrooms, 5 1/2 baths, pool, gardens, and fitness room. The house is worth $16M. There’s even a room for Alejandro! More
This week’s sweeping epic Agora is a bit of a headscratcher — not necessarily for its concentration on the bloody collision of religion, science, romance and politics in 4th-century Alexandria, but instead for the fact that a film so serious and substantial wasn’t itself made extinct somewhere along the development pipeline. Credit Rachel Weisz, the Oscar-winner whose commitment to writer-director Alejandro Amenabar has resulted in one of 2010’s unlikeliest biopics.
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