Tag Archives: coward

Flawless! Michelle Obama Slays In Dior For December’s ELLE Cover

Source: Tom Williams / Getty Former First Lady Michelle Obama is serving up a serious lewk on the December issue of ELLE Magazine ! Rocking a Dior Poplin shirt, pleated-voile skirt and leather corset, our #ForeverFLOTUS looks like a stunning queen. Just take a look for yourself: Amazing! The Harvard and Princeton educated lawyer was interviewed by none other than iconic journalist and talk show host Oprah Winfrey . In a deeply personal and enlightening interview, the two discussed a range of topics including her memoir, overcoming her marriage issues with counseling and how Donald Trump’s birther conspiracies impacted her family. When asked was she scared about sharing so much of her personal life with the public, Mrs. Obama surprisingly replied that she wasn’t. “Actually, no, because here’s the thing that I realized: People always ask me, ‘Why is it that you’re so authentic?’ ‘How is it that people connect to you?” And I think it starts because I like me. I like my story and all the bumps and bruises. That’s what makes me uniquely me.: Adding, “So I’ve always been open with my staff, with young people, with my friends. And the other thing, Oprah: I know that whether we like it or not, Barack and I are role models.”   On how she had to learn to love differently to keep her marriage intact: “I had to learn to love differently, I feel vulnerable all the time, and I had to learn how to express that to my husband, to tap into those parts of me that missed him — and the sadness that came from that — so that he could understand. He didn’t understand distance in the same way. You know, he grew up without his mother in his life for most of his years, and he knew his mother loved him dearly, right? I always thought love was up close. Love is the dinner table, love is consistency, it is presence. So I had to share my vulnerability and also learn to love differently. It was an important part of my journey of becoming. Understanding how to become us…I share this because I know that people look to me and Barack as the ideal relationship. I know there’s #RelationshipGoals out there. But whoa, people, slow down — marriage is hard!” On Trump’s dangerous rhetoric about former President Obama: “Because I don’t think he knew what he was doing. For him it was a game. But the threats that you face as the commander in chief are real. And your children are at risk. In order for my children to have a normal life, even though they had security, they were in the world in a way that we weren’t. To think that some crazed person might be ginned up to think my husband was a threat to the country’s security; and to know that my children, every day, had to go to a school, and soccer games, parties, and travel; to think that this person would not take into account that this was not a game—that’s something that I want the country to understand. I want the country to take this in, in a way I didn’t say out loud, but I am saying now. It was reckless, it put my family in danger, and it wasn’t true. And he knew it wasn’t true.”   On no longer living in the White House and the simple freedoms that come with that: So here I am in my new home, just me and Bo and Sunny, and I do a simple thing. I go downstairs and open the cabinet in my own kitchen—which you don’t do in the White House because there’s always somebody there going, ‘Let me get that. What do you want? What do you need?’—and I made myself toast. Cheese toast. Then I took my toast and I walked out into my backyard. I sat on the stoop, and there were dogs barking in the distance, and I realized Bo and Sunny had really never heard neighbor dogs.   On holding up Barack and combatting the pressures that came with the being the first Black family in the White House: “Trying to be the calm in his swerve. You know, when the leaves are blowing and the wind is rough, being a steady trunk in his life. Family dinners. That was one of the things I brought into the White House—that strict code of, You gotta catch up with us, dude. This is when we’re having dinner. Yes, you’re president, but you can bring your butt from the Oval Office and sit down and talk to your children. Because children bring solace. They let you turn your sights off the issues of the day and focus on saving the tigers. That was one of Malia’s primary goals; she advocated throughout his presidency to make sure the tigers were saved. And hearing about what happened with what school friend. Immersing yourself in the reality and the beauty of your children and your family. Plus, on the East Wing side, our motto was, we have to do everything excellently. If we do something—because the First Lady doesn’t  have  to do anything.”   On the importance of remaining optimistic in these tumultuous times: “Yes. We have to feel that optimism. For the kids. We’re setting the table for them, and we can’t hand them crap. We have to hand them hope. Progress isn’t made through fear. We’re experiencing that right now. Fear is the coward’s way of leadership. But kids are born into this world with a sense of hope and optimism. No matter where they’re from. Or how tough their stories are. They think they can be anything because we tell them that. So we have a responsibility to be optimistic. And to operate in the world in that way.” Just amazing and inspiring! Read the ELLE cover article in its entirety here . RELATED NEWS: Michelle Obama Opens Up About Past Miscarriage And Fertility Issues In New Book Michelle Obama Launches ‘When We All Vote’ Initiative With The Help Of A Few Famous Friends Watch: Mama Tina & Michelle Obama Are “On The Run” In Paris [ione_media_gallery src=”https://hellobeautiful.com” id=”2982135″ overlay=”true”]

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Flawless! Michelle Obama Slays In Dior For December’s ELLE Cover

REVIEW: Brad Pitt Makes One Glorious Bastard In Stylish, Self-Conscious ‘Killing Them Softly’

Killing Them Softly   is set in Boston, maybe. Someone mentions living in Somerville, a scattering of the characters have the accent, and they talk about going down to Florida. But the film was shot in New Orleans, often in the industrial edges still ragged from Hurricane Katrina, and the only people who seem to inhabit its universe are gangsters — high level ones with pretentions of civility and hardscrabble losers struggling to get a few dollars together by way of hazardous schemes. What ties this abstract, violent place to the real world is the 2008 presidential election, which provides a backdrop for its tale of an ill-advised robbery and the guy brought in to clean up after it. There’s George W. Bush talking about the bailout on a TV in the corner as two guys knock over a card game; there’s Barack Obama promising change on a billboard over a neighborhood filled with empty lots and abandoned houses. It’s a neat idea, matching the brisk kill-or-be-killed business of unforgiving criminal life to an America staggering from the economic crisis. But as in his last feature, the gorgeous and stiltedly self-conscious  The Assassination of Jesse James by the Coward Robert Ford , Australian filmmaker  Andrew Dominik  shows a tendency to lean too hard on his symbolism rather than letting it exist as part of the whole. In  Jesse James it was the tying in of the last days of the outlaw to a meditation on celebrity. Here, it’s the capitalism-as-a-disease parallels on a national and narrative scale that start to feel on the nose long before a character barks “America’s not a country, it’s a business — now fucking pay me!” and Barrett Strong’s “Money (That’s What I Want)” plays over the closing credits. But when  Dominik , working off his own screenplay adaptation of a novel by George V. Higgins, is less focused on trying to make an important movie, he turns out an indisputably fun one, a stylish and flamboyantly macho affair that cribs pleasantly from Mamet,  Blue Velvet , Tarantino and Scorsese . The film starts with Frankie (Scoot McNairy), a ferrety guy recently out of prison and eager to convince his Australian pal Russell ( Ben Mendelsohn , memorably scary in  Animal Kingdom ) to get in with him on a job. Russell’s working his own scheme involving kidnapping purebred dogs and using the money to buy an ounce of heroin and become a dealer, but Frankie’s pal Johnny (Vincent Curatola) has what he claims is a foolproof gig. They’ll rob a poker game run by a guy named Markie ( Ray Liotta ), who arranged to hold up his own game once in the past and got away with it. The games are protected, but if his gets robbed again everyone will assume he’s the one behind it. Killing Them Softly starts off with its main heist, if it can be called that, and then turns to the fallout, letting things rattle along for a considerable amount of time before introducing Jackie ( Brad Pitt ), a guy who can’t really be described as a hero or antihero. Jackie’s a fixer and a hitman who’s filling in for the last go-to guy, Dillon (Sam Shepard, glimpsed only in flashbacks), and he’s a competent, no nonsense figure in a world full of fuck-ups. Dominik’s film is interesting in that the crimes themselves, whether stick-ups or killings, are rarely difficult — it’s the aftermath that gets people in trouble, when they can’t keep their mouths shut about what they just pulled off or don’t know when to cut their losses and get out of town. Dominik shows an open appreciation for his actors and for the way tough guys, aspiring and genuine, talk to each other — and  Killing Them Softly is as much centered around talking as it is action. Pitt, playing a practical know-it-all who falls somewhere between Rusty Ryan and Tyler Durden, is terribly entertaining shooting the shit with Driver (Richard Jenkins), the representative of the unspecified group who hired him, the two complaining about the new “total corporate mentality” like disgruntled office workers on a smoke break. Later, he brings in Mickey (James Gandolfini) from New York to help out, and watches him with worried calculation as he turns out to be in rough shape. If gangsterism is just capitalism in a more raw form, then Jackie is the creature best suited for this world. He knows the rules and enforces them without prejudice, because it’s just business and this is just a job.  Killing Them Softly doesn’t give that idea its intended sting. The film wants to be angry and scathing, but, to its credit, enjoys its characters and its mechanics too much to have a sharp edge. Whether it’s showing someone’s death in a luxurious slow motion spray of bullets and glass or lingering as someone drunkenly reminisces about a girl he sometimes sleeps with but has no hold on, the film is too fond of its rich details to allow them to become damning symbols of the system in which they can be found. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.  

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REVIEW: Brad Pitt Makes One Glorious Bastard In Stylish, Self-Conscious ‘Killing Them Softly’

Disney’s Brave Premiere, Cannes’ Beasts and Colin Firth’s Mad Dogs: Biz Break Cannes

Also in Saturday’s (mostly) Cannes related news round up, actress Isabella Rossellini gets a new festival jury gig, Lincoln Center teams with Dubai to spotlight Arab cinema, and two groups join for a $150 million equity fund for indie filmmakers. Also check out this weekend’s specialty film releases. Disney/Pixar’s Brave to Open Dolby Theatre The world premiere of Brave will mark the opening of the newly re-dubbed Dolby Theatre in Hollywood, the home of the Academy Awards. The Los Angeles Film Festival will co-host the event as a red carpet special presentation. The animated feature is an epic tale set in the mystical Scottish Highlands where the film’s headstrong protagonist, Merida, is “forced to discover the meaning of true bravery.” Disney opens the film wide in theaters June 22nd. Dubai and Film Society of Lincoln Center Team for Arab Cinema Arab cinema will take center stage in a new program partnered by the Dubai International Film Festival and the Film Society of Lincoln Center, the groups said in Cannes Saturday. Dubbed DIFF Focus taking place August 24 – 30 in New York, the program will feature Venice Film Festival love story Habibi Rasak Kharban and Gulf Film Festival opener City of Life. $150M Independent Film Equity Fund Launched Financier and production outfit AngelWorld Entertainment and independent merchant bank First Wall Street have set up a $150 million fund dedicated to independent productions, the groups said in Cannes. AWE funds 100%, providing a single source of funding allowing the equity investor to sit in the first position, minimizing its risk by securing against all of the film’s assets including foreign sales, tax credits, minimum guarantees and  intellectual property rights until the investor has fully recouped its money. Walk Away Renee to Bow in North American Online Premiere The Cannes 2011 documentary by Jonathan Caouette will have its North American debut via Sundance Selects’ digital sister SundanceNOW. Walk Away Renee is a follow up to Caouette’s lauded 2004 doc Tarnation . Renee will be debut along with its North American premiere June 27th at BAMcinemaFest. Around the ‘net… Preview This Weekend’s Specialty Releases The Cannes Film Festival is in full swing and at least two distributors are bowing their Cannes cache this weekend. Zeitgeist Films is debuting  Elena in the U.S. The film won awards in Cannes and elsewhere before its long (and somewhat bizarre) road to the screen. Sundance Selects, meanwhile will roll out French César and Cannes winner Polisse in theaters and day-and-date VOD using some of its past offerings as a distribution template. Oscar-winning screenwriter Dustin Lance Black’s directorial debut Virginia  opens in limited release and documentary Never Stand Still  starts its rollout in New York before heading to other cities, Deadline reports . Fox Searchlight Fetes Beasts of the Southern Wild in Cannes The 2012 Sundance winner hit the Croisette Friday, basking in two standing ovations. The mystical story set in the deep Louisiana Delta’s swamp country deals with a young girl’s search for her mother after her father’s deteriorating health and environmental disaster put her life in peril. Searchlight will release the feature in the U.S. June 27th, Deadline reports . Colin Firth Boards Mad Dogs Oscar winner Colin Firth has joined Noel Coward’s Mad Dogs and Englishmen, the story of flamboyant English playwright, director and actor singer’s engagement at Las Vegas’ Desert Inn in 1955. THR reports from Cannes. Isabella Rossellini to Lead Abu Dhabi Film Festival Jury Rossellini has been named president of the narrative jury for the festival’s 2012 edition taking place October 11 – 20. The actress last chaired a jury at the Berlinale in February, which gave the best film, best actor and best actress prizes to Iranian director Asghar Farhadi’s A Separation , which went on to win the Oscar for Best Foreign Language Film earlier this year, Cannes Market News reports.

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Disney’s Brave Premiere, Cannes’ Beasts and Colin Firth’s Mad Dogs: Biz Break Cannes

Cannes Film Festival: Our Top 10 Must-See Movies

Films from Robert Pattinson (‘Cosmopolis’) and Kristen Stewart (‘On the Road’) have us pumped, along with eight others. By Kevin P. Sullivan Robert Pattinson in “Cosmopolis” Photo: Alfama Films Hollywood is officially headed to the French Riviera for the 65th Cannes Film Festival, which kicks off Wednesday. With so much of the attention Stateside focused squarely on the “Rob and Kristen Factor,” we thought it would be helpful to take a look at the lineup and share the films we are most excited about at the upcoming festival. Here are our top 10 most anticipated movies at the Cannes Film Festival: 10. “The Paperboy” This adaptation of the Peter Dexter novel marks Lee Daniels’ first film since making it big on the indie scene with “Precious.” “The Paperboy” promises a different direction for Daniels, telling the story of a reporter (John Cusack) who travels back to his home town to investigate a death-row case. 9. “Reality” Director Matteo Garrone made waves at Cannes in 2008 with his hyper-real look at Neapolitan organized crime, “Gomorrah,” which won the Grand Jury Prize that year. For this year’s festival, he returns with “Reality,” a look at the way we perceive life since the dawn of reality television. 8. “Cosmopolis” Robert Pattinson’s name alone has drawn much attention to this in-competition film, but the true nature of its intrigue lies with its director, David Cronenberg. With his adaptation of Don DeLillo’s novel, Cronenberg, with the help of Pattinson, of course, looks to be revisiting the bizarre aesthetics and subject matters that made him famous in the 1980s. We’ve been waiting for this one ever since it won the MTV Movie Brawl 2012 back in January. 7. “Like Someone in Love” “Certified Copy,” the previous film from Iranian director Abbas Kiarostami, earned Juliette Binoche a best actress award at Cannes in 2010, but the film itself is one of the best examples of pure art-house filmmaking in the past few years. With “Like Someone in Love,” Kiarostami shifts his focus from Italy to Japan but keeps the same entry point of a man and a woman who may or may not know each other. 6. “Amour” “The White Ribbon,” Michael Haneke’s previous film tangentially about the saplings of fascism in Germany, wowed audiences on the Croisette in 2009, and “Amour” seems poised to do the same. The film tells the story of Georges and Anne, an octogenarian couple whose bond comes under strain after one of them suffers an attack. 5. “On the Road” Similar to “Cosmopolis,” “On the Road” has drawn a great deal of attention because it features a “Twilight” star, in this case Kristen Stewart, but she only makes up an element of this insanely star-studded Jack Kerouac adaptation, which also stars Sam Riley, Garrett Hedlund, Kirsten Dunst, Viggo Mortensen and Terrence Howard. 4. “Lawless” Formerly known as “Wettest County,” this Southern-set prohibition crime film boasts a cast featuring Tom Hardy, Shia LaBeouf, Jessica Chastain, Gary Oldman and Guy Pearce and a critical darling of a director, John Hillcoat. The recently released trailer looks strong, and Hillcoat’s pedigree alone (his previous films include “The Proposition” and “The Road”) make this a must-see for the festival. 3. “Rust and Bone” A film about a whale trainer who loses a leg to an orca doesn’t necessary seem like Palme d’Or material, but “Rust and Bone” comes from director Jacques Audiard, who took the Grand Jury Prize in 2009 with the impressive “A Prophet,” and it stars Marion Cotillard as the unfortunate trainer. 2. “Killing Them Softly” It wouldn’t be surprising if you haven’t seen “The Assassination of Jesse James by the Coward Robert Ford,” but it would certainly be unfortunate. The western starring Brad Pitt and Casey Affleck debuted and left theaters quietly, but since 2007, the film has slowly gained a reputation as a modern classic. As director Andrew Dominik’s first film since “Jesse James,” “Killing Them Softly” stands out as both his reunion with Pitt and his much-anticipated follow-up. 1. “Mud” A writer/director may take a few films to nail down their voice and storytelling identity, but with his first two movies, Jeff Nichols has not only established himself as a serious filmmaker, but also one of the most exciting auteurs working today. Those films, “Shotgun Stories” and “Take Shelter,” are two genuine masterpieces of American filmmaking, and we look forward to his third feature film “Mud,” starring Matthew McConaughey and Reese Witherspoon. For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Photos Cosmopolis Teaser: 5 Key Scenes ‘On The Road’

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Cannes Film Festival: Our Top 10 Must-See Movies

REVIEW: ATM Starts with a Good Idea and Ends with an Overdraft

Characters in horror movies get to be forgiven a few featherbrained actions for the sake of suspense. Why go into the creepy basement after you’ve realized the lights aren’t working? Why visit the decrepit mansion in the middle of nowhere after everyone’s warned you off? Why stick around the haunted house long after a rational person would have fled to a motel at least two states away? (The upcoming Cabin in the Woods  provides a clever, clever twist on this type of behavior.) Why? Because it’s scary. But even by the most lenient of genre standards, the behavior of the characters in David Brooks’s ATM is ludicrous enough to make anyone grind his or her teeth in frustration. Its trio of unlucky coworkers winding up a night out are trapped and menaced by a dude in a coat . He’s a big guy, but still — he’s not even carrying a chainsaw or axe or other murder-y implement to start, and it’s three against one. The film is built around one long standoff over the small hours of a frigid Midwestern night during which the man keeps his freezing and ever more desperate victims at bay inside a strip-mall ATM booth while we howl at the screen “Just walk out the door! The guy doesn’t look very fast!” The number of contrivances needed to extend this situation for as long as it plays out pile up until you pray for a twist that reveals the whole thing to be some extensive practical joke, excusing the silliness of everything, after which they all go to Denny’s for pancakes. Spoilers: There is no such twist. David (Brian Geraghty), the film’s protagonist, works at a finance firm where he spends his day apologizing helplessly to clients whose 401(k)s he hasn’t been able to save and failing to ask out his crush Emily (Alice Eve). He’s lured into sticking around for the office Christmas party by his obnoxious coworker Corey ( The Wackness ‘s Josh Peck), who informs him that Emily’s leaving for a new job and that David’s got one more evening to make his move. After a few false starts, David actually does, and he has arranged to give her a ride back to her place when Corey drunkenly insists on getting dropped off too. While cockblocking his way home, Corey bullies David into agreeing to stop for pizza, and then realizes he also needs to get cash. The three pull into a quiet parking lot with a pair of ATM machines inside a glass enclosure, and after they all end up taking refuge inside while Corey figures out his card isn’t working, they turn to go and see an ominous figure standing in the parking lot watching them, face obscured by a fur-trimmed hood. It’s a promising opening, between Corey’s charming/annoying advantage-taking, David’s passivity and Emily’s efforts to project receptiveness at her oblivious would-be suitor — these seem like actual characters, not just devices to enable the mechanics of a concept. And the claustrophobia of the main location, the way its florescent-lit everydayness becomes a barely adequate sanctuary from this mysterious threat (whoever the guy is, the three figure, he appears not to have a bank card that will get him through the security swiper) has cinematic appeal. But any tension the film has created dissipates quickly, around the time the trio watches their assailant casually smash another passerby’s head onto the pavement, and decide they should withdraw as much money as they can to try to pay the guy off. He’s just brutally murdered someone in front of them without provocation, and they offer him $500 and some earrings in exchange for walking away? At that point, has he not made it very clear he’s either crazy or has already made the decision to kill everyone there? ATM  has an idea, but it’s not one that can sustain a whole feature (this is director Brooks’s first, from a screenplay by Chris Sparling, writer of the similarly minimal Buried ). Its minimalism raises all the wrong kinds of questions — not about why this is happening to these three people, a topic they fruitlessly debate as they try to wait out the night, but why a security guard would pull up a few dozen yards away from a group of people screaming for help in the middle of a freezing night, get out of his car and blithely ask if they’re OK. Or why no one brought a cell phone. Or why Emily seems to be there just to beg the two men not to go outside and not to leave her unprotected (“You can’t leave me in here!”). Or why they would ever take their eyes off their attacker for a second. In order to keep its situation going, the film has its characters act increasingly foolish, right down to the ridiculousness of its last reveal, the biggest, most nonsensical contrivance of them all.  ATM shows an initial flicker of intelligence, which makes its spiral into absurdity all the more disappointing. Like late-night-drunk pizza, this is something you’d be better off skipping in favor of just eating some cereal at home. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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REVIEW: ATM Starts with a Good Idea and Ends with an Overdraft

Spoiler Alert: Captain America Survives The Avengers, Will Return for Captain America 2 in 2014

If you wanted to remain completely spoiler-free going into this summer’s modest little art pic The Avengers , too bad! Disney has gone ahead and ruined the surprise. So, fine. Captain America apparently does not perish at the end of The Avengers , but will indeed live on to deal with his personal issues in Captain America 2 , due to hit theaters on April 14, 2014. Find the official word and a new image after the jump. I kid. Of course Captain America lives through The Avengers ! How else will he and the rest of his teammates cash in on the endless stream of superhero sequels to follow? From Disney: “The Walt Disney Studios has announced a release date for Marvel Studios’ sequel to the blockbuster Captain America: The First Avenger on April 4, 2014. The second installment will pick-up where the highly anticipated Marvel’s The Avengers (May 4, 2012) leaves off, as Steve Rogers continues his affiliation with Nick Fury and S.H.I.E.L.D and struggles to embrace his role in the modern world.” I mean, if it gives us more Chris Evans crouching in tight leather getups, let the sequels never end.

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Spoiler Alert: Captain America Survives The Avengers, Will Return for Captain America 2 in 2014

Christian Bale, Casey Affleck Will Go For Bro in Crazy Heart Filmmaker’s Follow-Up

Crazy Heart writer-director Scott Cooper isn’t holding back with the follow-up to his double-Oscar-winning filmmaking debut, dialing in Christian Bale, Casey Affleck, Sam Shepard and Zoe Saldana (not to mention producers including Leonardo DiCaprio, Ridley Scott and Relativity Media mogul Ryan Kavanaugh) for the family crime-and-redemption drama Out of the Furnace . Read on for full details just over the transom from Relativity; adjust your Oscar 2013 pools accordingly. ================= (Beverly Hills, Calif.) April 5, 2012 – Relativity Media has closed deals with Oscar®-winner Christian Bale ( The Fighter ), Oscar®-nominated Casey Affleck ( The Assassination of Jesse James By the Coward Robert Ford ), Zoe Saldana ( Avatar ) and Oscar®-nominated Sam Shepard ( Safe House ) to star as the lead roles in the upcoming gripping and gritty drama currently titled Out of the Furnace , written and directed by the critically-acclaimed Scott Cooper ( Crazy Heart ), it was announced today by Relativity’s Co-President, Tucker Tooley. Bale will star as older brother Russell Baze in the film alongside Affleck who will play the role of younger brother Rodney Baze Jr. Saldana has also been cast as Bale’s love interest Lena Warren and Shepard will play Red, Russell and Rodney Baze’s uncle. Production is set to begin in Braddock, Pennsylvania later this month. Relativity Media will release the film theatrically in the U.S. Red Granite, the Los Angeles based film production, finance and international sales company has acquired foreign rights outside of the U.S. and will handle international sales. Red Granite International President Danny Dimbort and Co-President Christian Mercuri will begin shopping the film to buyers in Cannes next month. In making the announcement, Tooley said, “This is a meaty script with characters as strong as they are complex, and we needed powerhouse actors who complement the story. Christian, Casey, Zoe and Sam each approach everything they do with heart and conviction. We can’t wait to see what each of them brings to this film,” says Tooley. The film is a drama about fate, circumstance, and redemption. Russell and his younger brother live in the economically depressed Rust Belt, and have always dreamed of escaping and finding better lives. But when a cruel twist of fate lands Russell in prison, his brother is lured into one of the most violent and ruthless crime rings in the Northeast – a mistake that will almost cost him everything. Once released, Russell must choose between his own freedom, or risk it all to seek justice for his brother. Producing are Appian Way’s Leonardo DiCaprio ( J. Edgar ) and Jennifer Killoran ( The Ides of March ) alongside Scott Free’s Ridley Scott ( The Grey ), Tony Scott ( Man on Fire ) and Michael Costigan ( American Gangster ) as well as Relativity’s CEO Ryan Kavanaugh ( The Fighter ). Bale and Affleck were both represented by WME in the deals. Saldana and Shepard were both represented by ICM in the deals. ###

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Christian Bale, Casey Affleck Will Go For Bro in Crazy Heart Filmmaker’s Follow-Up

Adults Find It “Appropriate” To Break Up Via Text, E-Mail [REPORT]

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Yahoo! Mail just conducted a poll of 2,000 people in the U.S, surveying them about their email behavior. One of the very surprising results to come out of the poll, is that 13% of adults think it is acceptable to break up with someone via email, IM, or text . What’s more, the study found that men are more likely than women to end a relationship this way. But that’s not all. The poll found that 1 in 5 people admit to having read their significant other’s email without their knowledge. When I read these stats, I had to go back and make sure that I had read it correctly, and not mistaken ‘adults’ for ‘teenagers’. But alas, I had not. I wasn’t really surprised with the finding that 70% of adults find it acceptable to send thank-you notes or cards via email, as I have already lamented the fact (even though I am guilty of it myself), that a lot of communication these days only happens via the web , but come on now, breaking up with someone over a text message or email! Really? And having no qualms about spying on your partner’s emails? That’s just straight up shady! A quick Google search about breaking up via email further baffled me. I found that there are entire sites dedicated to the online breakup, many of which claim the online breakup is best if you ‘don’t want to hurt the other person’, but really should be tag-lined as best if you ‘can’t stomach doing it in person’. There are convenient ‘how to’ guides , and even email templates for the ‘perfect’ breakup. Because, if it isn’t bad enough to break up with someone online, you can get someone else to write the breakup letter for you. Breaking up with someone using email or text message should never be acceptable. It is the coward’s way out and, in my opinion anyway, says a lot about you as a person (but I guess if you’re hacking into their emails, then I really shouldn’t expect any different). If you really don’t want to do it in person, at least be game enough to call. You’re most likely going to have to speak to them anyway, considering they will probably phone you after opening their email and reading your pathetic Dear John note, and the conversation is going to be a whole lot less pleasant after that than it needed to be. Man up people, sheesh! Research Finds Rejection, Break Ups Cause Physical Pain [REPORT] Lamar Odom’s Ex Finds Out About Marriage Via Text! Study Shows Unhappy Relationships Lead To Obsession Over Material Things Has The Internet Ruined Our Manners?

Adults Find It “Appropriate” To Break Up Via Text, E-Mail [REPORT]

DMV: Matt Bradley ‘Punished Matt Cooke’

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The Caps beat Pittsburgh 1-0 on a blistering slapshot from Alex Ovechkin and a sterling performance from Michael Neuvirth. [Japers’ Rink] Matt Bradley leveled the coward Matt Cooke, who kneecapped Ovechkin two weeks ago, and then won a fight with Ryan Craig to boot. [OFB] The sequence was so popular Bradley trended online. [@MrIrrelevantDC] Bryce Harper arrives at Broadcasting platform : YouTube Source : Mr. Irrelevant Discovery Date : 22/02/2011 05:07 Number of articles : 2

DMV: Matt Bradley ‘Punished Matt Cooke’

VIDEO: The Assassination of Yogi Bear by the Coward Booboo