Not all celebrity couples make like Kim Kardashian and Kanye West. In other words, some got married very much on the Down Low. So low down, in fact, that we didn't even know they were planning on getting hitched until the big day had already come and gone! Some of these surprise celebrity marriages may even last, too, although in some cases, more forethought may have been prudent … 1. IAN SOMERHALDER AND NIKKI REED Four months after announcing their engagement, Ian Somerhalder and Nikki Reed quietly exchanged vows in Santa Monica … without anyone outside their inner circle knowing about it until it had already gone down! 2. KRISTEN BELL AND DAX SHEPARD Kristen Bell and Dax Shephard got married on the spot in 2013 after a court employee offered up an immediate ceremony. The entire thing cost $142. 3. KELLY CLARKSON AND BRANDON BLACKSTOCK Kelly Clarkson and Brandom Blackstock engaged vows in an intimate ceremony in Tennesse. The singer simply told fans about it the next day via social media. 4. KERRY WASHINGTON AND NNAMI ASOMUGHA Kerry Washington and Nnami Asomugha got married in Idaho… and that’s still all we know. Few stars are as guarded with their personal information as the Scandal beauty. 5. ANNE HATHAWAY AND ADAM SHULMAN Anna Hathaway used the same wedding planner who helped keep Natalie Portman’s nuptials quiet when she tied the knot with Shulman in 2012. 6. BLAKE LIVELY AND RYAN REYNOLDS Many didn’t even know Blake Lively and Ryan Reynolds were engaged when they tied the knot in South Carolina in late 2012. View Slideshow
The countdown until the Magic Mike 2 premiere is on, as legions of fans of the original smash hit movie keep Channing all over their Tatums in anticipation. Most Magic Mike fans know this was the semi-autobiographical story of Channing Tatum’s days as a stripper. Well, he was far alone in that line of work: 21 Stars Who Were Strippers 1. Channing Tatum “Magic Mike” wasn’t the loosely autobiographical story of Channing Tatum for nothing! He got his start as a stripper. No, Tatum’s pole-dancing past isn’t unique. Stripping is one way many of today’s famous faces got their start, paying their bills prior to achieving fame. Some of them went on to become Hollywood A-listers, and some of them went on to be, well, sort of crazy people who are famous for no discernible reason. Check out 21 stars who used to be strippers above and see who falls into which category. Some of these former dancers may really surprise you, too. And then there are stars who took it to another level. Yes, the celebrities who used to be porn stars … those are surprising for even more obvious reasons: 15 Celebrity Sex Tape Stars 1. Kendra Wilkinson Before Hugh Hefner and before Hank Baskett, Kendra Wilkinson got freaky on video with an old boyfriend. And she’s got a real talent for rodeo.
This new The Counselor teaser trailer isn’t very different from The Counselor international trailer , but it does have more Penelope Cruz which is never a bad thing. The Counselor Teaser Trailer Directed by Ridley Scott, The Counselor marks the second time in 2013 that Michael Fassbender and Brad Pitt will appear together. You can check out the first with this 12 Years a Slave trailer . Also starring in the film are Natalie Dormer, Javier Bardem, and Cameron Diaz. The Counselor opens on October 25th.
Tom Hardy and Javier Bardem face off against a rogues gallery of bad guys at Sunday’s MTV Movie Awards. By Kevin P. Sullivan Tom Hardy as Bane in “Dark Knight Rises” Photo: Warner Bros/EW
AFI Fest has been underway for nearly a week with a mixture of Galas, free screenings and other events, but last night it slowed its heavy rotation of movies and activities to watch returns in what can be best described as a mostly liberal party at the festival’s Cinema Lounge at the Roosevelt Hotel in Hollywood. Shouts, applause and flailing victory high-fives mounted as returns came in on a big screen first tuned to CNN, but then changed to NBC when the news network seemed to be behind in their projections. Outside the hotel, a lone anti-Obama protestor made his passions against gay marriage, “that Muslim Obama ” and liberals in general as festival-goers headed in for the mostly open party. Inside, the political equation, perhaps not surprisingly, leaned left though there were noticeably mostly quiet individuals politely sitting with long faces as Obama’s victory seemed assured. Instead of trying to compete with what was a big night in the making, the festival decided to capitalize on it and turn it into a big event, complete with mostly open bar, sliders, pigs in a blanket, desserts and other treats. “When we set our dates last year, we knew the election would fall during the festival and we’re not going to try and compete with the election,” AFI Fest Director Jacqueline Lyanga told ML Tuesday night at the Roosevelt. “We’re all movie lovers, but at the same time, we’re all passionate citizens and so we wanted to find a way that people can come to the festival and see movies, but still be a part of the process. So we wanted to encourage people to get out to vote, so we didn’t have as packed of a film schedule today – we screened far fewer films today.” In keeping with the festival’s mostly egalitarian approach – for the fourth year running, all festival screenings are free – anyone including patrons on down to free ticket holders were invited into the evening to watch the returns and enjoying sponsored free of charge food and drink. The event last night appeared to be a hit and the final victory sent most people into a group cheer. A group of filmmakers and festival organizers from Ohio, which gave Obama the final win, were especially elated. “We invited in pass holders but also anyone who has a ticket from a movie from this week,” said Lyanga. “It’s great because it brings together filmmakers, pass holders, our patrons and the free ticket holders and celebrate the electoral process together. But while we’re here talking about politics, I’m also getting into conversations about cinema and getting to know our audience in a way that I wouldn’t be able to do otherwise.” Lyanga plugged this year’s event saying attendance has been strong across the board. The event opened last week with Hitchcock and the festival has played host to a wide-range of Galas including On the Road from Walter Salles, Olivier Assayas’ Something in the Air , Jacques Audiard’s Rust and Bone and more. It will close out Thursday night with the premiere of Steven Spielberg’s Lincoln . And while the big Grauman’s Chinese premieres have, as might be expected, drawn crowds and gawkers, smaller more challenging content have also been well attended, no doubt encouraged by the free ticketing. “For Kim Ki-duk’s Pieta we had to turn people away,” noted Lyanga “As a programmer, that’s extraordinary to see people be as excited as you’ve been about them for the past eight or nine months. We’re really building an audience of cinephiles. It’s a blending of older fans and newer younger fans.” Continuing, Lyanga added: “I think New York has always been a city that has had a vibrant art house audience and it’s great to now see that L.A. also has that. It encourages more filmmakers and distributors to take a chance on LA. It’s still a tough market, but this festival has given encouragement to the art house in Los Angeles.”
AFI Fest has been underway for nearly a week with a mixture of Galas, free screenings and other events, but last night it slowed its heavy rotation of movies and activities to watch returns in what can be best described as a mostly liberal party at the festival’s Cinema Lounge at the Roosevelt Hotel in Hollywood. Shouts, applause and flailing victory high-fives mounted as returns came in on a big screen first tuned to CNN, but then changed to NBC when the news network seemed to be behind in their projections. Outside the hotel, a lone anti-Obama protestor made his passions against gay marriage, “that Muslim Obama ” and liberals in general as festival-goers headed in for the mostly open party. Inside, the political equation, perhaps not surprisingly, leaned left though there were noticeably mostly quiet individuals politely sitting with long faces as Obama’s victory seemed assured. Instead of trying to compete with what was a big night in the making, the festival decided to capitalize on it and turn it into a big event, complete with mostly open bar, sliders, pigs in a blanket, desserts and other treats. “When we set our dates last year, we knew the election would fall during the festival and we’re not going to try and compete with the election,” AFI Fest Director Jacqueline Lyanga told ML Tuesday night at the Roosevelt. “We’re all movie lovers, but at the same time, we’re all passionate citizens and so we wanted to find a way that people can come to the festival and see movies, but still be a part of the process. So we wanted to encourage people to get out to vote, so we didn’t have as packed of a film schedule today – we screened far fewer films today.” In keeping with the festival’s mostly egalitarian approach – for the fourth year running, all festival screenings are free – anyone including patrons on down to free ticket holders were invited into the evening to watch the returns and enjoying sponsored free of charge food and drink. The event last night appeared to be a hit and the final victory sent most people into a group cheer. A group of filmmakers and festival organizers from Ohio, which gave Obama the final win, were especially elated. “We invited in pass holders but also anyone who has a ticket from a movie from this week,” said Lyanga. “It’s great because it brings together filmmakers, pass holders, our patrons and the free ticket holders and celebrate the electoral process together. But while we’re here talking about politics, I’m also getting into conversations about cinema and getting to know our audience in a way that I wouldn’t be able to do otherwise.” Lyanga plugged this year’s event saying attendance has been strong across the board. The event opened last week with Hitchcock and the festival has played host to a wide-range of Galas including On the Road from Walter Salles, Olivier Assayas’ Something in the Air , Jacques Audiard’s Rust and Bone and more. It will close out Thursday night with the premiere of Steven Spielberg’s Lincoln . And while the big Grauman’s Chinese premieres have, as might be expected, drawn crowds and gawkers, smaller more challenging content have also been well attended, no doubt encouraged by the free ticketing. “For Kim Ki-duk’s Pieta we had to turn people away,” noted Lyanga “As a programmer, that’s extraordinary to see people be as excited as you’ve been about them for the past eight or nine months. We’re really building an audience of cinephiles. It’s a blending of older fans and newer younger fans.” Continuing, Lyanga added: “I think New York has always been a city that has had a vibrant art house audience and it’s great to now see that L.A. also has that. It encourages more filmmakers and distributors to take a chance on LA. It’s still a tough market, but this festival has given encouragement to the art house in Los Angeles.”
As Bella Swan goes, so goes Kristen Stewart . The Twilight saga star appeared on Today on Wednesday to talk a bit about her evolution from passive heroine to ass-kicking vampire in Breaking Dawn – Part 2 , and ended the interview with a quote which suggests that, like Bella, Stewart has learned to be more of a bad-ass when it comes to her fans’ and the media’s prying into her personal life. Stewart looks typically uncomfortable self in the clip below, and awfully tired. When the Today cameras first zoomed in on her, I thought the dark circle beneath her right eye looked like a shiner. But what made an even bigger impression was the way in which the actress handled the inevitable question about her off-screen relationship with Robert Pattinson . Keep in mind that, in the clip. Stewart is facing three interviewers by her lonesome: Savannah Guthrie, Matt Lauer and Natalie Morales. That’s not easy, though four people took part in Stewart’s 2009 Today interview for Eclipse . Guthrie gets the RPatz question in just as the Today theme music begins signaling that the interview segment is ending. “Kristen, you have so many fans, and they will be mad at us for not asking,” she says before asking if Stewart and Pattinson are back together. Watch Stewart’s face as she processes the question. She flashes a split-second expression of annoyance before responding with an answer that would probably meet the new Bella’s approval: “Funny you mention that,” Stewart replied in a deliciously deadpan manner before putting a nice sharp stake in heart of the off-screen romance story. “I’m just going to let people watch whatever little movie they think our lives are and go for it. Keep them guessing, I always say.” A little mystery goes a long way. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
As Bella Swan goes, so goes Kristen Stewart . The Twilight saga star appeared on Today on Wednesday to talk a bit about her evolution from passive heroine to ass-kicking vampire in Breaking Dawn – Part 2 , and ended the interview with a quote which suggests that, like Bella, Stewart has learned to be more of a bad-ass when it comes to her fans’ and the media’s prying into her personal life. Stewart looks typically uncomfortable self in the clip below, and awfully tired. When the Today cameras first zoomed in on her, I thought the dark circle beneath her right eye looked like a shiner. But what made an even bigger impression was the way in which the actress handled the inevitable question about her off-screen relationship with Robert Pattinson . Keep in mind that, in the clip. Stewart is facing three interviewers by her lonesome: Savannah Guthrie, Matt Lauer and Natalie Morales. That’s not easy, though four people took part in Stewart’s 2009 Today interview for Eclipse . Guthrie gets the RPatz question in just as the Today theme music begins signaling that the interview segment is ending. “Kristen, you have so many fans, and they will be mad at us for not asking,” she says before asking if Stewart and Pattinson are back together. Watch Stewart’s face as she processes the question. She flashes a split-second expression of annoyance before responding with an answer that would probably meet the new Bella’s approval: “Funny you mention that,” Stewart replied in a deliciously deadpan manner before putting a nice sharp stake in heart of the off-screen romance story. “I’m just going to let people watch whatever little movie they think our lives are and go for it. Keep them guessing, I always say.” A little mystery goes a long way. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
In his half-century of cinematic existence, James Bond has been cast and recast, refined, reinvented and rebooted. He’s been declared a “sexist, misogynist dinosaur” and gotten his heart broken, and he’s been dragged into the present, where he’s had to find a new perch somewhere between gritty and ridiculous, between being a stoic modern action hero and a deliberately outsized fantasy remnant of, as one unamused minister puts it in Skyfall , a long gone “golden age of espionage.” Skyfall is American Beauty director Sam Mendes ‘ first turn at the wheel of this venerable spy franchise, and he and screenwriters Neal Purvis, Robert Wade and John Logan have managed what feels like the best possible thing that could have happened to Bond: They’ve made him fun again. When Daniel Craig was put in the lead role and the character was brought back to his beginnings in Casino Royale , it brought a vividly contemporary jolt to the character — this Bond wasn’t going to be off gathering information on al-Qaeda or anything, but his job was just as likely to involve messy killings as suave seductions, and the possibility of death and pain were much more real. It was a welcome revamp, if one that shifted the films into the orbit of the Bourne trilogy and risked stripping them of an essential element of Bond-ness. Chilly, rough-edged and not yet settled into his place at MI6, Craig’s Bond was a little busy with love and revenge to make quips. In Skyfall , Bond is literally reborn. During a mission-gone-wrong, he takes a hit that leaves everyone thinking he’s dead. It’s a misconception he’s happy to let stand while he takes a potentially permanent sabbatical involving beachside booze, sex and brooding over a vague sense of betrayal. He’s lured back by an attack on MI6 and on M ( Judi Dench ) masterminded by a computer genius named Silva (a terribly entertaining and menacingly flirtatious Javier Bardem). Bond ends his retirement because he knows he’s needed. And, oh, he is. Skyfall acknowledges that Bond isn’t a paragon of physical or martial arts perfection, or technologically savvy. In contrast to the newly minted agent he played in Casino Royale, he’s an old hand in this film, neither the fastest nor the youngest but still the best. Skyfall acknowledges our need for some humanity in Bond without overloading him with angst. The film fondly brings back familiar franchise elements, including an entertainingly young Q (a sly Ben Whishaw) and another character whose reveal is best left discovered, along with an exotically beautiful paramour named Sévérine (Bérénice Marlohe) who’s part victim and part femme fatale. Bond gets fewer silly gadgets these days, but he does have his awesomely fly car and a customized gun. And though he travels to such exotic locations as Shanghai, Macau and Istanbul, he also spends an unprecedented amount of time in his homeland, where he reintegrates himself with MI6, which is under political scrutiny, and returns to his native Scotland where a just-enough sliver of backstory is revealed. Skyfall makes explicit that Bond is a child of the United Kingdom. His only consistent relationship is with his country, even though that country is willing to sacrifice him for the greater good should it be necessary. It’s why, despite Bond’s dalliances with Sévérine and fellow field agent Eve (Naomie Harris), the film’s true Bond girl is M. The MI6 director’s complicated role as stern taskmaster and surrogate maternal figure gets played out as Silva, who shares a past with M, targets her and Bond tries to protect her. Like Bond, M is as much a concept as a character, but, beneath their bickering, Dench and Craig find a credible tenderness that suggests their is immense mutual affection behind the bone-dry sniping. Mendes isn’t an exceptional director of action, and many of the set pieces are lavish and forgettable. The car chases through crowded streets and pursuits across rooftops look a lot like other blockbuster sequences that recently graced screens. He’s better with character interactions and small touches: Bond straightening his cuffs after an improbable landing in a train; Bond watching a foe face a Komodo dragon and book-ending his adventure with unwilling dips in bodies of water. Working with the great cinematographer Roger Deakins, Mendes also presents some stunning sequences of beauty in a film where you might not expect such a thing. A fight high atop a Shanghai skyscraper takes place in the dark against the neon advertising backdrop of a shifting jellyfish projected on the building’s glass skin and ends with Bond meeting the gaze of someone in the building across the way, hundreds of feet up. Silva’s high-tech lair is set on an island that’s home to an abandoned city, while MI6 retreats with all its sleek gear to a historical location deep in London. The old and the new, the past and the ever-accelerating present — despite the body count, it’s not death that Bond has to worry about, it’s remaining recognizable and relevant. Skyfall manages to balance both in an uncommonly entertaining fashion. Related: Check out Movieline’s extensive coverage of Skyfall and the 50th anniversary of James Bond here. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.
In his half-century of cinematic existence, James Bond has been cast and recast, refined, reinvented and rebooted. He’s been declared a “sexist, misogynist dinosaur” and gotten his heart broken, and he’s been dragged into the present, where he’s had to find a new perch somewhere between gritty and ridiculous, between being a stoic modern action hero and a deliberately outsized fantasy remnant of, as one unamused minister puts it in Skyfall , a long gone “golden age of espionage.” Skyfall is American Beauty director Sam Mendes ‘ first turn at the wheel of this venerable spy franchise, and he and screenwriters Neal Purvis, Robert Wade and John Logan have managed what feels like the best possible thing that could have happened to Bond: They’ve made him fun again. When Daniel Craig was put in the lead role and the character was brought back to his beginnings in Casino Royale , it brought a vividly contemporary jolt to the character — this Bond wasn’t going to be off gathering information on al-Qaeda or anything, but his job was just as likely to involve messy killings as suave seductions, and the possibility of death and pain were much more real. It was a welcome revamp, if one that shifted the films into the orbit of the Bourne trilogy and risked stripping them of an essential element of Bond-ness. Chilly, rough-edged and not yet settled into his place at MI6, Craig’s Bond was a little busy with love and revenge to make quips. In Skyfall , Bond is literally reborn. During a mission-gone-wrong, he takes a hit that leaves everyone thinking he’s dead. It’s a misconception he’s happy to let stand while he takes a potentially permanent sabbatical involving beachside booze, sex and brooding over a vague sense of betrayal. He’s lured back by an attack on MI6 and on M ( Judi Dench ) masterminded by a computer genius named Silva (a terribly entertaining and menacingly flirtatious Javier Bardem). Bond ends his retirement because he knows he’s needed. And, oh, he is. Skyfall acknowledges that Bond isn’t a paragon of physical or martial arts perfection, or technologically savvy. In contrast to the newly minted agent he played in Casino Royale, he’s an old hand in this film, neither the fastest nor the youngest but still the best. Skyfall acknowledges our need for some humanity in Bond without overloading him with angst. The film fondly brings back familiar franchise elements, including an entertainingly young Q (a sly Ben Whishaw) and another character whose reveal is best left discovered, along with an exotically beautiful paramour named Sévérine (Bérénice Marlohe) who’s part victim and part femme fatale. Bond gets fewer silly gadgets these days, but he does have his awesomely fly car and a customized gun. And though he travels to such exotic locations as Shanghai, Macau and Istanbul, he also spends an unprecedented amount of time in his homeland, where he reintegrates himself with MI6, which is under political scrutiny, and returns to his native Scotland where a just-enough sliver of backstory is revealed. Skyfall makes explicit that Bond is a child of the United Kingdom. His only consistent relationship is with his country, even though that country is willing to sacrifice him for the greater good should it be necessary. It’s why, despite Bond’s dalliances with Sévérine and fellow field agent Eve (Naomie Harris), the film’s true Bond girl is M. The MI6 director’s complicated role as stern taskmaster and surrogate maternal figure gets played out as Silva, who shares a past with M, targets her and Bond tries to protect her. Like Bond, M is as much a concept as a character, but, beneath their bickering, Dench and Craig find a credible tenderness that suggests their is immense mutual affection behind the bone-dry sniping. Mendes isn’t an exceptional director of action, and many of the set pieces are lavish and forgettable. The car chases through crowded streets and pursuits across rooftops look a lot like other blockbuster sequences that recently graced screens. He’s better with character interactions and small touches: Bond straightening his cuffs after an improbable landing in a train; Bond watching a foe face a Komodo dragon and book-ending his adventure with unwilling dips in bodies of water. Working with the great cinematographer Roger Deakins, Mendes also presents some stunning sequences of beauty in a film where you might not expect such a thing. A fight high atop a Shanghai skyscraper takes place in the dark against the neon advertising backdrop of a shifting jellyfish projected on the building’s glass skin and ends with Bond meeting the gaze of someone in the building across the way, hundreds of feet up. Silva’s high-tech lair is set on an island that’s home to an abandoned city, while MI6 retreats with all its sleek gear to a historical location deep in London. The old and the new, the past and the ever-accelerating present — despite the body count, it’s not death that Bond has to worry about, it’s remaining recognizable and relevant. Skyfall manages to balance both in an uncommonly entertaining fashion. Related: Check out Movieline’s extensive coverage of Skyfall and the 50th anniversary of James Bond here. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.
