Tag Archives: jim sturgess

WATCH: Kirsten Dunst and Jim Sturgess Are Planet-Crossed Lovers in Upside Down

The premise for Argentinean director Juan Diego Solanas’s English-language sci-fi romance Upside Down has one helluva gimmick: Kirsten Dunst and Jim Sturgess find true love against huge odds, the hitch being that they live on inverted planets and are forbidden to cross over to each other’s world. Hell, some people won’t date outside of their area code. Watch the dazzling first trailer and appreciate how much easier relationships are should be on a single planet by comparison. Veuillez installer Flash Player pour lire la vidéo UPSIDE DOWN – BA VOST I love how Jim Sturgess always has that sad romantic hero look about him, as if he hasn’t cut or brushed that dreamy tousle since Across the Universe . (And why should he? It works! Swoon.) Upside Down looks to lean heavily on the dystopian alternate sci-fi universe schtick the central gimmick posits (“I can’t talk to you… you’re from Down Below “) and the Inception gravity tumbling already gives me a bit of a headache. But how gorgeous this all looks! For some reason I get a bit of a Titanic vibe when Sturgess lets go and falls back down to his own world. I think that’s a good thing? (Never let go…) Verdict: I’m so there. Double bill it with Melancholia , anyone? [ Bleeding Cool via HitFix ]

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WATCH: Kirsten Dunst and Jim Sturgess Are Planet-Crossed Lovers in Upside Down

‘Je Veux Pisser’: Gérard Depardieu Drains Main Vein in Middle of Plane

When Gérard Depardieu’s gotta go, Gérard Depardieu’s gotta go. The passengers and crew of an Air France flight from Paris to Dublin learned that the hard way today when the legendary French actor, denied entry to one of his plane’s locked lavatories, proceeded to empty his bladder on the floor.

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‘Je Veux Pisser’: Gérard Depardieu Drains Main Vein in Middle of Plane

Jim Sturgess on One Day and Avoiding the Pitfalls of Hollywood Fame

In Lone Scherfig’s One Day , adapted by David Nicholls from his own novel, young Brits Emma ( Anne Hathaway ) and Dexter ( Jim Sturgess ) meet cute on the last day of college and spend the ’80s and ’90s flitting in and out of each other’s lives. As the pair grows into adulthood, they begin to realize the love that existed between them from the start — even if neither can fully see it. The film — which occurs on a single day of each year throughout the relationship — is not just about romance, however; it’s about maturing, making mistakes and the memories we hold on to from precious moments spent with the ones we love.

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Jim Sturgess on One Day and Avoiding the Pitfalls of Hollywood Fame

So Why is Black Swan a Huge Hit, Anyway? (Hint: Lesbians)

As alluded to in this morning’s edition of The Broadsheet, everyone in Hollywood seems stunned by the success story that is Black Swan . Even filmmaker Darren Aronofsky says he can’t make heads or tails of the phenomenon, which has earned recognition everywhere from manic-comic Saturday Night Live segments to the supermarket-tabloid media obsessed with star Natalie Portman (now pregnant by and engaged to marry on-screen dance partner Benjamin Millipied). “I get the teenage-girl part of the audience because it’s a coming-of-age story about a girl becoming a woman. But older people are seeing it too,” he told the LA Times . “I don’t know if even I understand it.” Oh, Darren — don’t start being modest now : Let’s hear it for lesbians!

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So Why is Black Swan a Huge Hit, Anyway? (Hint: Lesbians)

REVIEW: Director Peter Weir Returns Via Bold, Bumpy Way Back

The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep. It doesn’t emerge in the flashy flourishes that come off as compulsively exhibitionistic — the “Dude, Where’s My Camera Car?” school. Instead, in the potent and dream-like The Way Back , Weir’s subtle control is evident by the way he uses sound, embracing the allure and menace it simultaneously evokes. And we’re reminded how crushingly obvious many directors are about incorporating the aural aspect of their work; generally when the audience is aware of it, it’s used like a blunt object by horror film directors.

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REVIEW: Director Peter Weir Returns Via Bold, Bumpy Way Back