The challenge facing Jodie Foster in her return to film directing is a bit of a paradox. It’s been so long since Foster’s heyday starring in movies like Silence of the Lambs or Maverick that it can be easy to forget the enormity of her stardom, making it a little tough to market movies based… Read more »
Mariah Carey may no longer be at the pinnacle of her career, but trust and believe her lambs will cut somebody for disrespecting Mimi — or at the very least cuss them all the way out on social media. You’d think Nick Cannon’s daddy would know that by now, after his son was married to the diva for six years, but in his absentmindedness he received a hefty reminder from Mariah Carey fans when he posted a super suspect message on his Facebook page this morning… Continue
Great continuation cans on True Blood this week, with Anna Paquin staying naked since last week’s open field plowing. Plus, nudecomer Ellen Soderberg gave us perky, flashback funbag as a King’s courtesan. Meanwhile on Showtime, Ray Donovan brought us another nude debut, this time from prolific character actress Brooke Smith . Brooke started her showbiz career as the girl in the well from Silence of the Lambs (1991), and now she’s showing off her lotion-worthy lactoids for the first time. Bring out the hose! See pics after the jump!
Is it possible to love a piece of dead fish more than you love people? That’s the question asked, implicitly if not directly, by David Gelb’s documentary Jiro Dreams of Sushi , a portrait of 85-year-old sushi master Jiro Ono that is itself as meticulous and carefully formed as a piece of nigirizushi . The movie’s title comes from an interview with Jiro, who speaks of waking up in the middle of the night with new ideas for perfecting and enhancing his craft. Then we see him standing stiffly behind the bar at his Tokyo restaurant, waiting with an air of placid annoyance for a customer to consume one of his precise and studied creations: With his hands, he has made a dream you can eat. And he wants you to know it. Gelb’s documentary is tactile in the same way. In fact, it’s so strictly visual – as opposed to sensual – that unlike most well-made movies about food, it may not send you walking out hungry. A food-critic friend and I were discussing this phenomenon: It could be, as my friend posited, that sushi, though among the most beautiful of all consumables, is just “not very food porny.” And it’s true: I left Jiro Dreams of Sushi wanting not to eat, but to make jewelry, preferably with the most colorful, carefully polished beads or stones available. Jiro, as he himself tells us in the film, has been mastering the art of making sushi nearly his whole life. For years he has run Sukiyashi Jiro, a 10-seat sushi restaurant in Tokyo, and though the place is just a modest – if elegant – dinerlike strip, it was the first restaurant of its kind to be awarded three Michelin stars. His eldest son, Yoshikazu, works in the restaurant with him, and though it’s strongly hinted that his skills are nearly as well-honed as those of his father, Jiro shows no signs of being ready to pass the torch along. A younger son runs another sushi restaurant on the other side of town, an enterprise Jiro talks about with gibing pride. He himself, as it turns out, struck out on his own before he was even a teenager, supporting himself any way he could. When his younger son decided to start the restaurant, Jiro told him he had better succeed, because he had no home to go back to. He derides the idea of parents who reassure their children they can always come home. “When parents say stupid things like that,” he says, “the kids turn out to be failures.” That gives us a few clues to his parenting style. And yet Jiro’s grudging love for, and pride in, his children shines through, even though it’s something he’d rather not advertise. (At one point he concedes, “I wasn’t much of a father,” and no mention is made of the children’s mother, though we see her in a photograph or two.) That’s one of the strengths of Gelb’s understated technique – he never tells when he can show, letting Jiro do most of the talking, though we also hear from Tokyo restaurant critic Yamamoto (who informs us plainly that in the dozens of times he has eaten at Sukiyabashi Jiro, he has never had a disappointing meal) and the fish dealer who proudly supplies Jiro with those all-important raw ingredients (although Jiro, who used to do all the marketgoing himself before suffering a heart attack, now leaves the daily shopping to Yoshikazu). Mostly, though, we see Jiro at work, sometimes supervising his devoted but slightly cowed restaurant workers, but more often just making the stuff: The precision of his hand movements is something to behold, as he forms a small dollop of rice into a suitable bed for a piece of glistening salmon or mackerel. As he cuts through a slab of tuna, the pieces fall away in thick, red ribbons – this is what velvet would look like if you could slice it. Jiro’s quest for perfection is all-consuming and, the film suggests, won’t be quelled until he draws his last breath, or until his limbs stop working, whichever comes first. At its simplest level, Jiro Dreams of Sushi is a portrait of a master. In its deeper layers, it explores what drives us to make things: Beautiful, jewel-like things, or things that delight our palate – or, in this case, both. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
With relations between the sexes having recently hit a dispiriting cultural low (news avoiders may consult Time Magazine’s helpful round-up ” Are Women People ?” for cringe-inducing details), now is as good a time as any to ask and perhaps answer the burning question, “Why don’t women narrate movie trailers?” Conveniently, the BBC is here to offer some insights. It all sounds like a bunch of chauvinist shit-shoveling to me, but your mileage may vary. All I know is that newly, criminally deposed NYC news anchor Sue Simmons could turn this trend around in about a week flat with the right agent. Let’s go, Sue! [ Movies.com via Fark ] Men Rule Movie Trailers
I have no idea how this concept eluded me for two years, but there it is: The 3rd annual 20/20 Awards were announced recently, honoring the best films of 1991 after two decades worth of distance and hindsight. Great idea — even though the event turned out just about as anticlimactically as this year’s real thing. That’s what happens when Oscar apparently gets it right. To wit, the Silence of the Lambs once again swept the major categories of Best Picture, Director, Actor, Actress and Screenplay (Adapted), claiming five “Felixes” on the night and leading the way among an unprecedented eight “Odd Couples” to win both Oscars and Felixes. (HA! Cute.) Alas, ’91 Supporting Actor Jack Palance and Supporting Actress Mercedes Ruehl were overthrown by John Goodman ( Barton Fink ) and Geena Davis ( Thelma & Louise ). Find the full list of winners below. Congrats to all! (* denotes an Oscar winner) BEST PICTURE THE SILENCE OF THE LAMBS* BEST DIRECTOR Jonathan Demme – THE SILENCE OF THE LAMBS* BEST ACTOR Anthony Hopkins – THE SILENCE OF THE LAMBS* BEST ACTRESS Jodie Foster – THE SILENCE OF THE LAMBS* BEST SUPPORTING ACTOR John Goodman – BARTON FINK BEST SUPPORTING ACTRESS Geena Davis – THELMA & LOUISE BEST ORIGINAL SCREENPLAY Callie Khouri – THELMA & LOUISE* BEST ADAPTED SCREENPLAY Ted Tally – THE SILENCE OF THE LAMBS* BEST FOREIGN FILM DELICATESSEN BEST DOCUMENTARY HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE BEST SCORE Wilson Pickett – THE COMMITMENTS BEST SONG Until The End Of The World – UNTIL THE END OF THE WORLD BEST EDITING Conrad Buff, Mark Goldblatt, Richard A. Harris – TERMINATOR 2: JUDGEMENT DAY BEST CINEMATOGRAPHY Lun Yang – RAISE THE RED LANTERN BEST ART DIRECTION Dennis Gassner – BARTON FINK BEST COSTUME Valérj]ie Pozzo di Borgo – DELICATESSEN BEST MAKEUP THE ADDAMS FAMILY BEST VISUAL FX TERMINATOR 2: JUDGEMENT DAY* BEST SOUND DESIGN TERMINATOR 2: JUDGEMENT DAY*
We take a look at what taking home Sunday’s big prize could do for this year’s Best Picture winner. By MTV News staff Jean Dujardin and Missi Pyle in “The Artist” Photo: The Weinstein Co. If the 2012 Oscars unfold as expected Sunday night, “The Artist” will walk away with a Best Picture win at the close of the ceremony. With that triumph, the silent, black-and-white film will become the second lowest-growing Best Picture winner in modern history. A populist fave, this movie is not. And that’s often the case. While box-office record-breaker “Titanic” took home the Academy’s top honor in 1998, the Best Picture ranks are littered with ho-hum performers. Some, like “Schindler’s List” and “Million Dollar Baby,” received huge bumps from their wins. “The Silence of the Lambs,” which hit theaters in February 1991, received no bump at all, as it was already out of theaters. Yet others received small re-releases and added a few million to their totals. To put the likely “Artist” win in historical context, MTV News took a look back at the past 20 years of Best Picture winners, ranking them from lowest to highest grossing (all figures come from Box Office Mojo and are not adjusted for inflation or ticket price). 20. “The Hurt Locker” Pre-show box office : $14.7 million Date of show : 3/7/2010 Date of release : 6/26/2009 Total box-office haul : $17 million 19. “Crash” Pre-show box office : $53.3 million Date of show : 3/5/2006 Date of release : 5/6/2005 Total box-office haul : $54.6 million 18. “Schindler’s List” Pre-show box office : $59.8 million Date of show : 3/21/1994 Date of release : 12/15/1993 Total box-office haul : $96.1 million 17. “The English Patient” Pre-show box office : $63.2 million Date of show : 3/24/1997 Date of release : 11/15/1996 Total box-office haul : $78.7 million 16. “No Country for Old Men” Pre-show box office : $64.3 million Date of show : 2/24/2008 Date of release : 11/9/2007 Total box-office haul : $74.3 million 15. “Million Dollar Baby” Pre-show box office : $64.9 million Date of show : 2/27/2005 Date of release : 12/15/2004 Total box-office haul : $100.5 million 14. “Shakespeare in Love” Pre-show box office : $73.2 million Date of show : 3/21/1999 Date of release : 12/11/1998 Total box-office haul : $100.3 million 13. “Braveheart” Pre-show box office : $73.3 million Date of show : 3/25/1996 Date of release : 5/24/1995 Total box-office haul : $75.6 million 12. “Unforgiven” Pre-show box office : $78.9 million Date of show : 3/29/1993 Date of release : 8/7/1992 Total box-office haul : $101.2 million 11. “Slumdog Millionaire” Pre-show box office : $98.4 million Date of show : 2/22/2009 Date of release : 11/12/2008 Total box-office haul : $141.3 million 10. “American Beauty” Pre-show box office : $108.5 million Date of show : 3/26/2000 Date of release : 9/15/1999 Total box-office haul : $130.1 9. “The King’s Speech” Pre-show box office : $114.2 million Date of show : 2/27/2011 Date of release : 11/26/2010 Total box-office haul : $135.5 million 8. “The Silence of the Lambs” Pre-show box office : $130.7 million Date of show : 3/30/1992 Date of release : 2/14/1991 Total box-office haul : $130.7 million 7. “The Departed” Pre-show box office : $131.4 million Date of show : 2/25/2007 Date of release : 10/6/2006 Total box-office haul : $132.4 million 6. “Chicago” Pre-show box office : $134.0 million Date of show : 3/23/2003 Date of release : 12/27/2002 Total box-office haul : $170.7 million 5. “A Beautiful Mind” Pre-show box office : $154.7 million Date of show : 3/24/2002 Date of release : 12/21/2001 Total box-office haul : $170.7 million 4. “Gladiator” Pre-show box office : $186.9 million Date of show : 3/25/2001 Date of release : 5/5/2000 Total box-office haul : $187.7 million 3. “Forrest Gump” Pre-show box office : $317.1 million Date of show : 3/27/1995 Date of release : 7/6/1994 Total box-office haul : $329.7 million 2. “The Lord of the Rings: The Return of the King ” Pre-show box office : $364.1 million Date of show : 2/29/2004 Date of release : 12/17/2003 Total box-office haul : $377.0 million 20. “Titanic” Pre-show box office : $494.5 million Date of show : 3/23/1998 Date of release : 12/19/1997 Total box-office haul : $600.8 million The MTV Movies team has the 2012 Oscars covered! Stick with us for everything you need to know leading up to the awards show, and head to Next Movie for a printable Oscar ballot. On Sunday, tune into MTV.com at 5 p.m. ET for our two-and-a-half-hour red-carpet live stream and updates on the night’s big winners. To join the live conversation, tweet @MTVNews with the hashtag #Oscars. Related Videos 2012 Oscar Nominees Related Photos 2012 Oscar Nominees
Lecter’s gentlemanly quality and intellect make him stand out over other horror movie murderers. By Kara Warner Dr. Hannibal Lecter in “Silence Of The Lambs” Photo: Orion Pictures Corporation It’s time for yet another in-depth profile in our creepy crypt of horror movie killers for MTV’s Killer Halloween , a competition in which we ask you, the best and brightest fans, to vote for the best and scariest movie murderer ever. Which horror movie baddie has the most intense “gross factor”? Make your pick in our MTV Movies Blog poll! We’ve already provided a handy guide to the gory details surrounding Freddy Krueger , Jason , Leatherface , Michael Myers , Chucky , Ghostface and Jigsaw . Now it’s time to take a look at the man the American Film Institute named the number-one villain of the last 100 years. Name : Dr. Hannibal Lecter Occupation : Psychiatrist, cannibal, serial killer Weapons : Teeth, intellect, items purchased from the Williams-Sonoma catalog Archenemy : People who annoy him, the FBI, bad taste Profile : Smart, serene and sinister, Hannibal Lecter is easily the most gentlemanly of the killers we’ve included in our survey. Created by author Thomas Harris in a series of horror novels first published in 1981, and later immortalized by Anthony Hopkins ‘ Oscar-winning portrayal in “The Silence of the Lambs,” Lecter has won millions of fans for his creep factor and cunning ways. Not to mention his way with words: “A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.” — Anthony Hopkins as Hannibal Lecter in “The Silence of the Lambs” Horror movie expert Ryan Turek, Managing Editor of ShockTillYouDrop.com , told MTV News that Lecter’s main appeal is his cool exterior. “Hannibal is the gentleman’s bogeyman. A class act in a pool of ragged, obvious-looking killers,” Turek said. “He’s unassuming in physicality but absolutely lethal. He’ll outsmart you at every turn and serve you up for dinner. His terror factor lies in the fact that lurking behind his amiable face is something incredibly deranged. That pleasant British fellow? Oh, yeah, he wants to split your skull open and fry your brains on an open skillet.” Turek added that Lecter also has a certain finesse with regard to what types of individuals are to become his victims. “Hannibal eats the jerks or those who at least catch on to who he is. I can’t imagine him suppressing his cannibalistic side in a theater of people text-messaging during a movie.” Check out everything we’ve got on “The Silence of the Lambs.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Photos Killer Halloween: Greatest On-Screen Villains
Despite its stellar reviews and near universal approval, Toy Story 3 is still looking like a long shot for a Best Picture Oscar, and will likely end up settling for Best Animated Feature. But after these clever Oscar campaign posters, let’s at least give Disney some points for effort! The promos feature various stills from the film that bring to mind (sort of) previous Best Picture winners, from On the Waterfront to… Silence of the Lambs . Take a look.