Tag Archives: olivia-williams

Love Actually, American Son, & More: Nudeworthy on Netflix 11.26.14

You’re likely going to be holed up for the whole weekend starting this evening, so we’ve got some skinsational options for you to stream while you digest your food! Hit the jump for more pics and info…

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Love Actually, American Son, & More: Nudeworthy on Netflix 11.26.14

Hollywood Xposed: Week of July 28

Whitney St. John from Naked News is back with the latest edition of Hollywood Xposed, and taking it all off while talking about all the best Hollywood nudes! This week, she keeps us abreast of the latest like My Name is Tanino starring Rachel McAdams , Sabotage starring Olivia Williams and the South Korean crime drama Sympathy For Mr. Vengeance starring Doona Bae !

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Hollywood Xposed: Week of July 28

Cameron Diaz in Sex Tape Will Get You Up-Loading

Cameron busts out full butt in Sex Tape , Olivia Williams slips nip in Sabotage , and Downton Abbey’s Lady Sybil trots out T&A in Labyrinth .

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Cameron Diaz in Sex Tape Will Get You Up-Loading

Sabotage & More: Celebrity Nudity on DVD & Blu-ray 7.22.14 [PICS]

It’s a light week for new releases, with only one new release, Sabotage , that has any skin. Thankfully two films are being released on Blu-ray by The Criterion Collection, both of which feature some fantastic flesh! Hit the jump for more pics and info…

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Sabotage & More: Celebrity Nudity on DVD & Blu-ray 7.22.14 [PICS]

David Koepp Says Kristen Stewart-Rupert Sanders Media Frenzy Was ‘Sad For All Involved’

Don’t tell David Koepp that scandal is good for box office. The screenwriter ( Jurassic Park , Indiana Jones: The Return of a Legend ) and director of this week’s Premium Rush  told Movieline that speculation that the media scandal involving Kristen Stewart, her Twilight co-star and reported off-screen beau Robert Pattinson and her Snow White and the Huntsman director Rupert Sanders is somehow good for business is “a cynical response” to the situation. “The people involved in any kind of scandal like that might want to respond,  Who gives a shit? I didn’t say you could eat my head . You know?” Koepp told me. John Kamps, his writing partner on Premium Rush, agreed: “I think historically scandal has never done well for movies.” (Movieline will post an interview with both regarding their new film on Friday.) When I asked Koepp what he made of the media frenzy surrounding Stewart, Sanders and Pattinson, he replied: “I think it was sad for all involved.” Koepp was hired by Universal to write a script to Snow White and the Huntsman but explained that he departed the project on friendly terms because the producers wanted to pursue a different direction. “I felt like there was a good path with her, but they wanted to explore a different thing I had no ideas for,” said Koepp, who told me  he couldn’t picture SWATH 2 without Stewart and, therefore, “couldn’t follow through.” Koepp observed that the proliferation of social media has made it difficult for  just about anyone, not just Twilight cast members, to maintain privacy. “In  the past — in the long past now — actors were able to keep their private lives much more separate,” the filmmaker said. “Now, no one really has a private life. I don’t think it’s just actors. I have teenage sons and they’re of the social media generation. That sort of living out loud is just weird to me. “I can’t understand why you would want so much of yourself revealed to just anyone, because it is inevitably — inevitably — a target of derision. It’s impersonal, but hurtful,” he said. “You see people really get hurt by Facebook attacks. Particularly in the junior high sort of level.” Noting that “Hollywood kind of is junior high,” albeit with more money and drugs, Koepp added: “There’s a lot of pain out there for people who are exposed. I feel very bad for actors in that regard. I think it’s a suckie part of the job and, when people say, Well, you asked for it — no they didn’t. “They asked for a bunch of other stuff and were willing to make a bunch of other sacrifices,” he said. “Just because you’re in the public eye doesn’t mean that you agree that there will be a complete abrogation of decency.” Nell Alk is an arts and entertainment writer and reporter based in New York City. Her work has been featured in The Wall Street Journal , Manhattan Magazine, Z!NK Magazine and on InterviewMagazine.com, PaperMag.com and RollingStone.com, among others. Learn more about her here . Follow Nell Alk on Twitter. Follow Movieline on Twitter.

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David Koepp Says Kristen Stewart-Rupert Sanders Media Frenzy Was ‘Sad For All Involved’

Anna Karenina Teases High Society Sexual Scandal

Fittingly lavish, new images from Anna Karenina , the splendor of imperial Russia is merely the backdrop for a scandalous love affair. But strict rules and mores adhered to (and then broken) by high society have long been enticing setting for 99 per centers (and their friends) throughout the ages to witness aristocratic crash and burns through fleshly indulgences. And the screen version of Leo Tolstoy’s novel appears to not hold back. Keira Knightley , Jude Law , and Aaron Taylor-Johnson (aka Aaron Johnson) star in the 19th century epic, directed by Joe Wright ( Atonement , Pride & Prejudice ) and adapted by Oscar-winner Tom Stoppard ( Shakespeare in Love ). Oscar is undoubtedly on filmmakers’ minds not to mention distributor Focus Features, which will debut Anna Karenina at the upcoming Toronto International Film Festival, the annual September event that is the virtual launch-pad of the annual awards race. Anna Karenina has graced the big screen and small screen throughout the decades. Greta Garbo played the titular Russian aristocrat who falls in love with the dashing Count Vronsky, jeopardizing her social standing and not to mention her aristocratic husband’s displeasure. Jude Law plays the wronged husband in the latest Anna Karenina and Aaron Johnson’s Count Vronsky is the object of desire. [ GALLERY: Check out the latest photos from Anna Karenina ] ( Anna Karenina trailer is below along with the film’s official log-line) Acclaimed director Joe Wright’s bold, theatrical new vision of the epic story of love is stirringly adapted from Leo Tolstoy’s great novel by Academy Award winner Tom Stoppard (“Shakespeare in Love”). The film marks the third collaboration of the director with Academy Award-nominated actress Keira Knightley and Academy Award-nominated producers Tim Bevan, Eric Fellner, and Paul Webster, following their award-winning box office successes “Pride & Prejudice” and “Atonement.” The creative team also includes cinematographer Seamus McGarvey (“The Avengers”), three-time Academy Award-nominated production designer Sarah Greenwood (“Sherlock Holmes”), film editor Melanie Ann Oliver (“Jane Eyre”), hair and make-up designer Ivana Primorac (“Hanna”), Academy Award-winning composer Dario Marianelli (“Atonement”), and two-time Academy Award-nominated costume designer Jacqueline Durran (“Pride & Prejudice”). The timeless story powerfully explores the capacity for love that surges through the human heart while illuminating the lavish society that was imperial Russia. The time is 1874. Vibrant and beautiful, Anna Karenina (Ms. Knightley) has what any of her contemporaries would aspire to; she is the wife of Karenin (Jude Law), a high-ranking government official to whom she has borne a son, and her social standing in St. Petersburg could scarcely be higher. She journeys to Moscow after a letter from her philandering brother Oblonsky (Matthew Macfadyen) arrives, asking for Anna to come and help save his marriage to Dolly (Kelly Macdonald). En route, Anna makes the acquaintance of Countess Vronsky (Olivia Williams), who is then met at the train station by her son, the dashing cavalry officer Vronsky (Aaron Taylor-Johnson). When Anna is introduced to Vronsky, there is a mutual spark of instant attraction that cannot – and will not – be ignored. The Moscow household is also visited by Oblonsky’s best friend Levin (Domhnall Gleeson), an overly sensitive and compassionate landowner. Levin is in love with Dolly’s younger sister Kitty (Alicia Vikander). Inopportunely, he proposes to Kitty but she is infatuated with Vronsky. Devastated, Levin returns to his Pokrovskoe estate and throws himself into farm work. Kitty herself is heartbroken when, at a grand ball, Vronsky only has eyes for Anna and the married woman reciprocates the younger man’s interest. Anna struggles to regain her equilibrium by rushing home to St. Petersburg, where Vronsky follows her. She attempts to resume her familial routine, but is consumed by thoughts of Vronsky. A passionate affair ensues, which scandalizes St. Petersburg society. Karenin is placed in an untenable position and is forced to give his wife an ultimatum. In attempting to attain happiness, the decisions Anna makes pierce the veneer of an image-obsessed society, reverberating with romantic and tragic consequences that dramatically change her and the lives of all around her. Director: Joe Wright (“Atonement,” “Pride & Prejudice,” “Hanna”) Writer: Tom Stoppard (“Shakespeare in Love”); Based on the novel by Leo Tolstoy Cast: Keira Knightley, Jude Law, Aaron Taylor-Johnson, Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Ruth Wilson, Alicia Vikander, Olivia Williams, Emily Watson MPAA Rating: R 

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Anna Karenina Teases High Society Sexual Scandal

REVIEW: Martin Donovan Reinvigorates Dramatic Clichés with Collaborator

We don’t see the writer in Robert Longfellow (Martin Donovan) for some significant time in Collaborator , Donovan’s pensive, carefully woven writing and directing debut. Robert is a stalled playwright, and when we meet him, he’s fleeing New York after poison-tipped reviews have slain his latest, long-awaited effort. Headed home to Los Angeles swaddled in self-pity, he must attend to his mother (Katherine Helmond), some Hollywood hack work, a simmering movie star (Olivia Williams) and a frustrated wife (former Hole bassist Melissa Auf der Maur) stashed in a frosty East Coast locale. But Robert looks mostly inward, giving everyone else the vague but warm-eyed attention Donovan has brought to his work as a Hal Hartley muse and in a host of supporting roles. He’s at his fuzziest with Gus (a hulking David Morse in a handlebar mustache), formerly the shady older kid from across the street, currently the ex-con still living with his mother opposite the Longfellow homestead. Gus has a habit of sneaking up on Robert while he’s home visiting his mom, and in his gracious, facetious way Robert agrees to have a beer with him before he leaves. Of much greater concern is a long-anticipated assignation with Williams (assured in a small, tricky role), whom Robert turns to for comfort, damn those clichéd torpedoes. A lot of Collaborator ’s moving parts shouldn’t work, from the celebrity there for the taking to the painful contrast of smug self-consciousness and barreling authenticity set up between Robert and Gus. But Donovan manages to find a convincing balance between broad strokes and a small canvas, so that when Gus turns a guilt-induced beer between the two men into forced captivity, rather than gory melodrama what takes shape is a character piece that makes a literary job of deconstructing the hostage thriller. Morse has a casual, unwieldy menace as the beer- and pill-addled Gus. A life in trouble with the law has made something of a bipolar ironist of him; he’s cheerfully pragmatic one minute, dark and doleful the next. When Robert realizes that being waylaid en route to Williams has turned into what the SWAT team gathering outside his door might call a situation , rather than triggering panic and fear, it instigates a slower, more considered transformation in his demeanor. The direction is as calm and deliberate as the captive is, and the tension that develops has a natural rhythm to it. Robert the writer has taken over, and we watch his experience of the ordeal slide from shock to a narrative remove. The writing is relaxed in the right places and heightened to a largely effective degree when it counts. Whether Gus’s lot in life is the result of a failure of imagination comes up for discussion, and Robert suggests a storytelling exercise to help explain his craft but also his approach to and place in the world. A left turn near the end re-draws their dynamic as that of opposing political ideologies, and there it is Morse’s brute sincerity that keeps the scenes from tipping into cant. By that point we can see Robert culling and appropriating in real time, a process that culminates with a window onto the storyteller’s succubus heart. And a worn dramatic arc is renewed with the spark of life. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .

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REVIEW: Martin Donovan Reinvigorates Dramatic Clichés with Collaborator

REVIEW: Saoirse Ronan is Nifty New Action Heroine in Hanna

Who would ever have thought that Robert Ludlum would have become the father of modern action cinema? The ruthless 2002 film adaptation of his novel The Bourne Identity — with the hero trying to figure who or what he (or she is), while amassing a body count that warrants coverage on CNN — is now the genre standard, and in this year alone, we’ve seen a number of variations on that theme. The most recent is director Joe Wright’s efficient and soulful Hanna , in which the title character (played by Saorise Ronan), a pale-skinned teenager with matching sandalwood hair and eyebrows, has mastered the art of contained chaos.

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REVIEW: Saoirse Ronan is Nifty New Action Heroine in Hanna

Merlin 1:6

With the exception of Nimueh, I think this is the first time we’ve seen anyone from the purging of all magic in the kingdom.  It’s kind of interesting to see the effect this ban has had on the kingdom and how it can come back to bite Uther in the ass.

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Merlin 1:6

Dollhouse

I did an entry (kinda) on Dollhouse when they were doing the “Save the Dollhouse” thing. Well the show has been renewed and so Joss Whedon has some more time to draw everyone in. Of course what would the Dollhouse be without the “Dolls”?

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Dollhouse