50 Cent Admits Cash Was Fake On Instagram Even though 50 has been working hard to convince the courts that he’s too poor to pay his debts while still flaunting stacks of cash for his social media fans…the truth is in his accounts. Millions and millions of truths… According to TMZ , Fif says he was flashing fake cash: The rap star has responded in court docs filed Tuesday to allegations he’s hiding money from his creditors in his bankruptcy case. The creditors saw 50’s slew of social media posts in which he showcased stacks of money. But 50 now says the Benjamins are phony pics and he’s not hiding assets … it’s all for show, to maintain his persona. However, last week he filed documents showing the court he has 65 MILLION in assets. Get your life together!!!!!!!
As the Duggars celebrated cousin Amy‘s engagement to Dillon King on Monday, one prominent family member was conspicuously absent. We’ll give you one guess who, and why … The Duggar Family Official Facebook page posted a photo of the large Arkansas clan, including the very pregnant Anna and Jessa Duggar . Jessa’s husband Ben Seewald was present. Anna’s husband Josh Duggar … not so much. The official group picture was captioned simply: “We are so excited for our niece Amy Duggar and Dillon King on getting engaged.” No mention of her eldest missing cousin. According to reports, an old friend of the family said, “Josh and cousin Amy are actually the closest in age and grew up together.” “They are close. If the scandal hadn’t come to light I have no doubt he would have been happily posing in the group photo.” That would be the Josh Duggar molestation scandal, of course, that brought the reality TV empire crashing down this spring. Is this a sign that rumors of the family shunning Josh and treating him like the third rail since his return to Arkansas are true? Conversely, did he sit this one out just to make sure Amy’s big moment wasn’t ruined by talk of him and his past misdeeds? In any case, he sent congrats on Instagram . “Congrats to Dillon & Amy on your engagement … welcome to the family @kingdillpickle,” Duggar captioned a photo of the pair. Some insiders believe the family hopes to ease Josh back into the public eye as his sex abuse scandal (hopefully) blows over. When that will be is anyone’s guess, though.
Katy Perry’s new album Prism is looking like a smorgasbord of genres. From over-the-top pop anthems (“Roar”) to quasi-rap (“Dark Horse” with Juicy J ) and now the club banger “Walking On Air,” this thing’s got it all! “Walking on Air” was produced by Klas Ahlund, a Swedish songwriter-producer who has teamed with Ke$ha, Vanessa Hudgens, Robyn and Madonna. The latest release, which hit the web yesterday, finds Katy Perry adopting the persona of the great British club divas of a bygone era. Can she pull it off? Give “Walking On Air” a listen and tell us what you think: Katy Perry – Walking On Air Katy Perry’s new single: What’s your assessment? Love it! One of her best! It’s okay. Not my fave. Boooooo. View Poll »
Jonathan Winters was not known for his acting. The brilliant improvisational comic, who died of natural causes at the age of 87 on Thursday, did not do his best work when he was tied to a script. As the New York Times ‘ obituary of Winters noted, “’Jonny works best out of instant panic,’ one of his television writers in the 1960s said. He thrived when he could ad-lib, fielding unexpected questions or pursuing spontaneous flights of fancy. In other words, he made a brilliant guest, firing comedy in short bursts, but a problematic host or actor.” And yet, it’s impossible to consider the Dayton, OH-born Winters’ career without this memorably funny performance in It’s A Mad, Mad, Mad World . Dialogue was besides the point in the clip below, which made the conditions optimal for Winters to use his ferocious talent for physical comedy to great effect. Do you think there are any contemporary actors capable of matching Winters here? Melissa McCarthy , could do it, for sure, and Will Ferrell , too, but who else? Winters’ Discontent [ New York Times ] Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter.
A word of advice: Don’t go to see Brandon Cronenberg’s unsettling Antiviral if you’re getting over a cold or have recently undergone a medical procedure that involved the withdrawal of blood or a skin biopsy. The 33-year-old filmmaker’s debut feature makes such effective use of hypodermic needles and flesh samples that I left the screening room on unsteady feet, feeling like I’d just donated a pint of my own plasma. But do go see the movie. In a world in which Jay-Z and Beyonce’s trip to Cuba can hijack a news cycle that should be focused on gun control, sequestration and the false positives of our current economy, Antiviral is a squirm-inducing corrective for our obsession with celebrity that resonates long after the closing credits. The premise alone is perversely brilliant: Cronenberg has brought to life a queasy world in which preoccupation with fame has metastasized to the point where civilians pay good money to be infected with the copyrighted STDs of their favorite celebrity and to dine on pale, gristly cuts of meat grown from their tissue cells. At the center of this story is Syd March, played by Caleb Landry Jones , a dour salesman of celebrity sickness who, behind his employer’s back, is infecting himself with his company’s offerings so that he can extract his own bootleg versions to sell on the black market. Phil’s extracurricular dealings leave him constantly sick, but when he becomes infected with the most sought-after celebrity virus of all, things get much, much worse. I sat down with the thoughtful, soft-spoken Cronenberg in New York on Tuesday to discuss Antiviral and his own encounters with celebrity as the son of Cosmopolis director David Cronenberg . He had some particularly interesting things to say about critics who contend that his film is too similar to his father’s early work in the horror/sci-fi genre. Movieline: One of the messages I took away from Antiviral was that the lure of celebrity is irresistible, no matter how horrific or deadly it becomes. Brandon Cronenberg: The character of Syd definitely sees himself as superior to that culture and removed from it, but it has actually totally defined him and he can’t escape from it. We’re all products of our environment, and it’s hard not to be affected by that stuff in a certain way. But I wouldn’t say it’s impossible to resist. I want the film to be partly an active resistance. It does work as a corrective, especially if you are celebrity obsessed and squeamish about hypodermic needles. I think we can change the part where we’re not complicit in creating that kind of culture and supporting that industry by engaging with it in a certain way. Antiviral also works as a metaphor for how celebrity has infected news reporting and even our government. Jay-Z and Beyonce are in the news today because of their trip to Cuba when there’s so much more important stuff that should be dominating the news cycle. In the film, no one’s famous for any reason. It’s purely the industry of celebrity going as far as possible — or almost as far as possible because there’s still some loose connection to real human beings. In Japan for instance, there are purely digital celebrities, and I think probably the most extreme level would be when human beings are abandoned altogether. Then it becomes an industry that fabricates digital celebrities and prints money because people are willing to do anything to feel somehow connected to these creations even if they’re not real. Celebrity dominates the news in a way that’s often fairly stupid because it’s not about anything really significant. At the same time, it’s what gets people’s attention, and as long as those are the news stories that are getting the most hits or the biggest ratings, they will continue to get big play because news is a business. Can you envision any kind of a turning point? I don’t see it changing anytime soon, but it could in theory, so it’s important to think about it. I noticed that the name of your protagonist is the same as the artist and sculptor Sydney March, who was involved in the creation of Canada’s National War Memorial. Was that intentional? What? The name is even spelled the same. That’s one of the most interesting things I’ve heard all day. I mean it’s probably embarrassing that I don’t know that, but that wasn’t intentional. I just liked the name and probably some combination of Syd Barrett and [Cid from] the Final Fantasy video games . I took the last name from the Saul Bellow novel The Adventures of Augie March . You grew up with a fairly famous father. What was the take on celebrity in the Cronenberg household? I think there were two aspects to it. One was that I saw people who were celebrities who had this media alter ego, or this persona that was so unrelated to who they were as human beings. And that’s definitely one of the themes in the film: celebrities as these media constructs or cultural constructs that exist purely in the public consciousness and are, in many ways, fictional and unrelated to the real human being. The human being as an animal, as a body, becomes totally eclipsed by this idea that runs rampant. The body eventually dies and the idea lives on, for however many decades, to appear in commercials, to perform on stage — it goes on endlessly. That sense of a runaway double that isn’t related to the person was interesting to me thematically. And then, on a personal level, I didn’t experience anything too extreme because my father’s a director and we’re still living in Toronto. So, it’s not like we were being hounded by TMZ or anything. But it still — I would go to a school and see someone I didn’t know and they’d come up to me and be like, “I heard you were coming and we have a lot to discuss.” And that was pretty weird. They behaved as if they knew you. Yeah, exactly. So, I did have a taste of that weirdness that is fame by proxy or fame by association. You’ve said that you immersed yourself in the tabloid world of TMZ and other celebrity media to research Antiviral . Did you, or do you find any celebrities genuinely fascinating? Not so much. I think there’s a line between taking an interest in someone because you respect their work versus obsessing over them. I went through a period of reading a lot of Hunter S. Thompson and he especially puts his life — or his version of his life — in his work. So, through an interest in his writing, you can’t help but be interested in what he’s done and, [wonder] how much of his writing is his own fantasy of himself and how much of that is real. But I don’t think anyone going to Cuba is that interesting. Most of it is an industry that thrives on hooking people with trivial but juicy details and playing to that gossipy society. So who are some of your other influences? There are a lot of writers I like, and a lot of filmmakers and musicians. I wouldn’t know how to begin listing them all, but I think [their influence] sort of comes to me subconsciously. I know some people usually have a particular influence that stands out and they emulate that person and learn from them. But for me it’s not really a conscious process. I felt like George Lucas’ THX 1138 was an inspiration. Only in that I’ve seen that film once. I’m not a huge THX fan and I wasn’t trying to deliberately emulate that movie. Others have been talking about my “Kubrick shot” or whatever, and, again, I like Kubrick, but I’m not a huge fan. I think it’s more that those films and filmmakers have an effect on the language of cinema in general. You told the New York Times that your father’s films have actually played a smale role in your work as a filmmaker, but a substantial part of the critical discussion of Antiviral is how much the film resembles some of his early efforts. I think you have a distinct style and vision as a filmmaker, but for those who don’t, what would you say they’re missing about your work? It’s not so much what they’re missing. I think there’s an assumption about my intent when it comes to that discussion. The assumption is that [ Antiviral ] is a deliberate emulation, that I must have been watching my father’s films since I was a kid and was brainwashed. It wasn’t really like that. As a father he had a huge influence on me obviously – genetically and because I grew up around him and we have a very good relationship. So, it’s not weird that there are overlaps when it comes to our interests and our esthetic sensibilities. Good point. And then when I got into film, I just knew that if I worried about that, that would become everything, you know? If I was just trying to avoid anything that could be associated with my father, that would be my entire career and that would define my work and that’s a really shitty place to be working from. So I just decided to do whatever I felt like doing and it became this. I can see the similarities – some of them are legitimate — but I also think some of them are very overstated because people like that narrative and they like to make that assumption. It’s an easy narrative. Yeah, exactly. In terms of the similarities, I’d say I come to them honestly. They’re honest to my own interests. For instance, some people talk about some of the hallucinatory, biomechanical stuff in Antiviral being related to his work. And I guess it is, but that scene in the closet… Where Syd merges with the machine that he’s using to make the bootleg viruses? Yeah. That was based on some old drawings that I had done. I wanted to see what they would look like as a film, and I knew as I was writing it that people would make that connection [to my father]. But I thought I just had to make sure that I didn’t avoid doing anything just to avoid that comparison. Your father is not the only filmmaker who has explored those man-meets-machine themes. Right, and my father has done a lot of other types of movies, too. He hasn’t really been making horror films for a while now. What’s the best piece of advice your father has given you about filmmaking? I don’t really have a good answer for that. He has given me some advice but there isn’t one thing that stands out. Did you show him the film early? Did he give you advice? Not really – he was pretty busy during the actual making of the film. I forget what he was doing: promoting A Dangerous Method or finishing Cosmopolis but he actually wasn’t really around during production. There’s that point where you feel the film is polished enough to show to your family and friends to get as much feedback as possible, and he saw it then. I got notes from everyone, but I don’t remember him having any dramatic advice. You don’t know what you’re doing next at this point? Not really. I mean, I am writing but it’s still in the early stages. Do you think your next picture will be in the horror-science fiction genre, or will you do something different? I don’t really like target a particular genre in advance. I wasn’t thinking horror-sci-fi when I started Antiviral , but it developed into that. And the next one probably will be, but I’m not specifically trying to do that. We’ll see where it ends up. More Antiviral coverage: REVIEW: ‘Antiviral’ − Brandon Cronenberg’s Piercing (And Icky) Look At Celebrity Obsession Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
The New York Times reported Friday morning that Google had made the controversial decision to block access to the inflammatory anti-Islam video, Innocence of Muslims , in Egypt and Libya, where the crude production had sparked anti-U.S. riots and violence that resulted in the deaths of four American diplomats, including Ambassador J. Christopher Stephens . According to the Times , Google, which owns YouTube where the clip is posted, did not remove the video from its site because its policy is to remove content only if it is deemed “hate speech,” or “if it is responding to valid court orders or government requests.” Based on company guidelines, the Internet behemoth determined that Innocence of Muslims “was not hate speech,” the paper reported, but Google still made the exceptional decision to block access to the video in Egypt and Libya in response to the violence and killings. In the wake of this extraordinary decision by an American company to censor content, Movieline wants to hear from you. Take the poll after the jump and tell us if Google’s actions were warranted, or if, in your opinion, even more decisive action is required. Google’s immense power as one of the pillars of the Internet means that it can have huge influence over the boundaries of free speech on the web. As Peter Spiro, a constitutional and international law professor at Temple University, told the Times : “Google is the world’s gatekeeper for information so if Google wants to define the First Amendment to exclude this sort of material then there’s not a lot the rest of the world can do about it.” [ New York Times ] You can make your opinion heard. If your point of view doesn’t fit neatly into one of the three choices below, please leave it in the comments box. Take Our Poll Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter .
Also in Friday morning’s round-up of news briefs, the Tokyo and Rio de Janeiro film festivals unveil details of their opening nighters. Thriller Errors of the Human Body heads to U.S. theaters. And Warner Bros. gives details on the Godzilla reboot. Thriller Errors of the Human Body Heads to U.S. Theaters IFC Midnight took North American rights to the film directed by Eron Sheean, starring Germany’s Karoline Herfurth ( The Reader ). In the film, Canadian geneticist Geoff Burton (Michael Eklund) works on a human regenerative gene with direct ties with a personal tragedy, yet matters prove increasingly difficult: jealous co-workers’ feelings are ruffled, old flames are rekindled and personal demons become consistently harder to suppress in this new and oppressive work environment. After a festival run overseas, the film will have its U.S. premiere at the upcoming Fantastic Fest. Rio de Janeiro Film Festival to Welcome 400 Films Brazilian director Breno Silveira’s Gonzaga – From Father to Son will open the Rio de Janeiro Film Festival September 27th. Jeremy Irons, directors Fernando Trueba, Leos Carax, Jonathan Dayton and Valerie Faris ( Little Miss Sunshine ), Teresa Villaverde, João Pedro Rodrigues, Roland Joffé, and the artist Marina Abramovic, are among those guests who have already confirmed their attendance at the festival. Tokyo Film Festival to Co-Open with Ridley Scott’s Japan in a Day with Andrew Adamson’s Cirque du Soleil: Worlds Away The project is a collection of video submissions overseen by Ridley Scott that were filmed on March 11th, the anniversary of the earthquake and tsunami that devastated an large area of the country. The submissions have been compiled into a single film and apparently convey the message of Japan’s recovery. THR reports that the world premiere of Cirques du Soleil: Worlds Away 3-D will also open the festival. The 25th Tokyo International Film Festival takes place October 20 – 28. Around the ‘net… Christian Slater Joins Lars von Trier’s Nymphomaniac The film by the Danish director could be his most controversial yet, reportedly featuring genuine sex scenes. Christian Slater will join Charlotte Gainsbourg, Shia LeBeouf and Stellan Skarsgård. “Lars is a complete gentleman. It’s great to be on a set with someone who has such a loyal and talented team,” Slater said. “The majority of his crew are people he has worked with over the past 20 years. They love him and I understand why. It’s lovely as an actor to get opportunities a few times in your career to work on a truly special project with a director and leader who really understands his material and is able to convey what he wants so concisely.” The Guardian reports . A 2nd Filmmaker May Be Behind Incendiary Anti-Muslim Video News reports have identified Cerritos, CA resident Joseph Nassralla Abdelmasih, president of Duarte-based charity Media for Christ and an associate of Nakoula Baseley Nakoula (the individual earlier identified under the persona of Sam Bacile), the first person believed to have been behind the video. Both are Egyptian immigrants and have gone into hiding, Deadline reports . Godzilla Reboot Heads for May, 2014 Warner Bros. and Legendary Pictures will bow the reboot of the Godzilla in franchise in 3-D on May 16, 2014. Gareth Edwards ( Monsters ) will direct the pic from a script by David Callaham who wrote The Expendables movies, Deadline reports .
Critics call Jonah Hill comedy an R-rated ‘Adventures in Babysitting.’ By Kara Warner Jonah Hill, Max Records and Landry Bender in “The Sitter” Photo: 20th Century Fox From the moment Fox unleashed the clever “Need a Sitter?” poster advertising Jonah Hill as a for-hire babysitter, we were intrigued to see what comedic genius might be born of the qualified actor/director combination of the “Superbad” star and “Pineapple Express” helmer David Gordon Green. Once the trailers hit, it was obvious audiences would be in for a raunchy, envelope-pushing experience, the effectiveness of which has the critical masses a bit divided and sitting at a 21 percent rating over at Rotten Tomatoes . Read on as we sift through “The Sitter” reviews: Plot Twists, Turns and Caveats ” ‘The Sitter’ is wickedly absurd. Every parent’s fears about the caretaker brought in at the last minute get amped up here. So getting one’s shorts in a knot about the situations that sitter Noah Griffith (Hill) puts youngsters Slater, Blithe and Rodrigo in is a waste of ire. The comedy breaks in viewers from the get-go by offering a twist on R-rated bedroom activity. Later, after Noah is sweetly guilt-tripped into a babysitting gig by his mom (Jessica Hecht), the movie proceeds to an ill-advised drug run. It’s a comedy with kids, not for kids. … Which leads us to a second caveat: This comedy is shameless about race. From its rap and R&B soundtrack, to the casting of Wu-Tang Clan’s Cliff “Method Man” Smith, to the in-your-face sistah Tina (played with nice vigor by Samira Wiley), it’s clear this comedy is made by that generation of filmmakers freed by the omnipresence of hip-hop to be a little gangsta themselves.” — Lisa Kennedy, The Denver Post The Performances “Some of the sting is eased by Hill, who navigates this movie’s wild ride through a raunchier ‘Adventures in Babysitting’ with a genuinely sweet sense of self-deprecation. Yes, he’s a sadsack loser, but he knows it, and his honest acceptance of that makes him easy to take. He’s also helped out by the great Sam Rockwell — who remains one of the consistently wildest and most daring actors out there — as Karl, a starved-for-affection drug dealer. And also aided by a surprising gay-pride subplot that delivers its own ‘It Gets Better’ message.” — Stephen Witty, The Newark Star-Ledger Mixed Messages “The filmmakers try desperately to skate that thin line between socially redeeming and wanton excess by having Noah dish out some bits of wisdom and occasionally indicate he might care about the kids. But it is very thin ice and Hill never finds his balance, to say nothing of his comic timing. Though table-turning ‘The Ransom of Red Chief’ themes abound, somehow the exploding toilet and all the other ‘funny’ mayhem, on which much of the film’s humor rides, seem sad instead.” — Betsy Sharkey, The Los Angeles Times The Final Word, Pro-Con-Pro Style ” ‘I’m not Mary Poppins,’ protests Jonah Hill’s Noah. No, you’re Elisabeth Shue, and ‘The Sitter’ is an unacknowledged remake of ‘Adventures in Babysitting’ with the raunch dial turned up to max. It’s smart, funny, agreeably perverse and simultaneously abrupt and exhausting.” — Kyle Smith, New York Post ” ‘The Sitter’ plays like an R-rated homage to the 1980s comedy ‘Adventures in Babysitting,’ with some ‘Date Night’ and lots of filthy humor thrown in. Spiked with some loopily inspired supporting performances (Sam Rockwell turns up as a freaky, tweaky drug dealer running the world’s most hilariously depraved coke den) and Hill’s characteristically inspired improvisational asides, ‘The Sitter’ is an efficient but uneven programmer, whose most valuable contribution to the cinematic landscape is its blessedly brief 80-minute running time.” — Ann Hornaday, The Washington Post “Hill is a strong comic, and this movie, considerably funnier than director Green’s last, the execrable ‘Your Highness’ — low standard — allows the actor to show off his beautiful timing (also evident in ‘Moneyball,’ but without the hijinks). Screenwriters Brian Gatewood and Alessandro Tanaka have barely a screen credit between them, but they understand the Hill persona, a little whisper here, an off-the-cuff insult that lands as softly as a kiss and a nonplussed double take followed by a quick rejoinder. Noah is the fat guy who wears a plaid flannel shirt underneath a jacket opened to reveal a clashing plaid lining. He’s also good and decent and open to admitting all of his faults. ‘I had a monthlong, intense addiction to Robitussin,’ he tells Slater, trying to put him at ease. ‘The Sitter’ is predicated on a belief that chunky Jonah Hill, or at least the persona he presents, is secretly supercool. While it turns out to be a wisp of a movie, on that front at least, it is persuasive.” — Mary Pols, Time Check out everything we’ve got on “The Sitter.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV First: The Sitter
Here are some pictures of Halle Berry trying to protect her baby from the paparazzi like the amazing mother she clearly is….I mean how can she not be a good mother with tits like that…shit can feed a fucking tribal village during a famine….even though that’s a little too black of a task for this Hollywood princess, you know since she’s just lucky she had a black dad who she is estranged from to give her a skin tone that allowed her to have some marketability in a time of affirmative action and politically correctness….everything about her persona is white….even the men she fucks….but these tits..are spectacular no matter what their race / color and cree is…I figure that’s why she’s wearing the peace sign…cuz her pussy is like the UN’s human rights peace keeping department celebrating one race….the human race…at least that’s what I like to think while masturbating to her. I’m worldly like that.
Can’t see the video? Click here You know the drill by now. Mega64 takes on the persona of a game in a public setting and hilarity ensues! I need to point out that the props that Garrett Hunter made for this skit are pretty awesome too. Great job all around! And while we’re talking about Mega64, you should go check this video that involves Mega64’s Rocco, myself, Max Scoville, Maurice Tan, Conrad Zimmerman… Broadcasting platform : YouTube Source : Destructoid Discovery Date : 06/04/2011 19:52 Number of articles : 2
