New in theaters, Resident Evil: Retribution is non-nude, so fiddle your joystick to series star Milla Jovovich’s full-frontal flash in Resident Evil (2002) instead. Nude on Blu-ray, Lucy Lawless and Viva Bianca bare Roman rack age in Spartacus: Vengenace , and you can see the icebergs on Kate Winslet’s chest in three glorious dimensions as Titanic (1997) hits 3D Blu-ray.
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Milla Jovovich Bares Resident Beav-il
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Tagged appid, Blu Ray, joystick, milla-jovovich, missing, mr skin minute, resident-evil, retribution, three-glorious
Hollywood.TV is your source for all the latest celebrity news, gossip and videos of your favorite stars! bit.ly – Click to Subscribe! Facebook.com – Become a Fan! Twitter.com – Follow Us! Hollywood TV hits the Resident Evil: Retribution Movie Premiere and talks with some of the stars. Milla Jovovich, Boris Kodjoe and Sienna Guillory were all there to celebrate the fifth movie in the series. The movie will be in theaters tomorrow. Hollywood.TV is the global leader in capturing celebrity breaking news as it happens. We cover all the major Hollywood events including The Golden Globes, The Oscars, The Screen Actors Guild Awards, The Grammy’s, The Emmy’s and the American Music Awards, as well as all the red carpet movie premiers in Los Angeles and New York. HTV is on the streets 24/7, at all the industry events and invited by the stars to cover their every move in Hollywood, New York and Miami. Hollywood.TV is currently the third most viewed reporter channel on www.youtube.com YouTube with almost 400 million views, and our footage is seen worldwide! Tune in daily for all the latest Hollywood news on www.hollywood.tv and http like us on Facebook!
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Tagged boris kodjoe, Celebrity, industry, milla-jovovich, resident, resident-evil, screen-actors, source, stars
The Master , the new film from Paul Thomas Anderson , is the story of a spiritual duel — the battle for a soul — though only one of the participants perceives it as such. Lancaster Dodd ( Philip Seymour Hoffman ), the mystic of the title, is the leader of a young movement not unlike what evolved into a certain real life one well entrenched in the entertainment industry. It’s 1950, and he finds a stowaway on his ship, a drunk vagabond who claims to be an able-bodied seaman and who asks for work. The man’s name is Freddie Quell ( Joaquin Phoenix ), he fought in the war, and he’s not mentally stable, either because of his experiences in battle or because stability was just never meant for him. Lancaster, who is almost never referred to by his name but instead is called, simply, “master,” is intrigued by Freddie, likes him (to the bewilderment of others in his camp) and desires to work with him — wants to shape him using the force of will and ability to find the vulnerability in people that he’s slowly honing as his cause grows. Freddie is both terribly vulnerable and the ultimate challenge, because he’s a man with no ability to conform at will, one for whom all emotion and impulses run hot and right at the surface. If Freddie could be won over, changed and molded into someone new by Lancaster’s lectures and lessons, his “processing,” then the cause could be something real, and not just new age blatherings about past lives to wealthy socialites. What makes The Master such a singular experience, as dense as a mille-feuille, is that it is not Lancaster’s story but Freddie’s, and told as such, in layers that are sensorially rich but that do not always lead easily from one to another. Freddie exists in the moment, ruled by his temper, his libido, or urges he would be unable to pin down or articulate. At one point he wanders away for reasons unclear — restlessness, maybe — and years slip by without his seeming to register them. He loves but has left behind a girl, Doris (Madisen Beaty), though he doesn’t know why, longs to be with her and understands that he’s hurt her but doesn’t return. He has a good job in a department store until with no provocation one day he picks a fight with a client. He is a force of chaos, though it’s not malevolent. We see things as Freddie does, which is often the way a child does: Not fully understood, attention wandering after a while. We have more understanding than him, but it is almost exclusively through his eyes that we perceive the world, and we’re left to assemble the pieces we’re given into a whole that will never be fully coherent. There are only two scenes, by my count, in which Freddie is not present. Both show the ways in which other people, including Lancaster’s steely wife Peggy ( Amy Adams ), attempt to manipulate Lancaster the way he manages others, with rewards and slippery words. Lancaster is a man who is all performance, even, one would guess, when alone, while Freddie can only be himself. The Master is built around two towering, career-high feats of acting. As Lancaster, Philip Seymour Hoffman is both authoritative and ridiculous, a series of shells with nothing inside. He’s not yet perfected the religion he’s building, and is still in the process of convincing himself of his sway over others, marveling in the way that he can tell people things and they will, frequently, be believed. We see the power in him when he processes Freddie in an early scene, demanding from the younger man that he not blink as he offers up answers about his past and himself, pulling from him capitulation even as Freddie is hopelessly moved by the intensity of his attention. Few things, we understand from what we’ve seen already, before Lancaster ever arrived on the scene, leave a mark on Freddie, but this moment does. This moment, he’ll remember. As Freddie, Joaquin Phoenix is entirely transformed — it’s a magnificent performance of remarkable physicality. “Naughty boy,” Lancaster calls him, reprovingly. “Silly animal.” Freddie is both of these things, a primitive, tending to swing his loose arms like an ape, his shoulders slumped, muttering out of one side of his mouth like he was crumpled into a ball once and never fully straightened out. He’s half-feral in a way that can be frightening, especially in a scene in which he loses control in a prison cell, raging, destroying everything within reach and hurting himself while Lancaster poses, still, in the cell next to him. But that coiled energy, that unrestrained carnality, is also appealing, and women are drawn to him (though they may not stay that way) — lucky for him, because baldly propositioning them is his main approach. With very fine cinematography by Mihai Malaimare Jr. and a textured, spiky score by Jonny Greenwood that chases the film along as much as the dialogue, The Master is a more opaque sibling to There Will Be Blood , a story that, like that earlier one, feels like an abstract American creation myth, a celluloid koan to be turned over in the mind. A final encounter between Lancaster and Freddie is sparked by a dream that signals that the former does have a hook in our strange protagonist, if not the ownership he desires, and that sends Freddie over the churning blue seas, images of which punctuate the film, to find his teacher. Lancaster, grown in power and yet more hollow than ever, offers up what may be the key to the film to his wayward ward: “If you figure out a way to live without a master, any master, be sure to let the rest of us know, for you would be the first in the history of the world.” In Freddie, terrible and free, is an image of a life unbounded by rules and unmarked by submission to any structure, whether it be an abstract figure or the one ensconced in his self-created institute, promising a cure for what ails you. Read more on The Master . Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
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REVIEW: Phoenix, Hoffman Achieve Greatness While Doing Spiritual Battle In Marvelous The Master
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Tagged Actors, attention, bennyhollywood, Entertainment, history, Hollywood, marines, Phoenix, resident-evil, vulnerability, world
This week sees the release of Resident Evil: Retribution , the next installment in what has been dubbed the “most successful” of video game movie series, a shallow victory indeed. Considering that contemporary video games have become cinematic, employing many proven Hollywood techniques in their platforms, it means that once those properties are adapted for the screen you could end up with the proverbial serpent eating its own tail. In the case of Doom however you end up with something else; much like a document that has been photocopied from a fax of a forgery taken from a carbon-copy, what you end up with is an indecipherable mess. But first, let’s take a look at the original Resident Evil , itself an exercise in impotent storytelling. How about this for a synopsis: In Raccoon City a company known as The Umbrella Corporation owns a laboratory called The Hive, where a T-virus has been released and The Red Queen computer seals the building and kills the occupants to stop an outbreak. Uh-huh. Guess I won’t look for the words, “Adapted from the novel by Noel Coward.” The gist of that 2002 film was zombies vs. mercenaries, including Milla Jovovich, who wages battle while wearing a red cocktail dress, of course; this cheesecloth-thin plotline has somehow been stretched into a 5-picture movie arc. Just three years later came the far more shallow bout of movie making that is Doom — basically the same movie, only with Jovovich’s sexy freedom fighter replaced by the buff chunk-muscle Dwayne “The Rock” Johnson. Doom comes the closest to replicating the gaming experience on film. Literally little more than a chase-and-shoot action pic, you can guess exactly how this script was constructed. Imagine for a moment you are building your dream home and want to make sure to include all the elements you deem important. You begin by telling a contractor you want him to construct a fireplace. Upstairs you instruct him to install a Roman bath tub and a closet big enough to park a mini-Cooper, and then you suggest he add a walk-in humidor in the basement. You inspect the plans, and once satisfied that everything looks perfect you then tell him, “I love it! Now you can begin construction on the house.” The same type of logic is going on here; clearly they included the important elements of the game and later decided it might be cool to also come up with a script. Then decisions were made based on money. The original video games featured demon entities which could be costly to replicate — so in the film they became mutated Martian explorers, mostly filmed in the dark. But wait, how will the soldiers end up on Mars, responding to this outbreak? Before you can utter “screenplay shorthand,” a portal is placed in the Nevada desert where the mercenaries can enter and arrive on Mars as quickly as they are needed. Voila ! Amazingly this is all goofier than it sounds, yet told with a straight face, telling us this is as it should be. We start with a hard-opening as scientists run down futuristic corridors, fleeing from something unseen. When they try to get through a closing hatch a female has her arm severed by the door. This is not mindless vivisection, mind you; later The Rock will use the severed limb to gain access via bio-verification locks! Subtle intro in place, roll credits. The year is 2046, and during the colonization of Mars there has been an experiment where a 24th chromosome has been developed which will grant humans incredible physical gifts and the ability to regenerate quickly from wounds — unless you happen to mutate into a hideous homicidal creature. (There are some glitches, understand.) The facility is sealed up and a few scientists remain, so a group of Marines are located for the mission. “The Rock” plays Sarge, and he guides a team of clichés named Reaper, Goat, Duke, The Kid, and others. Once there Reaper is reintroduced to his estranged scientist sister who works at the facility, which creates some sibling tension but is also convenient as she can guide the Marines around the joint. Director Andrezj Bartkowiak (his actual name — I did not nod off and type that with my forehead) uses his skills to hide the less-than-impressive appearance of the creatures. Even though this takes place almost entirely on the Fourth Planet you would never know it, because the whole time is spent in labs and the steam tunnels of the facility with zero exterior shots. It’s like watching someone’s vacation movies spent at a beach house and everything takes place in the basement. What we do see of the creatures is a biological illogicality, since the beings tower over the humans, rather immense in size. Their caloric and protein intake would have to be far greater than the limited food source a couple dozen scientists would provide. (Why not clear everyone out and let them cannibalize to extinction? Because that would leave us with a very short film experience.) It is far more entertaining to send anonymous soldiers to a grisly end while also vividly destroying some monstrous Martians in gory detail. During this melee Sarge eventually discovers a trademark weapon from the game, the B-F-G (Big F-ing Gun.) This weapon provides plenty of psychological material to analyze; many N.O.W. members opposed to the N.R.A. will tell you the B.F.G. is only a representation of the male organ. To be honest, those ladies have a valid argument — this gun shoots a plasma-like substance, meaning the ammunition is not actually fired as much as it is… ejaculated . You have to be very secure in your masculinity to wield this particular phallic weapon. As the Marines are systematically dispatched by the zombie goliaths we eventually get treated to the centerpiece scene of the movie where we watch all the action from the POV of star (and future Judge Dredd) Karl Urban, with his weapon in view of the camera just like in the game. It’s a decent representation filled with flashy camera tricks and computer wizardry, like seeing the game on screen with much better graphic simulators delivering the visuals. Ultimately there is a visceral feeling to Doom — you want to be in the action, and then you want to partake. With all the viscera flying on screen you’ll check your shoes for plasma, and then you’ll check eBay for older gaming systems that will allow you to play a vintage version of Doom . Why let The Rock have all the fun shooting his load?! Read more Bad Movies We Love. Brad Slager has written about movies and entertainment for Film Threat, Mediaite, and is a columnist at CHUD.com . His less insightful impressions on entertainment can be found on Twitter .
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Bad Movies We Love, Zombie-Blasting Vidgame Edition: Doom (2005)
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Tagged bad movies we love, bennyhollywood, Gaming, Hollywood, invalid, marines, plans, resident-evil, the-rock, zombie
As Paul Thomas Anderson painstakingly rolls out his latest labor of love, The Master — next stop, New York City, with a 70-mm screening at Manhattan’s Ziegfeld Theater on Tuesday night — another Paul Anderson with different middle initials — W.S. — is preparing to infect the worldwide box office like a zombie virus on Friday with Resident Evil: Retribution . It’s the latest chapter in the movie franchise based on the blockbuster game franchise, which will also spawn a new installment, Resident Evil 6 on Oct. 6. Guess which film will fare better critically? The Resident Evil movies are the most mocked video-game movies because they’re also the most popular. Four movies earning almost half a billion dollars over budget usually wins most logical arguments when it comes to this subject. Unfortunately, heated Internet arguments have little to do with logic or reality — particularly if you take into account the graph I’ve prepared using data from Metacritic.com and Box Office Mojo.com . You’ll find it after the jump, but the gist is that when it comes to box-office revenues, Metacritic reviews are about as essential as unicorn insurance. Wait a minute….So Internet whiners aren’t the entire world? The exponential growth in Resident Evil profits is a clear sign that Constantin Films, the producer behind the franchise, is doing something right. As an unabashed fan of movies, I count three: For many kids this was worse than Bambi’s mother dying. 1. Streamline the Core Plot: Some games are so impossible to convert that the process drives screenwriters completely insane, as proven by Mario Bros. Resident Evil is not one of those games. The plot is good guys versus evil zombie corporation, and the movies aced it. The most common complaint is that the movies don’t follow the plots of the games, but all the producers did was cut the repetitive rubbish which stretched what amounts to a 90-minute story into more than 12 hours of gameplay. In the Resident Evil games, the sinister Umbrella Corporation’s two most loathsome products were voracious zombies and utterly unbreakable doors. The movies wisely dropped the the latter. 2. Jettison Irrelevant Sub-Plots: The Resident Evil games have more dubious sub-plots than a soap opera — sub-plots, by the way, that require the brain activity of bracket fungus to grasp. These plot tangents tended to be designed to justify and set up a sequel rather than advance the story at hand. You had characters chasing after their brothers, hunting down rogue mercenaries, searching for missing presidential family members, and in one memorably stupid case, learning that the city was going to descend into zombie hell but patiently waiting until that happened before making an escape. Anderson smartly left most of that crap out of the Resident Evil movies and this ties back in to my first point: The essential conflict of the movies is simple and amounts to: sexy badass Milla Jovovich shoots monsters , which takes the occasionally stupid complexity of the video games and refines it into a concept that is almost as beautiful as the theory of relativity Dressed for a night of clubbing. When the basic gameplay and the basic conflict doesn’t change, you contrive reasons to keep doing the same things over and over. The first Resident Evil game was a mansion full of hallways and a lab; the second, a city with suspiciously narrow hallway-like streets and a lab; a later sequel featured another mansion full of hallways and a lab in Antarctica — which also contained the first mansion! (I am not making that up). One more thing: every lab consists largely of hallways. Another effect is the pointless multiplication of viruses and corporations. At last count, there were nine different viruses and parasites creating the monsters, and since the first t-virus could clearly do anything it wanted in the first game, all this did was give the fan-wiki editors more to edit . Likewise, the Umbrella Corporation has been replaced by WilPharma and then Tricell, which did nothing but allow a graphic designer to bill additional hours by slapping the logos of these new nefarious companies on the exact same Generic Monster Laboratory equipment that Umbrella was using. If you saw a movie sequel in which the names were changed but the plot was identical, well, that would describe just about any horror franchise out there. I’m glad Anderson & Co. didn’t do that. 3. Escalate: The Resident Evil movies went the action movie route, which meant that the stakes had to be escalated with each subsequent sequel. Ditching the game plot allowed for this genuine progression. The first movie was about a secret lab infected with a virus. In the second, it was an entire city. In the the third, the plague had spread around the world. The ante was upped in each case, which was far better than the game’s plot of, “Where’s Wally’s next secret viral base which will blow up at the end of the game?” Behold the exotic hallways of Antarctica The movies’ disconnection from the source material is justified. Players have already seen the game plot, and non-players couldn’t care less about it. If the movies slavishly copied the games, they would amount to glorified extended cut scenes — and many gamers skip those when they’re playing. Complaining that Resident Evil movies don’t follow the original story is like saying Guy Ritchie’s Sherlock Holmes movies don’t follow their source material. Translating Sir Arthur Conan Doyle’s 19th-Century fiction into movies that won’t bore the hell out of ADD-suffering 21st-Century audiences makes a note-for-note translation impossible. Ritchie recognized this and the results were fun. If the master works of Conan Doyle can be interpreted in this fashion, then it certainly shouldn’t be a problem when you’re dealing with mowing down and blowing up loads of zombies. Keep up the good work, Mr. Anderson. Luke McKinney loves the real world, but only because it has movies and video games in it. He responds to every tweet. Follow Luke McKinney on Twitter. Follow Movieline on Twitter.
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Alice In Umbrella-Land: Three Things The Resident Evil Movies Do Right (Besides Make Buttloads of Money)
Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News
Tagged Celebrities, Fashion, Hollywood, lost, movie, New Movie, resident-evil, source
Hollywood.TV is your source for all the latest celebrity news, gossip and videos of your favorite stars! bit.ly – Click to Subscribe! Facebook.com – Become a Fan! Twitter.com – Follow Us! Connor Cruise isn’t letting a little bad news like his dad getting divorced get in the way of his schedule. After visiting his dad, Tom Cruise, on the set of his new movie, ‘Oblivion’, Connor jetted off to San Diego to deejay the party for the Resident Evil 6 video game. Event organizers said that Connor did quite well, and got the crowd going before Jermaine Dupri and RZA took things over. Hollywood.TV is one of the top celebrity news providers in the world. Since 2008, Hollywood.TV has been bringing all the latest celebrity news, interviews, gossip, and candid videos to viewers all over the world. HTV is on the job 24/7, and at all the best festivals from Sundance to Coachella, as well as on the streets every day to cover the hottest celebs in Hollywood, New York, and Miami. Hollywood.TV is currently the third most viewed reporter channel on www.youtube.com YouTube with almost 400 million views, and our footage is seen worldwide! Tune in daily for all the latest Hollywood news on www.hollywood.tv and http like us on Facebook!
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Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News, TV, V, Videos
Tagged celeb news, connor-cruise, Gossip, jermaine-dupri, News, over-the-world, party, resident, resident-evil, rza, schedule, Star, stars
‘Resident Evil’ franchise nearing the end, Matt Damon’s a huge ‘District 9’ fan and Jessica Biel co-signs ‘Total Recall’ casting couch just a few Hall H tidbits. By Ryan J. Downey Matt Damon at the Sony Panel at Comic-Con Photo: Kevin Winter/ Getty Images
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San Diego Comic-Con: 10 Things We Learned At Sony Panel
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Tagged appid, casting-couch, jessica, missing, Mtv, News, panel-at-comic, resident-evil, sony, TMZ
‘Resident Evil’ franchise nearing the end, Matt Damon’s a huge ‘District 9’ fan and Jessica Biel co-signs ‘Total Recall’ casting couch just a few Hall H tidbits. By Ryan J. Downey Matt Damon at the Sony Panel at Comic-Con Photo: Kevin Winter/ Getty Images
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San Diego Comic-Con: 10 Things We Learned At Sony Panel
Posted in Celebrities, Gossip, Hollywood, Music
Tagged appid, casting-couch, jessica, missing, Mtv, News, panel-at-comic, resident-evil, sony, TMZ
Milla Jovovich could be our only hope of staving off the zombie apocalypse . The actress is back in Resident Evil: Retribution , and the action-packed, full-length trailer below leaves little doubt about the amount of smack she’s about to lay down on any freaking monsters insane enough to front on her. With returning faces Michelle Rodriguez, Oded Fehr, Boris Kodjoe and Sienna Guillory, and new video game characters Ada Wong and Leon Kennedy along for the ride, Retribution promises to be as entertaining as it is bloody. Watch the trailer below and see what we mean … Resident Evil: Retribution Trailer
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Resident Evil: Retribution Trailer Previews Gore, Zombies, Monsters, Chainsaws, Etc.
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Tagged bikini-picture, celeb news, cyrus, detected, emily-maynard, Gossip, hollywood-news, invalid, milla-jovovich, resident-evil, retribution, trailer-below, Videos
Director Uwe Boll is often accused of being a hack whose sole objective is packing his films with as much violence and nudity as possible. To which we say, so what? That’s what Mr. Skin is for! Boll recently recorded commentary for his new(ish) movie Bloodrayne: The Third Reich (2010), and according to The Onion AV Club ‘s analysis, the track doesn’t do much to dispel his breast-obsessed image. Among the choice tit-bits: “ One of the biggest sales aspects is, ‘Yes, we go for it! We do full nudity and whatever, yeah!, ” he brags, before slamming his competitors for their lack of commitment to nudity: “ Kate Beckinsale would never be acting naked in Underworld ,” and while Milla Jovovich is “ not so picky ” in the Resident Evil franchise, “ she is not doing nudity. ” [Actually, she was nude in both Resident Evil (2002) and Resident Evil: Apocalypse (2004). Sorry, Uwe. -SC] More after the jump!
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It’s Tough Being Uwe Boll: "I Really Had to Yell Around, ‘Kiss Her! Kiss Her!’" [PICS]
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