Jean-Luc Godard may not care about Hollywood or its Oscars , but we have apparently found some hardware he is into: The 3-D camera. This calls for a comeback! The celebrated auteur, who was thought to have retired from filmmaking with his polarizing 2010 effort Film Socialisme , has reportedly undertaken another “last” project that he will shoot in three dimensions. Farewell to Language ( Adieu au Langage ), which he teased two years ago but only now has commenced production on, tells the story of “a man and his wife who no longer speak the same language. The dog they take on walks then intervenes and speaks.” Naturally. Héloise Godet, Zoe Bruneau, Kamel Abdelli, Richard Chevalier and Jessica Erickson star; European sales and production powerhouse Wild Bunch will take the project to the Cannes market next week. Here’s a not-very-good working version of its poster . Keep an eye on Movieline for more on when Farewell to Language might yield to a defective 3-D viewing experience near you. [ The Film Stage ]
Trailblazing hair and fashion icon Vidal Sassoon has died at the age of 84, according to the L.A. Times , following reports in recent years that he’d been battling leukemia. The hair styling legend had built an empire after making a name for himself with game-changing designs for women in the 1960s, including bold coifs for the likes of movie stars Nancy Kwan and Mia Farrow. Actress Nancy Kwan shot to fame with 1960s’s The World of Suzie Wong , which is often incorrectly credited as the film for which Vidal Sassoon gave her this iconic slanted bob. Rather, the Sassoon cut was done for Kwan’s 1963 comedy The Wild Affair . (Kwan’s famous photo, below, was shot for Vogue.) Years later, he remembered the design in a chat with NPR : “I looked at her bone structure, and I thought we could do almost anything with Nancy. And I started to cut at the very back of her head and I said, ‘Great neckline; I’ll go shorter.’ And I went short in the back and graduated into more length at the sides, and I suddenly realized we had a bob that could be international.” In 1967, Sassoon and his scissors were tapped to transform another ingenue for the screen with Roman Polanski’s Rosemary’s Baby , for which he gave Mia Farrow the close-cropped pixie cut that would become her trademark. Sassoon, a London native who was a member of the anti-fascist 43 Group following World War II, was appointed Commander of the Order of the British Empire in 2009. His life and legacy was the subject of the documentary Vidal Sassoon: The Movie , which debuted at the Tribeca Film Festival and opened in limited release in 2011. [via LA Times ]
With an imminent debut at one of the numerous, unrelated Riviera events orbiting the Cannes Film Festival, The Lucifer Effect has issued a trailer and a press release detailing the horrific, publicity-friendly happenings undergirding what its makers seem to believe will be the industry’s next found-footage phenomenon. It has footnotes and everything — as though David Foster Wallace and William Castle collaborated on some sincerely unholy afterlife marketing effort. You should see this! The pitch, that is, not the movie (though maybe that, too). First the trailer, which was hovering at a very, very spooky 13 views this morning: And now the press release just over the transom at Movieline HQ, which I really must provide without commentary, if only because it’s kind of its own commentary after a while. (To wit, who’s a fan of this new number order 1, 6, 3, 5, 2? Never mind.) ========= CONTROVERSIAL NEW BRITISH HORROR MOVIE, ‘THE LUCIFER EFFECT’ TO DEBUT AT CANNES NEXT WEEK Film reported to be ‘cursed’ and contain subliminal messages in a hidden frame storyline The controversial new British horror movie, THE LUCIFER EFFECT 1 will overcome its alleged ‘curse’ to debut at the Cannes Film Festival next week. The film has been in and out of the headlines following a number of bizarre incidents, disappearances and even police intervention during filming last year. ‘The Lucifer Effect’ first hit the headlines last year when one of the participants 6 was almost throttled by another cast member. Police seized the footage and the film was put on hold. However, despite the film’s original director 3 also having gone missing, the film has been completed by a new documentary film crew headed by Edward Boon and is now set to premiere at Cannes on 16 May. The film studies the social condition known as ‘The Lucifer Effect’ 5 – a psychological consequence that is said to occur when ‘good’ people are given power over others in an evil place. The effect was first investigated in the 1970s during the infamous Stanford Prison experiment. The Lucifer Effect producers recreated a modern day equivalent in an abandoned mental asylum 2 . The film also uses subliminal imagery and has a secret secondary storyline interwoven in hidden frames beneath the main storyline – the first feature film in the world believed to use this controversial technology. The use of subliminal scenes has added to the rumours of a curse. Reports of a curse originally surfaced due to the fact that the film features footage of disturbing events which occurred when the participants in the film held a Ouija board session during their brief stay in the asylum. Unlike other films that it has been compared to, such as ‘The Blair Witch Project’ or ‘Paranormal Activity’, the footage and events in ‘The Lucifer Project’ are actually real, there was no script, and the reactions of the participants are genuine, including the unfortunate assault. As a result police in Lincolnshire seized the footage and the film was put on hold, creating a lot of international media attention. The story was also widely covered in the British press. The film centers around eight people who volunteered for a role in a movie on buyamovierole.com , only to be locked inside a reportedly haunted mental asylum 2 for three days and nights, with no communication from the outside world and little food to eat. Since these events, two of the cast have been hospitalized with other cast members receiving counseling and treatment for depression and any possible after effects. All involved had signed release forms and given their consent before entering the asylum, although some of the actors are now looking to sue the film company for false imprisonment. It is reported that some of the cast believe the producers are still pulling their strings one year on. Adding to the stories of a curse is the fact that the director who oversaw the filming of the original events is also now missing. This is coupled with rumours that one of the actresses has been sectioned in South America. In order to investigate whether the alleged ‘curse’ can have any effects on the public at large, the film has added an innovative social media angle. When the trailer on the film’s Facebook and social networking pages is viewed, their webcam is activated, thereby involving the viewer in what is seen onscreen. Already, there have been reports of doors mysteriously opening and closing, shadows appearing and lampshades moving in the background. The producers added the webcam feature after the ‘curse’ reports surfaced to pick up on any paranormal activity once the film trailer had been watched. The producers say if anything interesting or unusual is recorded whilst watching the trailer there is a chance that the recordings will be featured in the final cut of the film when it is released. Watch the trailer here: http://www.thelucifereffectmovie.com – END – 1. For further information and Movie Trailer: www.thelucifereffectmovie.com [ Back ] 2. Rauceby Mental Asylum in Quarrington, near Sleaford, Lincolnshire, was originally opened in 1902 as the Kesteven County Asylum, and from 1924-1933 the Kesteven Mental Hospital. In 1940, it was taken over by the RAF and renamed No. 4 RAF Hospital Rauceby with 1,000 beds treating crash and burns victims. The pioneering plastic surgeon Archibald McIndoe worked here on members of his so-called “Guinea Pig Club”. The main hall burnt down in 1947 and the RAF handed the premises over to the newly formed National Health Service, which then returned to using it as a mental asylum. The site was closed in 1997 amid allegations of abuse. The site includes two graveyards, a mortuary, and a series of underground tunnels connecting wards. [ Back ] 3. Original Film Director, Tim Burke was Born 8 May 1979, Kensington, London, UK. Grew up in Bristol, Avon & Somerset. Bought a film camera at the age of 12, and formally learned his trade at the Panico Films School (now part of the London Film Academy), London, where he passed out top of his class. Using his extensive celebrity and entertainment industry contacts, Tim Burke founded the charity BuyaMovieRole, which, in 2010, raised money for charity by auctioning off donated movie roles. [ Back ] 4. “Enigmatic technique” takes acting improvisation to its extreme and is the complete opposite of the discredited “response directing” where actors are told what they should be feeling. Instead, he keeps actors as much in the dark as possible, as detached as possible from any production crew, then subjects them to frighteningly realistic situations and lets the actors react naturally to whatever happens. In this way, he seeks to film emotions that are genuinely felt rather than put on. The Lucifer Effect was Tim Burke’s first real exploration of this technique. [ Back ] 5. Lucifer Effect: Understanding How Good People Turn Evil is the title of an academic textbook for college psychology students by Philip Zimbardo, professor emeritus at Stanford University. He is best known for his Stanford Prison Experiment in which 24 normal students were assigned to be either “prisoners” or “guards” in a mock jail set up in the basement of the university’s psychology building. The planned two-week experiment was terminated after just six days due to the emotional trauma suffered by the participants where the “guards” rapidly became sadistic and with the “prisoners” descending into extreme passivity or depression. In 2004, Zimbardo testified for the defense in the court martial of a US military police sergeant guilty of torturing prisoners in Iraq. Zimbardo argued that few people could resist the powerful situational pressures of a prison and that the sergeant should not be given the maximum sentence. He drew on his study of this case to write Lucifer Effect. [ Back ] 6. Emrhys Cooper, Mohammed Al Turki, Hofit Golan, Natalie Celino, Liziane Villamil, Anouska O’Hara, Ryan Lutz, and Jack Walther all appear as themselves. [ Back ] ###
The celebrated Up documentary series that has chronicled 14 Britons every seven years since age 7 is back underway with 56 Up . I repeat: 56 Up . Feel old yet? Though maybe not as old as director Michael Apted: “As long as I’m above ground, I’ll carry on,’ says 71-year-old Apted when we meet on the 20th floor of ITV’s London HQ. ‘Maybe if I wasn’t above ground, someone else would take it over. Having come so far it seems a pity to just unilaterally stop it unless there is good reason. I’ve only ever said we’d stop if too many of them pulled out, or people didn’t want to watch it any more. But neither of those things has happened.’ Producer Claire Lewis, who joined at 28 Up , wonders what will happen when the participants start to die. ‘When we lose somebody it’ll make the others think very hard about doing it again. I don’t know what effect that would have on us and on them. It’s very hard watching yourself grow old on screen.'” [ The Guardian via The Awl ]
Andrew Garfield has passed along comments and notes from his inaugural Spider-Man stint for a while now, but he’s saved his first truly in-depth press foray for a chat with the one guy on Earth who can literally relate to every word: Ex- Spider-Man franchise star Tobey Maguire. The conversation is featured in the new issue of VMan , with numerous highlights from cover boy Garfield confiding to Maguire about the absurdity of the casting process… “I’m friends with a few of the guys who were up for it, and I actually had dinner with Jamie [Bell] the night of my screen test and his screen test. We compared notes and war stories, and we kind of got past the ridiculousness of it all and thought it would be a nice idea to get everyone together and kind of interview each other about how messed up the process is, being against each other, and remember that we’re all in it together, knowing that when you take off that bodysuit someone else is going to be stepping into your sweat immediately after. It’s a weird kind of cattle call. But Marc [Webb] was great. He was very open and encouraging. You have the monitoring area with literally about 30 people judging you, looking at your face and whispering to each other—it’s one of the most disconcerting and kind of humiliating things to go through, if you’re aware of it.” …to Maguire singing his heir’s praises… “When it was coming together, I was particularly excited at two moments: one was when Marc Webb got involved. I think he’s an interesting and cool choice. And then I was certainly curious as to who was going to play Peter Parker. When I heard it was you, I was literally like, fucking perfect! I just want it to be great, and I thought, what a great actor Andrew is, I’m glad that’s what’s happening here.” …to the true confession that we’d all been waiting for from Garfield: “I was 19 when I saw [ Spider-Man ]. I got a pirated DVD at Portobello Market with my friend Terry McGuiness, and we went back to my skanky apartment in North London and we watched it twice in a row and then practiced your final line in the mirror! Terry has this thick and every time I would recite that line he would laugh this very distinct laugh and say, ‘No, man, you could never be fucking Spider-Man. You’ll never be fucking Spider-Man!’ I was so humiliated and upset. But, um… fuck you, Terry!” Aw! Memories. Plenty more hits shelves May 17 in VMan . [Photo: Inez van Lamsweerde & Vinoodh Matadin for VMan]
In this morning’s Biz Break: Indian ire rises over The Avengers , a Chinese company eyes AMC theaters, vet actors join the musical comedy How Sweet It Is , the Chinese blockbuster Flying Swords of Dragon Gate is headed to IMAX, and more. Vet Actors Join Cast in Musical Comedy How Sweet It Is Burt Reynolds ( The Dukes of Hazzard ), Joe Piscopo ( Saturday Night Live ), Paul Sorvino ( Law & Order ) and Erika Christensen ( Parenthood ) have signed on to star in the musical comedy How Sweet It Is . Written and directed by Brian Hertzlinger (with co-writer Jay Black), the film is produced by Suzanne DeLaurentiis, Steven Chase, Rick Finkelstein, Ivan Kavalsky, Keith Weiner and Matthew L. Weiner and slated for a fall release. Ben Means Joins Phase 4 Films as SVP, Global Business Development Means will be charged with expanding Phase 4’s North American business. Prior to joining Phase 4 Films, Means was General Manager of Aggregation Services at Sony DADC; Executive Vice President of Worldwide Operations at Twentieth Century Fox Home Entertainment; and Vice President of North American Operations at Buena Vista Home Entertainment, a division of the Walt Disney Company. Around the ‘net… Avengers Slum Scenes Ignite Indian Anger The movie’s healthy opening in India has been marred by high-profile complaints over its portrayal of urban living conditions in the city of Kolkata, The Guardian reports . AMC In Talks with China’s Wanda to Sell North America’s second largest theater chain has resumed talks with China’s Wanda over selling a “significant stake” in the company, the NY Times reports . If completed, the deal will begin a new phase in China’s push into the global film industry by sharply increasing its leverage with Hollywood. The Flying Swords of Dragon Gate Sets September IMAX Release Acquired for North American release by Indomina, The Flying Swords of Dragon Gate is the first Chinese-language film to be released in the IMAX 3D format and the fourth-highest grossing Chinese-language film of all time. Since its December release in China, the feature has earned approximately $86.5 million at the box office, of which approximately $10.6 million was generated in 61 digital IMAX theaters, Movieweb reports . Killer Joe Heads for Release with NC-17 Black comedy Killer Joe will open July 27 via LD Entertainment with an NC-17. Directed by William Friedkin the film received the NC-17 in late February despite an appeal by the filmmaker and distributor, Deadline reports .
Editor’s note: The following piece, originally published by the author at Movie City News , was written after the New York premiere of the Beastie Boys’ concert film Awesome; I Fuckin’ Shot That! in 2006. The project was one of many films and videos made by the Beasties’ late Adam Yauch under his directorial nom de plume Nathanial Hörnblowér; Movieline today republishes the piece in remembrance. — STV Admittedly, I am not what you would call a Beastie Boys enthusiast. I am not even a casual fan. The depth of my Beasties appreciation runs shallow at best: I like the “Sabotage” video as much as the next guy; “Fight For Your Right” annoys me; the hip-hop clown thing is endearing; and I tend to just take their (many) devotees’ word for it that the trio is rooted in prodigious creative genius. Fine. I do watch a lot of movies, however, which is why I feel comfortable assessing the Beastie Boys’ Awesome; I Fuckin’ Shot That! as possibly the greatest concert film ever made. A second viewing at last night’s New York premiere confirmed my first impression, and the standing-room-only audience attending the Museum of the Moving Image -hosted event seemed to share at least some of that judgment. Not that it came out when the Beasties themselves – ”Mike D” Diamond, Adam “Adrock” Horovitz and Adam “MCA” Yauch – joined the crowd for the requisite post-screening chat. “How do you stay in such great shape?” a viewer asked. “As members of a basketball team, we have a very strong work ethic,” Horovitz said. “We have a workout tape we’re gonna be selling,” Yauch said. Diamond spoke up. “Actually, the team, I think, has a poor work ethic, and I think everybody needs to talk about that before we get into next season,” he said. “You guys talk about how you want freedom on the court. Show me the stats.” “Also, we rub ourselves down with monkey piss a lot,” Yauch said. That the Beastie Boys never actually got around to discussing how good their film is kind of helps define Awesome ‘s transcendent appeal. The movie represents the raucous bastard offspring of goofball stunt and technical experiment; only a band that takes its mission as seriously as the Beasties do could conceive a film this determined to not take itself seriously. And only the Beastie Boys — whose interactive relationship with their fans manifests itself in multi-angle DVD’s and do-it-yourself remixes — would count on concertgoers to hold them to their own expressionistic standards. Awesome ‘s central gimmick is old news: The band gave 50 fans 50 cameras to record the entirety of its Oct. 9, 2004, concert at Madison Square Garden. “You can rock out, you can do whatever you want,” a producer advises the camerapeople at the beginning of the film. “Just keep shooting. … In 20 years, you’ll be able to look back and say, ‘Awesome; I fuckin’ shot that.’ ” The Beasties combined the crowd footage with that of a small backstage crew, and Yauch went to work. “There were 61 different angles that we were cutting from,” said Yauch, whose other alias, Nathanial Hörnblowér, claims directing credit. “It was all loaded into Final Cut and stacked and we were cutting from that. It was a pretty crazy job. The way we started out was there were actually three different editors who went at it, and they had 20 cameras each, and they each did a cut. We were kind of looking it over and picked some parts that worked. We did a cut from that, and Neal (Usatin, supervising editor) and I stated cutting on top of that, and then spent about a year working on it. It was a good starting place, because it’s pretty hard to start with just, like, a blank canvas and start cutting from nothing when you have that much material.” In the end, Yauch continued, Awesome comprises 6,632 cuts – an average of one for every 19 frames. It screens like a pixilated light show, drowning in color and kinesis, putting the “ADD” back in “addled.” Meanwhile, the rich, refined sound defies the visuals’ bootleg ethos. As occasionally challenging as this blend is to watch, it makes for revelatory viewing. No band since Talking Heads has preserved (or even established) such visceral identity while relinquishing this much aesthetic control. But in downplaying posterity for the sake of experience, Awesome sets itself up as the anti- Stop Making Sense , the anti- Last Waltz , the anti- Woodstock , the anti- Gimme Shelter . Depeche Mode 101 trails a handful of fans on their journey to a landmark emotional event in their lives–DM’s 1988 show at the Rose Bowl — but D.A. Pennebaker’s film captures a sense of a moment more than any real sense of community. Dave Chappelle’s Block Party evokes moment and community as sort of a hollow auteur wet dream, with no less a force than Michel Gondry doing little more than pointing and shooting Chappelle’s swan song to swagger. By placing them in the context of a genuine community (and if you have ever been to a sold-out show at the Garden, it is about as communal an atmosphere as 20,000 strangers are likely to find), Awesome de-mystifies its subjects. A man carts his running camera into the bathroom, while another tapes a concessionaire air-guitarring her way through the opening riff of “Sabotage.” One hapless woman turns her device on her relatively idle section, imploring, “Come on, get excited! We’ll be on the DVD.” Boyfriends shout lyrics in girlfriends’ ears, dances mimic each other. The most powerful stage presence, in fact, belongs to the Beasties’ DJ Mix Master Mike, whose showcases contribute the virtuosic complement to Yauch’s crude explosion of style. That said, for all I lack in Beastie Boys knowledge, their film’s reflection of unhinged New York musical tradition is unmistakable. “That’s the thing with growing up in New York City,” Diamond said Tuesday night. “I think at the time we grew up, it was like hip-hop was evolving, there were incredible punk rock shows, hip-hop shows, reggae shows. Everything was in New York City. And then at the same time, I think even when we started playing shows ourselves–opening up for Run-DMC and LL Cool J and all these bands on tour–we learned so much from them. Being able to study that and everything, that was like…” Horovitz gestured into the audience, “For me personally, I don’t know if I’d be doing this if my brother never played me Jimmy Spicer’s Super Rhymes ,” he said. “I can name some shows,” Yauch said. “Like when Funky Four Plus One came Downtown?” “Oh, yeah,” Diamond said. “That was definitely a big deal,” Yauch continued. “Slits, PIL, Clash.” “Gang of Four,” Horovitz said, nodding. But are the Beastie Boys a continuation of that spirit? That is for their fans to debate, although I should not be so quick to pass the buck – especially considering Awesome; I Fuckin’ Shot That ‘s influence, its magic and my slow assimilation into their ranks. For once, at least for me, the Beastie Boys are a sight and sound to behold. This piece was originally published March 29, 2006, at The Reeler, a blog hosted at Movie City News . Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
The extended Q&A transcript from James Cameron ‘s China-focused chat with the New York Times and The Economist reveals the extent of Cameron’s Avatar -tunnel vision. “I’ve divided my time over the last 16 years over deep ocean exploration and filmmaking. I’ve made two movies in 16 years, and I’ve done eight expeditions. Last year I basically completely disbanded my production company’s development arm. So I’m not interested in developing anything. I’m in the Avatar business. Period. That’s it. I’m making Avatar 2 , Avatar 3 , maybe Avatar 4 , and I’m not going to produce other people’s movies for them.” Looks like it’ll be all Avatar , all the time from here on out, which is… good news? [ NYT ]
The Academy of Motion Pictures Arts and Sciences is expanding its efforts to safeguard film history: As part of its $2 million “Film-to-Film” initiative, prints of titles such as 42nd Street (1933), The Asphalt Jungle (1950), Barry Lyndon (1975), Grease (1978), The Princess Bride (1987) and others have been acquired by the organization that runs the annual Oscars ceremony for preservation. As the industry continues its rapid transition to digital technology , film prints and the film stock are becoming increasingly scarce. The Academy’s Film-to-Film project is intended to take advantage of the remaining availability of celluloid stock to preserve a diverse slate of important works on film. Between 1992 and the launch of the Film-to-Film project last year, the Academy Film Archive had preserved approximately 1,000 titles. Since 2011, the archive has preserved or acquired about 300 titles, including feature films, documentaries, experimental works, shorts and the home movies of Hollywood luminaries. Titles AMPAS has undertaken include Sleuth (1972), which earned four Academy Award nominations; The Cardinal (1963), which earned six nominations including Best Director and Best Actor in a Supporting Role for Otto Preminger and John Huston, respectively; and Cock of the Air (1932), a comedy produced by Howard Hughes prior to the advent of the Production Code Administration. Experimental and avant-garde works by such filmmakers as Stan Brakhage, Will Hindle, Nina Menkes, Penelope Spheeris as well as reels of home movies from the collections of Steve McQueen, Esther Williams, William Wyler, Sam Fuller and James Wong Howe are also part of AMPAS’s initiative. The program’s projects are being conducted in partnership with other institutions, including the UCLA Film &Television Archive and the British Film Institute, as well as other archives in countries including Hungary, Norway, Sweden and Japan.
‘MTV First: Snow White & the Huntsman’ debuts new clip and cast interview Tuesday night at 7:56 p.m. on MTV and MTV.com. By Josh Horowitz Kristen Stewart Photo: MTV News At a time when it seems like virtually every movie at the multiplex is based on a fairy tale, comic book or best-selling YA novel, “Snow White & the Huntsman” checks off all the boxes even if it’s none of the above as well. Confusing? Well, the cast is clearly borne of past successful franchises, namely Kristen Stewart (have you heard of her?) coming off of “Twilight” and Chris Hemsworth dropping his Thor hammer in favor of an ax this go-round. And of course the film is inspired by one of the most cherished fairy tales of our youth. But look more closely at “SWATH” (as fans have quickly taken to calling it) and the film clearly owes more to Tolkien than to Walt Disney. And I think that’s why we’re all excited for its June 1 release. I know that’s the case for me. It doesn’t hurt that Charlize Theron looks to be chewing some scenery in a fun way with a diabolical take on the evil queen (much more fetching than the one in the cartoon of my youth, as I recall). Tuesday night (at 7:56 p.m. on MTV & MTV.com to be precise) we’re debuting “MTV First: Snow White & the Huntsman.” As usual, we’ll be debuting a never-before-seen clip, and I’ll be sitting down with the cast (Stewart, Hemsworth, Theron and Sam Claflin, who portrays the prince in the tale) for a 30-minute interview. We taped the special a little while back, which means I can share something fun and exciting with you: Kristen Stewart’s very first participation in “After Hours.” And what better franchise to start her off on than “The Yes/No Show”? [EMBED YES/NO SHOW] There’s a lot more where that came from on the full show Tuesday night, including tons of insight into the filming, the actors’ takes on their iconic characters, Chris and Kristen’s weapons technique and a near-breakup fight between Kristen and me. It’s all in good fun, and we’re quite proud of it. And there’s more exciting “SWATH” news to come as I’m headed out to England later this week to reunite with the entire cast, so as always, feel free to send your questions to me @JoshuaHorowitz with the #MTVSWATH. A Second Look I got a chance to see “Avengers” for the second time over the weekend, this time in good old 2-D (and I’d recommend seeing it this way, by the way). And by gosh, I might have enjoyed it more the second time around. I have a bunch of conflicting feelings about the movie. After my first viewing, I was pretty convinced that while I had a great time watching it, it’s less satisfying to me than most of the previous films. If we’re looking at the recent bevy of Marvel flicks, “Captain America” is my favorite, delivering the most full-bodied experience (i.e., it’s got the cool stunts and humor but it’s also got a great character arc at its core). But a funny thing happened as “Avengers” rolled the second time around: I let go of my hang-ups with the story (er, there isn’t much of one) and I let myself fully geek out for two hours at what Joss Whedon and company expertly did: create the purest fanboy-friendly film ever made. Check out everything we’ve got on “Snow White & the Huntsman.” For young Hollywood news, fashion and “Twilight” updates around the clock, visit HollywoodCrush.MTV.com . Related Videos MTV After Hours With Josh Horowitz
