Here’s just what you need to keep that Prometheus mania going: A batch of fantastic Prometheus photos and stills featuring Charlize Theron , Michael Fassbender , Noomi Rapace , Logan Marshall-Green , and others from the cast in their spiffy (and skin-tight) Prometheus space suits. It’s a space suit party! Oh, the laughs Charlize and Fassy and Noomi share when they’re not on set staring ominously into the distant at unknown horrors, or resting those space helmets on those sassy hips. The adorbs moment below comes from an exclusive photo shoot for EW’s May 11 issue, which includes great looks from the set along with in-character portraits of the cast. Thankfully (?) these photos don’t seem to give away any spoilers, so you can click through to your heart’s delight and take notes for crafting your own homemade Prometheus Halloween costumes. But seriously, Hollywood: What is the deal with all these micro-textured hero costumes? Oh, nevermind. These space suits are pretty sick. Love the futuristic-retro take on classic space-age design. Can’t wait to see if space-chic catches on this summer. Head to EW for the full batch of photos. Prometheus hits theaters on June 8. [via EW ]
Teenage Ansiedad (Cierra Ramirez) is lacking in role models. Her father’s unknown, her best friend (Raini Rodriguez) is faithful but a little dull, and her mother Grace (Eva Mendes) is a hotcha-cha mess who dates married dudes and behaves less like a mom than a deadbeat roommate. So when her English teacher (Patricia Arquette, vital in a too-brief role) introduces the concept of the coming-of-age narrative, hyper-precocious Ansiedad decides to use it as a kind of emancipation blueprint. Directed by Patricia Riggen ( Under the Same Moon ), Girl In Progress starts out breezy, making wacky archetypes of the overachieving latchkey kid and her appallingly irresponsible mom. Odd-jobbing Grace shrugs about finishing the cereal (and the milk) and forgets about her child’s existence whenever her current philandering squeeze (Matthew Modine) swings into view. Ansiedad resolves to apply her discipline to a teenaged trajectory so clichéd that it’s easily converted into a giant flow chart on her bedroom wall. I got a little ahead of the script (by Hiram Martinez) when Ansiedad has her light bulb moment in English class, thinking perhaps the daughter might use a set of literary conventions to finally midwife her mother into adulthood. Instead the narrative splits off into parallel parts, similar to the way Riggen divided Under the Same Moon between the story of a Mexican woman laboring as a Los Angeles housekeeper and that of her son’s journey from Mexico to find her. Ansiedad begins acting out her acting out, ticking off bullet points (ditch your old friends; infiltrate the cool circle; offer the alpha babe your virginity) like items on a grocery list. Were the conceit a little more genre- or source material-specific — if the picture followed some overarching inspiration the way Clueless played on Emma , say, or if it featured some of the alter-ego goofing of Youth in Revolt or the self-conscious twistiness of The Cabin in the Woods — the plot’s terms would have been more firmly grounded and we might have been brought closer to Ansiedad’s logic. Ramirez’s bad girl schtick is occasionally amusing (“I’m out of control; catch you later,” she deadpans at one point) but the idea that she would consciously risk becoming her mother just to get away from her never feels convincing. Meanwhile, Grace’s apparently bottomless self-absorption is well played by Mendes, who has always infused her man-candy roles with warmth and a weary intelligence behind her eyes. Both are on display when Grace’s latest relationship implodes after she’s confronted with an indifference to her daughter that equals and maybe even surpasses her own. At this point Girl in Progress attempts to go deep: The best friend acts out for real and Ansiedad heads for the bus station to earn her runaway badge. Riggen doesn’t find a tonal equilibrium at this new level, though, and everything goes wobbly as Mendes and Ramirez are forced into what feels like a false moment of repentance and reconciliation. Girl in Progress feels a little trapped by its own conceits: It plays with the idea that all rebellion is in some sense performed and makes a caricature out of the immature, attention-hungry mother, but it never liberates its characters from their molds. I wanted to believe that Grace suddenly straightens up and heads to school and Ansiedad finally gets the love and care she deserves, but was left with the feeling that their movie was still a few milestones short of full maturity. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
Alec Baldwin will reportedly head off to Cannes as part of James Toback’s next project, an unscripted slice of life featuring the actor as himself, doing all the things Alec Baldwin might do at the world’s most venerated, glamorous film festival. Neve Campbell, who will not travel with the team, is said to star as Baldwin’s wife; she shot material in New York last week. Sounds great! Though if this just turns out to be a long-form Capital One commercial , I’m going to be pretty pissed. [ Forbes via VF ]
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 ]
Rejoice, Shaun of the Dead / Hot Fuzz faithful! At long last, the eagerly anticipated threequel in Edgar Wright ‘s “Three Flavours Cornetto Trilogy” (AKA “The Blood and Ice Cream Trilogy” — Wright’s version of Kieślowski’s Colors series) is on its way. Deadline reports that The World’s End , to be directed by Wright with collaborators Simon Pegg and Nick Frost starring, is set to begin filming this September with fingers crossed for a spring 2013 release. But wait, there’s more! Get a taste of the trio’s upcoming shenanigans from the film’s synopsis, which promises adventure, friendship, and — what else? — pubs. The only catch: According to the report, Universal “hasn’t yet green lit the film.” But Wright and Co. are charging ahead anyway with the fall start anyway! Good luck to ’em. (And good luck holding your breath, Ant-Man -watchers…) The set-up: 20 years after attempting an epic pub crawl, five childhood friends reunite when one of them becomes hell bent on trying the drinking marathon again. They are convinced to stage an encore by mate Gary King, a 40-year old man trapped at the cigarette end of his teens, who drags his reluctant pals to their home town and once again attempts to reach the fabled pub, The World’s End. As they attempt to reconcile the past and present, they realize the real struggle is for the future, not just theirs but humankind’s. Reaching The World’s End is the least of their worries. [ Deadline ]
It’s dangerous business to begin a movie with a voice-over monologue introducing “a long tale of women dressed in black.” Run, while there’s still time! Yet it’s a testament to director and actress Nadine Labaki’s gracefulness she pulls off this story as well as she does in Where Do We Go Now? , a fable set in a fictional town, presumably in Lebanon, where Christians and Muslims live together in bumptious accord, if not in complete harmony. Actually, the women – those aforementioned creatures dressed in black – get along famously, gathering regularly at the same café for all manner of gossip and chitchat. It’s the men who can’t hold it together: They’re always on the brink of fisticuffs and worse, each group expecting only the worst from the other. Don’t look now, but somebody filled the church holy water fonts with blood – must be the Muslims! Goats and chickens running amok in the mosque? Got to be those pesky Christians! The women are always suffering because of the men: As the movie opens, they stride toward the local cemetery en masse, their procession orchestrated as if it were a Pina Bausch routine, with somber, stiff leg movements and rhythmic breast-beating. The graves – Christians on one side of the burial ground, Muslims on the other – all bear pictures of the women’s lost men, people who have caused them a great deal of sorrow. The problem, as Labaki and her co-writers Jhad Hojeily and Rodney Al Haddad make clear, is that the men just can’t stop fighting. The village also happens to be located in an area riven by violence – it’s surrounded by land mines, which, in an early scene, kill a hapless goat. (The event is played for laughs, not pathos.) Meanwhile, a tentative romance brews between doe-eyed café proprietress Amale (Labaki, a sultry and winning presence) and local handyman Rabih (Julien Farhat), who’s doing some renovation work in her establishment. She’s Christian, he’s Muslim, and their union will be symbolic if it ever gets off the ground. But again, those men! They just won’t listen. The women eventually hatch a plan to keep peace in the village, but tragedy strikes regardless, making their lot even more challenging and wearying. You can see where Labaki is going with all this: If women ruled the world, there’d be no more war. It’s a darling idea, and Labaki does all she can to keep the proceedings entertaining – the picture is dotted with whimsical comedic touches and even includes a smattering of spontaneous Umbrellas of Cherbourg -style musical numbers. It also features an ensemble cast made up largely of nonprofessional actors, and they can be quite charming to watch. For a picture about centuries-old infighting and suffering, Where Do We Go Now? really is pretty cheerful. But its occasional entertainment value aside, the picture is also blithe to the point of being flimsy. This is Labaki’s second feature: The first was the 2007 Caramel , an engaging and visually lush picture set in a Beirut beauty shop, the perfect setting for a very different sort of story about the complications of women’s lives. Caramel is a delightfully fizzy picture, but oddly enough – or perhaps not – it cuts much deeper than Where Do We Go Now? It’s far less sanctimonious, and it defines some of the very real challenges modern women face in the Middle East: Even though its characters feel they’re free to shape their own futures, there are certain restrictions – put in place by men, of course – that threaten to hold them back. One character in Caramel is engaged to be married and has to find a solution to prevent her fiancé from learning that he isn’t her first. You could argue that her plight is nothing compared with massive wars fought on religious grounds. Then again, it’s a man’s pride she’s trying to protect, and she’ll do what it takes to preserve his illusions. Labaki clearly understands the connection between the larger battles and the small ones – it’s just that her ideas come through more subtly and effectively in the beauty-shop movie than in the war-zone movie. She doesn’t need exploding land mines to get her point across. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
My cover of Boyfriend – Justin Bieber..hit 720p for better qlty..produced by divy pota let me know what yous think..comment rate subscribe and check out my Facebook page (: www.facebook.com http://www.youtube.com/v/MVeRO0w1zBE?version=3&f=videos&app=youtube_gdata Read the original post: Justin Bieber – Boyfriend cover by loftee
The U.S. military has a history of joining forces with Hollywood. Michael Bay’s Transformers franchise and Peter Berg’s Battleship have cozied up to the military to take advantage of defense material, while the Pentagon gets to market itself to moviegoers. (To say nothing of the recent Navy SEAL showcase Act of Valor .) So how did The Avengers not make the cut? It seems that the Joss Whedon superhero spectacle was “too unrealistic” for military brass get involved. At the end of the day, it was Nick Fury’s SHIELD that clinched the decision (perhaps if they just stuck to the superheroes and alien invaders it would have been OK?) “We couldn’t reconcile the unreality of this international organization and our place in it,” said Phil Strub, the DOD’s Hollywood liaison. “To whom did SHIELD answer? Did we work for SHIELD? It just got to the point where it didn’t make any sense. We hit that roadblock and decided we couldn’t do anything [with the film].” [ WorstPreviews ]
Fans of Benedict Cumberbatch , Jonny Lee Miller and director Danny Boyle who weren’t lucky enough to cross the pond to catch the trio’s intriguing Royal National Theatre production of Frankenstein , you’re in luck! A filmed recording of the play, in which Cumberbatch and Miller took turns playing the dual roles of Frankenstein and his monster (a tag-team performance that won them the 2012 UK Olivier Award for Best Actor) is heading to theaters stateside this June. Details after the jump! Fathom Events will screen the recording of the Boyle-directed Frankenstein in select theaters this June 6 and 7 (get the full list of participating theaters here ). Miller, meanwhile, can also be seen in this week’s Dark Shadows ; Cumberbatch will next appear in 2013 blockbusters The Hobbit and Star Trek 2 . More on Frankenstein : Childlike in his innocence but grotesque in form, Frankenstein’s bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal. Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and disturbing classic gothic tale. This visionary production, directed by Oscar-winner Danny Boyle, will shock audiences into the mysterious world of Frankenstein. Do not miss the thrilling twist of a classic tale as Benedict Cumberbatch and Jonny Lee Miller (who share the 2012 UK Olivier Award for Best Actor) reverse roles each night from the creator to the created. Suitable for audiences 15 years old and up. [ THR ]
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 .
