Tag Archives: character

The Mystery Of Maya: Jessica Chastain Never Met The Agent She Plays In ‘Zero Dark Thirty’

Maya is staying undercover. At a press conference for Zero Dark Thirty , the film’s star Jessica Chastain , who plays the resourceful and indefatigable CIA agent who tracks down Osama bin Laden said that she never met the agent who inspired her role. “I never met Maya because she’s an undercover CIA agent — it would not have been a good thing to do,” said Chastain , who said that she based her performance on the research she was given by the film’s screenwriter, investigative journalist Mark Boal . That research included reading Lawrence Wright’s The Looming Tower: Al-Qaeda and The Road to 9/11 and immersing herself in the surroundings of her onscreen job. “I had the props person print out all of the photographs of the terrorists and I hung them in my room at the hotel,” she said. (The production shot in Jordan and India.)  “So even when I’d come home from the set, they were always around me.” Given the unavailability of Maya, Chastain said, “I had to approach [the role] like any other character I’ve played,” explained, adding that when it came to “questions that I couldn’t answer through the research, I had to use my imagination, [director] Kathryn [Bigelow]’s imagination and Mark’s to create a character that went along the lines that respected the real woman.” The actress, who’s currently starring on Broadway in the period piece The Heiress, said that the fearless, intelligent and extremely independent character she plays in Zero Dark Thirty “represents this generation of woman, and that was really exciting.” Chastain has generated strong Oscar buzz for her intense, flinty portrayal of the always-analytical Maya, and she explained that her character’s emotional reserve was, in many ways, antithetical to the work that she does. Describing herself as a “smiley,” “very sensitive and very emotional girl,”  the red-headed beauty said that “as an actor, you spend your whole life trying to be emotional and keeping yourself emotionally open.  So, to find [Maya’s] humanity within that arc was a great feat that would have been impossible without Kathryn and Mark’s leadership.” Boal also refused to talk about the real-life inspirations for his characters saying that “many of them are still working and we take protecting their identities very seriously.” Of Maya, he said only: “I want to emphasize that it’s a character in a film, but based on a real person.” Bigelow, who also participated in the press conference, took pains to explain that the hero of Zero Dark Thirty is a woman thanks to history not a feminist agenda. “It’s extraordinary that women were pivotal, but it’s also that those were the facts. That’s the hand we were dealt. And that’s how we chose to deal with the story,” Bigelow said. “The most important element of it was keeping the truth of the story. That’s what drove me. That’s what motivated me.” Related Stories: ‘Zero Dark Thirty’: Strong Women, Ambiguous Ethics Drive Bigelow’s Oscar Pic ‘Zero Dark Thirty’ Takes Top National Board Of Review Honors NY Film Critics Circle Spices Up Oscar Race With ‘Zero Dark Thirty’ Best Picture Pick Follow Frank DiGiacomo on Twitter.  Follow Movieline on Twitter. 

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The Mystery Of Maya: Jessica Chastain Never Met The Agent She Plays In ‘Zero Dark Thirty’

What Does Nolan’s Final Word On ‘TDKR’ Mean For Those Joseph Gordon-Levitt Batman Rumors?

Christopher Nolan may have left the door wide open for speculation at the end of The Dark Knight Rises where Joseph Gordon-Levitt’s Gotham cop John Blake is concerned, and he is producer/co-writer on Zack Snyder’s Man of Steel , which the rumor mill suggests could see a Very Special Gordon-Levitt cameo . But in a chat with Film Comment about his entire Batman trilogy, Nolan was asked if he was completely done with his Dark Knight universe. So what are the implications for those JG-L rumors? (Spoilers, if you haven’t seen TDKR …) “For me, The Dark Knight Rises is specifically and definitely the end of the Batman story as I wanted to tell it,” Nolan said, “and the open-ended nature of the film is simply a very important thematic idea that we wanted to get into the movie, which is that Batman is a symbol. He can be anybody, and that was very important to us.” I know, I know. Nolan keeps using phrases like ” specifically and definitely the end ” but it’s just so hard to let go of the hope that he’s just messing with us. ” Nah, J/K you guys — Joe’s totes the new Batman! ” the geekosphere desperately waits for him to say. Well, good luck getting anything concrete out of Nolan. I believe him when he says his run with the Batman universe is over, although that doesn’t mean it’s not possible that Gordon-Levitt might pop up at the end of Man of Stee l in a bat-cowl to give Superman a Justice League fist bump. Warner Bros. may love Nolan for giving them a super respectable, arguably Oscar-worthy Batman series, but they’re not dumb. WB will squeeze every drop of Bat-juice out of the character, regardless of how Nolan retains the integrity of his fully explored, definitely closed chapter of Bat-lore. “Not every Batman fan will necessarily agree with that interpretation of the philosophy of the character,” Nolan said, “but for me it all comes back to the scene between Bruce Wayne and Alfred in the private jet in Batman Begins , where the only way that I could find to make a credible characterization of a guy transforming himself into Batman is if it was as a necessary symbol, and he saw himself as a catalyst for change and therefore it was a temporary process, maybe a five-year plan that would be enforced for symbolically encouraging the good of Gotham to take back their city.” “To me, for that mission to succeed, it has to end, so this is the ending for me,” he continued. “And as I say, the open-ended elements are all to do with the thematic idea that Batman was not important as a man, he’s more than that. He’s a symbol, and the symbol lives on.” Symbol, protege, replacement, reboot — what do you make of the Gordon-Levitt rumors in light of Nolan’s comments? [ Film Comment ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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What Does Nolan’s Final Word On ‘TDKR’ Mean For Those Joseph Gordon-Levitt Batman Rumors?

REVIEW: Marion Cotillard Bares Everything In Exceptional, Bittersweet ‘Rust and Bone’

Director  Jacques Audiard’s nifty 2009 prison epic  A Prophet   took a classic arc — the rise of a young man through a criminal world — and found in it something bracing and transformative: an anti-hero for a diverse and changing France. His deeply enjoyable new feature  Rust and Bone also feels like a fresh reworking of an older mode of filmmaking; the swooning romantic melodrama shaped by tragedy. The film has a beautiful heroine brought low by a terrible accident and a brutish hero who’s more eloquent with his fists than with words. It’s a pleasing film with old bones, though its surfaces are all brightly contemporary, including the unexpectedly emotional appearance of a Katy Perry  song. Adapted by Audiard and Thomas Bidegain from a short story collection by Canadian author Craig Davidson,  Rust and Bone is set in sunny Antibes in the south of France. It’s where Stéphanie ( Marion Cotillard ) works as an orca trainer at the local marine theme park and where Ali ( Matthias Schoenaerts ) washes up with the five-year-old son Sam (Armand Verdure) he inherited from a neglectful mother. Ali and Sam have come to stay with Ali’s sister Anna (Corinne Masiero), a supermarket cashier who, alongside her truck-driver husband, gets by with a combination of side gigs and expired food snuck home from work. Ali and Stéphanie first cross paths at a nightclub. He’s working as a bouncer, and she’s there to dance and to spite the lover she left at home. He comes to her rescue when a guy gets rough with her (while noting without censure that she’s dressed “like a whore”), but she shoos him away after he drops her off at home. Stéphanie is aloof and untouchable until an accident at the water park leaves her permanently changed: She wakes up in the hospital with both legs gone below the knee and a whole new life to learn. The next time our two leads meet, it’s because Stéphanie seeks Ali out, needing a semi-stranger and drawn to his bluff lack of pretense. Stéphanie is tentative and ashamed in her reshaped body, while Ali is all physicality. He’s a happy animal who takes up bare-knuckle brawling for cash on the side and who falls into sexual encounters with the comfortable ease of someone sitting down to a meal. There’s an evident class difference between the two, but it doesn’t bother Ali, who’s blithely indifferent to social niceties. And while Stéphanie might have cared once, her new reality has left her appreciative of Ali’s acceptance and lack of pity. Rust and Bone rests on its twin lead performances, and Cotillard daringly bares everything to play Stéphanie — her body, sure (this film rivals  The Sessions  for its frank, unruffled depictions of disabled sex), but also her unadorned face and the cool, distanced dignity she gives to her character who’s lost everything, including an aspect of the standard physical beauty that was part of her identity. “I liked being watched,” she tells Ali, as she struggles to deal with attracting stares for other reasons, and one of the film’s great satisfactions is watching her rebuild herself as a new and stronger person with the help of her companion and eventual lover. Schoenaerts, who played the lead in recent foreign language Oscar nominee  Bullhead , is a real find. His hulking build houses a disarmingly sweet nature (as well as the ferocious temperament of a brawler) but no gift for forethought. The scenes between him and his son are beautiful when they aren’t terrifying. Ali lives in the moment, and as a simple guy himself, he can get along well with the boy. But he’s got no paternal instincts and this leads to a visceral parenting nightmare that’s unforgettably staged on screen. The chemistry between his character and Cotillard’s is unusual, meanwhile. The attraction, while there, is less important than the ways they end up inserting themselves into each others lives, and how each begins to recognize the other’s importance. Rust and Bone is very aware of our flesh and how we inhabit it. It’s there in the unreserved way it depicts Stéphanie’s path back to mobility, from her ecstatic first dip in the ocean after the accident to her careful navigating of the stadium steps at her old place of work. And it’s there in Ali’s dangerous, bloody and exhilarating fights, as he batters someone in slow motion and afterward, too wired up to sit and talk, has to go for a run. The film has its soapy moments — as will any movie in which a character drags herself across a hospital floor crying “What did you do to my legs?” But its generous awareness of how our bodies relate to our sense of ourselves makes Rust and Bone both one of the year’s most exceptional (and bittersweet) romances and a remarkable portrayal of how two people change and grow after traumatic experiences. RELATED: Movieline’s Toronto International Film Festival Review of Rust and Bone. Follow Alison Willmore on Twitter.  Follow Movieline on Twitter. 

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REVIEW: Marion Cotillard Bares Everything In Exceptional, Bittersweet ‘Rust and Bone’

WATCH: James Spader Lobbies For ‘Lincoln And Name-Checks His Favorite President

James Spader doesn’t just make a great lobbyist in in Lincoln . The actor, who provides welcome moments of comic relief as William N. Bilbo — the Democratic operative whose methods of persuasion prove invaluable to the passage of the 13th Amendment — gave an answer befitting a contemporary Beltway arm-twister when I asked him to name his favorite president.  Noting that President Obama had just seen Lincoln “and had wonderful things to say about it,” Spader replied: “So, of course my favorite president today is, without a doubt, Barack Obama.” During a surprisingly honest discussion about the film, Spader talked about the kind of lobbying that’s done in Washington today versus the kind his character was involved in during Lincoln’s time. He also briefly addressed another kind of lobbying: the kind that takes place every year around this time in the run-up to the Academy Awards. Check out the videos below to see why Spader, ever charming, really does make the perfect lobbyist: Lincoln is now playing in theaters, and is a major Oscar contender. Follow Movieline on  Twitter .  Follow Grace Randolph on  Twitter .

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WATCH: James Spader Lobbies For ‘Lincoln And Name-Checks His Favorite President

REVIEW: ‘Anna Karenina’ Is So Wright It’s Wrong − Beautiful To Behold But Empty Inside

There’s a five-minute tracking shot in the middle of Joe Wright’s 2007 film  Atonement  that is impossible to forget once you’ve seen it. A wounded Robbie ( James McAvoy ) is on the beach at Dunkirk, waiting to be evacuated, and in a nightmarish, beautiful single Steadicam take he wanders past crowds of soldiers, burning cars, horses being shot, a beached ship, a choir singing, the ferris wheel still spinning in the ruined background. It’s a mind-boggling piece of work, requiring immaculate timing and choreography, and it takes you right out of the movie because it’s there to show off.   As impressive as it is from a production standpoint, the shot takes your focus away from the story and puts it on the mechanics of what’s happening on screen. Wright’s new adaptation of Tolstoy’s  Anna Karenina   lives in the hollow clockwork world of that shot. From a filmmaking perspective, it’s a gorgeous shadowbox of a production, filmed largely in a single location: a set resembling a run-down theater that was built on a Shepperton Studios sound stage. It starts with the sounds of an unseen audience settling down — there are no visible viewers of this story other than ourselves — and closes in on a proscenium arch as a curtain goes up. The scrim behind it reads “Imperial Russia, 1874.” Oblonsky (Matthew Macfadyen) is on stage, receiving a shave. When a door opens off the side, it is to a snowy street exterior in Moscow. He pays a visit to the family governess he’s having a fling with, and when he heads home, through a backstage area, he opens a door to see his wife Dolly (Kelly Macdonald) weeping over evidence of his infidelity. The scene sets the story into motion as his sister Anna ( Keira Knightley ) comes to visit in an attempt to save their marriage. Anna Karenina  isn’t a filmed stage production in any way — it lives within this theoretical theater while not being confined to it. Characters stride up wooden stairs into bustling rafters that stand in for a city street, or walk through a bureaucratic office that, as the camera rotates, is pulled away and restaged as an upscale restaurant. Musicians wander through the space providing a soundtrack to the transition as it happens in front of our eyes. It’s an incredible thing to behold, at least at the start. Wright is clearly a fan of Aleksandr Sokurov ‘s  Russian Ark , and the intense cleverness of his direction and the way Anna Karenina revels in artifice set the film apart visually from typically glossy film adaptations of classics that gleam with assured self-importance. But the gorgeous look and stage work and the way the movie connects impossible spaces — backdrops lift to reveal the Russian countryside, a grassy field running down the stage into the orchestra — is only a temporary salve. The unfortunate truth is that beneath the initial brilliance of its stylized setting, the film is just as dramatically inert as a more stuffy, traditional take on the material might have been. Scripted by playwright  Tom Stoppard , the film labors to fit Tolstoy’s sprawling story into its two hour and ten minute runtime by drawing its characters with minimal lines. The film may be experimental, but the adaptation is actually fairly traditional, if briskly efficient. Anna, a Saint Petersburg aristocrat married to the stiff but good and moral Alexei Karenin (Jude Law), meets the handsome cavalry officer Count Vronsky (Aaron Taylor-Johnson) when departing the train for Moscow. Everyone expects Vronsky to propose to Dolly’s sister Kitty (Alicia Vikander), but he falls for Anna, following her home to Saint Petersberg and around to the parties, operas and other frilly gatherings until he wins her. As Anna struggles with wanting to leave Karenin for Vronsky, a scandal that would result in her being shunned by society, Kitty comes back around to Levin (Domhnall Gleeson), the earnest, shy childhood friend of Oblonsky whose proposal she at first turned down. The performances in  Anna Karenina are strong, albeit built around a story told in shorthand, and the actors sometimes feel like they’re staging recreations of famous paintings rather than embodying characters. Knightley, lit sumptuously and dressed in luxurious gowns, stands out among the performers-as-props, but she can’t portray the complicated journey of a character who gives up everything for love, only to doubt and regret it. In this condensed version of the story, she seems more like someone who dithers for a few hours before throwing herself in front of a train. Wright has said that his inspiration for this adaptation was that the aristocrats at the time of Tolstoy’s novel were constantly on display and observed in society, living their lives as if they were always on stage. But this Anna Karenina feels like a diminishment of the story, not the essence of it. Rather than a tale of an affair that would have been fine had it not turned into a more serious love that broke societal rules, Anna Karenina feels like a group of people play-acting at passion. They hit all the famous elements in the story — the train station, the ball, the races, the running off together, the suicide — without a sense of them as a coherent whole or as anything other than opportunities for innovatively staged sequences. It’s a beautiful creation, but a remote and empty one. Follow Alison Willmore on Twitter. 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REVIEW: ‘Anna Karenina’ Is So Wright It’s Wrong − Beautiful To Behold But Empty Inside

Would-Be Shooter Plotted ‘Breaking Dawn’ Theater Attack

A 20-year-old man was arrested in Bolivar, Missouri after admitting he bought firearms and 400 rounds of ammunition with the intent of shooting patrons this weekend at a screening of The Twilight Saga: Breaking Dawn — Part 2  — an attack that, had it been carried out, would have echoed the Aurora, Colorado tragedy . Blaec Lammers, who was charged on Friday with first-degree assault, making a terroristic threat and armed criminal action, told police that he bought a ticket to Breaking Dawn — Part 2   for Sunday with the intention of shooting people at the theater. According to the police report, however, he changed his mind and instead plotted to make his attack at a local Walmart so that he’d have access to additional ammunition if he ran out. The report also indicated that Lammers had never before shot a gun and that he was off his medication, although it did not offer specifics in terms of the latter. Lammers’ mother contacted police when she became concerned that he might be planning an attack similar to the Aurora, Colorado shooting at a screening of The Dark Knight Rises in July. Per the Springfield News-Leader (via Deadline ): An officer approached Lammers at the Bolivar Sonic and he agreed to come to the police station to be interviewed. During the interivew, Lammers said he had purchased two assault rifles for hunting, the statement said. As the conversation progressed, police asked Lammers about recent shootings that had been in the news. “Blaec Lammers stated that he had a lot in common with the people that have been involved in those shootings. Blaec Lammers state that he was quiet, kind of a loner, had recently purchased firearms and didn’t tell anybody about it, and had homicidal thoughts,” the statement said. Read more at the Springfield News-Leader . Related Story: You Will Never Feel Safe In A Movie Theater Again Revisit Movieline’s Coverage of the Aurora Tragedy Here.  Follow Jen Yamato on Twitter.  Follow Movieline on Twitter.

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Would-Be Shooter Plotted ‘Breaking Dawn’ Theater Attack

Jude Law: Age Helped Me Tackle ‘Anna Karenina’

Oscar-nominated actor Jude Law plays a pious aristocrat in director Joe Wright’s sumptuous big screen adaptation of Anna Karenina . Almost unrecognizable behind a steely exterior, Law’s Karenin is Anna’s spurned husband in the film, which begins its roll out Friday and is a possible awards season heavyweight. Law seamlessly pulls off playing the high-ranking nobleman whose position at the heights of Imperial Russian society is rocked when his wife embarks on an affair with a dashing young soldier. Speaking about his role, Law, who turns 40 next month, said that he doesn’t think he could have played the character when he was younger — but he certainly would have given it a go. “When I was 25 I would probably say I could have played Karenin,” said Law. “When I was 29 and I put together a production of Doctor Faustus in London, it was successful but it took me the length of the production to realize that I was too young to play it. And I think the same would apply to this situation. I would have given it a good shot, but I think it would not have been as successful.” [ Related: Oscars and Obsession: Keira Knightley Talks About ‘Jumping Off A Cliff’ For Joe Wright In Anna Karenina ] Law said that youth would have been a handicap portraying the staid Karenin, who exudes stability and rationality to a fault. He is the archetypal patriarch that is a complete contrast from the youthful soldier who seduces his wife. “I think you need to have a certain amount of experience to play certain roles,” noted Law. “You want the audience to see a certain amount of wounds and battle scars that are obviously flickering in the mind and the soul.” Set in the lavish upper crust societies of St. Petersburg and Moscow in 1874, Anna Karenina follows the vibrant and beautiful Anna (Keira Knightley) who is the envy of nearly everyone in her gilded circle. She is the beautiful, stylish and rich wife of Karenin who holds a high position in the government and is blindly devoted to his spouse. Their enviable partnership is dealt a blow when she travels to Moscow to help save the marriage of her philandering brother Oblonsky (Matthew Macfadyen) after a plea for help from his wife, Dolly (Kelly Macdonald). En route, she meets the dashing cavalry officer Vronsky (Aaron Taylor-Johnson), which ignites passion; she returns to St. Petersburg, but she is followed by Vronsky and becomes consumed by him, and they go full-throttle into a ravenous love affair that stuns the establishment. Law said he believes some Anna Karenina readers have misunderstood his character. Though he is sullen compared to the dynamic Vronsky, there is complexity in his personality that many readers of the novel have failed to appreciate. “A lot of people I spoke to before I embarked on it said he was dull and cold, but I disagreed with them,” said Law. “I hadn’t read the novel before, but after reading it I was glad Joe [Wright] agreed with me, because I think it sort of belittles Tolstoy’s study of human complexity. People are complex and there’s a misunderstanding. But you do feel for him because he’s dragged into this arena of gossip and scandal. But ultimately for him, he has to question his belief in God because he believes his marriage is sanctioned by God.” Karenin’s position at the pinnacle of a narrow class of people who delighted in rarified privilege contrasted with the bleak existence that huge swaths of Russians were forced to live in during czarist times. Though Law said he was disturbed to see how extraordinarily the aristocracy lived while most people were barely living a life one notch above serfdom in Russia, he did see some parallels to today. “It’s shocking that they were that indulged and were able to follow their whims and fancies to such extraordinary lengths — and we look at that with jealousy and at times and with fascination. What intrigues me is that the heart of the piece is about love. But there are other aspects in the book that have also been highlighted in the film and that is the role of gossip and judgement. Today there is much of the same thing and we see that online and in papers all the time. We still do that — we call out people for ‘breaking the rules.'” Read more on Anna Karenina . Follow Brian Brooks on Twitter . Follow Movieline on Twitter .

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Jude Law: Age Helped Me Tackle ‘Anna Karenina’

REVIEW: Less-Than-Sterling ‘Silver Linings Playbook’ Shines During Messy Family Moments

It speaks to just how good David O. Russell is at portraying raw, high-strung sincerity that  Silver Linings Playbook  is able to walk a line between likable and tolerable despite a premise the reeks of quirky bullshit.  In addition to its frequently cutesy treatment of mental illness, the movie features a love interest who instantly latches onto and pursues the film’s mess of a hero like she read the script in advance and was assured things will eventually work out. Based on a novel by Matthew Quick and adapted for the screen by Russell himself,  Silver Linings Playbook is an unfussy, rambling crowd-pleaser that recalls elements of the filmmaker’s past work: the New Age coachings of the existential detectives in  I Heart Huckabees,  the back-in-your-childhood-home set-up of  Spanking the Monkey and the chaotic regional family flavor of  The Fighter . More than any of that, though, the movie brings to mind the leaked videos of Russell having a meltdown in front of Lily Tomlin on the set of  Huckabees , pacing back and forth, incensed and out of control. Russell seems, from all accounts, like a man who knows his way around mood swings and wild bursts of emotion. His very apparent ability to empathize with his protagonist in Silver Linings Playbook  while allowing him to behave in some ugly ways both grounds the film and, at times, proves problematic. Russell is more generous with his hero than he is with those who live with and love the guy. Pat ( Bradley Cooper ) is a former teacher back from eight months in a Baltimore mental institution, The state-provided treatment he’s receiving for a previously undiagnosed bipolar disorder is part of a plea bargain stemming from his violent reaction to the discovery that his wife Nikki (Brea Bee) had been fooling around with another man. Pat has talked his mother Dolores (Jacki Weaver) into letting him come home against his doctor’s recommendation, and with Nikki having sold their house and secured a restraining order against him, he moves into the attic of his Pennsylvania childhood home and attempts to get his life in order. Despite having embraced a new fitness regimen (he’s rarely dressed in anything other than workout gear, with the occasional addition of a garbage bag-like vest to stimulate sweating) and a garbled but deeply felt set of self-help principles involving finding silver linings, maintaining positivity and the affirmation “excelsior,” Pat’s not doing that well. He isn’t taking his meds, he unapologetically bursts into his parents’ room at four in the morning to complain about the ending of  A Farewell to Arms and he’s fixated on how he’s going to prove himself to Nikki and win her back, despite all the evidence that she’s done with him. Cooper’s slippery charm makes him an unexpected and imperfect fit for the role of Pat. He’s great at portraying his character’s utter conviction in his delusions and his enveloping rage when something pushes him over the edge. But, as devoted as he is to the role, Cooper does less well showing the character’s filter-free, no pretense appeal. To put it another way, Cooper tends to get cast as a handsome jerk for a reason, and given the oafish way he reacts to Tiffany (Jennifer Lawrence) when they first meet in the movie, it’s not easy to see  why she would be so instantly and strongly attracted to him. She literally begins chasing him down the street when he goes for runs until he starts spending time with her. Tiffany, who is the widowed sister of the wife (Julia Stiles) of Pat’s friend Ronnie (John Ortiz), has some instability and past tragedy of her own to deal with, but Pat doesn’t want to play reluctant outcasts with her. He is determined to become the upright citizen he thinks Nikki wants. Lawrence imbues this potential (okay, likely) manic pixie dream girl with complexity and heart, showing her as someone who’s unwilling to let Pat push her around or push her away — though aside from Tiffany’s loneliness, Lawrence is given little to indicate why her character feels compelled to try so hard with this erratic new arrival in her life. She enlists Pat as her partner in a dance competition, and slowly begins to win him over as well as his family, which is headed up by a skeptical Robert De Niro as Pat Sr., a football obsessive and bookie whose superstitious beliefs feed into his OCD. The glorious mess that is Pat’s family and community is the warmest, funniest aspect of  Silver Linings Playbook , from Dolores’ continual preparation of “crabby snacks and homemades” to the earnest but panicked Ronnie and the repeated arrivals and subsequent reclaimings by police of Pat’s friend from the hospital Danny (Chris Tucker). De Niro, showing uncharacteristic (for his recent work) signs of life, is downright wonderful as Pat Sr., channeling his fondness and hope for his wayward son into an insistence that Pat watch Eagles games with him because he brings good luck. Pat isn’t as lovable as the filmmaker seems to find him, and sentiments like the one expressed by Danny that the mentally ill might “know something you don’t know” come cloyingly close to suggesting Silver Linings Playbook believes mood disorders to be a gift. The tangible details of the town and its supporting characters are anything but saccharine, however, and when the film takes time and indulges in them, it creates a sense of place you don’t want to leave behind. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.

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REVIEW: Less-Than-Sterling ‘Silver Linings Playbook’ Shines During Messy Family Moments

Jaime Lee Kirchner for Esquire of the Day

If you have been wondering what Jaime Lee Kirchner….one of the actors of the movie RENT….has been up to the last 6 years…and I know you have….I don’t have the answers for you…but I will say that she is modeling in Esquire…showing some nipple…like it was a porn mag…cuz nipples are fashionable…and more important…totally advertiser friendly…when you have to compete on the internet for hits…cuz tits get hits…it’s pretty much the only reason I’m alive…and the only reason I do posts on people as insignificant as Jaime Lee Kirchner…..

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Jaime Lee Kirchner for Esquire of the Day

Keira Knightley Strategic Topless for Allure UK of the Day

Keira Knightley is posing strategically topless for Allure UK…because I guess it makes sense to feature her topless for en editorial on her…you know all artistic…representing how the magazine is peeling the layers of her character to get us to her core….in what makes absolutely no sense whatsoever…and that I just made up as an excuse for the nude pics…..when really it’s all designed to get them some fucking attention…to sell copies…cuz no one buys magazines anymore….cuz shooting her in a fucking snow-suit won’t get people to notice…but shooting her topless makes the world go nuts… The world is filled with perverts…sex sells…but only some of us are punished for it… Not that I’m complaining about this…I like bare back as much as the next guy….. I’m just complaining that I’m considered a porn site cuz I post pics these assholes take….when these assholes make millions off the same pics.

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Keira Knightley Strategic Topless for Allure UK of the Day