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! The new animated feature “Escape from Planet Earth” had it’s LA premiere this weekend. The stars of the film including Jessica Alba and Jane Lynch were there to celebrate the first animated feature from the Weinstein Company. Check out our exclusive red carpet interviews. 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 over 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!
Hell hath no fury like a baby mama scorned Future’s Baby Mama Brittni Goes In On Him On Twitter For Disrespecting Her Mother Looks like the tales of Future’s baby mama drama are FAR from over! After sending a couple of subtweets toward her baby daddy’s new boo Ciara last week, Brittni has just fired off (and deleted) a series of angry tweets aimed at the “Tony Montana” rapper DIRECTLY! Brittni Claims that Future put in a phone call to her mother where he allegedly called her a “miserable b!t$#” Clearly Brittni didn’t appreciate the disrespect. This is just the tip of the ALL CAPS iceberg, hit the flipper to read the rest of Brittni’s tirade.
The air date for “Betty And Coretta” has finally arrived. Will you be watching? Here’s some info via the AJC : …Lifetime finds a new angle: the friendship between their widows, Betty Shabazz and Coretta Scott King, after their husbands were assassinated during the turbulent 1960s. The film, “Betty & Coretta,” debuts at 8 tonight starring Academy Award-nominated actress Angela Bassett as King and R&B singer Mary J. Blige as Shabazz. Though Malcolm X and King were not particularly close, the widows found common ground starting in the early 1970s as single mothers with history-making spouses. Their ties grew stronger over the years until Shabazz’s death in 1997 from a tragic fire set by her grandson. They even took a spa vacation together. Larry Sanitsky, an executive producer for the film, considered King “the Jackie Kennedy of the civil rights movement.” The film conveys how she embraced her husband’s legacy. Bassett, who actually played Shabazz in the acclaimed 1992 film “Malcolm X” starring Denzel Washington, told ABC News that King considered her role “a God-given purpose, a calling on her life.” King’s activism inspired Shabazz to become more vocal in the movement as well. “These women were going through some horrible trials, and they were so strong,” Blige said in a recent news conference. “It’s good for Coretta that she stepped out and she made Martin’s voice heard; she made her own voice heard, and so did Betty.” Actress Ruby Dee, who was friends with both of them, narrates the movie. It was filmed in Montreal, which masqueraded as New York and Atlanta, among other cities. Sanitsky said he was thrilled Lifetime chose to air this film, in a move “not driven by numbers or working the headlines. This is a little-known piece of American history.” Sounds like a great way to kick off Black History Month! Photo Credit: Lifetime
As Steven Soderbergh said at the Film Society of Lincoln Center’s preview screening of Side Effects on Wednesday, “There’s Movie A and there’s Movie B and there’s Movie C.” The director was making the apt point that Side Effect s could have been a heavy-handed movie about a) Big Pharma or b) insider trading, two of the film’s main motifs. But Soderbergh chose c), a much subtler and entertaining third path, and judging from the Manhattan audience’s enthusiastic reaction to the picture, his instincts did not fail him. Following the screening, Soderbergh took part in a Q&A session with cast members, Rooney Mara , Jude Law and Vinessa Shaw and Side Effects screenwriter Scott Z. Burns. When one moviegoer asked the director, “Did you ever feel like you might have missed an opportunity for a bigger conversation about Big Pharma?” Soderbergh responded: “I didn’t want to see that. What I loved about what Scott [Burns] did is that that issue was just a Trojan horse to hide a thriller inside of. I feel like, as a movie—that you stand in line and pay to see—I didn’t want to see a serious movie about Big Pharma. I really didn’t. I feel like I can read about that. It’s all over the news. It’s everywhere.” Alluding to his self-proclaimed retirement from filmmaking Soderbergh continued, “That may be a result of the fact that I’m in the twilight of my career. I honestly wanted to make something that…was connected to movies I saw when I was growing up that I thought were fun.” Burns chimed in to explain he generally starts “writing from a place where there’s something I’m upset or passionate about. So, obviously I have strong feelings about that whole issue.” But, he reasoned, “I don’t like movies that are preachy. If they are, they should be things like An Inconvenient Truth . We all wanted to make something really entertaining. The hope is that it causes a discussion about all these other issues. But we wanted to invite people to go on a ride.” Side Effects offers a lot of plot twists and turns along the way. Even Thomas Newman’s superb, eerie score elicits sensations that don’t necessarily align with the spare, elegant scenes unfolding on screen. “I feel like you should have a reason for every shot and you should have a reason for every cut,” Soderbergh told the crowd at the Walter Reade Theater before praising Burns’ script yet again. “What I loved about this piece of material is it’s an incredible opportunity to take it all down to the marrow,” he said, adding: “That doesn’t mean it has to be boring. It doesn’t mean that it can’t be stylish. It just means that, as a director, you’re supposed to have the 30,000-foot view of the movie and [to] be able to calibrate how the shots and the cutting patterns are going to affect the audience.” Soderbergh did not sound like filmmaker who was ready to fold up his director’s chair, and after demonstrating his nuanced choice of camera angles for a specific scene, Shaw, who plays Law’s wife in the film, addressed the elephant in the room. “And why are you quitting directing, based on everything you just said?” the actress said. [Insert passionate round of applause here.] “Because I don’t ever want to be in a situation where that’s the solve again,” Soderbergh said. “I can’t use that again. I used it. And that’s the last good idea I ever had.” Nell Alk is an arts and entertainment writer and reporter based in New York City. Her work has been featured in The Wall Street Journal, Manhattan Magazine, Z!NK Magazine and on InterviewMagazine.com, PaperMag.com and RollingStone.com, among others. Learn more about her here. Follow Nell Alk on Twitter. Follow Movieline on Twitter.
The scars and blemishes on the faces of the high-school lovers in The Spectacular Now are beautifully emblematic of director James Ponsoldt’s bid to bring the American teen movie back to some semblance of reality, a bid that pays off spectacularly indeed. Skillfully adapted from Tim Tharp’s novel, evocatively lensed in the working-class neighborhoods of Athens, Ga., and tenderly acted by Miles Teller and Shailene Woodley , this bittersweet ode to the moment of childhood’s end builds quietly to a pitch-perfect finale. Warts-and-all authenticity can be a tough sell, but Ponsoldt’s bracing youth pic seems bound to graduate with honors. Working with a sensitive script by Scott Neustadter and Michael H. Weber ( 500 Days of Summer ), Ponsoldt follows his Off the Black and Smashed with another insightful study of a flawed protagonist’s hard-fought battle against forces, including alcohol, that keep him or her from growing to fruition. Dumped by his gorgeous girlfriend ( Brie Larson ) in the early going, whiskey-swilling senior Sutter Keely (Teller) swiftly rebounds by making a charismatic play for book-smart Aimee Finecky (Woodley), who finds him passed out at dawn on a neighbor’s front yard and is astounded when the school’s hungover party monster returns her gaze. Aimee, having never had a boyfriend, naturally falls hard for the ultra-confident but scholastically challenged Sutter as she tutors him in geometry and he teaches her how to drink. Although Sutter can’t stop mildly flirting with his ex, he makes the moves on Aimee anyway, alarming friends of both. A startlingly intimate sex scene, set in Aimee’s tiny bedroom and hauntingly captured in long take, marks the point at which the possibility of heartbreak begins to loom large. Whatever formulaic elements appear in the opposites-attract scenario are mitigated by the film’s philosophical underpinnings. While pragmatic Aimee prepares to attend college in Philadelphia, Sutter remains arrogantly committed to his manner of living in the moment, believing that a car, a flask and an hourly wage job are all he’s ever going to need. Sutter’s hardened mom ( Jennifer Jason Leigh ) worries that her son is following in the footsteps of his estranged father and contrives to prevent a reunion of the two. It’s during the inevitable meeting with Dad ( Kyle Chandler ), facilitated by Sutter’s well-off sister, Holly ( Mary Elizabeth Winstead ), and held over pitchers of beer, that the film’s principal themes — of the difficulty of breaking the familial mold, the fine line between temporary behavior and habit, and the fleeting nature of youth — begin to take root. Ponsoldt, with the help of Jess Hall’s attentive cinematography, does an excellent job of letting the drama play out on the imperfect faces of his two young leads, both of whom embody a delicate combination of fearlessness and vulnerability. Woodley thoroughly fulfills the promise of her smaller role as the teenage daughter in The Descendants , locating the precise point at which Aimee’s infatuation with Sutter turns to self-protection. Equally impressive is Teller, who makes his character’s adolescent bravado appear intoxicating and then more than a little scary. The film’s supporting players are uniformly superb, particularly a haggard Chandler, who offers a worrisome glimpse of what Sutter could easily become, and Andre Royo as a schoolteacher whose honest reluctance to sell Sutter on the advantages of adulthood silently speaks volumes. Linda Sena’s production design makes vibrant use of Athens locations while maintaining the small-town setting as Anywhere, U.S.A. Editing by Darrin Navarro respects the pic’s alternately peppy and languorous mood, occasionally using slo-mo to represent Sutter’s desire to stretch now to eternity. Other tech elements are aces, each one furthering the film’s refreshing commitment to naturalism. Follow Movieline on Twitter.
The release of the first issue of a three-part prequel comic to Star Trek Into Darkness has lent some credence to the theory that the true villain of JJ Abram’s upcoming movie is not Khan or Gary Mitchell , but rather Robert April, the very first captain of the Starship Enterprise. HitFix’s Drew McWeeny first raised the idea late last year after Abrams’ Bad Robot held a press day for the feature, which hits theaters in May, and now Brandon Connelly at Bleeding Cool has posted panels from the prequel comic which feature April. Star Trek Into Darkness screenwriter/producer Roberto Orci has said that the film’s will be a canon character, and April is. He was introduced in the animated Star Trek series that ran for 22 episodes in 1973 and ’74. As McWeeny notes below, although Bad Robot has not confirmed that April figures in Star Trek Into Darkness , the plot of the animated episode that featured April appears to dovetail with aspects of the movie that have been revealed so far: He first appeared in the animated series, and in the episode where he appeared, it was established that he was was the first Captain of the Enterprise, even before Pike. He was much older in the episode, “The Counter-Clock Incident,” which you can watch right now if you have NetFlix Instant. In that episode, everyone on the Enterprise starts to age backwards, and by the time they’re all kids, unable to fix the problem, only April and his wife are still old enough to figure out how to reverse the process. April figuring out that mechanism for how to control aging and even reverse it could be an important part of the plot for “Star Trek Into Darkness.” If you saw the first nine minutes of the film in front of ” The Hobbit ,” then you already know that the film opens with a London couple driving to the hospital where their daughter lies immobilized, and from the few shots we see of her, she appears to be aging too rapidly. At the end of that scene, her father (Noel Clarke) steps outside for some air, and that’s when Cumberbatch shows up and tells him, “I can cure her.” As McWeeny points out in his post, Peter Weller , who’s also in STID could very well turn out to be April instead of Cumberbatch, who Abrams has chosen to identify simply as John Harrison . Whoever he turns out to be when the movie finally premieres, one thing is clear: this whole who-is-Benedict-Cumberbatch? mystery is brilliant guerrilla marketing on Bad Robot’s part. Here’s the revealing comic panel that Bleeding Cool posted. It’s the final page of the first issue of Star Trek: Countdown to Darkness. [ HitFix , Bleeding Cool ] More on Star Trek Into Darkness : ‘Star Trek Into Darkness’: Cumberbatch’s Identity, Carol Marcus, And A New ‘Trek’ Villain Theory Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
The Sundance Film Festival is passing its midpoint, but there are more world premieres of some of the films that will grace the Specialty Big Screen this year. Beginning last week Movieline posted details about this year’s U.S. and World Competition films and filmmakers in their own words. In this round, Kyle Patrick Alvarez ( C.O.G. ), Matthew Porterfield ( I Used to Be Darker ), Mark Albiston and Louis Sutherland ( Shopping ), Eliza Hittman ( It Felt Like Love ) and Jerusha E. Hess ( Austenland ) preview their films. [ Related: WATCH: Get To Know 5 Sundance Film Festival Filmmakers (And Their Films) AND SUNDANCE: Directors Tease ‘Dirty Wars,’ ‘Fire In The Blood,’ ‘God Loves Uganda,’ ‘A Teacher,’ ‘Narco Cultura’ ] C.O.G. by Director Kyle Patrick Alvarez [U.S. Dramatic Competition] Synopsis: David has it all figured out. His plan—more a Steinbeckian dream—is to spend his summer working on an apple farm in Oregon with his best friend, Jennifer. When she bails out on him, David is left to dirty his hands alone, watched over by Hobbs, the old farm owner and the first in a series of questionable mentors he encounters. First there’s Curly, the friendly forklift operator with a unique hobby, and then Jon, the born-again rock hound who helps David in a time of need. This first film adaptation of David Sedaris’s work tells the story of a prideful young man and what’s left of him after all he believes is chipped away piece by piece. With such beloved source material come great advantages and immense pressure. Writer/director Kyle Patrick Alvarez proves more than up to the challenge as he delivers a finely wrought story that remains true to both the author’s voice and his own. Jonathan Groff perfectly embodies David and imbues him with abundant wit that masks the uncertainty that he hides. C.O.G. is a funny and poignant portrait of a lost soul searching for himself among the amusing characters in life’s rich pageant. [Courtesy of Sundance Film Festival] Responses by Kyle Patrick Alvarez The C.O.G. quick pitch: C.O.G. is the first film based on any of writer David Sedaris’ work. It chronicles the time he spent as a young man working as an apple picker in the Hood River Valley in Oregon. …and why it’s worth seeing at Sundance and beyond: I think that this is the first (and possibly only) time David Sedaris has allowed anyone to adapt his work before is notable enough. I also think our cast, which includes Jonathan Groff, Corey Stoll, Dennis O’Hare, Dean Stockwell, Casey Wilson, Dale Dickey and Troian Bellisario, is so strong and they’re so good in the film, I can’t wait for people to see their performances. About getting permission and other challenges: The first difficult step was getting Mr. Sedaris to agree to let me turn it into a film. After trying to reach him through more traditional means, I finally decided to just show up at one of his readings and give him a copy of my first film “Easier with Practice”. Fortunately, he really enjoyed the film and we started a dialogue. I expressed my sincere intentions with the piece and broke down exactly how I planned on approaching the material. He agreed and has been incredibly giving and gracious ever since. Financing took a long time as well. Even though people did like my first film and were intrigued and excited about the adaptation, the movie still tackles challenging themes about religion and sexuality. It has quite a dark edge to it that I don’t think people will be expecting. Getting the movie made finally was a product of lowering our budget and our shooting days. It meant making production more challenging, but to have the opportunity to finally shoot the script was well worth it. Shooting on location in Oregon was a truly great experience. We only had 18 days to shoot and encountered heavy rain and bad weather almost every day. We had to shoot up to 9 pages a day so it was always a scramble. Fortunately our crew and cast were so prepared that always met our days. We even shot right in the same areas David was actually in when he wrote the story. At one point our base camp was in the parking lot of the apple factory he had worked in (though we chose to shoot at a different factory). And how Alvarez assembled his cast: Mostly through the traditional process of making offers and meeting with the actors. I’m very hands on with casting, so for me it’s a process of being very thorough and thinking of the actors out there I love and would be thrilled to work with. I’m still in awe that we got the cast we did in the film. I’m very proud of the work each and every one of them did. —
Despite stunning court costs and debts that have left Lindsay Lohan broke or close to it, she’s turned down a HUGE offer from Dancing With the Stars . She needs money. She could desperately use an image makeover. DWTS could provide both in a heartbeat. But she doesn’t wanna do reality shows. The actress was made several offers to join DWTS this spring. The final offer was $550,000, or 4-5 times what most DWTS cast members make. Given the IRS seizing her accounts , one would think she’d snatch that up in a second, but no, she says she’ll NEVER do reality TV. Only movies. The irony/stupidity of that statement is that after Liz & Dick and The Canyons , her film stock is going down faster than a drunk Lindsay on Max George. Good luck, LiLo.
Two Sundances ago Brit Marling mesmerized as the leader of a cult being infiltrated by two would-be documentarians in Zal Batmanglij ‘s Sound Of My Voice ; this year she returns to Park City as the infiltrator, playing a corporate operative who goes undercover within a volatile anti-capitalist eco-anarchist group in Batmanglij’s sophomore feature, The East . Hit the jump for a peek at the tense first trailer and let Ellen Page ‘s steely-pixie voice put you on edge. The East just debuted in Park City to mixed-positive buzz, with some critics praising Batmanglij’s yarn-spinning direction. Fox Searchlight has this pic and Park Chan-Wook ‘s Stoker at Sundance (both produced by the late Tony Scott ). As a fan of relative newcomer Marling I hope this one finds its footing, since Fox Searchlight is in the Brit Marling business but hasn’t yet been able to make her critically praised films ( Sound of My Voice , Another Earth ) into bona fide indie hits. That said, while The East packs more star power (Ellen Page, Alexander Skarsgård, Julia Ormond, Shiloh Fernandez, Patricia Clarkson, Toby Kebbell!) than Batmanglij and Marling’s previous collaboration the behind-the-scenes story of its creation is more of a curiosity factor. The action-mystery spy pic, reportedly shot for $6.5 million, according to Batmanglij, “came into being through our personal frustration with rampant consumerism and all the contradictions of living in modern civilization.” Per Fox Searchlight, co-writers Batmanglij and Marling found inspiration for their thriller after going off the grid on a “freegan” walkabout one summer, hopping trains and sleeping on the street and dumpster diving for food: “We had read about ‘Buy Nothing Day’ and tried it – there was something liberating about not buying anything for a day. So we thought we might try a buy nothing summer. We’d heard about the freegan movement – people desiring to live simpler, more community based lives. We wanted to know what that was like first hand,” says Marling. “Going weeks without spending a dollar is an amazing feeling,” the director says. “Everyone should try it. We didn’t see movies. We weren’t listening to recorded music. Everything was happening organically from the group. The spin-the-bottle game in the film came from an experience we had. Thursday nights that was what we did as a way of entertaining ourselves.” There were aspects of the transient life that took some getting used to, admits Marling. “I was a bit repelled at first about things like getting into a dumpster to look for food. But like Sarah, we learned there are packages of bread that have been thrown away because they’re past their sell-by date, but nothing is wrong with them. Much of our culture’s ‘waste’ is actually bounty. We slept 20 people to a room in sleeping bags on the floor. There were no showers, but after a while you learn your hair begins to clean itself.” I love Marling’s ballsiness. I have doubts about her hair maintenance tips. (But seriously, she has amazing hair, so…) Read more from the Sundance Film Festival : SUNDANCE: ‘Two Mothers,’ Two Secret Affairs And Uncomfortable Laughter SUNDANCE: Mother Pus Bucket! Michael Cera’s Not Sure He’d Take A ‘Ghostbusters 3’ Gig SUNDANCE: Directors Tease ‘Computer Chess,’ ‘Spectacular Now,’ ‘Emanuel And The Truth About Fishes,’ ‘Salma,’ And ‘Blackfish’ Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
It’s shaping up to be another great year for skin at Sundance, because our Skin Skout has more breaking nudes from Park City: Two Mothers stars Robin Wright and Naomi Watts as a pair of childhood friends who fall for each other’s sons, and we’re already humming SNL’s Motherlover since Robin bares buns in bed 1 hour and 5-minutes in, and both ladies spend the majority of the film in bikinis. More after the jump!
