This weekend brings us the Vacation reboot—which does have some nice uncredited nudity—and more high flying antics from Mission: Impossible , but the last day of July has been home to some great skin-filled flicks in years past! Hit the jump for more pics and info…
What a time to be alive! Spring has sprung, and there are plenty of great reasons to fire up Netflix for some skinsational flicks! Hit the jump for more pics and info…
It’s one of the most famous, and most controversial, nude scenes of all time, and 28 years after the film was released, Isabella Rossellini is still talking about her fully nude scene from David Lynch ‘s Blue Velvet ! Hit the jump for more info…
It’s one of the most famous, and most controversial, nude scenes of all time, and 28 years after the film was released, Isabella Rossellini is still talking about her fully nude scene from David Lynch ‘s Blue Velvet ! Hit the jump for more info…
Also in Saturday’s (mostly) Cannes related news round up, actress Isabella Rossellini gets a new festival jury gig, Lincoln Center teams with Dubai to spotlight Arab cinema, and two groups join for a $150 million equity fund for indie filmmakers. Also check out this weekend’s specialty film releases. Disney/Pixar’s Brave to Open Dolby Theatre The world premiere of Brave will mark the opening of the newly re-dubbed Dolby Theatre in Hollywood, the home of the Academy Awards. The Los Angeles Film Festival will co-host the event as a red carpet special presentation. The animated feature is an epic tale set in the mystical Scottish Highlands where the film’s headstrong protagonist, Merida, is “forced to discover the meaning of true bravery.” Disney opens the film wide in theaters June 22nd. Dubai and Film Society of Lincoln Center Team for Arab Cinema Arab cinema will take center stage in a new program partnered by the Dubai International Film Festival and the Film Society of Lincoln Center, the groups said in Cannes Saturday. Dubbed DIFF Focus taking place August 24 – 30 in New York, the program will feature Venice Film Festival love story Habibi Rasak Kharban and Gulf Film Festival opener City of Life. $150M Independent Film Equity Fund Launched Financier and production outfit AngelWorld Entertainment and independent merchant bank First Wall Street have set up a $150 million fund dedicated to independent productions, the groups said in Cannes. AWE funds 100%, providing a single source of funding allowing the equity investor to sit in the first position, minimizing its risk by securing against all of the film’s assets including foreign sales, tax credits, minimum guarantees and intellectual property rights until the investor has fully recouped its money. Walk Away Renee to Bow in North American Online Premiere The Cannes 2011 documentary by Jonathan Caouette will have its North American debut via Sundance Selects’ digital sister SundanceNOW. Walk Away Renee is a follow up to Caouette’s lauded 2004 doc Tarnation . Renee will be debut along with its North American premiere June 27th at BAMcinemaFest. Around the ‘net… Preview This Weekend’s Specialty Releases The Cannes Film Festival is in full swing and at least two distributors are bowing their Cannes cache this weekend. Zeitgeist Films is debuting Elena in the U.S. The film won awards in Cannes and elsewhere before its long (and somewhat bizarre) road to the screen. Sundance Selects, meanwhile will roll out French César and Cannes winner Polisse in theaters and day-and-date VOD using some of its past offerings as a distribution template. Oscar-winning screenwriter Dustin Lance Black’s directorial debut Virginia opens in limited release and documentary Never Stand Still starts its rollout in New York before heading to other cities, Deadline reports . Fox Searchlight Fetes Beasts of the Southern Wild in Cannes The 2012 Sundance winner hit the Croisette Friday, basking in two standing ovations. The mystical story set in the deep Louisiana Delta’s swamp country deals with a young girl’s search for her mother after her father’s deteriorating health and environmental disaster put her life in peril. Searchlight will release the feature in the U.S. June 27th, Deadline reports . Colin Firth Boards Mad Dogs Oscar winner Colin Firth has joined Noel Coward’s Mad Dogs and Englishmen, the story of flamboyant English playwright, director and actor singer’s engagement at Las Vegas’ Desert Inn in 1955. THR reports from Cannes. Isabella Rossellini to Lead Abu Dhabi Film Festival Jury Rossellini has been named president of the narrative jury for the festival’s 2012 edition taking place October 11 – 20. The actress last chaired a jury at the Berlinale in February, which gave the best film, best actor and best actress prizes to Iranian director Asghar Farhadi’s A Separation , which went on to win the Oscar for Best Foreign Language Film earlier this year, Cannes Market News reports.
No, not that one — the other one: “This distinguished 250SL has a very desirable option package that includes ZF four-speed automatic transmission with floor shift, air conditioning, power steering, removable hardtop and a hidden soft top. The 250SL is the rarest of the W113-bodied cars, having been built only in 1967 and 1968. Its predecessor, the 230SL, was vastly improved upon in this model, while the last of the W113 cars, the 280SL, had a slightly larger engine and improved steering. This was one of the most popular cars that Mercedes-Benz ever built, and is extremely popular with collectors. The fantastic Natalie Wood lineage makes this 250SL all the more desirable. It is expected to fetch $30,000 – $50,000.” What a steal! Cheaper than a Willy Wonka costume , anyway. [ Profiles in History ]
Also in Monday morning’s Biz Break: With only two days and some change before the 65th Cannes Film Festival opens with the world premiere of Focus Features’ Moonrise Kingdom , the event revealed its full jury for its Un Certain Regard sidebar. Meanwhile, specialty openers had a drab weekend overall and overseas releases proved a mixed bag for Hollywood. Cannes Un Certain Regard Jury Complete Alongside the jury for the Official Selection is Un Certain Regard, this year lead by actor/director Tim Roth. The festival unveiled his partners in judgment two days before the festival kicks off. Joining him on the jury are actress Leila Bekhti, director/producer Tonie Marshall, Argentine critic Luciano Monteagudo and Sylvie Pras, cinema head at Paris’ Pompidou Center. The section opens May 17th with Lou Ye’s Mystery and wraps with Gilles Bourdos’ Renoir. Twenty-two films are in competition . Around the ‘net… Isabella Rossellini Joins Jake Gyllenhaal in An Enemy Inglourious Basterds ‘ Mélanie Laurent and Cosmopolis ‘ Sarah Gadon will also star with Gyllenhaal in the Denis Villeneuve-directed psychological thriller, Deadline reports . What Does Disney Mean in 2012? It is a brand that, almost since its founding in 1923, has become synonymous with family. But since he took over from Michael Eisner in 2005, Disney’s CEO Bob Iger has been busy spending billions of dollars to acquire costly pinch hitters that now threaten to eclipse the Mickey Mouse. The company spent $4 billion for Marvel in 2009; $7.4 billion for Pixar in 2006 and the Muppets from the Jim Henson Company in 2004 for an undisclosed sum – said to be less than a quarter of a billion dollars, Vulture reports . Specialty Box Office: Blasé Weekend for Openers; Best Exotic Marigold Hotel Scores Specialty openers did not fare well: Sony Classics lead a rather unspectacular crowd of rollouts, bowing Where Do We Go Now? in a trio of locations, grossing nearly $17K and an average just under $6,000. Magnolia also opened a pair of titles with not so good results, Deadline reports . Foreign Box Office: Dark Shadows Opens a Distant No. 2; American Reunion Hits Record Dark Shadows opened in 42 territories, grossing $36.7 million and placing second (well behind The Avengers ) with a $6,500 average. American Reunion , meanwhile, is now that franchise’s top foreign performer. THR reports . MGM Options On the Island The studio is in negotiations with Twilight producers Temple Hill Productions to produce the Tracey Garvis-Graves’ NY Times bestseller about a teacher and student who crash land on a deserted island, Variety reports . Is it Time To Wash Out Hollywood’s Mouth? A backlash is growing against filmmakers’ increasing reliance on foul language. It’s OK to provoke, shock, titillate — if appropriate. Otherwise, watch the salty talk, The Los Angeles Times weighs in .
No one, as far as I know, has come to the Berlinale in search of Gillian Anderson, the strawberry-blonde vixen who set millions of hearts aflutter — and not just male ones — with her role in the supernaturally beloved ’90s show The X-Files . But Anderson has surprised those of us who love her by showing up — in small roles, but still — in two films here, James Marsh’s Shadow Dancer and Ursula Meier’s Sister . In Shadow Dancer , a thriller set in early-‘90s Belfast, she’s a British secret-service officer who squares off against a colleague (played by Clive Owen). In Sister , she’s the well-heeled patron of a tony Swiss ski resort — and a mom — who befriends a young thief and rapscallion who barely knows what it means to be a child. Anderson hasn’t really been in hiding. She was one of the best things — perhaps the only good thing — in last year’s Johnny English Reborn , and she recently played Miss Havisham in the British TV adaptation of Great Expectations . She chooses her roles carefully and doesn’t seem particularly attracted to big Hollywood vehicles — though it’s more likely that Hollywood isn’t particularly interested in her, which is certainly its loss. There are plenty of movies to parse and examine here at the Berlinale, but at dinner last night with some colleagues (who happened to be guys), Anderson came up in the conversation, and we just looked at one another: “Gosh! Isn’t she something?” is the gist of what we said. Perhaps we love her more because she shows up so infrequently and so fleetingly, like a ginger comet. Her role in Shadow Dancer is small and tokenlike, but it’s interesting for its metallic coldness, not a quality we usually associate with Anderson. Then again, maybe it’s really just a mirror angle of the clinical skepticism she brought to the role of Dana Scully in The X-Files : She’s good at playing characters who can turn the warmth off when it gets in the way of the goal at hand, and in Shadow Dancer , she plays a character who’s all about goals. In Sister , Anderson isn’t strawberry blonde but truly blonde, and the first glimpse we get of her is a mane of glorious, rich-girl hair. At first I could see only the oblique planes of her face and, not knowing she was in the movie, I thought to myself, “Could it be…?” Her role is small but potent: Her character, skiing at the resort with her own kids, meets the young thief Simon (played, beautifully, by a kid actor named Kacey Mottet Klein), and the two are immediately charmed by each other. He pretends to be a the son of the resort’s owner, when really he’s a mighty mite of a hustler who scrambles to make a living for himself and his sister (Léa Seydoux). Anderson scrutinizes his face as he advertises this fanciful false background — you can see, in this tiny but potent scene, that she’s amused by him and yet somehow, instinctively, she also feels protective. It’s not that she doesn’t believe his tale (she seems to buy it all); it’s that her better judgment tells her that this kid is in need of something, and though she can’t be the one to provide it, she grants him the kindest gift she can: She takes him seriously, reacting to him as if he were the miniature adult he’s trying so desperately to be, meeting him on his own scrappy turf. That’s a lot to pack into a few small scenes, and it’s a bit frustrating that her character’s role in the drama isn’t better worked out — her final encounter with Simon doesn’t feel true to the woman we met earlier. On the whole, the picture is unevenly worked out, but it’s ultimately touching, thanks to the bittersweet grace notes scattered throughout. Anderson is one of those grace notes; her presence is as subtle as a sigh, but it’s the kind that sticks with you long after the credits roll. Read more of Movieline’s Berlinale coverage here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
A collectible poster debut from the boutique art purveyors over at Mondo is always an event, but this Valentine’s Day Mondo and the Alamo Drafthouse have something in store so special it’s almost… inconceivable ! In celebration of the 25th anniversary of Rob Reiner’s 1987 fantasy classic The Princess Bride , the good folks at the Drafthouse have created a line of Princess Bride -themed wines (“The Bottle of Wits”) to coincide with a series of V-Day Princess Bride Quote-Along Feast events and a new illustrated commemorative poster by artist Drew Millward , which goes on sale today. Get the exclusive first look at Millward’s poster design after the jump! [Ed.: According to Mondo the Princess Bride posters have indeed been printed with the incorrect year and will be sold as planned, warts and all. ] Even 25 years after its debut, The Princess Bride , adapted from William Goldman’s book of the same name, has sustained its place among the best-loved American romances and comedies; you’d be hard pressed to find a self-respecting film lover these days who can’t conjure one of countless iconic lines from Reiner’s film. (See Movieline’s account of LACMA and Film Independent’s magical Princess Bride live-read for further evidence.) So it’s kind of perfect that the Drafthouse will host the Princess Bride Quote-Along Feast events this week at its six theaters in Austin and Houston on Feb. 14, in San Antonio on Feb. 15, and in Winchester, Va. on Feb. 16. What better way is there to spend Valentine’s Day than feasting on seared R.O.U.S. (“NY strip rubbed with telecherry peppercorn, mustard seed and espresso roasted medium rare in a pool of port demi, roast enoki mushrooms with mushroom risotto and grilled rapini”) and MLTs (for which “the mutton is shaved paper thin”) and toasting to “Twue Wuv” along with Westley, Buttercup and little Fred Savage? Millward’s whimsical Mondo poster (on sale at the Austin Quote-Along locations, printed in a limited run of 145) brings together the film’s most iconic elements (the six-fingered man! The R.O.U.Ses!) and its central heroes, from Cary Elwes’ The Man in Black to Robin Wright’s Princess Buttercup, the bouffant-coiffed Spaniard Inigo Montoya, Andre the Giant’s gentle Fezzik and Wallace Shawn’s evil Vizzini, who was last seen laughing maniacally while sloshing a goblet of wine. Speaking of wine… Inconceivable Cab and As You Wish White are the two varietals of Princess Bride wine available for order online ($28) at http://princessbridewine.com and at the Drafthouse locations starting today. The pairing of The Princess Bride with its own wine is an inspired concept that came from a brainstorming session by Drafthouse CEO Tim League and Co.: “At the end of last year, we were thinking about ideas to do something really fun with our wine list at the Alamo Drafthouse Cinema. To solve that challenge, a group of us got together after work, opened a bottle (a time-honored Alamo tradition) and started to brainstorm our favorite movie scenes involving wine. Quickly The Princess Bride rose to the top. The Princess Bride is one of our all-time favorite films. It stands beside The Big Lebowski as a movie that I will ALWAYS watch and thoroughly enjoy revisiting when it comes on TV. The ‘Battle of Wits’ sequence between Cary Elwes and Wallace Shawn easily stands toe-to-toe with ‘the Sideways Spit Bucket’ and ‘The Silence of the Lambs Chianti slurp’ as wine’s shining moment in film. We contacted the rights-holders and proposed a partnership to launch the product at the Alamo, and they were just as excited as we were. We are thrilled with the collectible bottle that Helms Workshop produced for us and think that fans of the movie will love it too. Although we can’t print it on the label because of legal reasons, we also promise each bottle to most likely be iocane free.” Get more info at the Alamo Drafthouse website .
Surely no one saw this coming: Uggie, the Jack Russell terrier and Artist wonder dog on whose behalf the Consider Uggie awards campaign has surged ever onward for nearly three months now , won the top prize Monday at the inaugural Golden Collar Awards. That’s really all I have to say about that, deferring instead to Uggie’s trainer Omar Von Muller, who put the purpose of the whole phenomenon in perspective while accepting the trophy with his winning pooch: Von Muller said the award was “overwhelming” adding: “He has been my buddy forever and is a great performer and great family member.” He also thanked award organizers DogNewsDaily.com saying: “This is very important for all the trainers in the movie industry, because we have never been recognized before, and people just don’t understand that it takes hundreds and even thousands of hours to train a dog.” Exactly . Respect! [ BBC ; photo via WireImage]