Here is a topless in some show called Medium that I can only assume happened around the time of her sex tape that is rumored to exist…shot back when she was working on becoming famous… So the rumor is that weird faced Emma Stone…who annoys me to look at….has a sex tape from before she was famous amongst nerds thanks to staring the love interest of nerds…in movies designed for nerds….has a sex tape with a past lover being shopped around…. Of course she does. Any celebrity…even the ones who are seemingly awkward, obscure and even a fucking virgin…are actually hookers who sell their soul to the devil…to become puppets that make other people retarded money….while making them more money than they know what to do with…in some social club, private party, that involves no talent…or skill…but they won’t let you in on that… Now I don’t have her sex tape, but I am totally down in seeing her little titties get ejaculated on…while another dude violates her ass…but I want to see every girl like that…. Not sure if this is truth…but I figure just the idea of it will collectively make every nerd ejaculate leading to some kind of natural disaster…and the idea of that is probably more fun than the way weird face fucks…. Typical – Cry – For – Attention – To – Promote – A – New Movie… Here are some pics of her in Vanity Fair wearing a bikini… Here is the video from vanity fair….
Jamie Foxx is posted up on the December issue of Men’s Health magazine and from the looks of his biceps, we’re wondering just how powerful Django Unchained is going to be. Here are a few snippets from his interview in the mag: Jamie on why playing a cowboy in Django Unchained was second nature to him… “I watched Bonanza. I watched Hee Haw. I spun guns on my finger. Every kid, if you were in Texas, wanted to be a cowboy, whether you were black, white, Mexican, whatever.” Jamie after delving into centuries of American racism for Django Unchained… [A few onscreen fistfights were] “actually a breath of fresh air, to get all that tension out.” Jamie on being one of the most adaptable entertainers in the business… “You just have to live. As a comedian, you have to do it in different rooms. You can do it in the hood; I did it in the hood for a long time. And I took that same muscle and did it uptown, where the audience is Robert De Niro and Al Pacino and all those guys. You still remain the same person, and you get your stamp. It’s like a passport.” Jamie on the one experience that gave him a certain authority on the set of Any Given Sunday… “I got into the movie, and there’s Al Pacino, there’s Cameron Diaz, there’s James Woods, there’s all these incredible actors. But the one thing I had on my side: I played football. And I knew more about football than any of these guys. That’s what I relied on.” Jamie on his evolving career… “One thing I’ve learned: You have to rely on someone to tell you what is hot and what’s not as you get older. That’s what I do; I ask. When Kanye was telling me about ‘Slow Jamz,’ I was trying to sing it all happy, and he was like, ‘Don’t do that. This is hip-hop. Trust me, the simpler it is, the more effective it is.’ Music is changing. If you don’t change with it, you’ll be at the casino performing: ‘How y’all feel out there tonight?’ I’m still learning how to stay relevant and current–and at the same time not lose who I am, not be too young.” Jamie on his willingness to unlearn to stay on top… “Here’s what you’re going to unlearn now: Somehow you have to pull yourself away from media, not be so shiny in the next 10 years, because it hurts the art. When you go on talk shows, you have to be lighthearted, which helps and hurts. Now I’ve got to change the satellite a little bit. That’s the tricky part now. How do you navigate through the world you live in and still be an artist? Because that’s the only thing that’s going to survive.” Jamie on doing pushups during down time at his cover shoot… “It goes back to when you’re a kid looking in the mirror, and you want to be the guy in the magazine.” Images via Men’s Health Magazine
Catie Minx is a super cute brunette chick who would certainly get your wrists into action and here she is smiling and showing off her tits and pussy in these pictures Continue reading →
Even though she is much older nowadays when she was young Demi Moore was incredibly sexy and here she is stripping naked in this video clip from the movie Striptease Continue reading →
Bill Condon takes MTV News behind two sweet touches at the end of the movie. By Kara Warner, with reporting by Josh Horowitz Robert Pattinson in “Breaking Dawn – Part 2” Photo: Summit Entertainment
Lindsay Lohan does not read reviews of her performances, according to TMZ , which is a smart move when it comes to her much-publicized turn as Elizabeth Taylor in the Lifetime movie, Liz & Dick . The picture, which chronicles Taylor’s tempestuous love affair with Richard Burton , doesn’t air until Nov. 25, and already critics are carving into Lohan like she’s a Thanksgiving turkey. The reviews aren’t uniformly poisonous, and Grant Bowler, who plays Burton, is actually drawing good notices, but Lohan has not been so fortunate. Even the most charitable critics tend to damn her with faint praise, such as Variety’s Brian Lowry, who calls her performance “adequate.” But that review sounds downright positive when you compare it to the Napalming Lohan got courtesy of The Hollywood Reporter. Below are distillations of five reviews from most to least positive. That’s right. I saved the worst for last, and followed it with a trailer from the biopic. 5. Lohan certainly is adequate, barring a few awkward moments, thanks largely to the fabulous frocks and makeup (courtesy of Salvador Perez and Eryn Krueger Mekash, respectively) she gets to model.” — Brian Lowry, Variety 4. “Lohan, in character as Taylor, is often so believable you might think you’re seeing the real thing, but then every once in a while she’ll backslide and deliver lines that sound DOA.” — Linda Stasi, New York Post 3. “Elizabeth Taylor loved diamonds. This new movie about her life feels more like rhinestones….It’s tempting to say the movie’s big problem is that Lohan is no Liz Taylor. And she isn’t — though that’s not entirely her fault. There aren’t all that many actresses, or women, who can stop a room simply by walking into it. Liz Taylor in her prime could do that. She could make men melt. Lindsay Lohan’s Taylor does not.”— David Hinckley, New York Daily News 2. “Suffice it to say, Lohan’s no Taylor (not that anyone is or ever could be). But poor Linds doesn’t stand a chance. As seen here, her skills are rudimentary — made rustier by a long absence and a lot of other extracurricular activities. She delivers lines dutifully, competently, and at times woodenly, but she also looks like someone who has to think about what she has to say before she says it.” That’s usually called “sleepwalking through a role” instead of actually “occupying” one. Lohan is somewhere in-between most of the time, though closer to sleepwalking.” — Verne Gay, Newsday 1. “It should come as no great surprise that Lifetime’s Liz & Dick movie starring Lindsay Lohan is spectacularly bad…. Lohan is woeful as Taylor from start to finish. But, whatever you do, don’t miss Liz & Dick . It’s an instant classic of unintentional hilarity. Drinking games were made for movies like this. And the best part is that it gets worse as it goes on, so in the right company with the right beverages, Liz & Dick could be unbearably hilarious toward the tail end of the 90-minute running time. By the time Lohan is playing mid-’80s Taylor and it looks like a lost Saturday Night Live skit, your body may be cramped by convulsions.”— Tim Goodman, The Hollywood Reporter [ TMZ , Variety , New York Post , New York Daily News , Newsday , The Hollywood Reporter ] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Wendy, are you sure this is a good idea? The celebrated talk show host has signed on to be the latest star in PETA’s “I’d Rather Go Nekkid Than Wear Fur” campaign. According to Page Six reports : Wendy Williams will bare it all for PETA. The self-proclaimed “Queen of All Media” is the latest celeb to strip down and go bare for the animal rights group’s “I’d Rather Go Nekkid Than Wear Fur” campaign, which has featured Eva Mendes, George Clooney’s ex Elisabetta Canalis, Bethenny Frankel, Nia Long and Khloe Kardashian. We hear a sultry image of well-proportioned Williams will appear on a billboard in a campaign that will launch the week after Thanksgiving. “Wendy used to wear furs, and all types of leathers and more,” said a friend of the talk-show host, “but she’s had a change of heart.” Williams was expected last night at a PETA event at The Standard. We got a sneak peek at her speech, which said, “PETA’s legendary . . . campaign has turned a lot of heads and changed a lot of minds — including mine. I, like many people, was unaware of how animals lived and died for their fur, and I wore it without thinking much about it, until PETA came along . . . I’m thrilled to star in PETA’s next nekked campaign.” Oh well, it’s not like it can be any worse than the one Khloe did. We just wanna know how they’re gonna hide them TIG OLE BIDDIES!!!
They say mama knows best… Mom Calls Cops On Son Plotting To Shoot Up “Twilight” Theater NY Daily News A southwest Missouri man accused of plotting to shoot up a movie theater during the new “Twilight” film was charged Friday after his mother contacted police, telling them she worried her son had purchased weapons similar to those used during the fatal Colorado theater shooting. Blaec Lammers, 20, of Bolivar, is charged with first-degree assault, making a terroristic threat and armed criminal action. He was jailed in Polk County on $500,000 bond. “Thankfully we had a responsible family member or we might have had a different outcome,” Bolivar Police Chief Steve Hamilton told The Associated Press. He said Lammers is under a doctor’s care for mental illness, and court documents said he was “off of his medication.” A phone message left by The Associated Press at Lammers’ home wasn’t returned Friday. No attorney is listed for him in online court records. His mother contacted authorities Thursday, saying she worried that with this weekend’s opening of the final film in the popular Vampire movie series, her son “may have intentions of shooting people at the movie,” police wrote in the probable cause statement. Good thing his momma knows that he ain’t isht. She said she thought the weapons — two assault rifles and hundreds of bullets — resembled those used by a gunman who opened fire inside a theater in Aurora, Colo., during the latest Batman movie in July. That attack killed 12 people. Lammers was questioned Thursday afternoon and told authorities he bought tickets to a Sunday “Twilight” screening in Bolivar and planned to shoot people inside the theater. The town of roughly 10,000 people is about 130 miles southeast of Kansas City. According to the probable cause statement, Lammers also planned to “just start shooting people at random” at a Walmart store less than a mile away. He said he’d purchased two assault rifles and 400 rounds of ammunition, and if he ran out of bullets, he would “just break the glass where the ammunition is being stored and get some more and keep shooting until police arrived,” investigators wrote. Lammers stated he wanted to stab a Walmart employee to death and followed an employee around a Walmart store before officers got involved in 2009, according to police. This muhfugga is CRAZY! It’s sad that you can’t even go to the movies on opening weekend anymore because of fools like this guy and the one in Aurora Image via AP
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. Follow Movieline on Twitter.
If you haven’t noticed, there’s a fierce battle being fought out there for the right to heft a gold statuette at the Dolby Theater on Feb. 24 and forget to thank some vital member of your family. And though more than a half dozen pictures and performances that the blogosphere is touting as Oscar-worthy have yet to be seen by the public (and, in some cases, the very bloggers who are touting them), the virtual home office at Movieline has decided it’s time to throw open the doors to the Institute For the Advanced Study of Kudos Forensics and start up the Oscar Index . How The Oscar Index Works This year, Movieline’ s Oscar Index will be presented differently than it has been in the past. We’ll soon add the now-iconic graph that tracks the weekly rise and fall of the candidates based on fluctuations in the Institute’s extremely sensitive media seismometers. What will be different is that, with each award category that we track, we’ll present four different rankings. Movieline Executive Editor Jen Yamato , Managing Editor Brian Brooks and myself will each provide our personal weekly rankings of the movies and actors in the running, and then those results will be weighted and averaged to determine an official Movieline ranking for each category. This week, we begin with the Best Picture category. Next week, we’ll weigh in on the Best Director, Best Actor, Actress and Best Supporting Actor and Actress races. Oscar for Best Picture 2013 Right now, Lincoln is the picture to beat with its heart-and-soul performance by Daniel Day-Lewis — his world-weary slump-shouldered walk alone is worth the price of admission — a beautiful script by Tony Kushner and some pitch-perfect scenery chewing by Tommy Lee Jones and James Spader. The picture finishes at the top of two of our three lists, and Awards Daily calls it “Arguably, the best film of the year so far,” adding: “Films this thoughtfully created don’t come around very often.” The consensus at a number of blogsites, such as Indiewire , is that Ang Lee’s Life of Pi, Ben Affleck’s Argo and David O. Russell’s Silver Linings Playbook are also going to be nominated for Best Picture. Paul Thomas Anderson’s The Master has also been mentioned, but the film opened so early in the race and, with the exception of Joaquin Phoenix’s comments about how he really feels about Oscars, the movie could use a second wind unless The Weinstein Company is shifting its weight to a Silver Linings push. But coming up fast is Tom Hooper’s Les Misérables , which our own Ms. Yamato notes, is “scaring” a lot of the other contenders. Meanwhile, Michael Haneke’s Amour and Benh Zeitlin’s Beasts of the Southern Wild are long shots, but still in the race. Indeed, the latter film finished in the number 10 spot on each Movieline editor’s list. An even darker horse is Skyfall , but I (alone) agree with Deadline that the movie’s critical and box-office success and its popularity among Academy members bode well for a best-picture nomination. Here’s the rundown of each Movieline editor’s Best Picture picks in descending order: Frank DiGiacomo’s Picks 1. Lincoln 2. Silver Linings Playbook 3. Argo 4. Les Misérables 5. Life of Pi 6. Skyfall 7. Zero Dark Thirty 8 . Flight 9. The Master 10. Beasts of the Southern Wild — Jen Yamato’s Picks 1. Les Misérables 2. Lincoln 3. Silver Linings Playbook 4. Argo 5. Life of Pi 6. Zero Dark Thirty 7. Anna Karenina 8. The Master 9. The Hobbit 10. Beasts of the Southern Wild — Brian Brooks’ Picks 1. Lincoln 2. Silver Linings Playbook 3. Les Misérables 4. Argo 5. Life of Pi 6. Amour 7. Django Unchained 8. Anna Karenina 9. The Dark Knight Rises 10. Beasts of the Southern Wild And the winners are…
