Director Christopher Nolan and stars Christian Bale, Joseph Gordon-Levitt and Gary Oldman will present the footage on Sunday, June 3. By Kara Warner Christian Bale in “The Dark Knight Rises” Photo: Warner Bros. Not to toot our own horn, but since their inception in 1991 the MTV Movie Awards have proven to be one of the hippest parties in town. Not only is the annual event a major draw for the who’s who in Hollywood, via the A-list nominees , presenters and performers, but there are always a few unexpected surprises and special sneak peeks from Hollywood’s most anticipated upcoming releases. We are proud to announce that this year’s live broadcast will feature the debut of exclusive new footage from one of the summer’s most highly anticipated movies, “The Dark Knight Rises.” And if that’s not exciting enough, the film’s writer/director Christopher Nolan and stars Christian Bale, Joseph Gordon-Levitt and Gary Oldman will be on hand to introduce the never-before-seen footage. If you’ve been following the news surrounding Nolan’s third and very likely final Batman film, you know that plot details have been kept under lock and key, so any chance to see anything new from the film ahead of its July 20 release is definitely cause for celebration. MTV also announced Thursday (May 24) that “Magic Mike” stars Channing Tatum and Matthew McConaughey have been added to the impressive lineup of presenters, which also includes: Adam Sandler, Emma Watson, Andy Samberg, Leighton Meester, Emma Watson, Logan Lerman, Ezra Miller, Emma Stone, Andrew Garfield, Kristen Stewart, Chris Hemsworth, Charlize Theron, Michael Fassbender, Mila Kunis and Mark Wahlberg. In addition, chart-topping indie-pop group fun. and rapper Wiz Khalifa are set to perform. MTV fans hold the “Power of the Popcorn” in their hands, with voting available online via MovieAwards.MTV.com through Saturday, June 2. As always, voting for Movie of the Year will remain open throughout the live show Sunday, June 3. Head over to MovieAwards.MTV.com to vote for your favorite flicks now! The 21st annual MTV Movie Awards air live Sunday, June 3, at 9 p.m. ET. Related Videos Get Psyched For ‘Dark Knight Rises’ Related Photos ‘Dark Knight Rises’ Final Trailer’s Key Scenes
Whenever I throw away one of those large round plastic lids from an orange-juice jug, in my head I hear my mother saying, as she would have said to my 8-year-old self, “That would make a great table-top for a doll’s house.” As an adult I don’t have a dollhouse, but I still have a hard time throwing away those orange-juice lids; the mentality dies hard. So why — with one luminous exception — can’t I love the movies of Wes Anderson, the most dollhousey of all filmmakers? Why, specifically, can’t I love Moonrise Kingdom , a sweet-natured picture set in 1965 on a mythical New Englandy island, in which two oddball kids run away together and pledge undying love? Moonrise Kingdom, like all of Anderson’s films, has been made with a master miniature-cabinetmaker’s care and specificity: It opens with what we might now call an Anderson special, a dollhouse-cutaway tracking shot that distills, in the space of a few minutes, the texture of one family’s life in their grand, ramshackle home. We see a bunch of little boys clustered around a mini record player (they’re spinning Benjamin Britten’s A Young Person’s Guide to the Orchestra , conducted by Leonard Bernstein), a distracted dad stomping around in madras pants (this would be that glorious deadpan peacock Bill Murray), a young girl who arrives from elsewhere in the house to sit near, yet apart from, her brothers, settling into a window seat with a book. There’s tension in that opening, as well as a sense of comfort: It turns out that the girl, Suzy (Kara Hayward) — a groovy nerdling in the making who loves François Hardy and has a collection of beloved library books she has failed to return — has been corresponding with a boy, whose faux-Boy Scout troop is stationed elsewhere on the island during this late-summer idyll. The boy, Sam (Jared Gilman), is an orphan who’s been bouncing from foster home to foster home, and he doesn’t fit in very well with his scout troop, either: Along with his badges he wears an ornate costume-jewelry brooch — it’s short a few scratchy pearls. For indiscernible yet understandable reasons, at least in the cruel logic of kids, the other boys don’t like him. He leaves a resignation letter for his ultra-conscientious Scout master (played earnestly and quite wonderfully by Edward Norton) and treks off to meet Suzy for the sojourn they’ve planned, an escape from all the grown-ups and kids who just can’t comprehend their weirdo world of wonder. That means, in this old Yankee version of The Blue Lagoon , that Sam and Suzy camp out on a deserted beach (where he makes earrings for her out of fish hooks and dead beetles; it’s a minor complication that her ears haven’t been pierced — yet). Eventually, there’s even a marriage of sorts, performed in the eyes of God and of Anderson regular Jason Schwartzman (as a disreputable but hardly heartless Scout master). It should all be so lovely, and yet… Anderson — who co-wrote the script with Roman Coppola — can’t forget for a minute how lovely it all is, and he reminds us with every detail: The aluminum ashtray into which Norton’s cigarette-smoking Scout Master Ward tips his ash; a record player that’s operated, impractically but wonderfully, by battery; Suzy’s shift dress, knee-sock and saddle-shoe getups, as if she were a ghost doomed to wear the perennial back-to-school outfit. These relics from a vanished childhood that we either lived or wish we’d lived are all designed to impart a shared intimacy, a response of “Oh! I remember that too!”, whether we actually remember it or not. And perhaps that’s why the picture’s exceedingly manicured quality works against it. All of Anderson’s pictures are stylized, and stylization is one of the great tools of moviemaking — its very broadness can capture nuances that naturalism fails to detect. But what’s the tipping point between “mannered” and “stylized”? Is a mannered movie simply a stylized one you don’t really like? Maybe. It could also be that most of the true emotion in Moonrise Kingdom exists in the world outside of the kids, a world Anderson dips into only occasionally: He shows us how the marriage between Suzy’s parents, played by Murray and Frances McDormand, is efficient yet frayed at the seams. (Oddly, and marvelously, the essence of this marital frustration is telegraphed best by a bit of shorthand dialogue from Murray, delivered as he grasps an axe in one hand and a bottle of whiskey in another.) The children, on the other hand, are relatively unformed and uncharismatic — they’re a little weird, a little cute, but they’re just not finished yet. They’re dream kids, too wispy to hold down a whole movie, and it’s not their fault. There are some wonderful things in Moonrise Kingdom : Bruce Willis plays yet another law-enforcement person with deep regrets, the kind of role he can do in his sleep and probably has, yet he infuses the performance with a cartoon melancholy that works — he’s the guy who’s never recovered from having an anvil dropped on his head. Alexandre Desplat provides a score that’s delicate where it needs to be and jaunty everywhere else. There’s a kiss that is, literally, electric. And the whole thing, shot by Anderson regular Robert Yeoman, looks characteristically gorgeous — its color palette is semi-psychedelic and dreamily pearlescent at the same time. So why can’t I love Moonrise Kingdom ? For all the movie’s technical meticulousness, the storytelling still has a wiggly-waggly quality, like a dangly loose tooth. In fact, while I appreciate the brashness of Rushmore , there is only one Wes Anderson movie I truly love, and I know I’m not alone: My informal investigations over the past few years have identified Fantastic Mr. Fox as the Wes Anderson Movie for People Who Hate Wes Anderson Movies. In addition to being a marvel of stop-motion animation, Fantastic Mr. Fox is joyous in trillions of unspoken ways — in the way the texture of the characters’ rangy fur changes in accordance with whatever they’re feeling at the time, in the way it finds such rapscallion pleasure in antiestablishment actions such as digging a tunnel into a rich fatcat’s storehouse. (I’m only just now realizing that Fantastic Mr. Fox was an unwitting precursor to Occupy Wall Street.) Maybe Anderson’s live-action movies don’t work as well because he’s asking real actors to do the work of puppets — human beings can’t help buckling beneath the thunderous burden of his precocious, overrefined ideas. And that’s Moonrise Kingdom in a tiny, mousebed nutshell: It’s oddly ambitious and weightless, a movie made with great care and, probably, love, that still sounds hollow when you thump it. Fantastic Mr. Fox explains why I want to save the orange-juice lids. Moonrise Kingdom explains why I steel myself and throw them away. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
Director Barry Sonnenfeld exudes a nervy confidence that extends from his blithe dismissal of reported troubles in the making of Men in Black 3 (“The story is if the movie works when it’s finished…”) to the navy blue stingray leather cowboy boots he rocked as he sat with Movieline for a chat (“They’re fish. Feel ‘em!”). And with the sci-fi comedy threequel earning pleasing grades from critics, marking box office titan Will Smith ’s return to the screen, Sonnenfeld is already basking in another coup — his first, effective, foray into 3-D filmmaking : “I think this is — I’ll just say it — the best use of 3-D.” In a landscape dominated by James Cameron ’s groundbreaking advances in 3-D, and with filmmakers like Peter Jackson and Douglas Trumbull pushing technology further, Sonnenfeld’s triumph comes from the impressive new way in which he uses the added dimensionality. Most surprising: He did so, by choice, via post-conversion. “Up until I think this movie, everyone thinks conversion is a second hand citizen,” he said recently in Los Angeles. “We shot a lot of tests with a lot of 3-D rigs, and I actually decided on conversion. Because I use wide lenses, I feel that the audience physically thinks they’re in the room with the actors. If you look at Michael Mann movies or Michael Bay or Tony or Ridley Scott, they use long lenses and they’re really good filmmakers, but I always feel very slightly emotionally removed and distant, like I’m watching something.” The major difference in Sonnenfeld’s approach is in where depth appears to the viewer — the former cinematographer filmed in ways that brought his actors forward out of the screen, rather than taking the audience beyond it. “Unlike every movie you’ve seen in 3-D, we’ve put the convergence at the screen and put most of the depth in front of the screen,” he explained. “A lot of the new 3-D stuff, the aesthetic was kind of created by James Cameron, and if you think about everything James is — how he likes to go underwater and look through small holes, deeply underwater — the 3-D depth in those movies feel that way. The depth is in the back of the screen. So to me, I think this is — I’ll just say it — the best use of 3-D, because the actors are actually with the audience.” Sonnenfeld sat for a chat with Movieline about coming back to his Men in Black franchise ten years after Men in Black II , why those reports of catastrophic delays in the film’s production are moot, his most inspired casting choices, memories of shooting the Coen brothers’ Raising Arizona 25 years ago, and more. When did plans to make a third installment, after so long of a gap, really start coming together — and why did you feel Men in Black 3 should be made? Well, I was not involved in that decision; I came in after a script had been written, so I’ll guess that Sony felt that even though it had been a long time between the movies that it’s shown so often on DVDs and cable television and network television that, even though it had been ten years, even young kids were aware of the franchise. That they weren’t saying ‘It’s been way too long and no one will remember this stuff’ because it’s on so often. The challenge for them was how to make it both similar to the first two so that we love Will and Tommy and all that, for instance, but fresh enough so that it didn’t feel stale or old. And that’s where Will’s idea came in. You know, the idea for Men in Black 3 is based on something Will said to me one night, one late, cold night on some ranch in the valley when we were shooting Men in Black II . Will said, ‘You know, I have an idea for Men in Black 3 — something happens in the beginning of the movie and Tommy’s character is gone, and I realize that an alien has traveled back in time and done something to Tommy and I have to go back to some other era where I have to save him.’ I mean, it was that simple and basic of an idea. Did you love the idea back then? Well, what I said to Will was, ‘Can we just finish this movie?’ I thought it was a good idea, but time travel is both interesting and incredibly challenging. How would you describe the creative dynamic between you and Will and your other collaborators, hashing out where the Men in Black 3 story would go given the unusual, highly publicized development process you went through? There was a script that Will and I read, and we started early pre-production, which means working on the script and hiring crew and all that. Will has really good ideas, but so does a writer, so do I, so does a producer… and we were a team, trying to make the best version of the script possible. But it was never a Will ego or ‘Will says we have to do this’ situation. Will is a really good collaborator with me, we get along incredibly well and totally see the same movie, so that was really easy to do. And I think without knowing how every movie gets made, every movie goes through stages where you’re re-writing the script, you’re throwing out scenes, you’re putting scenes back in that you had taken out… the first Men in Black , we totally changed the plot after we shot it, in post-production. On Addams Family , a week and a half before we were shooting, the entire cast rebelled and demanded that Fester be the real Fester and not an imposter. And you’ve said that, in retrospect, you think that was the right decision. In retrospect, that was the right decision. Scott Rudin and I were wrong, and luckily Christina Ricci, who was 10 at the time, was incredibly articulate and convinced us. So I think there’s not a story there. I think the story is if the movie works when it’s finished. Well, particularly in the wake of John Carter , reports of troubled productions make you wonder. Right, but I’ve never heard more horrible stories coming out of production than what a disaster Titanic was going to be. So my feeling is it doesn’t matter how it gets there, it matters if the movie works or not works when people see it — not if it took longer, if it was written on a Mac on a PC… That’s why I find those stories intriguing, because I’ve been to events that I’ve read about in the New York Times that I go, ‘That’s not what happened.’ You mentioned there was some studio concern about Josh Brolin playing the Tommy Lee Jones character, how that would come off, until they saw the first dailies… It was not about Josh Brolin, it was about the writing of the character. That some people felt that the young Agent K should be much happier and much different than older K. My feeling was that if you do that, and it’s totally different, then you start to go, ‘Well, what happened to Tommy Lee Jones?’ Yet by Brolin being very similar to Tommy but being more optimistic, you think you’re still watching Tommy Lee Jones. So for me, I felt — and Josh felt — that we should not have a huge difference in personalities. Some other people felt there should be bigger differences between old and new K, but once they saw it, it went away. Brolin’s a great fit in the role, but he’s just the latest in a line of some great casting moves you’ve made during your filmmaking career. That said, you’ve credited your wife with the idea of casting Will in Men in Black in the first place. Yeah, Sweetie’s pretty smart! Will Smith was Sweetie’s idea for the first movie, Tommy Lee Jones was mine… Josh Brolin was my idea. We’ve had some other great castings. But here’s the funny thing; [John] Travolta is fantastic in Get Shorty but the person I wanted to play that role was actually Danny DeVito. Weirdly. And Danny ended up producing the movie, but I saw Danny in that role. He wasn’t available and had to take a smaller role. But you know, casting is so important, and the chemistry between Will and Tommy both on the set and off the set is pretty tremendous. They’re very relaxed and funny together. In Men in Black 3 you cast two actors who’ve recently worked with the Coen brothers — Josh Brolin and Michael Stuhlbarg. Was there any deliberate connection in that, or was it purely coincidental? Oh, Stuhlbarg! No, I met Josh through Joel and Ethan because we were at some award shows together and stuff, so that’s how I physically met Josh, which was great. Stuhlbarg is totally accidental, but I will say that I thought Michael was extraordinary in A Serious Man for Joel and Ethan, and he’s pretty great in our movie, too. He’s a lovely actor. He’s my new favorite alien. Speaking of your work with the Coens, we’re coming on 25 years for Raising Arizona . I think Raising Arizona would be a really good movie to convert to 3-D. [Laughs] You know, it was a lot of fun working with Joel and Ethan on that movie – I shot their first three movies, Blood Simple , Raising Arizona , Miller’s Crossing — and you look at Nic Cage, Fran McDormand, who was in Blood Simple … you look at Joel and Ethan’s career, and it’s pretty extraordinary. But I’ll always resent how the grips and the electricians were paid more than I was on that movie. How was that possible? Ask Ethan! Now, the 3-D is a huge component in Men in Black 3 , and it looked amazing. I have to admit I was surprised at how well it was used — and in a way that 3-D is not frequently utilized. Thanks. I think that this looks a lot different than most 3-D movies, because most 3-D movies put all the 3-D behind the screen. And I thought, ‘What a waste’ — because that distances you. And also the way I see movies, just like with Raising Arizona , is that I use very wide lenses which invites the audience in. But I’m really proud of the 3-Dness of it. I think it helps the movie. Men in Black III is in theaters Friday. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
‘The Social Network’ screenwriter will adapt the Apple co-founder’s biography for the big screen. By Fallon Prinzivalli Aaron Sorkin Photo: Alexandra Wyman/WireImage From “The Social Network” to “Moneyball,” screenwriter Aaron Sorkin ‘s work has been widely praised — the former landing him an Oscar for Best Adapted Screenplay. Now he’s turning his sights to the highly anticipated “Steve Jobs.” Sony Pictures Co-Chairman Amy Pascal and president of Columbia Pictures Doug Belgrad announced Tuesday that Sorkin will pen the script based on the best-selling biography by award-winning journalist Walter Isaacson. “Steve Jobs,” published October 2011, was Amazon’s best-selling book last year with sales exceeding 2,200,000. Sony bought the movie rights before the tome even released. Pascal commented on the announcement, saying, “Steve Jobs’ story is unique: He was one of the most revolutionary and influential men not just of our time but of all time. There is no writer working in Hollywood today who is more capable of capturing such an extraordinary life for the screen than Aaron Sorkin; in his hands, we’re confident that the film will be everything that Jobs himself was: captivating, entertaining, and polarizing.” Mark Gordon, Scott Rudin and Guymon Casady will produce the project. This film is not to be confused with the other Jobs biopic, tentatively titled “Jobs: Get Inspired,” starring Ashton Kutcher . Sorkin is currently in production for HBO’s “The Newsroom,” which is set to premiere on June 24. He’ll also try his hand as a librettist for the first time on Broadway’s 2013-14 production of “Houdini,” starring Hugh Jackman . For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
Fans get a sneak peek at ‘Anchorman: The Legend Continues’ (or, at least, the guys’ feet) in first official poster. By Fallon Prinzivalli “Anchorman: The Legend Continues” poster Photo: Paramount The road to the highly anticipated “Anchorman 2” has been a long one . Since “Anchorman: The Legend of Ron Burgundy” arrived in 2004, there were reports from cast and crew confirming a sequel and announcing a script was in the process of being written. But the words were then taken back, leaving fans dizzy and disappointed believing they wouldn’t see the anchormen reunite. Finally, when all hope was lost, Ferrell made a surprise appearance on “Conan” as the legendary Ron Burgundy to announce that the sequel was greenlit. With the “Anchorman 2” teaser trailer playing before Sacha Baron Cohen’s “Dictator,” the Lebanese Cinema Movie Guide released the first official poster. It shows the Channel 4 news team’s feet standing on set in the studio, the bottom of their suits — including Ron’s signature burgundy number, presumably not bought at the toilet store — keeping it classy as always. The official title of the film appears at the bottom in big, bold print (“Anchorman: The Legend Continues”) with a release date of 2013. While the film is still in the very early stages of development, the first movie’s director and co-writer Adam McKay will reunite with Ferrell to pen the script and the principal cast is set to return, including Steve Carell and Paul Rudd. When MTV News spoke with McKay back in 2010, he told us he expected much of the cast to come along for the sequel. “We had an idea, and we contacted Steve and Paul and [David] Koechner and Christina [Applegate] and checked in with everyone, and they were all game for it,” McKay said. “It’s a tricky movie, because everyone went and did really well after it, so everyone’s prices went up and everyone’s time got a little more valuable. But at the same time, graciously, Steve and Paul and everyone agreed to cut their price to come and do it, which you don’t see very often in Hollywood — and cut their price substantially.” Thanks to the cast’s commitment, Ron and the rest of the anchormen are set to hit theaters in 2013. Until then, stay classy, moviegoers. Check out everything we’ve got on “Anchorman: The Legend Continues.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
Actor plays title role in Sam Raimi’s ‘Wizard of Oz’ prequel, which also stars Mila Kunis, Zach Braff. By Fallon Prinzivalli, with reporting by Josh Horowitz James Franco Photo: Neilson Barnard/ Getty Images At this point, we’re pretty sure there’s nothing that James Franco can’t do. He’s an Academy Award-nominated actor. He’s the author of a collection of short stories called “Palo Alto.” He directs, produces and writes his own films. He’s cast in project after project, including Harmony Korine’s “Spring Breakers” and the new Nick at Nite series “Hollywood Heights.” He’s even directing a documentary based on the world of pornography, all the while attending school in some fashion, as either a student or a teacher. We can hardly keep up! One of the most anticipated projects on his plate is the Disney film “Oz: The Great and Powerful,” in which Franco plays the title role alongside Mila Kunis, Rachel Weisz, Michelle Williams and Zach Braff. When MTV News caught up with the ever-talented actor, he told us that he enjoys being attached to a multitude of ventures, especially something as legendary as “Oz.” “I do like to do a lot of different things, and I think there is something really nice about being part of a bunch of institutions by being in this film,” he explained. “Disney is a place that’s been a big part of my life, and a lot of people’s lives, since I was a kid. ‘The Wizard of Oz’ has also been a huge part of my life. The [L. Frank] Baum books were some of the first books I read on my own, so I like being attached to something as iconic as this.” The film, directed by Sam Raimi , is a prequel to “The Wonderful Wizard of Oz” that explains how the wizard came to power in the land. And while the cast is tight-lipped about their roles in the movie, Mila Kunis offered up a tiny explanation about her character, Theodora, to MTV News’ Josh Horowitz. “She’s a good person who gets her heart broken,” the actress explained. “What happens to young ladies when their heart gets broken?” “They turn into horrible, evil witches,” Horowitz answered. With a smile, Kunis replied, “You said it, not me.” Check out everything we’ve got on “Oz: The Great and Powerful.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
Kristen Stewart is a pretty cute vampire babe that you might have seen before in the movie Twilight and here she is showing off her tits wearing a see-through outfit Continue reading →
The Biggest Loser host Jillian Michaels is doling out unconditional, rather than tough love to a two-year-old daughter, Lukensia – whom she recently brought home from Haiti after a long and arduous adoption process. She also welcomed a son , Phoenix, that partner Heidi Rhoades gave birth to May 3! “We’re swimming in babies over here,” Michaels, 38, told People of her new life. The two-year journey that led her to her daughter ended with an incredible twist of fate as Rhoades, 31, delivered their son the same week Lukensia arrived. The instant family makes for long days and nights for Michaels. But the fitness fanatic insists that despite the hardship, she wouldn’t have it any other way. “I don’t even answer email anymore. I don’t have time to care about anything else,” she notes. “I want to be really present and enjoy all the nuances of their growth and development. I don’t want to rush any of it.” Congratulations to the whole, growing family! [Photo: WENN.com]
In a word: phew . A day after Ray J – the man best known for directing the Kim Kardashian sex tape and years later dating Whitney Houston – was hospitalized for what sources initially described as exhaustion, his rep says the singer is free and healthy. Says a Ray J rep to Us Weekly : “Ray J has been released from the hospital in Las Vegas and is back home in Los Angeles following an extensive battery of tests to make sure that he did not have a blood clot in his lungs, which is potentially a deadly condition that can occur following a long haul plane flight.” That much is true. Heavy D passed away last year from a blood clut and Ray J did touch down in Las Vegas this weekend after a 32-hour round trip to China. He arrived in time for the 2012 Billboard Music Awards, and actually got in a verbal altercation with members of Houston’s family – most notably her mother, witnesses say – who wanted the invited guest kicked out of the festivities. [Photo: WENN.com]
Pregnant Snooki is expecting a little bundle of joy. A baby boy bundle. Nicole “Snooki” Polizzi exclusively tells celebrity gossip magazine In Touch that she and fianc
