In HBO’s new film Game Change , Sarah Palin is portrayed by Julianne Moore as unstable, unprepared and ill-informed on world affairs and basic world history. The former GOP V.P. candidate is none too pleased about all this, even though the film is based on John Heilemann and Mark Halperin’s page-turning bestseller. A non-fiction bestseller. Of course, Palin will never actually see it, but dag gone it, “Hollywood lies are Hollywood lies,” she says of Game Change and its window into the 2008 election. Palin accuses Jay Roach, the director, and his collaborator, Danny Strong, of trying “[To] drum up their money and their machine and their machine happens to be very pro-leftist, pro-Barack Obama … there at HBO.” The one-time Alaska Governor lambasted its “false narrative” also noted that any of the campaign staffers who contributed to revealing behind-the-scenes information for Game Change should feel “shame and… embarrassment.” Palin’s PAC slammed the film , debuting tomorrow night, as “historical fiction.” The PAC claims that despite the alleged 25 sources consulted, “none are on record nor is their level of involvement in the campaign disclosed. Not one source is on the record in either the book or in the movie and it is clear why.” Never mind that much of the film involves Moore reenacting scenes that took place in real life, on TV … or that the film might not even be that negative. The L.A. Times describes Game Change as a “surprisingly kind film about Sarah Palin,” and NPR argues that the movie actually goes too easy on her. Or as they put it (to Fox News), Game Change is “fair – and balanced.” Check out the trailer for the much-talked-about film right here: Game Change Movie Trailer
Critics are not finding much to praise in film based on Edgar Rice Burroughs hero. By Kevin P. Sullivan Taylor Kitsch in “John Carter” Photo: Disney Disney’s $250 million effort to bring the iconic Edgar Rice Burroughs hero, to the screen is certainly not making critics leap for joy supernaturally high because of differences in gravity. In fact, many have outright damned the film, while others have found a deep and fun love of B-movie and pulp traditions We’ve rounded up a sampling of reviews of “John Carter,” so you’ll know whether to head out to the theater this weekend. The Story “Our hero is John Carter, the Confederate Civil War veteran who strikes gold in the Arizona territory but who is whisked to the planet Barsoom on the flimsiest of pretexts. Barsoom is Mars by another name, and the Virginia-born Carter lands in the middle of another civil war, this one between the Heliumites and the Zondangans. Dejah Thoris, the Heliumite princess known also as ‘the red girl,’ is about to be married off against her will. But love finds a way, and while Taylor Kitsch’s hunky John Carter and Lynn Collins’ dishy princess smolder as effectively as possible under the circumstances, Kitsch in particular seems lost in ways unrelated to his character’s predicament.” — Michael Phillips, Chicago Tribune Taylor Kitsch “If the movie had a leading actor with the galactic charisma necessary for the task, we might even be talking classic sci-fi. Since it’s impossible to put Harrison Ford into the Wayback Machine, though, we’re stuck with the unfortunately named Taylor Kitsch (TV’s ‘Friday Night Lights’) as John Carter, the burned-out Civil War veteran who finds himself mysteriously transported to the Red Planet while searching for gold in the caves of Arizona. Kitsch is decent company — manly, muscled, noble, sardonic — but there’s nothing unique about him, and we follow him by default.” — Ty Burr, Boston Globe The Backstory “It starts with a great story — of love and politics, time travel and mystical pathways between planets — badly sucked dry. Based on ‘A Princess of Mars,’ the post-Civil War/pre-Tarzan brainchild of arguably one of the most entertaining non-Disney imagineers of all times, Edgar Rice Burroughs, the book and the Barsoom (a.k.a. Mars) series that would follow has been picked over for plot points by Hollywood for years.” — Betsy Sharkey, Los Angeles Times The Pixar Connection “The Pixar touch is evident in the precision of the visual detail and in the wit and energy of Michael Giacchino’s score, but the quality control that has been exercised over this project also has a curiously undermining effect. The movie eagerly sells itself as semitrashy, almost-campy fun, but it is so lavish and fussy that you can’t help thinking that it wants to be taken seriously, and therefore you laugh at, rather than with, its mock sublimity.” — A.O. Scott, New York Times The Final Word “The film was directed by Andrew Stanton, whose credits include ‘A Bug’s Life’ (1998), ‘Finding Nemo’ (2003) and ‘WALL-E’ (2008). All three have tight, well-structured plots, and that’s what ‘John Carter’ could use more of. The action sequences are generally well-executed, but they’re too much of a muchness. Does ‘John Carter’ get the job done for the weekend action audience? Yes, I suppose it does.” — Roger Ebert, Chicago Sun-Times Check out everything we’ve got on “John Carter.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV First: John Carter
I like guns. I like shooting them. I don’t care that they kill people or that they are accessible cuz matches are accessible and burning down your neigbor’s house is just as deadly as going in and shooting up your neighbor’s house, as long as you lock the doors properly….. I never fell into that whole girls with guns fetish, it just doesn’t turn me on, even though shooting guns turns them on….cuz I guess it makes them feel lethal and dangerous and bitches love excitement… I have fell into that whole staring at crotches in short shorts, panties and bikinis like I was a fucking gynecologist though….so that’s why this picture of Vanessa Hudgens, our favorite little hair monkey holding a gun, speaks to me….shit she could be holding a bunch of bananas, a diet coke or anything, cuz as long as the crotch is focal point, nothing else matters….Tip Via Celebribabes I was looking for more pics of these bitches Vanessa Hudgens and Selena Gomez on twitter cuz this gun shit is from a shit movie they are making, you know in efforts to make this post even better and more robust….but unfortunately the only one posting any pics is some fatty named Ashley Benson…who is also in the movie and doing all she can to get noticed by associating with the more important sex offender and child pornographer… TO SEE PICTURES OF HER IN SHORT SHORTS ON SET WITH SOME CLEAVAGE FOLLOW THIS LINK
Anne is topless in bed horny and getting fucked hard in this sex scene. We like her because she is one actress that is not afraid to get down and dirty Continue reading →
Anne is topless in bed horny and getting fucked hard in this sex scene. We like her because she is one actress that is not afraid to get down and dirty Continue reading →
We have no idea who the two lucky guys are in this video clip from the movie The Whole Nine Yards but they are pretty lucky as they get to see the gorgeous actress completely nude Continue reading →
We have no idea who the two lucky guys are in this video clip from the movie The Whole Nine Yards but they are pretty lucky as they get to see the gorgeous actress completely nude Continue reading →
‘FINALLY, my MOVIE is coming out with Paramount this summer!’ singer tweets. By Kara Warner Katy Perry Photo: Robyn Beck/ AFP/ Getty Images Get ready for a Katy Perry concert movie because it is coming your way this summer — in 3-D, of course. The Grammy-winning pop star announced the news herself via Twitter on Wednesday that “Katy Perry: Part of Me” is headed to a theater near you. “FINALLY, my MOVIE is coming out with Paramount this summer!” Perry tweeted to her nearly 16 million followers. “It’s called “KATY PERRY: PART OF ME” Presented In 3D! KATYCATS-LETS TREND #KP3D” Back in early February, news broke that Paramount had approached Perry and her camp about doing a documentary-style 3-D film
Sometimes a movie demands attention more for its “How” than its “What,” and writer-director Joseph Cedar’s Footnote falls squarely in that category. A movie about feuding father-and-son Talmudic scholars isn’t a surefire way to pack ’em in at the box office. But Cedar approaches his subject with so much wit and verve that he almost – almost – makes you forget you’re watching a movie about a very small, cloistered subset of academic obsessives whose life’s work is about as visually undynamic as you can imagine. How do you get action and drama out of pages and pages filled with Hebrew lettering? Somehow Cedar – who was born in New York but who has lived in Jerusalem since the age of 5 – pulls it off. Footnote was the Israeli Academy Award nominee for 2011; it lost to Asghar Farhadi’s A Separation , which provided the bullying Iranian government with an unfortunate opportunity to declare artistic supremacy (in addition to every other kind) over Israel. But while Footnote is a very different movie – it doesn’t pack the emotional charge that A Separation does – its craftsmanship is exceptional. Cedar has made a picture about scholarly obsession that really moves, even when its characters – who spend a lot of time at their desks, surrounded by piles of papers and books adorned with wrinkled sticky-note flags – don’t. Eliezer Shkolnik (Shlomo Bar-Aba) has spent years, practically a lifetime, analyzing various versions of the Talmud, getting deep into minute differences in wording and phrasing. He makes a big research breakthrough, but just as he’s about to announce it, a rival professor (played by Micah Lewensohn) scoops him. Eliezer, an uncommunicative and taciturn sort, retreats deeper into his research, hoping that one day he’ll be appreciated and awarded the coveted Israel Prize. Meanwhile his son, Uriel (Lior Ashkenazi), also a Talmudic scholar, surpasses his father in both the respect and likability departments – he’s more of a born star, and he certainly likes the limelight. When it’s announced, finally, that Eliezer has been chosen for the Israel Prize, Uriel is relieved and happy for his father – until he learns exactly what Eliezer’s achievement will cost him, both professionally and personally. Between Uriel’s outright ambition and Eliezer’s naked need for recognition and respect, the relationship between father and son – which was never, it’s suggested, particularly warm to begin with – becomes increasingly tense. Cedar has cleverly organized his movie into chapter-like sections that somehow make analyzing reams of ancient text seem like an adventure, or at least something worth devoting your life to. He uses some lively effects, most of which are quite simple: He suggests the feverishness of scholarly devotion, for example, by showing sheafs of text whizzing across the frame, accompanied by the appropriate whooshing sound effects. The picture has a surprising agility, considering it really is about two guys with furrowed brows whose heads are generally buried in books. There is still the fact, though, that scholarship is just never going to be the jazziest subject on the planet, and even Cedar seems to know it. In places, Footnote strains to delineate the tension between father and son, re-embroidering their conflicts over and over again, long after we’ve gotten the point. Cedar – who previously made the 2007 Israeli war drama Beaufort – has taken great pains to add lots of emotional dappling and texture to this story, though in the end, what we take away from the relationship between these two characters is pretty simple: They’re victims of your garden variety criss-crossing jealousy and resentment. Still, the actors keep the drama believable and engaging: Bar-Aba, in particular, pulls off the tricky feat of making an impenetrable character sympathetic, albeit in a maddening, “Would it kill you to crack a smile?” way. And both Bar-Aba and Ashkenazi comfortably navigate the dry comic touches Cedar has added to the story: We don’t know whether to wince or laugh when, early in the film, Uriel publicly praises his father with a long-winded, backhanded story that essentially makes the guy sound like an uncommunicative jerk. Then again, that’s what he is. What Cedar captures here is the way a father and son can be bound so tightly they almost choke the air out of one another. You can’t exactly call it affection; it’s that far more complicated thing we call kinship. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
