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OSCAR INDEX: Will Groundswell Of Academy ‘Amour’ For Emmanuelle Riva Lead To Best Actress Upset?

With less than two weeks before the Academy Awards , the Oscar conversation is veering from “What now?” to “What if?” Amid all the talk of frontrunners and inevitabilities, some pundits are pondering the inscrutable. What if Oscar voters suddenly ignore all that  Argo  mojo (which got a further boost last weekend with Best Picture and Best Director wins at the BAFTAs)? What if the Best Supporting Actress race isn’t fait accompli , but instead, as Roger Ebert observed, asserts, as in years past, its independence as the category “where the voters like to throw a curve ball?” What if a BAFTA win earned Emmanuelle Riva a little Oscar   Amour ? Let’s check out the Gold Linings Playbook to see how the pundits are calling the races this week: Academy Award For Best Picture A producer, an actor and a director — that sounds like the beginning of a joke, but this anonymous trio shared their Oscar ballots with The Los Angeles Times ’ Glenn Whipp. The results are another indication that several of the major Oscar races are at this late date, too close to call. They also hint that Oscar voters might want to, in the words of the Director, “reward the wealth of great work.” For Best Picture, the producer chose Zero Dark Thirty , the Director Argo , and the Actor Silver Linings Playbook . The latter should please Hollywood Elsewhere’s Jeffrey Wells, who this week issued a provocative call to arms against Argo to Oscar voters: “At this stage of the game, a vote for Lincoln or Pi is effing wasted…. Why stick to your guns at this stage? To what end? So you can say to yourself “I refused to budge!…I stuck by my principles!”? That and $1.75 will get you a bus ticket (Editor’s note: I checked with Metro and $1.75 won’t get you on the Silver Line—insert your own Playbook pun here). If you want to make a difference you need to stand up, man up, give it up and cast your vote for the one movie that has a real chance of stealing the Best Picture Oscar away from Argo. …” Wells’ ideal choice would be Zero Dark Thirty , but he puts it in the same “can’t possibly win” boat as Lincoln or Pi, and so he suggested Silver Linings Playbook for the block. This did not sit well with a good portion of commenters to his post. which Wells acknowledged the next day (“My suggestion was mocked, spat upon. But at least it was honest and constructive….”). Which brings up the role of the Oscar pundit: Is it to objectively track the ebb and flow of the Oscar race, or to act as advocate? I asked Awards Daily’s Sasha Stone, one of the first of the Oscar bloggers 14 years ago. She graciously emailed back: “Job one for an Oscar blogger is to read the race as accurately as possible…Every time an Oscar blogger pretends to know what all of the Academy are thinking God kills a kitten. Usually that information is coming from a publicist — an old trick that rarely works anymore. But sometimes it comes from someone like Anne Thompson who really works the beat, goes to the parties and screenings and talks to members. I don’t think it’s a foolproof way of producing reliable results but I usually take Anne’s word over just about anyone else’s because I know she’s in the thick of it.To survive in today’s (competitive) climate, you have to be a little of both: someone who can read the race and someone who advocates when necessary.” Discuss. 1.  Argo 2.  Lincoln 3.  Silver Linings Playbook 4.  Life of Pi 5.  Zero Dark Thirty 6.  Beasts of the Southern Wild 7.  Les Miserables 8.  Amour 9.  Django Unchained   2013 Academy Awards: The Best Director Nominees With Ben Affleck , Kathryn Bigelow  and Tom Hooper  not even nominated, this category seems the most elusive. “It’s an exciting twist that leaves the Oscar race almost unprecedentedly free of bellwethers, as the five men in the running have won scarcely any major precursor awards between them,” writes In Contention’s Guy Lodge. In the aftermath of the BAFTAs, Vanity Fair ’s Julie Miller offered some tips for adjusting your Oscar pool ballot.  She, too, seems stymied by this category. “The safe bet is on [Steven] Spielberg ,” she suggested, “for rallying  Daniel Day-Lewis and screenwriter Tony Kushner and commandeering a decades-long production to make Lincoln .” Once again, the anonymous Academy voters who shared their ballots with Whipp were all over the map when it came to the Best Director race. The Director chose Benh Zeitlin for Beasts of the Southern Wild (“just floored me in the originality of his vision”), the Actor David O. Russell for Silver Linings Playbook , and the Producer Spielberg, but only because he couldn’t vote for the snubbed Kathryn Bigelow (It has come to this for Lincoln : On Abe’s birthday this week, the Associated Pr ess interviewed several filmgoers who reported falling asleep during the film). 1.Steven Spielberg ( Lincoln ) 2 David O. Russell ( Silver Linings Playbook ) 3. Ang Lee ( Life of Pi ) 4. Michael Haneke ( Amour ) 5. Benh Zeitlin ( Beasts of the Southern Wild ) 2013 Oscar Nominations For Best Actor Another award and another awesome acceptance speech. Daniel Day-Lewis was in self-deprecating mode at the BAFTA awards poking fun at his painstaking and meticulous method and character preparation. In accepting his Best Actor award, he remarked that he had “stayed in character as myself for the last 55 years” in anticipation of winning a BAFTA.” Cannot wait to hear what he will say at the Oscars. 1. Daniel Day-Lewis ( Lincoln ) 2. Hugh Jackman ( Les Miserables ) 3. Bradley Cooper ( Silver Linings Playbook ) 4. Denzel Washington ( Flight ) 5. Joaquin Phoenix ( The Master ) 2013 Academy Award Nominations For Best Actress Is a BAFTA upset win for 85-year-old Emmanuelle Riva really a game changer? Deadline Hollywood’s Pete Hammond and The Wrap’s Steve Pond think so. And there is some precedent. BAFTA-winner Marion Cotillard  went on to win the Oscar without the benefit of a Golden Globe or SAG Award.  The last two Best Actress Oscar-winners, Meryl Streep  and Natalie Portman , were also BAFTA recipients. Oscar voters might also be swayed, not just by her devastating performance, but also by the fact that the actress whose screen breakthrough was in 1961’s Last Year at Marienbad would become the oldest Academy Award winner (she turns 86 Oscar night). When she attends the ceremony, it will be her first time in Los Angeles. Will Oscar voters be able to resist that backstory? Meanwhile,  Jennifer Lawrence  and Jessica Chastain  did themselves no favors by agreeing to appear on Zach Galifianakis ’ Funny or Die diss-com series, Between Two Ferns .  The “Oscar Buzz Edition” premiered online this week, and it was a hit and mostly miss bag. Anne Hathaway , playing drunk, Christoph Waltz , Sally Field and Amy Adams acquitted themselves nicely, though. Adams, especially, should be given at least an honorary Oscar for the gravitas she brought to the line, “Don’t you ever fart on my tits again.” Me; I prefer Jiminy Glick. 1. Jennifer Lawrence ( Silver Linings Playbook ) 2. Emmanuelle Riva ( Amour ) 3. Jessica Chastain ( Zero Dark Thirty ) 4. Naomi Watts ( The Impossible ) 5. Quvenzhane Wallis ( Beasts of the Southern Wild ) 2013 Oscars: Best Supporting Actor Nominees Here, too, something may be in the air: a groundswell for Christoph Waltz, who earned a BAFTA award last weekend and also won a Golden Globe. He hosts Saturday Night Live this weekend and the mostly male, presumably Quentin Tarantino -loving writing staff will most likely be more inspired than they were for Jennifer Lawrence. While SAG-winner Tommy Lee Jones remains the frontrunner without doing any campaigning (he’s Ebert’s pick in his Outguess Ebert contest), Vanity Fair ’s Julie Miller reminds that ”the only time that Jones has triumphed in the category at a major awards show this season was at the SAG Awards, where Waltz was not nominated.” Meanwhile, the Weinstein Company is going full Scorsese for Robert De Niro (whom the Producer and the Actor picked on their Oscar ballots). In addition to the ad reminding voters that DeNiro hasn’t won an Oscar since Raging Bull , Glenn Whipp reports receiving a targeted ad which replays DeNiro’s recent emotional appearance on Katie Couric’s talk show. Over the top? That’s what they said about Melissa Leo’s self-produced glamor ads on behalf of The Fighter. And she still won. 1. Tommy Lee Jones ( Lincoln ) 2. Christoph Waltz ( Django Unchained ) 3. Robert De Niro ( Silver Linings Playbook ) 4. Alan Arkin ( Argo ) 5. Philip Seymour Hoffman ( The Master ) 2013 Academy Award Nominees For Best Supporting Actress The aforementioned director and producer both picked Anne Hathaway (the Actor went with “underappreciated” Jacki Weaver ). She is the near-unanimous choice among 24 out of 25 of the Gold Derby pundits and the unanimous pick of the Gurus o’ Gold, who include Thompson, Hammond and Pond. New York magazine’s trendspotting Vulture column asked it best this week: “If Not Anne Hathaway, Then Who?” The question is moot (but this being an historically “gotcha” category, one hastens to add the qualifier, “or is it?)” 1. Anne Hathaway ( Les Miserables ) 2. Sally Field ( Lincoln ) 3. Helen Hunt ( The Sessions ) 4. Amy Adams ( The Master ) 5. Jacki Weaver ( Silver Linings Playbook ) Last Week on Oscar Index:   Killing ‘Lincoln’ Is All The Rage As Academy Voting Begins Follow Movieline on Twitter .

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OSCAR INDEX: Will Groundswell Of Academy ‘Amour’ For Emmanuelle Riva Lead To Best Actress Upset?

EXCLUSIVE: Doc About Iconic ‘Continental’ Gay Bathhouse Gets Cheeky Poster

The poster for Small Town Gay Bar filmmaker Malcolm Ingram’s newest documentary, Continental , has been unveiled in time for its SXSW debut, and, well, it’s just the ticket for a look back at one of gay culture’s most iconic playgrounds of the late 1960s and 70s. Here’s the official synopsis: “Malcolm Ingram’s lively new documentary CONTINENTAL takes viewers back in time to the sexually charged New York of 1968, when the notorious Continental Baths opened its doors. This groundbreaking den of debauchery (advertised as a place “for sophisticated men only”) came to transcend sexual identity and became a cultural beacon to the hip, beautiful and infamous. Not only host to newly-empowered gay men of all shapes and sizes, eager to take full advantage of their sexual freedoms at a lavish venue, the Continental brought both high and low culture to the bathhouse’s stage week after week, becoming instrumental in the careers of ‘60s and ‘70s icons like Bette Midler , Barry Manilow , Patti LaBelle, Peter Allen and countless others. Those countless others included the late comic Andy Kaufman , confetti-tossing Jackass fixture Rip Taylor and cross-dressing proto-punkers The New York Dolls, and so many other performers who became regulars on TV variety and game shows during their heyday in the 70s. Ingram takes the journey with the club’s owner Steve Ostrow, members of his former staff and those who were present and actually remembered what happened. Sounds like a must-see — like the poster below. Follow Frank DiGiacomo on  Twitter. Follow Movieline on  Twitter.

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EXCLUSIVE: Doc About Iconic ‘Continental’ Gay Bathhouse Gets Cheeky Poster

Interview: Hey Girl! Meet Ryan Gosling’s Porn Doppelganger

Hey girl, did you know Los Angeles is big enough for two Ryan Goslings ? Meet Richie Calhoun, the adult actor who’s the porn industry’s go-to Gosling equivalent since he starred in the XXX parody of The Notebook , Diary of Love.   Calhoun — at present, a smart blonde with big blue eyes, a degree from a top-15 U.S. News & World   Report  college and an address in L.A.’s very hip Echo Park neighborhood — is such a perfect match for Gosling’s lover/fighter/poet shtick that he was asked to play him again for the adult remake of Crazy Stupid Love   (aka Crazy in Love ).  “I understand, yes, that from a certain perspective it’s a huge compliment,” says Calhoun of being cast as the porn doppelganger for womankind’s dreamiest hunk of man meat. So the former improv comedian took the job seriously, studying The Notebook to mimic the way Gosling kisses, cries, and—yes—even dangles from a Ferris wheel. “I watched for the way he pauses during a speech, where he would look when he was talking. Just the simple little things that I needed to do to have some kind of vague resemblance to his character.” Then he boned his very own Rachel McAdams , starlet Presley Hart. No other man in Hollywood is as physically linked to Baby Goose , so in honor of the most romantic week of the year, Movieline seized the chance to ask Calhoun about Gosling’s seduction secrets and the probability of getting sex-drenched remakes of Drive   and The Mickey Mouse Club. Alas, Gosling’s latest flick, Gangster Squad   did so poorly at the box office that it won’t get a vintage-styled XXX salute. But Calhoun isn’t waiting around to see if The Place Beyond The Pines  rates a remake. Ever the heat-seeking missile, he recently dyed his hair red to play the Sergeant Brody character in the porn parody of Homeland , which just picked up three Golden Globes .  Movieline:  Are you aware that Calhoun, the last name you chose for your career, is the same last name of Ryan Gosling’s character, Noah Calhoun, in The Notebook ? Was that a subliminal way to get women to like you? Calhoun: I’m aware of that now. I was not aware of that at the time. You’ll have to take my word on it. The origins of my last name were sort of random. I just like that name and I think it has a masculine sound to it with out being too bludgeony, too blunt. When I discovered [that it was the same as Gosling’s character], I realized that people would wonder what you’re wondering, and I don’t care. If you had done it on purpose, it’d have been brilliant. Yeah, but it’s not the tone I was going for with the name. I didn’t choose Timberlake or Swayze or Bieber — although people wanted me to choose Bieber and I thought about it, to tell you the truth. I considered it very seriously just because it would be provocative and funny. But ultimately, I realized that there would be a lot of under-aged girls searching for “Bieber” and I just wanted to play fair. Had you seen The Notebook before you were cast? I hadn’t. I wasn’t necessarily avoiding it, I just don’t watch a lot of movies. So I watched it once for research. I didn’t cry, although I did find it emotionally affecting. I was paying a lot more attention to Ryan Gosling’s mannerisms, so my appreciation of it was probably blunted. Could you see why that role is such a crazy turn-on for women? Sure. I could understand why that’s true of almost every role he’s taken. He does a very good job with his choice of projects: he’s a complete dick who’s actually the sweetest guy on earth. That’s pretty much every movie he’s ever been in. I think that’s a recipe for success in becoming a heartthrob—if that’s your goal. Diary of Love  uses some of the same names of characters in The Notebook and even some of the same dialogue. What is the legality of that? Well, it’s certainly an area of the law that is evolving. There are parodies, and then there are remakes or homages. I think when you slip into homage, certain parody-related laws don’t apply anymore. It’s tricky. Tell me about shooting some of the iconic scenes: “Say I’m a bird!” or your big breakdown in the rain where you tell Presley you wrote her a letter every day for 365 days. I think that Presley leaps onto me probably ten times in the movie. We did a lot of that at construction sites, at the beach—those were easy to shoot. Then I had to start talking and it got harder. For the bird scene, we just marched out onto the beach and found a random hunk of beach that we could use. We got this shot where a train almost hit us. The rain scene was cool because that was actually at the end of the whole thing. We’d been shooting all day and we were hurrying because the light was changing and we were making fake rain. It was cold and we were freezing and wet. We couldn’t stand still—we were just freaking out and jumping around—so that added a lot of energy. Does your version of The Notebook envision the kind of sex those characters would have had? I think the dynamic that Presley and I have is slightly different than theirs. You’d probably get closer to the real thing if you did an animated version, though I would say Tommy Pistol [the star of Horat: The Sexual Learnings of America for Make Benefit Beautiful Nation of Kaksuckistan ] does an amazing job of getting inside his characters. I think there’s a certain similarity between me and Ryan Gosling and people can project fantasies onto whatever they’re watching. But I think, ultimately, every sex dynamic you watch is unique to those people. I wouldn’t presume to say it’s like watching Ryan Gosling and Rachel McAdams having sex. Did you know they were a real-life couple when they shot the movie? I didn’t know that! I think that’s charming. That’s a great move for producers and directors to try to engineer something like that. If it works, then you’ve got a legendary romance movie on your hands.   You’ve also shot the Ryan Gosling role for Crazy in Love , in the porn parody of Crazy, Stupid, Love . Did you do the Dirty Dancing lift? No, we didn’t! And actually, lifting my partner in it would have been easy as pie. The Ryan Gosling/Emma Stone storyline in the porn is minimized compared to the older couple’s story, Steve Carell and Julianne Moore . Our romance didn’t occupy that much of the space, but I think the best parts of the film are Gosling as a foil to Carell—they’re sort of both ridiculous, and shooting those with Steven St. Croix were really fun. Okay, I can see how you could play the Ryan Gosling in Crazy, Stupid, Love and pull off being sexy. But how do you manage it when you’re playing the Steve Carell character? Well, he is sexier than Steve Carell. That’s the way porn works. Someone might not have a fantasy about the Penguin from Batman having sex with Catwoman. But if you make that porn movie, then he’s a little slimmer, he’s got abs, [but] he’s still the Penguin. True, but it’s perilous. I saw a still of James Deen dressed as Quagmire in the Family Guy porn parody, and now I’ll never be able to find him attractive in anything. In an adaptation of Drop Dead Gorgeous , I played the creepy judge with the comb-over and the Member’s Only jacket, and it was the same thing. My character is not sexy in the original—and he’s not really sexy in this film—until suddenly the sex scene, and then hopefully it’s sexy. To tell you the truth, I think you can do certain things to try to ensure that you’re projecting a sexy image versus a comedic image, but comedians do serious roles and then they go back to comedy and nobody goes, “I don’t find him funny anymore!”   Interestingly, Ryan Gosling is one of the few Hollywood actors to shoot a sex scene that was deemed too hot by the censors: the NC-17 Blue Valentine . I haven’t seen Blue Valentine , I should check it out. Who’s the girl? Michelle Williams. I’m on board. Good work, sir. What other Ryan Gosling films would make good XXX features? They’ll probably do Drive . But I guess it would be hard to do all the driving sequences on a porn budget.   He came of age doing the Mickey Mouse Club in the same generation as Britney Spears and Justin Timberlake. Would you want to play Gosling in a porn parody of that? I don’t know that that’s mainstream enough to make a lucrative porn movie. I would think not. Furthermore, there are difficulties creating pornography that portrays anyone under 18. You could do the Smurfs because everyone assumes the Smurfs are adults, but if you did Goonies , you would have to age up the characters because you can’t portray 14-year-olds in braces having sex with each other. You’d have to make them 18 and in college. How good of a pick-up line is, “Hey girl”? I think it works just fine. I think a pick-up is everything that’s not that: whether a person is attracted to you and the rest of your dementia that would sell the line or not. But say, “Hey girl,” and then just don’t have anything else prepared—that’s a good way to do it. How do you react to being called Baby Goose? Baby Goose! That’s funny. That’s his nickname. Whose nickname!? Ryan Gosling. Ryan Gosling’s! I thought you were calling me a baby Gosling. I think that’s a really funny nickname. If a girl whispered that in your ear, how would you react? Am I having sex with her at the time? I wouldn’t mind. I think most people are flattered to be told by people of the opposite sex that they look like someone, if they can hear in their voice that they find them attractive. Even if it’s, “You look like John C. Reilly !” and then they kind of swoon a little. Okay, I’ll take that. I don’t know if it works the same with girls in the reverse direction, but guys, we know how to take a compliment. We’re like: “Fine. If it turns you on, that’s your business.” Do you have aspirations to cross over into mainstream acting like Sasha Grey and James Deen? Not in particular, no. Working on television for a corporation like ABC or Disney sounds like a nightmare. There’s a certain behavior contract that is formed in something like that. You can try to work a bad boy angle like Colin Farrell who just does whatever the fuck he wants. But though I like acting and acting is fun, it’s not as important to me as I think it should be for someone who’s an actor -actor. On top of that, what doesn’t appeal to me is the public scrutiny and the expectation of good behavior. I have no interest in behaving. Amy Nicholson is a critic, playwright and editor. Her interests include hot dogs, standard poodles, Bruce Willis, and comedies about the utter futility of existence. Follow Amy Nicholson on Twitter . Follow Movieline on  Twitter .  

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Interview: Hey Girl! Meet Ryan Gosling’s Porn Doppelganger

WATCH: Julianne Hough Isn’t So Footloose In ‘Safe Haven’

Two-time  Dancing with the Stars champion Julianne Hough doesn’t have to shimmy for her supper in her latest movie role. Her leading-lady role in the latest Nicholas Sparks movie,  Safe Haven , represents her first straight acting gig – no dancing or singing required! Hough was the guest of honor at the premiere that Self magazine hosted on Monday night in Manhattan. (The actress is also the magazine’s March cover girl.) Co-star Josh Duhamel was also on hand and told me that men ain’t afraid of no chick flicks:  “Guys are sensitive beings too who just want to see a good movie,”  he said. According to Gavin DeGraw, who performs on the Safe Haven soundtrack, stylish facial hair is also a plus.  He said it was Ryan Gosling’s “really cool beard” that made him a fan of The Notebook. I also got to ask director Lasse Hallstrom , who’s recent Salmon Fishing in the Yemen was nominated for several Golden Globes , why the industry doesn’t take romance more seriously.  He responded that “romantic movies tend to push it a bit too far into sentimentality…I try to counter that by trying to be real with those performances.” Check out my full red carpet interview below: Follow Grace Randolph on  Twitter . Follow Movieline on  Twitter . 

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WATCH: Julianne Hough Isn’t So Footloose In ‘Safe Haven’

REVIEW: ‘Beautiful Creatures’ Contains Little Of The Original Novel But Plenty Of Rebel ‘Tude

Southern goth-chic gets a swoony supernatural makeover in Beautiful Creatures , a teen franchise-starter that suggests what Twilight  might have looked like with a reasonable budget, a competent script and halfway-decent special effects, but still saddled with next-best source material. Kami Garcia and Margaret Stohl’s book, the first of four, reps a calculated synthesis of proven YA-lit elements and recent publishing success tactics, which makes for ingratiating storytelling on the page. Fortunately, writer-director Richard LaGravenese has jettisoned most of the novel and refashioned its core mythology and characters into a feverishly enjoyable guilty pleasure, unapologetic in its mass-market rebel ‘tude. Though Beautiful Creatures has what it takes to support a series — a “gifted” girl, a smitten guy and powerful evil forces determined to keep them apart — the film could face trouble winning over cynical young auds who view it as the latest shameless attempt to cash in on the fantasy craze, which of course it is. And yet, now that the Twilight and Harry Potter series have run their course, the timing seems right for a soapy romance in which a sensitive small-town hunk (Alden Ehrenreich) falls hard for the new girl in town, not really minding that she’s a witch — or “caster,” as they prefer to be called here. With a dark-haired, pale-skinned look more likely to inspire 1920s audiences than today’s supermodel-obsessed tastes, Alice Englert ( Ginger and Rosa ) brings a refreshingly relatable quality to the role of 15-year-old Lena Duchannes, who’s moved to dead-end Gatlin, S.C., after things got out of control at her last school. Lena wants to keep a low profile while counting down the days until her 16th birthday, when a family curse predicts she will be “claimed” as a dark witch, but Ethan recognizes her as the mysterious girl he’s been dreaming about for months, and insists on getting to know this melancholy stranger. The best young-adult offerings tap into deeper themes that resonate with teens, but this one trades mostly in dopey wish fulfillment, granting magical powers and a devoted admirer to girls who imagine themselves as outsiders. It’s about feeling different, having a secret and discovering that special soulmate in whom one can confide. With his heavy brow knit in an expression of deep concern, Ehrenreich looks the way a young Orson Welles might if cast on a CW series, with a plucky Southern accent in place of a sonorous radio voice. Though the film preserves the idea of Ethan as narrator, it ditches the novel’s off-puttingly snide tone, allowing the popular girls — led by self-righteous ex-g.f. Emily (Zoey Deutch) — to damn themselves, while saving the amusing putdowns for Gatlin. Nearly everything about the book has been streamlined for the screen, which may rankle fans (who are likely to miss the ethereal song that binds Ethan to Lena, at least), but it makes for a far cleaner plot. While Lena spices up a traditional teen courtship with doses of magic — as when she caps a date by conjuring snow out of thin air on a muggy December afternoon — her powerful dark relatives (a vampy cousin played by Emmy Rossum and shape-shifting undead mom Sarafine, played with lip-smacking relish by Emma Thompson ) arrive to demonstrate what happens when witches go bad. The film goes out of its way to forge memorable character introductions, which will serve the series well, should sequels follow (more confusing is a scene toward the end when Ethan, a sophomore in the book, is shown leaving for NYU). By granting LaGravenese the freedom to refashion the novel as he sees fit, Warner Bros. gives Beautiful Creatures an edge over other recent hit fantasy-series adaptations, which have often shown stiff, gospel-like fidelity to their source material. By contrast, this project comes across as downright blasphemous — and not only against the potboiler that inspired it; LaGravenese’s script takes on Bible-beaters, book-banners and all who invoke God to justify small-minded prejudice. In one particularly campy scene, Sarafine goes head-to-head with Lena’s guardian ( Jeremy Irons , the picture of drawling Old South gentility) in the local church, dabbing holy water behind her ears like perfume as she dismisses the superstitious townsfolk’s notions of religion. Considering how little it takes to get certain groups riled up about what their kids are reading, the film goes awfully far out of its way to align itself with blacklisted literature, offering up Viola Davis’ voodoo “seer” (and resident librarian) as its high priestess. Garcia and Stohl clearly saw To Kill a Mockingbird and Catcher in the Rye as models for the series, although Beautiful Creatures demonstrates few of their insights into human nature, hewing closer to Judy Blume and Twilight fan fiction. Likewise, while Ethan and Lena turn one another onto Vonnegut and Bukowski, throwing their names around for punk credibility, either writer would surely recoil to see himself quoted in this context. The film ultimately plays like so much teenage girl poetry, heavy on the angst, endearingly naive in its notions of love and yet brought vividly to life by a game cast, evocative locations (both indoors and out) and stunning anamorphic lensing. Louisiana works nicely for Civil War-obsessed Gatlin, suggesting a tween-friendly True Blood . RELATED: ‘Beautiful Creatures’ NYC Premiere: Twi-Hard With A Vengeance? Follow Movieline on Twitter. 

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REVIEW: ‘Beautiful Creatures’ Contains Little Of The Original Novel But Plenty Of Rebel ‘Tude

‘Side Effects’ Contest: Win A Poster Signed By Cast Members With An Ode To Your Fave Pharmaceutical

Calling all Steven Soderbergh  fans and movie-loving hypochondriacs . Time to cue up Pink’s “Just Like A Pill” on Spotify and get your haiku mojo working. Movieline will give away a Side Effects poster signed by  cast members Rooney Mara , Channing Tatum , Jude Law , Vinessa Shaw and Dr. Sasha Bardey to the armchair bard who, in our opinion, writes the most addictive haiku inspired by his or her favorite pharmaceutical or the movie itself.  Here are the rules: Submit an original haiku (using the 5-7-5 format) inspired by Side Effects or the prescription — as in legal — drug of your choice, in the comments section below. The contest is open to ages 18 and up and the winner must be a U.S. resident.  Deadline for entries is noon Pacific Standard Time on Feb. 20.  Now, get popping. We’re expecting lots of odes to Adderall. And for additional inspiration, here’s the Side Effects guerrilla marketing Ablixa video. Side Effects opens nationwide on Feb. 8

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‘Side Effects’ Contest: Win A Poster Signed By Cast Members With An Ode To Your Fave Pharmaceutical

WATCH: Al Pacino And His Hoo-Ah! Hairpieces Aren’t The Only Reason To Watch HBO’s ‘Phil Spector’ Trailer

Can I get a Hoo-Ah ? Al Pacino has had a good run playing reviled real-life characters in HBO movies and miniseries, and, based on this trailer for Phil Spector , he’s going to keep his streak alive when the movie debuts on March 24. The actor, who played suicide machine inventor Jack Kevorkian in the 2010 HBO biopic You Don’t Know Jack , and was particularly brilliant as the homophobic gay lawyer Roy Cohn in the cable network’s adaptation of Lincoln screenwriter  Tony Kushner’s Angels in America in 2003, dons quite a few wacky wigs in this clip to play the legendary 60s music producer who’s serving 19 years to life in a California prison for the murder of actress Lana Clarkson . It’s not just the hair though.  The picture was written and directed by David Mamet , whose mean, hard-boiled writing sounds great coming out of Pacino’s mouth.  “First time you got felt up, guess what? You were listening to one of my songs,”  the actor brazenly tells Helen Mirren who plays his defense attorney. And then there’s the disembodied voice who, referring to Spector, tells Mirren: “He’s a freak. Theyr’e going to convict him of I just don’t like you.” Make that a talented freak. Spector produced albums by the Crystals, Darlene Love, the Ronettes, the Righteous Brothers, John Lennon , the Ramones and Leonard Cohen’s famous disaster of an album, Death of a Ladies Man.  His Wall of Sound production technique influenced Bruce Springsteen’s   Born to Run , among other albums. The scene in the trailer where Spector pulls a gun and shoots it into the ceiling next to a guitarist looks like it may be a recreation of a recording session with John Lennon.  The former Beatle told Spector:  “Phil, if you’re going to kill me, kill me. But don’t fuck with my ears. I need ‘em.” Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.

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WATCH: Al Pacino And His Hoo-Ah! Hairpieces Aren’t The Only Reason To Watch HBO’s ‘Phil Spector’ Trailer

Common Drops New Single: The Next Chapter [AUDIO]

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Now that Common has silenced any doubts of his acting ability with his critically lauded performance with his new movie “LUV”,  he’s gone back to…

Common Drops New Single: The Next Chapter [AUDIO]

SUNDANCE REVIEW: Splendidly Demented ‘Stoker’ Should Quench Park Chan-Wook Fans’ Thirst

When South Korean genre iconoclast Park Chan-wook decided to bring his peculiar gifts to a Stateside production, anything could have happened — and anything pretty much does in Stoker ,  a splendidly demented gumbo of Hitchcock thriller, American Gothic fairy tale and a contemporary kink all Park’s own. Led by a brilliant Mia Wasikowska as an introverted teenager whose personal and sexual awakening arrives with the unraveling of a macabre family mystery, this exquisitely designed and scored pic will bewilder as many viewers as it bewitches, making ancillary immortality a safer bet than Black Swan -style crossover biz for Fox Searchlight’s marvelously mad March hare. Earmarking future cult items is a fool’s errand, but Park’s film nonetheless stands to be treasured not just by his existing band of devotees, who should recognize enough of the Oldboy  and  Thirst  director’s loopy eroticism and singular mise-en-scene amid the studio gloss, but by epicurean horror buffs, camp aficionados and even a small, hip sect of post- Twilight   youths. Not all those auds will follow the stream of wink-wink storytelling references in the brazenly nasty script by Wentworth Miller , the British-born actor best known for his work in TV’s Prison Break , here making his feature writing debut. None is more blatant than the naming of Matthew Goode’s antagonist figure. When morbid-minded honor student India (Wasikowska) loses her beloved father, Richard ( Dermot Mulroney ), in an apparent freak car accident, the ink is barely dry on the death certificate when her globe-trotting uncle Charles (Goode, his unhurried charm and preppy handsomeness put to their best use since 2005’s Match Point ), whom she’s never met before, arrives to stay. Before you can say Shadow of a Doubt ,  this urbanely handsome “Uncle Charlie” is arousing India’s suspicions (and, it’s implied, other things besides) as he swiftly cements himself in the household by seducing her brittle, emotionally susceptible mother, Evelyn ( Nicole Kidman ). Shortly afterward, their housekeeper disappears without notice; ditto India’s meddlesome aunt (a brief but tangy turn from Jacki Weaver ), who appears to know troubling truths about the intruder, dismissed out of hand by Evelyn. The is-he-or-isn’t-he question is answered sooner than Hitch might have done it, as India’s darkest instincts about Charles are confirmed by the end of the first half – though, unsurprisingly in this particular story world, this knowledge actually causes her to warm to him a little. (And only a little: when he mentions his desire to be friends, her typically pithy reply is, “We don’t need to be friends, we’re family.”) But there’s still plenty of mileage in Miller’s warped family melodrama, as the respective and inevitably linked uncertainties about Richard’s death and Charlie’s long absence are kept aloft, while Charlie’s gradual playing of India and Evelyn against each other adds queasy sexual tension to an already chilly mother-daughter relationship. Auds will either go with this festering hotbed of secrets, lies and severed heads, or tune out early, and even the faithful may debate whether or not Park, who otherwise oversees proceedings with amused precision, overplays his hand in the bizarre, bloody finale. Material this wild demands actors fully committed to the cause, and Park has found them, particularly in his two female leads. Kidman, here extending her commendable record of counterintuitive auteur collaboration, has such form in the area of passive-aggressive ice queens that her work here shouldn’t surprise, but the performance gets more bravely unhinged as it goes along, culminating in a spectacular Mommie Dearest tirade against her daughter that seems ripe for future impressions. Still, it’s Wasikowska’s film, and she shoulders it with witty aplomb: equal parts Alice in Wonderland and Wednesday Addams, her India is in constant, silent argument with the world around her. All the actors are given an invaluable assist from Kurt Swanson and Bart Mueller’s crisply tailored costumes, which are period-indeterminate even as the film is set in the present day. This kind of chic otherness is also at play in Therese De Prez’s superb production design: the Stoker family house, all angular architectural fittings and inventively distorted scale, is a creation worthy of prime Tim Burton . Park’s regular d.p. Chung-hoon Chung appears to be channeling photographer Gregory Crewdson’s eerily high-key Americana in his lighting schemes, while Clint Mansell’s characteristically rich, modernist score is embellished with haunting piano duets composed specifically for the film by Philip Glass. The repeated use of the Lee Hazlewood/Nancy Sinatra number “Summer Wine,” meanwhile, is typical of the director’s cockeyed take on American culture. Long may he continue to explore. Follow Movieline on Twitter. 

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SUNDANCE REVIEW: Splendidly Demented ‘Stoker’ Should Quench Park Chan-Wook Fans’ Thirst

SUNDANCE REVIEW: James Franco’s Infuriating ‘Interior. Leather Bar.’ Is An Empty Glory Hole

Proving that a movie shot over a day and a half can premiere at Sundance if it has James Franco’s name attached, Interior. Leather Bar .  is an infuriating stunt that misrepresents itself as Franco and co-director Travis Mathews’ reimagining of the 40 minutes William Friedkin claims he was forced to cut from Cruising   to get an R rating. Yet it would seem “James Franco’s 40 Minutes” don’t exist either, leaving only this hastily tossed-off companion piece, a partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo. After Sundance and Berlin, relative obscurity awaits. On paper, the project echoes Franco’s earlier Memories of Idaho , two experimental films made from scraps that Gus Van Sant  discarded during the making of My Own Private Idaho . A notorious embellisher, Friedkin has often said that he brought Cruising to the ratings board 50 times before they relented and gave him an R, despite still-graphic footage and talk of bondage and numerous other fetish acts, nearly all of it unsimulated. In his DVD director’s commentary for Cruising , Friedkin explains how he recruited actual members of Gotham’s leather-bar scene: “Of course, I filmed all these activities in their entirety, but all the other film that I shot has somehow disappeared.” With or without the lost X-rated material, Cruising was an important and controversial film in its time, serving as a time capsule of a pre-AIDS sexual subculture, while conflating its play-acted aggression with a series of ripped-from-the-headlines New York murders. As such, it’s a rich text to reopen, though Mathews (an openly queer director who shook up the LGBT fest circuit with his art-porn feature I Want Your Love ) makes no effort to investigate what went missing or query Friedkin, but instead focuses on Franco as the pic’s more marketable meta-subject. Recognizing how the “is he or isn’t he” debate has dogged nearly all of Franco’s recent art projects (beginning with his blatantly homoerotic NYU student short, The Feast of Stephen ), Mathews attempts to shift the attention onto Franco and his creative process. None of the young actors who agreed to participate in the film, least of all Val Lauren (a longtime Playhouse West cohort and star of Franco’s directorial debut, Sal ), would have enlisted if not for Franco’s involvement. Although Franco appears in the film, his role is mostly that of the man behind the curtain, stirring things up with half-baked opinions, such as his complaint that the MPAA is to blame for his hetero-normative upbringing: “Why don’t they gives us violence in a little more palatable way, and amp up the sex?” Franco really should have agreed to take the pic’s Al Pacino part himself — a Kinsey Zero assigned to go undercover and blend with an extreme queer subculture — but instead delegates it to Lauren, asking the actor to “play” a version of himself. To the extent that this sloppy assembly has a shape, the film constructs an arc in which Lauren constantly questions his participation in the project (different from the controversial tension underlying Cruising , where exposure to leather bars may be turning Pacino’s cop aggressive and/or gay). Lauren is seen debating his choice with the other actors, most of them straight, and improvising calls to a homophobic friend (performed by one of Franco’s producers) and his supportive wife. The Cruising re-creations make up only a small portion of the pic’s running time, shying away from Crisco-covered forearms and the other extreme acts that caused Friedkin so much grief, while trying to portray barroom fellatio and a random, unrelated rough-love scene between three bears as “just right.” This last act pushes the underlying insult to new extremes, cutting between “dirty” closeups and the expressions on Lauren and Franco’s faces as they watch from the sidelines, pretending that witnessing this act of outre lovemaking has somehow broadened their minds. Follow Movieline on Twitter. 

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SUNDANCE REVIEW: James Franco’s Infuriating ‘Interior. Leather Bar.’ Is An Empty Glory Hole