Robot created in Tom Cruise’s spaceship lab, Nicole Kidman got slammed by some hipster photographer on his hipster bike and she survived because she was built to handle an alien invasion…and the paparazzi got some HOT ASS PICS , I mean provided you’re like me and into robots because they can’t get pregnant, or like Tom Cruise because they speak to his Alien leaders, but more importantly they don’t fuck up his homosexuality when he has sex with them, because it’s not STRAIGHT if you marry and fuck a robot…even if it looks like it has a pussy…when really it just has double asshole… To See THe Rest of the Pics CLICK HERE
Robot created in Tom Cruise’s spaceship lab, Nicole Kidman got slammed by some hipster photographer on his hipster bike and she survived because she was built to handle an alien invasion…and the paparazzi got some HOT ASS PICS , I mean provided you’re like me and into robots because they can’t get pregnant, or like Tom Cruise because they speak to his Alien leaders, but more importantly they don’t fuck up his homosexuality when he has sex with them, because it’s not STRAIGHT if you marry and fuck a robot…even if it looks like it has a pussy…when really it just has double asshole… To See THe Rest of the Pics CLICK HERE
Jimmy Choo’s fall campaign stars Nicole Kidman…the robot/alien ex-wife of Tom Cruise, who happens to own a carrot pie that he probably wasn’t too into eating, because it didn’t have testicles, but that I am totally down with eating, because I’ve never had sex with an official redhead thanks to years of being disgusted by them…and karma not allowing me to get up in one now that I’ve grown as a man and accepted all shades of pubic hair, even the pubic hair that contrasts heavily with the bright pink of the vagina lips that contrasts heavily with the pasty, almost invisible skin. I know she’s old, I know she’s clothed, I know these pics are about the shoes, something I assume at least one of you has a fetish for, a fetish so consuming you have a pair on right now….because that’s jus the kid of crowd I attract… I blame THIS NICOLE KIDMAN PHOTOSHOOT …for the boners Nicole Kidman now gives me… Here’s the campaign.
In the second Anchorman 2 trailer , The Legend Continues. The crew is back and better than ever, with signature catchphrases, of course. David Koechner, Paul Rudd, Will Ferrell, and Steve Carell are in full effect! Anchorman 2: The Legend Continues Trailer The Anchorman 2 trailer narrator jokes, “Jesus, McArthur, Jay-Z. The great ones always return, and when they do, one thing’s for sure: Their hair will be perfect.” Indeed. Their lines? Not so much. While not exactly a true “trailer” in that there’s no scenes or footage from the December 20 release, it’s more of a promotional ad – but a good one! With the anticipation (and dramatic music) building in the background, each Channel 4 team member gets a moment to say why the sequel will be the bomb. Naturally, Brick fails hardcore. Anchorman 2: The Legend Continues also stars Christina Applegate, Kristen Wiig, James Marsden, Vince Vaughn, Luke Wilson and Chris Parnell. The producers have really upped the ante with celebrity cameo appearances, too: Harrison Ford, Nicole Kidman, John C. Reilly, and even Kanye . One can only imagine the treasure trove of hilarious Anchorman quotes that await us this Christmas. Sorry, Brick. Easter was last month.
Hollywood.TV is your source for all the latest celebrity news, gossip and videos of your favorite stars! bit.ly – Click to Subscribe! Facebook.com – Become a Fan! Twitter.com – Follow Us! Mia Wasikowska and matthew Goode attended the premiere of their new film Stoker held at The Film Society of Lincoln Center, Walter Reade Theatre in New York City. The pair co-star with Nicole Kidman in the psychological thriller directed by Park Chan-wook. They both share some insight into their characters and the movie. Hollywood.TV is the global leader in capturing celebrity breaking news as it happens. We cover all the major Hollywood events including The Golden Globes, The Oscars, The Screen Actors Guild Awards, The Grammy’s, The Emmy’s and the American Music Awards, as well as all the red carpet movie premiers in Los Angeles and New York. HTV is on the streets 24/7, at all the industry events and invited by the stars to cover their every move in Hollywood, New York and Miami. Hollywood.TV is currently the third most viewed reporter channel on www.youtube.com YouTube with over 400 million views, and our footage is seen worldwide! Tune in daily for all the latest Hollywood news on www.hollywood.tv and http like us on Facebook!
Naomi Watts’ dress at the Academy Awards was a real head-turner. The British-Australian beauty always carries herself with unmatched, understated elegance, the kind that makes her a natural fit to play Princess Diana. She LITERALLY took our breaths away (and nearly shut down Twitter) last night, though, in a gray Armani gown with an off-center cut along the bust-line Even her longtime partner Liev Schreiber had to document this: How did Naomi Watts’ gown compare to with some of the other fashion standouts of the night, such as Jessica Chastain , Kristen Stewart and Kerry Washington ? Take a look after the jump and share your comments: Follow the link for our full Academy Awards gallery !
Breaking Nudes: Fans of Peggy Olsen on Mad Men can finally pour themselves a stiff one, because Elisabeth Moss has promised nudity in the miniseries Top of the Lake. The series is helmed by director Jane Campion , who previously brought us Nicole Kidman ’s cans in The Portrait of a Lady (1996), Holly Hunter ’s backburger in The Piano (1993), Kate Winslet ’s moist muff in Holy Smoke! (1999), and Meg Ryan ’s slice in In the Cut (2003), so we have nothing but the highest hopes for Elisabeth’s role as a New Zealand detective. More after the jump!
I missed Stoker at the Sundance Film Festival , where the buzz was decidedly mixed, but based on the first GIF posted the below the jump, Chan-wook Park ‘s thriller looks like it may be the second movie of that last year that stars Nicole Kidman and features a weird urination scene. Unlike The Paperboy , in which Kidman pees on the face of Zac Efro n to treat him for a jellyfish sting, Mia Wasikowska appears to be the one shaking the dew off her lily, so to speak. That’s an educated guess, though because all that’s seen in the GIF are a pair of saddle shoes and a puddle. Fox Searchlight is posting these clips — and correspondence depicting memorable lines from the movie — at letterstoindia.com , (Wasikowska plays India Stoker in the movie, and the website helps establish why, as the trailer shows, she’s going to be a barrel of fun by the time she’s an adult. Here are some of the more unusual GIFs from the site: I don’t see any jellyfish there, do you? And here’s the devil-in-training making a snow angel on her bed: And here, Wasikowska manages to even chew her food with smoldering malevolence: Put those all together, read the postcards and letters on the site, and you won’t be surprised when you see young India is shouldering a sniper rifle in this trailer. MORE ON STOKER: SUNDANCE REVIEW: Splendidly Demented ‘Stoker’ Should Quench Park Chan-Wook Fans’ Thirst Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
J.J. Abrams appears to have cornered the universe. Both The Wrap and The Hollywood Reporter are reporting that the filmmaker behind the rebooted Star Trek franchise is close to sealing a deal to direct Disney’s Star Wars Episode 7 , which means he will boldly go to a galaxy far far away very shortly. Abrams office wasn’t commenting on the story when I called, but if the deal is indeed finalized, it will be interesting to see how fan boys for whom Star Wars vs. Star Trek is the equivalent of Beatles vs. Stones, and Paramount, the studio behind, Star Trek Into Darkness , will react to the story. As Indiewire’s Kevin Jagernauth astutely pointed out, “we can’t [imagine] the studio being thrilled that press rounds for Star Trek Into Darkness will essentially become non-stop questions about Star Wars: Episode 7 unless that subject is strictly taken off the table (not that people still won’t try anyway). Moreover, one wonders if we can ever live in a galaxy where nerds will be happy with the same director shephereding both Star Wars and Star Trek . Then again, Abrams has done a very smart job of revitalizing the Star Trek franchise, and making it relevant to a much broader audience than the Trekkie contingent. At the same time, he’s shown respect to die-hard fans by (mostly) respecting the canon. (I was always a Star Wars guy, and he’s got me hooked on this whole who-is-Benedict-Cumberbatch thing.) Star Wars could benefit from a similar update. If Abrams and Bad Robot do take on the Force and the Dark Side, you can be sure there will be plenty of guessing games about the identity of the villains who will be plaguing the Jedi and Droids that populate the newest entry in the Star Wars saga. Reports are that producer Kathleen Kennedy convinced Abrams to take on the daunting job. She must be very good at persuasion. In November, Abrams told HollywoodLife that he wasn’t the right man for the job. “Look, Star Wars is one of my favorite movies of all time,” Abrams said adding: “I frankly feel that – I almost feel that, in a weird way, the opportunity for whomever it is to direct that movie, it comes with the burden of being that kind of iconic movie and series. I was never a big Star Trek fan growing up, so for me, working on ‘Star Trek’ didn’t have any of that, you know, almost fatal sacrilege, and so, I am looking forward more than anyone to the next iterations of ‘Star Wars,’ but I believe I will be going as a paying moviegoer!” More on Star Wars Episode 7: ‘Star Wars Episode 7’: Is The Force With The Ladies For A Change? [ Indiewire , The Wrap , The Hollywood Reporter ] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
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.
