It always seems like we’ve got another new set of amazing Candice Swanepoel pictures for Victoria’s Secret, and these are no different. It’s nice to see that Candice works so hard. I certainly appreciate all the hours she’s putting in, she’s practically singlehandedly keeping my fantasies going. Somebody give this woman a raise. » view all 58 photos Related Articles: Candice Swanepoel Is A Sexy Little Devil Candice Swanepoel Smells Amazing Candice Swanepoel Sexy Artsy Photoshoot Candice Swanepoel Nude
Here’s your daily dose of Victoria’s Secret hotness, because we’ve got even more awesome Erin Heatherton bikini pictures for you today. This time though, they’re from behind-the-scenes. Man, I think I’ve found my next job. Getting paid for hanging out at the beach all day, taking pictures of other people taking pictures of supermodels? That sounds even better than getting paid for hanging out in bed all day, writing about pictures of supermodels. I wonder if they’re hiring. Related Articles: Erin Heatherton Bikini Pictures Erin Heatherton Assumes Positions Erin Heatherton’s Sexy Swimsuit Pictures Adriana Lima Picture Moment Photos: FameFlynet
Javier Bardem booms out, “You shall love (pause) whether you like it or not.” Bardem is seen dressed as a priest in ‘To The Wonder,’ the latest film by Terrence Malick , which debuted at the Venice Film Festival . The trailer opens with a couple walking across what looks like a bridge over the Seine in Paris who then head to what looks like the tidal island Mont Saint-Michel before heading back to more suburban locales and then pastoral expanses. Starring Ben Affleck, Rachel McAdams, Olga Kurylenko and Bardem, the film was originally set to star Christian Bale who later dropped out. The feature by the reclusive Malick is a romantic drama centered on an American man who is torn between the woman who moved to the U.S. to be with him (Kurylenko) and the appearance of a local woman from his past (McAdams) as his marriage falls apart. The film managed to polarize audiences in Venice. Full text of Bardem’s voiceover in the trailer below. You shall love whether you like it or not. Emotions, they come and go like clouds. Love is not only a feeling; you shall love. To love is to run the risk of failure, the risk of betrayal. You fear your love has died; perhaps it is waiting to be transformed into something higher. Awaken the divine presence which sleeps in each man, each woman. Know each other in that love that never changes. [ Source: The trailer is exclusive to TheFilmStage.com via Huffington Post ]
Quentin Tarantino says slavery continues in the United States. The outspoken filmmaker — whose spaghetti southern Django Unchained unflinchingly depicts the brutality of slavery — stoked the debate on race Tuesday night when he appeared on the Canadian television talk show George Stroumboulopoulos Tonight to suggest that the United States’ “war on drugs” and its “mass incarcerations” of black men is “just slavery through and through.” Tarantino didn’t cite these figures, but he could have: According to the New York Times, half of the 2.3 million Americans in prison or jail are black, an astonishing figure when compared to 2011 U.S. Census information that indicates blacks comprise only 13.1 percent of the country’s population. In other words, he’s got a point, and this is a conversation our country should stop avoiding. Tarantino was promoting Django Unchained , which opens Christmas Day, on Stroumboulopoulos’ CBC show when he made the controversial comments, and it will be interesting to see whether they get any traction in the U.S.— especially since the national debate is now focused on gun control in the wake of the Newtown, Conn. shootings. A spokesman for George Stroumboulopoulos Tonight provided Movieline with a video clip of Tarantino’s segment and a transcript of his comments. Check them out below and let me know whether you agree with Tarantino’s remarks in the comments section. George Stroumboulopoulos: So you know this film is gonna deal with the conversation about race in America today, people will talk about it. What do you feel about where it’s at? Quentin Tarantino: Uh… It’s… You know, there is… On a day-to-day, day-in, day-out basis for most people in America, it’s okay. Things have gotten a lot better. People are a little too sensitive to talk about stuff, and that’s a drag, but you know that’s, that’s how it is. But on a bigger level, it’s very depressing. This whole thing of the, this “war on drugs,” and the mass incarcerations that have happened pretty much for the last 40 years has just decimated the black male population. It’s slavery, it is just, it’s just slavery through and through, and it’s just the same fear of the black male that existed back in the 1800s. And uh, you know there’s a reason – I mean, especially having even directed a movie about slavery, and you know the scenes that we have in the slave town, the slave auction town, where they’re moving back and forth. Well that looks like standing in the top tier of a prison system and watching the things go down. And between the private prisons and the public prisons, the way prisoners are traded back and forth. And literally all the reasons that they have for keeping this going are all the same reasons they had for keeping slavery going after the whole world had pretty much decided that it was immoral. GS: Right. Business first. QT: Because it’s like, because it’s an industry. And one, what are we gonna do with all these people that are let loose, you know, these black people let loose, and two, what are we gonna do about all of the people that make money off of this industry? READ MORE on Django Unchained: Quentin Tarantino Defends Violence in ‘Django Unchained’ Samuel L. Jackson Says He Burned Off Jamie Foxx’s Nipples In Cut ‘Django Unchained’ Scene [ George Stroumboulopoulos Tonight , New York Times , U.S. Census Bureau ] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Kristen Stewart fans have undoubtedly waved a tearful good bye to the character that introduced her to most of her legions of admirers with the final Twilight installment, which opened to massive fanfare last month. While the saga may have been her longest running (and certainly highest paying) gig to date, few know that she vested a lot of time and heart into playing free-spirit Marylou in director Walter Salles’ On The Road , which opens Friday in limited release. Stewart committed to the role before she could legally drive and stuck with the project even as she rose to super-stardom courtesy of Bella and that band of Northwest vampires that captured the hearts and minds of many a tween, teen and beyond. In the film version of one of the most celebrated works of 20th Century American literature written by Jack Kerouac, Stewart plays the unconventional and racy Marylou, the former wife and still frequent lover of Dean Moriarty, a fast-talking charismatic with an insatiable libido. Dean and best friend Sal (Sam Riley), a young writer whose life is shaken after Dean’s arrival, take to the road. Marylou frequently accompanies Sal and Dean’s travels across the country in adventures fueled by sex, drugs and the pursuit of the ” It ” — a quest for understanding and personal fulfillment. [ Editor’s Note : Movieline spoke with Stewart who shared her thoughts on her character’s “hard love,” how she grew into Marylou and how this was the “biggest experience” she’s had on a set. This interview was first published in full during AFI Fest in early November where On The Road had its U.S. premiere. It is being re-published today ahead of its theatrical roll out starting this weekend via IFC Films. M.L. will publish interviews with On The Road co-star Garrett Hedlund and director Walter Salles later this week .] So what was your road to On the Road? I was 14 or 15 when I first met Walter Salles. I spoke to him when I was 17, I think I may have shot the first Twilight, I’m not sure — possibly I was about to go do it. At first I was talking about playing another part, so it’s been a long time coming. I don’t know how I was able to get around that kind of energy, but to convey that I loved this thing in the way [Walter Salles] does and as soon as you get around that energy it passes between you, nothing really needs to be said. I got the job on the spot, and I drove away just vibrating. I was like, ‘Are you kidding me?’ Plus I was very young, I wasn’t quite old enough for the part yet. When I read the book many years ago, I found it sprawling and didn’t seem to have elements that would make it translatable to the screen — at least I remember thinking that at the time. What did you think of the book when you first read it? I was reading it for school, so I had to read it. I did independent study when I was in high school. I remember, I took so long to read the book. All I had to do was read it and write a report, it wasn’t like I had to do an intensive study of the book, and it took me months and months — I was late. But, I think my teacher was OK with it because I think ultimately the paper was good. But, people say it’s different when you read it at different ages — but for me at the time, it was fun! At that age you start realizing you have a choice in who you surround yourself with. Up until that point, you’re just around circumstantially who you’re with — your family or whatever — but at that point you can start choose your family, and I’ve got a great family by the way. But I mean just the people you decide to surround yourself with. I don’t want to sound cliché, but people should pull something out of you that would otherwise remain unseen. And when I read the book I thought, ‘Gosh, I need to find people like that.’ I’m definitely not [my character, Marylou’s] type. As I continued reading it and got older, the weight of it started to mean more. I was totally enamored by the colors and the way he wrote it and jumped over words and how it read like a song. Then when I did the movie, to play a part like Marylou — she’s very vivid. She’s very colorful and interesting and on the periphery so you don’t know how and why she can do the things that she does. By the time it came to bringing it to life, I didn’t want to play just a crazy, wild sexy girl. I wanted to apply all the whys and get to know the people behind the characters. There’s a weight to it. It’s not easy to live a life like that. That’s what makes these people kind of remarkable. It’s a give and take. There’s no way to have this without pain, but they’re not frivolous, they can feel it… Marylou’s a forward thinking progressive soul, but she’s also surrounded by this situation with her ongoing yet ever-changing situation with her ex-husband, Dean, who is still an emotional roller coaster, both for himself and her. Did you ever judge her in respect to why she’d tolerate him for so long? No, I never had done so. I always wondered how she could take it. How deep is that well? How much can you give and how much can you let be taken from you? What I found about her is that she’s very unique to her time, but nowadays she’d be something else. Her capacity to see everyone’s flaws and appreciate them is really unbelievable. Any interview we did with anyone who was involved with them [before doing the movie] always said the same thing — that she was such a wonderful woman. She’s infectiously amazing. So, no I didn’t judge her. So then, how would you describe the relationship between your character, Marylou and Dean? They really are simpatico. It’s tumultuous. It’s hard to love like that. But they’re so in love with each other. You don’t know this from reading the book, but they stayed lovers until the end of his life. He kind of raised her and she always had a place in his heart, though I think the capacity was so enormous that there were also others in that heart, but she was at the center. And the same goes the other way around. I think they helped each other grow up and they raised each other. Undoubtedly some of your Twilight fans will be curious to see you doing something outside of Bella and this may be for many their first chance. How do you hope they’ll approach seeing this film? Well, I mean you just walk into a theater [laughs]… I think if I can have anything to do with just one person that would not have otherwise read On The Road, then that would be incredible and I’m very happy to be a part of that. I think that if you have any inclination of seeing this being a Twilight fan, I have to say I don’t have much control over the things that I choose because I do need to feel compelled to do the roles that I do. I very rarely tactfully think about my career and how people are going to perceive it and I think that’s what people appreciate and if that’s not the case, then it’s kind of like — um, that’s not going to go away. It’s a false thing. I think people will really like it and if you didn’t like the book, then don’t watch the movie. You know what I mean? However anyone wants to interpret it is all good with me. People describe On the Road as a “watershed moment” in American culture in that it upended the strict conservative culture that prevailed in the 1950s in the U.S. So from your perspective as a 20-something, how do you see it as relevant culturally today? I think this is a good time to see this story visually because most people can watch it and not be shocked by it as they might have before. Back then, it would have been so shocking to see people doing drugs and having sex that they wouldn’t have seen the spirit behind it — the message behind it would have been [diluted]. Though, maybe it would have been good because it would have forced people to look. But maybe they weren’t able to yet. There’s always going to be conflicting intuitions that might not even go together, but these are people who have the strength to be OK with people disagreeing. At that stage of your life, there’s so much ahead of you — at least it feels that way. The reach is so important even if something is unbeknownst to you, but you feel compelled to find out what it is… Don’t ignore it! At that age, it’s important to have a faith in feelings you can’t articulate because at some point you need to hold onto them. And these guys found a word for that, it’s the “It” and I don’t think that’s ever going to go away. So what is that ” It “? How would you describe the It? [Laughs] Trust me, we’ve talked about that so much… It’s the pearl. It’s that thing that makes your life bounce. I think if we knew it… I honestly think it’s an individual thing, but if something is funny to you and you’re alone you can smirk at it or whatever, but suddenly if you’re with a lot of people that also find it funny, you can be hysterically laughing. There’s something about life that you can’t completely describe. It also goes along with not ignoring that burn and going, ‘OK, I’m content right now to be smart and conservative and hold onto what I’ve got.’ I just think it’s important to keep going for it. How has your experience playing Marylou or in On the Road generally influenced your life professionally or personally? You said you’ve been a part of this project for a long time, so you’ve had quite a turn at experiencing this culture even as you took on other roles including, of course, Twilight . It was the most time I’ve ever spent feeling. Twilight was a good five years and was a very indulgent creative experience. [Most projects] are usually only about five weeks, three months or six months tops. But because I was attached to On the Road so long, the build up and pressure inside by the time we go there was just bigger than anything I’ve ever felt on a set. We had four weeks of proving that we were so thankful and happy to be there because we’re all fans of the book, but we had put in the work and we knew the purpose and the weight of it and how so important it is to so many people. It’s all to Walter [Salles’] credit, but if anything, what this has taught me is that if you stop thinking and just breathe through it, you’re such a better actor. You just have to put in the initial work and then not become too analytical because you have to trust that you’ve already done it all. So it’s opened me up in a way that’s appropriate to my age. I’m just a bit less inhibited. Just being able to not think so much before you speak is good. It has helped me in that way. It’s not being less shameful, it’s just being so much more unabashedly myself. I think that all started when I was 15. I can be around people and say what I think and have a conversation with a stranger and it’s all good. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
This is 40 ends with a title card saying that it’s “Based on characters created by Judd Apatow .” While this is true — the film’s about Debbie ( Leslie Mann ) and Pete ( Paul Rudd ), who were supporting figures in Apatow’s 2007 hit Knocked Up — it also feels like it might be more accurate for it to declare “Based on Judd Apatow.” It doesn’t just star his wife Mann, it features their daughters Maude and Iris as her children, and it’s not hard to read Rudd’s character as an Apatow proxy who’s struggling through the world of music instead of, these days, riding high in comedy. It’s shot on the same block on which director/writer/producer lives with his family, and includes what are clearly many of his thoughts and experiences on relationships, parenting and getting older. It’s Apatow’s most personal film yet, even more so than Funny People , and it benefits from the closeness of this material to its creator as much as it suffers for it, though its weakest points are when the film strives for the angle indicated in its tile — This is 40 — and tries too hard to be about the universal (“This is everyone’s story,” the trailer boldly declared). Its more general observations on aging and marriage aren’t just familiar, they can take on the well-meaning but blithely entitled sensibility of a college sophomore who’s finally lost his or her virginity and now feels qualified to hold forth about sex with the authority of Dr. Ruth. When Debbie forgets which year she’s lied about being born in to avoid dealing with the big four-O and yells at Pete for needing a Viagra for their morning birthday hookup, or when we watch a montage of the pair getting different orifices checked out by the doctor during a physical, the film feels like a recycled Erma Bombeck column with some added iPad etiquette discussions to modernize jokes about bodies no longer working and looking like they used to. This thing is, Debbie and Pete aren’t like everyone — they’re leading lives of comparable privilege and glamour, existing in an upper middle class world of gluten-free diets and spandex-clad road bike riding groups, of getting hit on by professional hockey players at a nightclub and throwing a concert to which Billie Joe Armstrong comes. They aren’t an everycouple, which is fine — it’s actually the specifics of their marriage and careers that, as the film unfolds at an overlong 134 minutes, make it compelling if more rooted in drama than domestic comedy. There’s an underlying terror guiding their lives, one not just related to getting older but to the possibility of failing to hold on to their economic rung and their concept of a happy, healthy family. Debbie and Pete smile so hard, like they can will away their unhappinesses, which surface instead in bickering. There’s a lot of bickering in This is 40 . Debbie badgers Pete and feels unappreciated by him while he sneaks cupcakes, loans money to his dad Larry (Albert Brooks) and hides the growing financial difficulties his retro record label is facing. An always perplexing aspect of Mann’s place as Apatow’s on-screen muse as well as his real-life partner is that the characters she’s played in his films, particularly Debbie, tend to be so shrill you wonder if there’s some concealed antagonism coming through. That’s a tendency that This is 40 directly addresses, with both Debbie and Pete having joking conversations about the fantasies they’ve had about murdering one another. The openness of that discussion of how you can genuinely if temporarily hate the one you love, and how it’s balanced by the easy unity Debbie and Pete have when defending themselves from another parent (Melissa McCarthy) at a school conference (the film’s funniest scene), is a minor but welcome improvement from the director’s past tendency to paint female characters as martyred nags impatiently dragging their men toward adulthood. This is 40 is notably messy, with narrative threads about which of the two employees (played by Megan Fox and Charlyne Yi) at Debbie’s store has been stealing and about Pete’s not very successful attempt to release a new album by Graham Parker and the Rumour drifting away rather than arriving at an end point. Sometimes that untidiness works for the film — both Pete’s relationship with Larry and Debbie’s with her largely absentee dad Oliver (John Lithgow) suggest lifetimes of complications that can’t be resolved in a side plot — but the questions about artistic integrity and business that are raised in the collapsing of Pete’s label are interesting and half-formed and could do with more exploration. Other elements, including older daughter Sadie’s (Maude Apatow) constant burrowing into her phone and tablet, the revelation of a character’s pill addiction and Jason Segel’s presence as a self-congratulating personal trailer, don’t really fit into any larger scheme. Apatow’s film comes across as overstuffed and understructured, a collection of elements that hasn’t really been assembled into a story and could do with the backbone. Rather than set out to make a feature about middle age and marriage and family, it feels like Apatow would have been better served to focus on making a film about Debbie and Pete and their journey, one that would naturally touch on all those themes. When they have a very funny fight about their relationship in terms of who’s Simon and who’s Garfunkel, the potential of this material is clear, but the end product feels like a step forward in terms of maturity of subject matter and a step back in terms of filmmaking. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Game developer Crytek has hired director Albert Hughes to bring its Crysis gaming franchise to the big screen. Half of the Hughes brothers team behind Menace II Society and T he Book of Eli , Albert is directing The 7 Wonders Of Crysis 3 , an online series set in a reforested future New York 2047. Behold the teaser: Production companies often have trouble converting video game properties to film, which is why Crytek isn’t bothering — with the production companies. Using no actors or movie cameras, Hughes is directing the game engine itself, rendering his cinematic vision with the same software players will use to shoot each other in the face. And here are four reasons to look forward to it. 1. The Greatest Graphics The Crysis series has always been famous for its stunning visuals. While other games worry about the mass-market, Crytek’s approach is “Bring us your most powerful and expensive computers and we will make them cry gorgeously detailed tears with realistic fluid dynamics.” Its CryEngine is the heart of the entire company, rendering massive, fantastically detailed worlds. In fact, Crytek’s first game, Far Cry, began as a technology demo which impressed people so hard it was developed into a full game. The engine has been constantly updated every since. The latest iteration, CryEngine 3, eats supercomputers and spits out state-of-the-art graphics cards. 2. A True Video-Game Movie It was only a matter of time until someone saw video games and asked “Wait a minute, why do we even still need people?” The answer is lots of reasons. But when most of the people in your film are extras designed to catch the heroes’ bullets, those reasons become less important. The technology for vactors — “virtual actors” — simply isn’t ready yet. But computers have been better than reality at special effects for years. Live-action movies already use computers for all the difficult bits. So when you’re setting the entire movie inside a computer, the whole world’s a stage: a special-effects stage loaded with pyrotechnics. And when you consider that Crysis 3 is about a nanosuit-enhanced soldier battling corrupt security forces, like the guy above, whose name is “Psycho,” and aliens, which do you think will be a bigger part of that story: facial expressions or explosions? Big-name videogames have become more like movies every year. Where once the player was a roving character exploring a maze of hallways, now they’re a single cog in a vast cinematic machine. Carefully guided from set piece to set piece by invisible walls and an omnipresent director, distributing cutscenes between every 10 explosions. Setting the game to “play” itself by hiring a director to say what happens instead of a gamer is just the logical next step in that evolution. 3. The Product Is The Advertisement Calling The 7 Wonders of Crysis 3 a fusion of video games and cinematics would be incomplete. It’s really a combination of video games, cinematics, and advertising. And that’s no bad thing. Sure, it’s blatantly designed to show off the proprietary Crytek graphics, but video games, movies, and adverts are the three fields most based on showing off amazing visuals and compelling stories that completely capture our attention. The resulting cinematic chimera has great promise. After all, Guy Ritchie has already directed an ad for Black Ops II . When the guy behind the Sherlock Holmes franchise is directing the star of that franchise in a video-game commercial, anyone who doubts they’re just as big as movies simply hasn’t been paying attention. Besides, any product is meant to be its own advertisement. Here that advice is literally true. Games As Art (And New Ideas) Hybridization always creates new ideas. And the only people still arguing about whether video games are art were eligible to retire before we started playing them. Even the most violent shooter can be stuffed with artistic flourish and deeper meanings. Bioshock was a beautiful steampunk fantasy which turned a generation onto Atlas Shrugged . The “soldier shoots other soldiers, also aliens” might not sound like a vehicle for quite as much content, but it’s beautiful. Crysis has always been about binaries, and not just in the 1s and 0s that make it happen. Every aspect of the games has a duality. You fight armed human soldiers, then inexplicable aliens. You’re outfitted with state-of-the-art technology but find yourself enmeshed in nature. You’re encased in a nanotechnological miracle of body-enhancing armor and you find yourself wielding a bow and arrow. And it looks awesome. And it looks awesome. The series started on Dec 12. You can watch the first episode right now on the Crysis YouTube channel . (Be sure to choose max HD quality for the full effect.) Luke McKinney loves the real world, but only because it has movies and video games in it. He responds to every tweet . Follow Luke McKinney on Twitter. Follow Movieline on Twitter.
Amanda Bynes has reached financial settlements with both of her hit-and-run victims from earlier this year, and the L.A. City Attorney’s office is far from pleased. As you surely heard, the troubled star was charged with two counts of hit-and-run stemming from separate 2012 in which she hit other people’s cars, then bailed. Bynes has since struck a financial deal with both sets of victims, however, and her attorney then convinced a judge to throw out the criminal charges against her. The decision infuriated the L.A. City Attorney’s Office, to put it mildly. Prosecutors strongly objected based on the fact that there were multiple incidents – and Amanda Bynes’ DUI arrest , a case that’s still pending – but were rebuffed. Speaking of the DUI case, the District Attorney’s Office is still moving forward with that case, and it’s scheduled to go in front of the judge next month. Don’t expect prosecutors to go easy on her.
A visibly distraught U.S. President Barack Obama fought back tears as he addressed the media following this morning’s Connecticut school shooting tragedy. “The majority of those who died today were children, beautiful little kids between the ages of 5 and 10 years old,” Obama said during a national TV address. Obama Cries During Speech on Connecticut Shooting After pausing to compose himself for five whole seconds, he added, “They had their entire lives ahead of them: birthdays, graduations, weddings, kids of their own.” Then the president wiped the corner of his eye. The massacre allegedly carried out by Adam Lanza (not his brother, Ryan Lanza , as was first reported) is enough to make anyone sick, but especially parents of young kids. For Obama, who has two daughters, Malia, 14, and Sasha, 11, with wife Michelle, the thought of 18 children slain at an elementary school kid particularly close. Obama said that, like other parents across the country, he and wife Michelle will hug their children tonight, and tell them how much they love them. “But there are families in Connecticut who cannot do that tonight,” he lamented. “And they need all of us right now. In the hard days to come, that community needs us to be at our best as Americans. And I will do everything in my power as president to help.” Obama cited the scenes of other shootings – a shopping mall in Oregon, a Sikh temple in Wisconsin, a movie theater in Colorado and “a street corner in Chicago.” “These children are our children,” he said, and “our hearts are broken today.” The president added, “We’re going to have to come together and take meaningful action to prevent more tragedies like this, regardless of the politics.” Our hearts and thoughts go out to the victims and their families, as well.
A lucky new man is about to get up close and personal with Marisa Miller topless . The super model has given birth to a son named Gavin Lee , People Magazine confirms. He was born in Santa Cruz, Calif. last night and weighed in in at 8 lbs., 10 oz. “I’m completely overjoyed by the birth of our son,” Miller says. “I feel so blessed to be a mom and am so excited to experience this next part of life.” Miller is married to music producer Griffin Guess and this is the first child for both. We send the couple our very best wishes and we make a recommendation for the nursery: a calendar of Marisa Miller bikini photos ! What guy wouldn’t want that in his room?!?
