How to Survive a Plague turned on the water-works and other outpourings of emotion when it debuted at Sundance earlier this year. Its subjects, the driving-forces behind AIDS activist groups ACT-Up (the AIDS Coalition To Unleash Power) and TAG (Treatment Action Group), took matters into their own hands against a massive tide of fear, discrimination and government failure to deal with the disease that ravaged the gay community in the ’80s and ’90s. Director David France profiles the heroes of the movement who moved the needle in forging treatment and official recognition against extraordinary odds, and today Movieline has your first look at the official poster. Sundance Selects will debut the feature September 21st following the film’s healthy festival run to date. Below, find the poster designed by Sam Smyth and the trailer along with the official synopsis: How to Survive a Plague is the story of the brave young men and women who successfully reversed the tide of an epidemic, demanded the attention of a fearful nation and stopped AIDS from becoming a death sentence. This improbable group of activists bucked oppression and, with no scientific training, infiltrated government agencies and the pharmaceutical industry, helping to identify promising new medication and treatments and move them through trials and into drugstores in record time. In the process, they saved their own lives and ended the darkest days of a veritable plague, while virtually emptying AIDS wards in American hospitals in the process. The powerful story of their fight is a classic tale of empowerment and activism that has since inspired movements for change in everything from breast cancer research to Occupy Wall Street. Their story stands as a powerful inspiration to future generations, a road map, and a call to arms. This is how you change the world. Official Selection: Sundance Film Festival, New Directors/New films, San Francisco International Film Festival, Provincetown International Film Festival, Outfest Documentary Centerpiece, Seattle International Film Festival. Follow Movieline on Twitter .
Elodie Bouchez is another French actress who is certainly worth a good bang in our opinion as she is looking beautiful completely nude in front of the camera in this video clip from a movie having fun with some dude who is trying to persuade her into bed showing off her cute tits and ass in the process. Continue reading →
Teen celeb Demi Lovato flashed a nice side boob at the recent Teen Choice Awards. You don’t want to miss this super hot teen celeb Demi Lovato exposing some serious cleavage on the red carpet. Continue reading →
Kim Kardashian of celebrity sex tape fame looks pretty hot just having come out of the gym and showing off a big cameltoe in the process wearing pants that of course do not fit her properly Continue reading →
Luba is a gorgeous model with some of the nicest tits we have honestly seen for a long time and here she is pulling several yoga poses while showing off her tits and ass in the process Continue reading →
Katy Perry is a pile of shit of a person….from her bad skin…to her sloppy stomach…to her thick legs, dumpy ass to her horrible music, ridiculously bad costumes, her whole brand image, and most importantly her bad dancing…so it is only natural that she moons the world in her bikini….because she’s fucking won…she rode her fucking tits and bad singing voice to as far as they can take her and she’s made a million dollars in the process…pretty much showing us that her bad ass…that is literally a bad ass and not a bad ass that she thinks she is cuz she fucked off on her religion to join the devil in his brain washing….cuz no one cares about that….a bad ass that is like a plastic bag half filled with cottage cheese…hanging off her in horrible ways… I hate this bitch…. To See More Pics of her Horrible Ass FOLLOW THIS LINK
Julie Warner is a gorgeous brunette babe who you have to admit looks fantastic as she is here coming out of the water in this video clip from a movie where it looks like a young Michael J Fox is on the beach waiting and checking her out in the process of course. Continue reading →
Tricia Helfer is 38 year old Candian actor who doesn’t offend me in her bikini, which is seriously fucking rare, cuz the cut off date, or the expiry date is usually 30 and most of the time even that is stretching it, but I guess she didn’t let herself go to have babies that raped her body harder than the baby daddy in the process of getting her pregnant, or maybe it is cuz she hasn’t quite got that Oscar she was hoping for when auditioning for Battlestar Gallactica, and knows she has work to put in, or maybe it is cuz she’s got a filter and is only showing tits, leaving her cellulite ridden thighs and dumpy 40 year old ass out of the frame, whatever it is, I am into it…
At one point, Kate Beckinsale remembers, director Len Wiseman thought of tapping her for a cameo as a three-breasted hooker in his Total Recall remake. Luckily for the actress, Wiseman (who directed the British beauty in Underworld and Underworld: Evolution — and happens to be her husband in real life) instead cast Beckinsale in the much juicier role of Lori, the adoring wife of factory worker Douglas Quaid (Colin Farrell) whom Quaid discovers is actually an undercover agent hellbent on killing him. Consider that a divorce, indeed . Expanded considerably by scribes Kurt Wimmer and Mark Bomback as an amalgam of Sharon Stone’s duplicitous Lori and Michael Ironside’s ruthless Richter from Paul Verhoeven’s 1990 version , Beckinsale’s Lori — her first onscreen villain — is baddie Cohaagen’s (Bryan Cranston) loyal right-hand woman, embittered by the humiliating role she’s been assigned, but relishing in her dogged pursuit of Farrell’s Quaid with glee. (She also boasts unfailingly fantastic hair, in keeping with Beckinsale’s action cinema filmography.) Beckinsale sat for a chat with Movieline about Total Recall , Lori’s inner psyche, how marriage lends insight to her working relationship with Wiseman, and how she resolves her “Kate Beckinsale” public image/action heroine reputation with her literary roots and lesser-seen work. This version of Total Recall is quite different from the Verhoeven original in many ways, including its emphasis on a more geopolitical commentary. But the Lori character in particular, which is vastly expanded here, is a sharp, strong woman who literally rejects this domestic role that she’s been given, playing wife to Douglas Quaid at the behest of her employer. I think she’s an extremely highly trained, highly intelligent, and very much at the top of her field operative, and the detail that she’s been given is actually quite degrading, if you think about it. For a police officer at that level to have to basically sleep in a bed, have sex with, make dinner for this person who appears to be a factory worker of no real note indefinitely, must be incredibly frustrating – and I think must feel like, “I have this because I’m a woman.” And there’s nothing more maddening than to feel like you’re being passed over or degraded or humiliated because of your gender. Were these elements that were in the script originally, or did those shades come in as you worked on the character? It was a little more sketched, and I know that Len wanted to feel like that about her, so it was quite early on when we were talking about the character. Because otherwise I think it’s peculiar; first of all, it’s a strange situation for someone to be undercover pretending to be somebody’s wife. What would that feel like, if you were that highly trained? And equally, there’s nothing more boring than a bad guy who’s just being a bad guy for no reason. Mainstream audiences know you best from the Underworld movies and as this lithe, lethal action heroine, but your career began with very different kinds of roles; ironically, the character of Hero in Much Ado About Nothing was one of your first breakthrough parts. And even before that, some of your first awards came as a writer, for your poetry. Does it feel strange to you that so many moviegoers know you primarily for your action roles in the Underworld movies and the like? I think that dwelling on other people’s perception of you is the road to complete madness, unfortunately. I try and resist that. You can’t help it a bit, because it is quite odd when other people are responsible for conveying your image or your words. That is quite a strange spot to be in, especially if things do come off unfamiliar. You can feel a bit gypped. But I suppose a part of you has to go, there is a kind of penalty for being so lucky to have this kind of a job that those things are going to happen. I do feel very fulfilled by the work that I’ve done, and often by the work that I’ve done that many people haven’t seen. So the bottom line is, I have actually done the work and I’ve had that experience, and it has been amazing. And yes, it would be nice if more people were aware of those, but at the end of the day it’s more important that I’ve actually had the experience. Even on Google, the first items that pop up about you involve your “Sexiest Woman Alive” type honors, or quote you talking about nude scenes… It’s maddening! And the thing is, a lot of the time you’ll do a whole long interview with somebody and then they’ll say, “By the way, have you thought about doing a nude scene?” and that’s the thing… so it’s quite skewed in terms of the balance of the interview where you’re talking about all sorts of things, but people tend to pull out the one that fits the image they have for you. And that can be a little bit annoying if it’s always about, you know, not having knickers on or being sexy or what beauty products are you using? I have no idea who that person is. It’s just odd when you kind of go, I’m coming off a bit as the sort of person who walks into a room and tries to tell everyone what I’m eating all day. Len [Wiseman] said he wanted to cast you in the role of Lori because he saw aspects in the character that he thought you hadn’t had the chance to play onscreen before very much – even Lori’s guile, her complexity. She’s not a comedic character, but the film has a sense of humor about her. What’s your take on Lori as a role? I think this is a really good part, and really great parts don’t come along every ten seconds. But I think the thing that’s great about her is she’s really intelligent – she’s obviously a bit unhinged, but she’s a very, very smart person, and people who are crazy and smart at the same time are usually the most dangerous people. I think he really wanted to get a sense of that, and I may have been in some rather not-very-intelligent looking photo shoots and/or movies, but my husband observes me in my natural habitat and knows that I’m quite a smart girl. It’s nice that your offscreen relationship could help lend that sort of insight into your working relationship. And it means he’s not just receiving the kind of Kate Beckinsale that’s out there. The quote-unquote “Kate Beckinsale.” Yes! There’s a dichotomy and gender reversal as Lori reveals herself and attempts to kill Quaid: As she chases him through the city, it’s clear that she’s highly lethal and the disoriented Quaid is rather clumsy and scared. Later you two have the most brutal hand-to-hand fight, but it remains on equal footing. I really like the movie, for all of that. It’s a very fun ride, but it’s actually very thoughtful. What deeper meaning could we draw from Len casting his own wife as the ultimate evil wife? And all the film’s many nods to their sham marriage, were those written in to begin with? Some of them were, some of them we came up with. But we obviously don’t have that sort of relationship. Len is still walking around! [Laughs] Total Recall is in theaters Friday. Read Movieline’s review here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Films like Celeste and Jesse Forever and The Five-Year Engagement feel like the start of some new subgenre — these unromantic semi-comedies about the microdramas of nice, emotionally inarticulate people struggling their way through relationships. Both feature comedic actors working with material that’s not intended to be all that funny, and both take angles on relationships that don’t usually make it to screen — a prolonged breakup leading up to a divorce and a prolonged, unhappy stretch leading up to a wedding. And both cruise on the charms of their lead actors, in this case Rashida Jones and Andy Samberg , holding together just enough to be satisfying while also leaving you wishing they had a little more to them. Jones doesn’t just star in Celeste and Jesse Forever , she co-wrote the screenplay with Will McCormack (who also appears onscreen) — The Vicious Kind ‘s Lee Toland Krieger directs. It’s an interesting role for an actress to sculpt for herself, and the fact that Jones worked to make it happen speaks to the dearth of complicated, flawed female characters that are out there. Celeste, the character Jones plays, has definite hangups, realistic ones that the film explores with almost too much enthusiasm — she can be hard to spend time with as she strikes out at her friends and herself in the process of actually getting in touch with her emotions. Despite the title, the film’s far more hers than Jesse’s (Samberg) — this isn’t so much a rom-com or even a break-up movie as it is a portrait of a woman getting her unearned certainly about life shaken up a bit, and coming to terms with her own imperfections. Celeste and Jesse have been best friends since high school, and when the film starts we see them together in a car, sharing old jokes and the conversational shorthand of people who’ve known each other for a very long time. They go to dinner with their friends Beth (Ari Graynor) and Tucker (Eric Christian Olsen), who are prepping for their own wedding, and we learn that all this adorable couple behavior isn’t cute, it’s actually a little weird, because Celeste and Jesse have been broken up for six months — and while they’re ending their marriage, they still spend all their time together. Celeste is a trend forecaster (she’s written a book called Shitegeist ) and Jesse is a mostly unemployed artist, and the two are gleefully co-dependent (he’s moved out — to the guest house in the back yard). Not having gotten to see them as they were breaking up, we’re left to extrapolate their problems from the fallout as their precarious set-up crumbles under the weight of denial and miscommunication, as Jesse obviously thinks Celeste is working up to taking him back while she’s enjoying having him around but not having him too close. When he finally realizes they’re done, she comes to terms with the fact that maybe she’s not, but by then he’s gotten inextricably involved with someone new. Celeste and Jesse Forever has an affectionate, grounded take on Los Angeles, which comes across like a tangibly pleasant, lived-in place on screen (still a relative rarity for the city in movies), one in which you can run into friends at furniture stores and miss your dinner reservation at the Chateau Marmont. The film blends in bits of the showbiz industry in a matter-of-fact way — Celeste gets set up on a date with a 22-year-old male Gap model, and reluctantly takes for a client a teenybopper pop star (Emma Roberts) whose music she can’t stand. There’s a specificity to its cultural references and the locations its characters frequent that’s pleasing, and that’s more natural than the sometimes strained bits of quirkiness that mark relationships like the one between Celeste and her business partner Scott (Elijah Wood), who tries to be her self-awarely sassy gay bestie. Jesse, placed in a situation where he has to man up, proves himself capable of turning into the responsible adult Celeste claims she always wanted him to be, while she crumbles, claims she’s okay, tries to date when she’s not ready (the omnipresent Chris Messina is her best self-deprecating suitor) and smokes a lot of non-medicinal marijuana. Jones proves wonderfully willing to put herself in humiliating situations, whether overindulging at an engagement party or going on a wince-worthy dinner with a guy (Rich Sommer) whose name she can’t get straight. But her toughest scenes are the ones in which she undercuts people again and again, telling one he isn’t ready for fatherhood, another that he obviously isn’t the right match for her, and assuming (and needing) Jesse’s new girlfriend to be dumb. The way the film and its lead actress are willing to let the character fall on her face repeatedly and realistically is impressive, though the general formlessness of Celeste’s crisis makes the process, well, a lot like witnessing someone you’re fond of insist on making terrible mistakes over and over again. Celeste and Jesse Forever creates a handful of likable and very human characters, so much so that halfway through you want the film to stop putting them through the emotional wringer so that you can just spend time with them. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
