Here’s s little Jessica Biel looking all feminine, despite Justin Timberlake’s request to keep her broad and bulky so when he slams her up the ass she feels like one of the execs at Disney who used to call Justin his favorite, back when it all started, before the piles of money that Jessica Biel is gonna get her piece of just as soon as he cums in her pussy instead of her ass, the farting it out into herself has been a serious fail to date, but luckily she has a lot of dirt on him and that is what matters…. These pics are for Russia Tattler, but it turns out that Russia is RECYCLING PICTURES OF JESSICA BIEL FROM W MAGAZINE MARCH 2012 and I feel robbed…and you should too…cuz I’ve already posted these fuckers….
Critics says Benjamin Walker brings ‘backbone’ to an otherwise ‘fake and cartoony’ retelling of the Civil War. By Kevin P. Sullivan Erin Wasson and Benjamin Walker in “Abraham Lincoln: Vampire Hunter” Photo: ” Abraham Lincoln: Vampire Hunter ” reimagines the Civil War as a struggle between the living and the undead with our 16th president as a slayer of the bloodsuckers. It sounds like a fun premise, but critics certainly wish the filmmakers had stuck to the history books. Here is our roundup of what the critics are saying about “Abraham Lincoln: Vampire Hunter.” The Story “The story opens with young Abe witnessing the murder of his mother by a vampire. He swears vengeance, and some years later is lucky to be getting drunk while standing at a bar next to Henry Sturgess (Dominic Cooper), who coaches him on vampire-killing and explains that it is a high calling, requiring great dedication and avoiding distractions like marriage. Against Henry’s advice, Lincoln (Benjamin Walker) marries Mary Todd (Mary Elizabeth Winstead), and the story moves quickly to his days in the White House, where he discovers that the vampires are fighting on the side of the South.” — Roger Ebert, Chicago Sun-Times Benjamin Walker “He lucked out big time nabbing Benjamin Walker to play Lincoln from 8 to 80 (not exactly, but you get my point). Walker, 30, was a dick-swinging smash on Broadway in the 2010 musical ‘Bloody Bloody Andrew Jackson,’ playing Old Hickory as a genocidal horror in sexy pants. Walker brings backbone and flashes of humor to the guy on the five-dollar bill.” — Peter Travers, Rolling Stone The Direction “To stand a chance of pulling this off on film, you need wit and a deft touch, and, boy, is Timur Bekmambetov the wrong man for the job. (Tim Burton, who produced, would have been the better choice.) The director came out of Russia some years back with a pair of showy fantasy thrillers, ‘Night Watch’ and ‘Day Watch,’ and has since made the Angelina Jolie shoot-em-up ‘Wanted.’ Bekmambetov’s filmmaking style manages to be both frantic and ponderous, and he has the humor of a nightclub bouncer.” — Ty Burr, The Boston Globe The Script “Adapting his own richly embroidered novel, which is a lot more fun than the movie, Seth Grahame-Smith (who also wrote ‘Pride and Prejudice and Zombies’) strips his book for parts and ditches the most interesting cockamamie detail and context.” — Michael Phillips, Chicago Tribune The Final Word “Unfortunately, director Timur Bekmambetov and writer Seth Grahame-Smith, adapting his own best-selling novel, take this concept entirely too seriously. What ideally might have been playful and knowing is instead uptight and dreary, with a visual scheme that’s so fake and cartoony, it depletes the film of any sense of danger.” — Christy Lemire, The Associated Press Check out everything we’ve got on ” Abraham Lincoln: Vampire Hunter. ” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘Abraham Lincoln: Vampire Hunter’
One thing about Sarah Palin, she has staying power. People on the left and right love and hate her (or both) and as Mitt Romney gears up to choose his potential Veep, it’s hard to imagine whoever it is will have the same cultural impact as Palin. Movies have been made about her including the pro-Palin doc The Undefeated (2011) directed by Stephen K. Bannon which is inspired by her book Going Rogue: An American Life and then there was, of course, the reality show set in her home state where she served part of a term as governor in Sarah Palin’s Alaska . But countless on-TV appearances later another film – this time, made for HBO – brought out star-wattage and more controversy in Game Change , which the filmmaker recently spoke about including his frustration at negative feedback from both sides of the political spectrum. Directed by Jay Roach and starring Julianne Moore as the Palin herself along with Ed Harris (as McCain) and Woody Harrelson, the film followed Arizona Senator John McCain’s 2008 presidential campaign from his selection of Palin as his running mate and his ultimate defeat, some would say due in large part to Palin’s much ballyhooed public and media gaffes including her ill-fated interview with then CBS News anchor Katie Couric in which she had difficulty picking a newspaper that she reads daily and taking some geographic liberties with Russia’s proximity to Alaska. Game Change was not Roach’s first foray into campaign controversy. His earlier HBO film Recount , which followed the 2000 election between George W. Bush and Al Gore that ended up in the Supreme Court, giving the election to Bush, won three Emmy Awards in 2008. Roach told The Hollywood Reporter he tried on numerous occasions to reach out to Palin to cooperate on the film to no avail. He even tried tracking her down at a string of parties around the time of the White House Correspondents dinner last year. “I really thought I would go up to her and say, ‘Hi, my name’s Jay Roach and I’m doing this film about the McCain-Palin campaign…I’m sincerely trying to get the story right and it’d be great if you want to talk about it and tell a story with even more layers and depth.’ So it would’ve been the world’s most awkward conversation; she’d already said ‘no’.” Roach took heat for portraying Palin as falling apart at the seams in the wake of the Couric interview, though Roach said he and Moore were trying to find empathy for the V.P. candidate, telling THR, “What might that have been like, to have been surrounded by people you don’t trust anymore, to have to experience so much public humiliation and mockery and, you know, widespread judgment?” And what about the heavy response on both sides of the proverbial aisle once the film hit HBO? “I think I was annoyed by the fact that the people who were attacking the film hadn’t seen it, and they said, ‘We haven’t seen it, but we hate it,'” said Roach. He noted that some people thought it was too sympathetic though he said he thinks that crowd had likely expected it to be more critical. And now Roach is taking on the political front again, but this time it will be a fictional story (though one can’t help but speculate there will be ample ‘truth’ to the story). His next film The Campaign will star Will Ferrell and Zach Galifianakis as two opponents fighting it out in North Carolina. [Source: The Hollywood Reporter ] And what’s your feedback on Palin’s media portrayal?
Irina Shayk is fantastic. If all girls looked likee Irina Shayk, I’d probably be less impressed with how good she is, because I’d be too busy trying to fuck every fucking girl I saw, or more likely, trying to control my boners everywhere I went…along with every fucking dude, cuz she is amazing and she probably knows it, that’s why she’s fucking top Soccer players who are likely gay, you know cuz it give her visibility she deserves, even if Kate Upton’s fat ass is trying to cast a fat shadow on her Russia greatness, I mean assuming you think Russians are greatness, because you haven’t been threated by Russians in the mob for no reason other than that they are crazy, so you can appreciate her cold as ice spy accent and not shit yourself when you hear it….Not that I’m speaking for experience or anything….
The Republic of Dagestan is a federal subject (a republic) of Russia, located in the North Caucasus region. Dagestan is rich in oil, natural gas, coal, and many other resources. Like SICK DANCE MOVES! Check out this video of a construction worker breaking it down on the job to Michael Jackson’s classic “Billie Jean.” Guy can moonwalk like a champion! Hey, it’s a recession. Gotta pass the time somehow. Construction Worker Dances to Michael Jackson NOTE: We’ve got to get him together with this Brazilian cab driver: Taxi Driver Imitates Michael Jackson
His competition premieres fizzled a bit , but perhaps Harvey Weinstein controlled the message where it counts: “As I surveyed the room, I found that Gossip Girl ’s Kelly Rutherford also held the rather odd opinion that Weinstein was secretly the gala’s best masseuse. ‘I mean, there are guys that are really cute but you don’t know if they’d be good givers. And a massage, you have to be giving,’ she told me. ‘I bet Harvey would give a great massage. I think he’s so sexy and smart and he’s very giving. Plus, whatever he does, you know he’s going to do it well.'” [ Vulture ]
Newsies on Broadway has entered the national consciousness, so now I get to say this to all the rest of you: FINALLY . Join me, Fansies, in watching Oscar- and Grammy-winning composer Alan Menken tickle the ivories to a number of his best Newsies tunes from the 1992 cult movie and the Harvey Fierstein-penned Broadway adaptation , and consider: Did he really deserve that Razzie award? Menken, of course, is the lauded composer of a number of modern Disney classics — The Little Mermaid , Beauty and the Beast , Aladdin , among others — and he’s got a knack for turning out catchy numbers with unforgettable melodies. Well, except for the cabaret number “High Times, Hard Times,” sung in the movie by Ann-Margret, playing the cougar songbird Medda. He likely would have gone his entire recent guest spot on the New York-area show Theater Talk (watch it below) if stage collaborator and fellow guest Fierstein hadn’t cajoled, “Where’s that song that won you the Razzie award?”, prompting Menken to comply. The number was never anyone’s favorite ditty (Ann-Margret singing on a swing to a theater full of cat-calling young boys? SURE), and it was cut out in the adaptation process, but Menken seems to have a sense of humor about it now — and more importantly, he doesn’t pronounce the word “chest” like “shest,” which always made me cringe a little. More fascinating in this half-hour show is how Menken and Fierstein run through the history and conception of their film-to-stage adaptation, acknowledging the perceived flaws in the film that they tweaked for their musical, which debuted in New Jersey’s Paper Mill Playhouse last year so well that the show transitioned to Broadway. Is it a slight bit of heresy to see how casually Fierstein dismisses Bill Pullman’s newspaper man character Denton, who was hacked from the adaptation and combined with David’s maddeningly useless sister Sarah, the axed pair morphing into one lady newspaper reporter love interest? Well, yeah. Do I understand my fellow hardcore Newsies fans who might be a bit upset to learn that Fierstein and Menken have so little love for the “Patrick’s mother” character, a woman who sings literally two lines in one song in the film while looking for her runaway son in the town square? Absolutely. Some of us are purists. [ Theater Talk ]
I mean, naturally : “Broken Road Production’s Todd Garner has teamed up with Adam Herz and Joshua Shader of Terra Firma Films to produce an adaptation of Sullivan’s Sluggers , a horror baseball graphic novel by Mark Andrew Smith and James Stokoe. Described by Smith as a ‘ Major League meets Zombieland and then some,’ Sluggers follows a has-been baseball manager Casey Sullivan and his dysfunctional minor league Sluggers who get an invitation to play a small venue game. Soon enough, they find themselves fighting for their lives against a town of shape-shifting monsters on a feeding frenzy and the has-beens and wannabes must use long-forgotten skills of teamwork to get out alive.” [ THR ]
This weekend welcomes Snow White and the Huntsman to theaters, mere months after Relativity’s Mirror, Mirror preceded Universal’s Kristen Stewart film in the race to produce live-action versions of the fairy tale that Disney animators arguably perfected decades ago. And odd as it is to behold this practice of two serpents eating the other’s tail, stranger still is the thought of a studio executive ensconced in a corner office, slamming his fist down on the old-growth polished conference table, and bellowing to the suits, “Dammit! Where in the hell is OUR Snow White script!?!?!” Yet variations on this scenario are not so unique in Hollywood. Many of the actions surrounding these productions — wrestling over promotions, insistence of originality, chess games played with release dates — have played out for generations. Find below some of the more notable occasions when studio execs didn’t let redundancy stop them from flashing the green light: 1964 – The Cold Shoulder War: Dr. Strangelove (Jan.) / Fail-Safe (Sept.) With the Cold War at its peak, it came as little surprise that movies of the time might reflect the American public’s fear, dread and paranoia. But these competing efforts bore many similarities for such wide, ripe terrain: Each had a major young director at the helm, a cast choked with stars, and a storyline about a rogue mission that may spark a global conflict. Stanley Kubrick’s ambitious Strangelove , based on the book Red Alert , took shape as a satirical indictment of the geopolitical climate. Sidney Lumet’s Fail-Safe , meanwhile, sporting more of a spartan stage setting and relying on close-ups, hewed closer to the tense spirit of its own eponymous source novel. Many people found them more than similar — and for good reason. Result: While both are hailed as classics, Strangelove stole much of Fail-Safe ‘s thunder both culturally and financially — a predicament made all the more curious since Columbia released both films. (Kubrick reportedly lobbied the studio to release his movie first.) And despite Kubrick and co-writer Terry Southern’s comic vision of his novel, Red Alert author Peter George sued the studio over Fail-Safe , accusing it of plagiarism because of the similarities in the stories. 1989 – Paw Enforcement: K-9 (April) / Turner & Hooch (July) Studio experts must have test-marketed for — and found — results showing audiences salivating at the prospect of comedies with cops involuntarily partnered with a four-legged ride-along. How else to explain these mirrored attempts at mirth? The cops are given one-note characters (Jim Belushi is a loose-cannon loner, Tom Hanks a fastidious short-timer) simply to make the dog’s entrance more compelling; both films even have scenes of the hound destroying the interior of the beleaguered officer’s car. Result : Neither did blockbuster numbers, but considering the low-concept redundancy, returns of $43 million for K-9 and $71 million for Turner & Hooch are nothing to bark at. 1989 – Plunging Returns: Deepstar Six (Jan.) / Leviathan (Mar.) / The Abyss (Aug.) Was there something in the Hollywood water supply in 1989? Because executives sure had water on the brain that year, when audiences were actually given three identical deep-sea stories within an eight-month period. (To say nothing of straight-to-video efforts like The Rift and Endless Descent .) Incidentally, Deepstar was written by Lewis Abernathy, a pal of James Cameron’s who was later cast in Titanic as the wisecracking best friend of Bill Paxton’s character. In between their shared visions, MGM released its own deep-sea-alien hybrid film directed by George P. Cosmatos, ( Rambo, Cobra ), creating a viewing experience that almost produces the bends. Result : The Abyss earned a paltry (by Cameron standards, anyway) $54 million, but it holds up far better than its lower-budget counterparts ( Leviathan even dispensed with underwater photography; they shot in what is described as a “dry-wet” look), neither approached $10 million at the box office. Bonus points to Fox marketing for its poster touting The Abyss as “summer’s most original adventure.” 1992 – Non-Event on the Horizon: Christopher Columbus: The Discovery (Aug.) / 1492: Conquest of Paradise (Oct.) The 500th anniversary of Columbus finding America was deemed ripe for the plucking of historical events surrounding the explorer. Big names were used, sweeping epic visuals were displayed, and colons were inserted into the titles. Yet strangely, a subject that had long amounted to a cornerstone of many Americans’ primary education was passed over by audiences of all ages. Result : Both productions sported budgets well over $40 million both films drew the same paltry sum domestically, around $8 million. 1997 – Blowing Their Tops: Dante’s Peak (February) / Volcano (April) At one point in history, a tremor of excitement ran through Hollywood suggesting that volcanic eruptions would be next big thing. Universal gave us Dante’s Peak , a thriller with Pierce Brosnan and Linda Hamilton loosely based on the eruption of Mount St. Helens in 1980. Just a couple of months later came the 20th Century Fox version with Tommy Lee Jones and Anne Heche, a more traditional disaster film with large sets, a large cast and a large departure from reality as an eruption threatens Los Angeles. Given the lack of explosive imagery in Volcano audiences soon wondered why it had not been simply titled Lava instead. Result : Although, of the pair, only Volcano enjoyed a No. 1 opening at the domestic box office, Dante’s Peak far outgrossed the later effort with a global take of $178 million. 1998 – You Bet Your Asteroid: Deep Impact (May) / Armageddon (July) The prospect of our planet getting sucker-punched by a supernal rock form is the kind of disaster that carries the ultimate pathos: We are doomed, and there is nothing we can do about it. Unless you are Michael Bay, that is, because you’ll just send oil-rig roughnecks into space to blow up the flying rock. Or unless you’re Morgan Freeman, who, as the President in Deep Impact , collaborates with Russia to nuke the lethal comet. Crises averted? In one summer audiences were served up competing disaster films of similar size and scale, and who would have guessed there was an appetite for this sort of scientific chicanery? Result : Both movies were hits, combining for more than $900 million at the worldwide box office. 1998 – Colony Thinking: Antz (Oct.) / A Bug’s Life (Nov.) In the first real showdown between the established Pixar and the fledgling DreamWorks animation wing, ex-Disney boss Jeffrey Katzenberg claimed he was pitched the idea for Antz four years prior to his exit. Tension arrived when Pixar head John Lasseter said Katzenberg requested that Bug’s Life move its release date so as not to compete against DreamWorks’ animated title Prince of Egypt . When Lasseter declined, Antz had its release date changed from March ’99 to just over a month before Bug’s Life . Result : The bitterness did not hurt the box office: A Bug’s Life drew $363 million worldwide — more than twice Antz ‘s global take of $171 million, yet both still proving milestones for both studios the viability computer animation. 2000 – Fourth Rock from Profitability: Mission to Mars (Mar.) / Red Planet (Nov.) Talk about a studio not learning a lesson: While everyone is now familiar with the failure of John Carter , that release actually makes for the third time Disney has released a failed movie set on Mars – and all in the month of March (including Mars Needs Moms in March, 2011). Originally intended as a Gore Verbinski production, Mission to Mars wound up in the hands of Brian DePalma. Meanwhile, later in the year, Val Kilmer headed another mission to space — one said to be such a factual challenge to science that NASA backed away from assisting the production. Result : Both titles experienced critical and commercial difficulty, with Mission to Mars barely breaking even and Red Planet bombing spectacularly with a global total of just $33 million. 2006 – Sleight of Script: The Illusionist (Aug.) / The Prestige (Oct.) Odd to think that studios would gravitate towards similar stories centered upon turn of the century magicians. Odder still that both would be critically favored and find strong audience reception. Christopher Nolan and his brother Jonathan actually spent years adapting the screenplay of The Prestige from Christopher Priest’s novel of the same name, finally immersing himself in production for Warner Bros. following the success of his superhero reboot Batman Begins . Neil Burger’s The Illusionist , meanwhile, debuted at Sundance in 2006, trickling out ahead of The Prestige in limited release. Result : Both movies were warmly embraced critically and commercially and even nabbed nominations for their respective cinematographers Dick Pope and Wally Pfister. Neat trick, that. Brad Slager has written about movies and entertainment for Film Threat, Mediaite, and is a columnist at CHUD.com . His less insightful impressions on entertainment can be found on Twitter .
I don’t know who Arta Dobroshi is….but I know she’s got a fucking long ass that I would rather see in SPANX….or really any ass shaping product…even hitting he gym doing squats…cuz whatever is going on here is offensive… I decided to do some research on the ever informative DRUNKENSTEPFATHER.COM ARCHIVE where I discovered a post called Arta Dobroshi Has the Worst Body to Ever be on Film of the Day …..where I went onto say….and I quote… I doubt anyone knows who this girl is, possibly because she wasn’t born a girl but had to mask her identity when escaping communist Russia and hormones were the only option, or maybe she was some science experiment in some German sex change lab, I’m so informative…possibly the new WIKIPEDIA…. Either way…how ass bro…next time maybe you should try some pants…. TO SEE THE REST OF THE PICS FOLLOW THIS LINK
