Lindsay Lohan, Snooki and ‘Octomom’ Nadya Suleman also make By Jocelyn Vena Kim Kardashian Photo: Marianna Massey/ WireImage Does it feel like Kim Kardashian is everywhere? Well, according to Forbes , she is. The reality starlet topped the publication’s list of the Most Overexposed Celebrities. The survey, conducted by E-Poll Research for the magazine, ranks celebrities based on “46 different personality attributes based on their polling data of Americans.” What about any ties? According to the site, “ties on this list were broken by E-Scores, which measure a celebrity’s ‘marketing effectiveness’ by combining awareness, appeal and other factors.” For celebrities who didn’t make the list, the average overexposed ranking is 5 percent. Kim has an overexposed rating of 65 percent, and her sisters also made the list: Kourtney at #8 (with a 53 percent rating) and Khloe at #10 (with 51 percent). Lindsay Lohan sits at #2 with an overexposed rating of 64 percent. At #3 is Snooki (64 percent), “Octomom” Nadya Suleman lands at #4 (62 percent), Paris Hilton is #5 (60 percent), Kate Gosselin is #6 (57 percent), Snooki’s “Jersey Shore” pal the Situation landed at #7 (56 percent) and Levi Johnston splits the final two Kardashian sisters at #9, with a 51 percent rating. “A decade ago, being overexposed was the kiss of death,” E-Poll CEO Gerry Philpott said. “But today, it’s necessary to fuel reality TV. If you want to be a serious movie actress, maybe you don’t want high overexposed numbers, but if you’re going to be a successful reality star, you need those numbers.” Who makes your list? Share your thoughts in the comments below!
Breaking news: The third installment of Tom Six ‘s Human Centipede saga — which the director promised would see 500 human beings stitched together… in America ! — may be in trouble. According to reports cobbled together through press releases and Twitter missives from Six and his Human Centipede star, Dieter Laser, the German actor took issue with certain script elements, causing him to walk. Six says he’ll sue. Will the script and contract issues be resolved in time to get the erstwhile Dr. Heiter on set for the shoot, commencing later this year? WILL THE PEOPLE OF EARTH GET THE HUMAN CENTIPEDE THREEQUEL THEY WANT DESERVE DREAD?? On closer examination, Laser’s statement explaining why he parted ways with Six actually seems fairly reasonable. That said, what does it mean that Laser claims to be a method actor? *Shudder* Read Laser’s statement , via Best Movies Ever Screen Read: “It’s very simple: I loved the story when it was told, got the contract and the promise to have the script in 4 to 6 weeks. When it arrived – half a year later and only after the official announcement – I didn’t like the realization at all, couldn’t identify with the character the way it was written and developed immediately and enthusiastically in a day and night marathon a version full of concrete and practical suggestions which would enable me to play the lead full throttle – same procedure as with Dr. Heiter – but this time it also would have had some unavoidable effects to the dramatic structure. That was too much for Tom and since he couldn’t live with my suggestions and I as a method actor couldn’t identify with his version, I told him that I couldn’t see any other way than that he would have to ‘change horses.’ That’s it.” Of course, there is the pesky business of legal contracts to contend with. And since Six’s vision involves both Dr. Heiter and Human Centipede 2 ‘s Martin, I can’t imagine Six will let Laser walk without a lot of trouble. This ought to make for a harmonious set. Six Tweeted the following earlier today: @tom_six Tom Six An actor who demands his own script changes which I as the THC creator didnt like. It was his way or the highway after he signed a contract! Mar 29 via web Favorite Retweet Reply Of course, it’s entirely possible, given the self-reflexive nature of The Human Centipede 2 (in which Six and HC1 star Ashlynn Yennie play themselves as the focus of an obsessed Human Centipede fan) that this is all part of some weird meta-narrative in which Six plays himself sparring with his star in real life to frame whatever shenanigans go down in The Human Centipede 3 . Method acting and Hollywood industry inside talk would fit into the U.S.-centric theme, I suppose. What do you think, Movieliners: Publicity stunt or legit creative difference? [ Bleeding Cool via The Playlist ]
Michael Dowse’s hockey comedy Goon is crude, violent and deeply enjoyable. It also offers the chance to see Liev Schreiber — a guy who’s played Hamlet, ferchrissakes — living it up as a bloodthirsty minor-league thug in the kind of ’70s eight-track-guy mustache that only hockey players, bless their hearts, still try to get away with. That, to me, is catnip in the form of a hockey puck. In Goon , Seann William Scott plays Doug Glatt, the son of a respected New England surgeon (played by the always-rad Eugene Levy) who hasn’t come close to fulfilling his family’s expectations: He’s a scrappy, bulked-up guy who works as a bouncer at a local watering hole, the only sort of job he seems suited for, until the coach of a local hockey team catches some video footage showing how, during a chance encounter, he easily beats the pants off a mouthy hockey player. Doug is invited to try out and shows up in a pair of borrowed figure skates — they’re like dainty white cupcakes barely able to support the girth of his padded uniform — and makes the team not because he can skate or pass or defend the goal, but simply because he can brawl. Before long, Doug scrambles his way onto one of the stronger minor-league teams, the Halifax Highlanders, where he’s seen as the heir to the throne that Schreiber’s rough-and-tumble Ross Rhea, who plays for a rival team, has been perched on for years. His dual assignments as a new Highlander: To bring back the mojo of one of the team’s best players – he has the too-perfect name Xavier LaFlamme, and he’s played by Marc-André Grondin — whom Rhea roundly smacked upside the head the previous season. And, of course, to fight. If you’re looking for a bold excoriation of how ultra-violent (and dangerous) hockey has become in the past 10 or 20 years, please take yourself and your full set of natural, God-given teeth elsewhere. Goon never gets around to serving up a platitudinous “Violence is bad” message, which is one of its attributes. (The picture was written by Evan Goldberg, co-writer of Pineapple Express and Superbad , and Jay Baruchel, the latter of whom also appears in the picture as a foul-mouthed hockey aficionado. It was adapted from the novel Goon: The True Story of an Unlikely Journey into Minor League Hockey, by Adam Frattasio and Doug Smith.) Instead, the movie glides easily on Scott’s particular brand of firecracker sweetness. Scott isn’t typical leading-man material, but he carries Goon ably on his sturdy shoulders, both in the movie’s romantic subplot (in which he woos an adorable hockey nut played by Alison Pill, who in one scene is shown getting mildly turned on as a she watches a dustup in a televised game) and in the way his character stands up to the boorishness of his teammates (he takes umbrage when they make homophobic remarks, partly because his brother is gay and partly, you sense, because it’s just plain wrong). There’s an air of bewildered naiveté about Doug, which somehow offsets his desire to break his opponents’ faces open when he’s on the ice: He’s protective of his teammates, and belonging to the team gives him a sense of purpose, even though his parents, proper upstanding citizens, certainly don’t understand it. Dowse ( It’s All Gone Pete Tong , Take Me Home Tonight ) takes a great deal of cackling pleasure in showing faces being smashed into Plexiglas rinkside barriers and players being body-checked with caveman ruthlessness. He bookends his movie with two versions of the same image: Droplets of blood falling onto the ice in slow motion, followed by a single spinning tooth. Schreiber has one relatively quiet, pensive coffee-shop scene, but for the most part, he’s roughing it up on the ice with the rest of them, and he seems to be having a ball. Schreiber is a marvelous actor but sometimes a self-serious one, and this is one instance where he’s quite literally allowed to take the gloves off. Goon not only fails to sermonize about violence in sports, but maybe even glorifies it. Even so, the movie is admirable for the way it refuses to offer us the easy comfort of watching its lead character learn a valuable lesson. Doug is a nice guy — you leave the picture believing that someday he’ll get sick of beating people up and hang up his stick for good. It’s just as well that doesn’t happen on-screen. For now, all we have to do is enjoy the movie’s wicked, gap-toothed smile. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
The 10 years that we are told at the beginning of Wrath of the Titans have passed since Perseus (Sam Worthington) defeated the Kraken may not seem like long enough, especially when you consider that it’s only been two since the Clash of the Titans remake was released, Kraken-like, on an unsuspecting populace. It was sufficient time, anyway, for Worthington to grow out his hair, so that in Wrath of the Titans he sports a soft cap of curls to go with his peaceful life among the humans. He’s lost a wife but gained a son and another pretext to propel a franchise whose fate was sealed once Avatar ’s numbers started rolling in. That it was going to happen was certain; how it happened was of secondary concern. Greek mythology feels particularly ill-used as a framework for narrative standards this low. Wrath (and who knows the source of the titular rage, they’re just mad , OK?) uses some of the names we now know third- or fourth-hand (I’m not sure where I’d be without The Mighty Hercules , which feels like an AP Classics course by comparison) and adds a few faintly recognizable accoutrements — Zeus’s thunderbolt, Pegasus — in what plays out as a generic “save the world” plot. Demigod Perseus is being called back to the realm of the gods by his father, Zeus (Liam Neeson) to help stem the weakening of his powers caused by waning human devotion. Perseus’s jealous brother Ares (Édgar Ramírez, from Carlos ) had turned to the dark side and Hades (Ralph Fiennes) is still rotting in hell, along with his (and Zeus’s) father, Kronos, who is threatening to unleash his wrath on the world, presumably because his “voice” is indistinguishable from that of an 8-year old burping the alphabet. I’d be mad too. The set-up is put across in the strictest expositional terms. The real progression here is one of firepower — specifically the movement from fireballs that streak across the screen to fire clouds that fill the heavens and everything below. Director Jonathan Liebesman ( Battle: Los Angeles ) brings his signature frenetic pacing to the table, starting the CGI thrashings immediately and growing less and less concerned about whether the story keeps up. The animating theme — Perseus’s ambivalence about his father and his powers — is dispatched in perfunctory doses between disorienting battles with fire-breathing beasts. When he expresses doubts about helping his father, the raffish Agenor (Toby Kebbell), son of Poseidon (played, briefly, by Danny Huston), clears them up with this reply: “Yesterday I was in chains, today I’m here, trying to save the universe. Jump in.” An action/effects showcase like this one is not the place to turn for nuanced characterization, but the script (by Dan Mazeau and David Leslie Johnson, story by Greg Berlanti) seems to defy even the few opportunities it has to make us care. Even the occasional swipes at campy self-awareness (“Don’t give me the big speech,” Agenor says at a critical moment; “Eh, I wasn’t planning to,” Worthington replies) feel tossed off, rather than part of developing an actual tone. It would be a real shame, with this much money and this many effects artists, if there were not a few purely visual wows. Wrath manages exactly two, and not where you might expect. The first is in the form of Rosamund Pike, who plays Andromeda (re-cast since the previous film), warrior queen of the whatever. With her bluebird eyes and regal bearing, Pike manages to telegraph human warmth and pull off a sculpted boob plate at the same time. And it is a welcome surprise that rather than the usual stamping, earth-shuddering, many-mouthed thingies inevitably dreamed up in computer bays to terrorize heroes like this one, the most frightening is basically a giant, one-eyed dude. A showdown with a Cyclops and his pals is genuinely thrilling and proceeds with relative coherence. After that the gang finds the dotty fallen god Hephaestus (Bill Nighy), a sort of vintage arms dealer, and for a few minutes Wrath starts to cruise along like it’s actually going somewhere. That feeling is brief, and before long we’re back to a few anodyne exchanges (Neeson and Fiennes seem particularly glib, swinging their beards around in a movie they’ll never watch) between fetishized explosions. “This is where people used to come to worship the gods,” Perseus says to his franchise-extending young son (John Bell) as they pick through a temple in disarray. Yeah, my thoughts exactly. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
In this week’s Hobnobbing, we take a look at how Gary Ross’ sequel can build upon the success of the first. By Amy Wilkinson Jennifer Lawrence in “The Hunger Games” Photo: Lionsgate To no one’s surprise, the highly anticipated “Hunger Games” opened last week to boffo box-office numbers , all but guaranteeing the second installment in Suzanne Collins’ series, “Catching Fire,” will set theaters ablaze come November 22, 2013. Director Gary Ross, who will also helm the follow-up, has already begun formulating his vision for the 75th annual Hunger Games, telling MTV News, “I have some ideas about how to do ‘Catching Fire’ slightly differently, but I don’t want to share them yet. Not because I’m being evasive, but just because they’re not fully baked. But yes, I think it will look and feel slightly different from the first.” With its jungle-like setting, the next arena will be a much different beast than the forested first, so it’s no wonder Ross is re-jiggering his approach. We can only speculate that some of his sequel planning will include reviewing “The Hunger Games” in great detail — what worked and what didn’t. To that end, we’ve compiled a list of five “Hunger Games” lessons that can and should inform “Catching Fire.” DO keep the arena underwraps This one isn’t so much for Ross as it is for the Gamemakers at Lionsgate, but we have to recognize the studio’s smart decision to use only pre-Games footage in their aggressive marketing campaign for the film. In fact, I’d go so far as to say my favorite parts of the movie were from the arena, largely because they were fresh and unexpected. With the Quarter Quell’s intriguing new venue, Lionsgate would be wise to build anticipation by keeping the tropical death trap shrouded in mystery. DON’T skimp on the CGI If there was a consistent complaint I heard from “Hunger Games” fans following the film’s release, it was that the Girl on Fire scene — in which Katniss and Peeta introduce themselves to the Capitol, riding atop a chariot and flaunting flame-licked jumpsuits representative of their coal-mining home — was … underwhelming. The flame effect just didn’t look real enough. With a slew of new sci-fi aspects introduced in “Catching Fire,” including mutated monkeys, we hope Ross can invest a bit more in the film’s digital technology. DO capitalize on Stanley Tucci Say what you will about Jennifer Lawrence’s gripping, gritty performance as Katniss Everdeen, but if anyone could be categorized as the film’s scene-stealer, it was most certainly Stanley Tucci, whose blue-haired, big-teethed Caesar Flickerman was nothing short of mesmerizing (and a handy exposition device to boot!). Heck, I’d pay to watch a Caesar Flickerman spin-off once all three (four?) “Hunger Games” films debut. “Caesar Flickerman: Not So Blue.” Think about it, Lionsgate. DON’T downplay the dangers of the arena Between her 23 fellow tributes, tracker jackers and muttations, Katniss had plenty to contend with in the arena. But, as my roommate so astutely pointed out to me long after I watched the film and didn’t notice, we never really see Katniss hungry or thirsty. Limiting the violence for a PG-13 rating is an understandable edit, but why dull down the deadliness of the Games otherwise? In “Catching Fire,” we need to see Katniss and her fellow tributes truly struggle, not simply limp along. DO make artful additions (especially if they’re directed by Steven Soderbergh) By shifting the viewpoint of the film from Katniss’ first-person perspective, Ross was able to open up the world of Panem in a way we hadn’t experienced before. The addition of the control room, Seneca Crane’s implied death by berries and, most notably, the District 11 riot only added to the film. What do you think “Catching Fire” can learn from “The Hunger Games”? Sound off in the comments below and tweet me @amymwilk with your thoughts and suggestions for future columns! Check out everything we’ve got on “Hunger Games.” For young Hollywood news, fashion and “Twilight” updates around the clock, visit HollywoodCrush.MTV.com . Related Photos The Hunger Games Inside ‘The Hunger Games’ Capitol
Justin Bieber Boyfriend ft Mike Posner (2012). Boyfriend by Justin Bieber and Mike Posner isn’t official yet on music video. Lyrics aren’t here yet. What do you think slackers? Follow me on Twitter! twitter.com Let’s be friends on Facebook! *NEW* on.fb.me Video/Song I was talking… http://www.youtube.com/v/NT08Qiow94Q?version=3&f=videos&app=youtube_gdata More here: Justin Bieber has an official Boyfriend on music video with Mike Posner?
For ‘Twilight’ Tuesday, we imagine the vampires and wolves in a battle to the death. By Kara Warner Taylor Lautner in “Breaking Dawn” Photo: Summit Like most of our fellow “Twilight” fans, we spend a lot of time thinking about and overanalyzing the mythical world Stephenie Meyer created and the record-breaking film franchise it spawned. And even though we still have too many months to wait to see “The Twilight Saga: Breaking Dawn – Part 2,” the wait was made slightly less painful this week due to a couple of new trailer teases . Since we’ve had the series on the brain more than usual this week, along with the countless stories about “The Hunger Games” reaching “Twilight”-level numbers, I’ve decided to philosophize my way through this week’s “Twilight” Tuesday with the question: If the Cullens and the wolf pack were featured in a “Hunger Games”-style, fight-to-the-death tournament organized by the Volturi (of course), who would come out a victor? The first thing to address is who would be reaped into the tournament? And how many? If we go with 24, the ranks are difficult to fill out due to a lack of named weres. Nevertheless, here are the contenders (including a few of those who don’t live through the end of the series): Bella Swan, Edward Cullen, Jacob Black, Carlisle Cullen, Esme Cullen, Alice Cullen, Emmett Cullen, Rosalie Hale, Jasper Hale, Renesmee Cullen, Sam Uley, Quil Ateara V, Embry Call, Paul Lahote, Jared Cameron, Leah Clearwater, Seth Clearwater, Collin Littlesea, Brady Fuller, James, Victoria, Laurent, Riley Biers and one of the unnamed wolves from the end of “Breaking Dawn” who show up as part of Sam’s pack. Whew. Now, who will be defeated and how? My colleague Katie Byrne makes the very astute point that the Cullens are total pacifists and will not kill each other, no matter what. I say that Jasper might be the one to crack, since he doesn’t always have total control over his actions, but the rest of the Cullens will probably rein him in and quarantine him or something. Also, as much as it pains me to admit it, the vampires will likely outlast the werewolves (confession: I prefer wolves to vamps), particularly the Cullens with their supernatural abilities. But again, would the Cullens allow the seemingly needless fights-to-the-death to happen? This is a Volturi-created death match after all, so they might make like the end of “Breaking Dawn – Part 2” and save everyone. Except for James, Victoria, Laurent and Riley, of course. Ms. Byrne argues that if the Volturi did somehow succeed in making the tournament end in death and destruction, the Cullens would all join hands, eat a few handfuls of nightlock (assuming that the poisonous berry also works on non-humans), and end the “Games” with a civilized, non-bloody mass suicide. Or the Volturi might recognize the Cullens’ value (just like the Gamemakers did) and let them live — under the constant threat of death and destruction, that is. Who do you think would win the “Twilight” Hunger Games? Share your thoughts in the comments or tweet me @karawarner with your theories! Check out everything we’ve got on “The Twilight Saga: Breaking Dawn – Part 2.” For young Hollywood news, fashion and “Twilight” updates around the clock, visit HollywoodCrush.MTV.com . Related Videos Top Five Favorite Moments From The ‘Twilight Saga’
Geraldo Riveria Apologizes For Trayvon Martin Hoodie Comments Do you forgive this guy??? Fox News host Geraldo Rivera on Tuesday apologized for saying that the fact that Trayvon Martin was wearing a hoodie had as much to do with his death as George Zimmerman, the neighborhood watch captain who shot the teen. “Heard petition demands my apology to Trayvon’s parents,” he said on his Facebook page. “Save effort: I deeply apologize for any hurt I caused — that is not my goal or intent.” Rivera elaborated on his thoughts in an email to Politico.com, offering an apology while also noting that earlier an unnamed “prominent black conservative” had commented on “my ‘very practical and potentially life-saving campaign urging black and Hispanic parents not to let their children go around wearing hoodies.’” Last week on Fox & Friends Rivera stated that “I think the hoodie is as much responsible for Trayvon Martin’s death as George Zimmerman was.” Rivera later acknowledged that his own son Gabriel was “ashamed” of him for stating that. Rivera insisted he was only trying to protect children. “I remain absolutely convinced of what I said about asking for trouble,” he stated. “There’s trouble enough for minority boys and young men not to provoke mad responses from paranoid jerk offs.” Source More On Bossip! Celebrity Seeds: T.I. And Tiny Give Their Lil “OMG Girl” Zonnique A Star Studded Sweet Sixteen Photoshop Magic: The Most Ridiculously Doctored Kardashian Pictures Of All Time Guess Which Jordan Rockin’ Rapper Got The Footsy Game Goin’ Under The Table This Weekend? “Hunger Games” Kills It At The Box Office But Rabid Fans Expose Their Racism On Twitter By Hating On Rue And Thresh
I won’t argue: “‘[T]he stars aligned’ may be the only explanation for 1995 being the greatest year in the history of movies. How else do we make sense out of the bounty that included no less than three Christina Ricci vehicles, career-bests for Ron Howard, Michael Mann, Mel Gibson, Richard Linklater, Amy Heckerling, Todd Haynes, and Clint Eastwood, the speedy ascension of Sandra Bullock’s star, a talking pig, AND Showgirls ?” [ The Hairpin ]
The YouTube hits just keep coming today, with one rare Disney-defying treat giving way to another: Take a break and hear eccentric Detachment and American History X filmmaker Tony Kaye’s candid lament for John Carter and passionate appeal for a huge budget of his own. What’s not to love? “For $250 million, I could make…” Kaye expounds, eyes beaming and hands raised. “People’s minds would explode. I’m good as gold. Fucking trust me. Fucking trust me! You don’t give an animation director $250 million.” Stick around for a wealth of storytelling about Kaye’s near-miss at Disney 40 years ago and subsequent Hollywood misadventures. And maybe let’s start a Kickstarter campaign or something? [via Movie City News ]
