A trailer for Tom Hooper’s upcoming Les Miserables film leaked onto the interwebs today, revealing looks at Hugh Jackman in action in the musical adaptation. But nevermind the handsome, jaunty period stylings of 19th century France in turmoil as envisioned by Hooper; get an earful of Anne Hathaway’s warbly voice singing a tearful rendition of “I Dreamed a Dream”… and sound off on her Fantine. Are you excited or worried, theater nerds? To be completely fair, this is the worst-quality video you could imagine for a trailer, which appears to have been filmed off of a computer. Even so, the footage looks great to me — sweeping shots, dynamic camera moves, Jackman’s Jean Valjean disappearing into the shadows. What’s most concerning is also the most important element of the film: The singing. According to reports from CinemaCon (where similar footage from the film was screened, including portions of Hathaway’s “I Dreamed a Dream” number), Hooper’s plan was to film most of the musical numbers with his cast singing live, which might explain why Hathaway’s voice sounds a bit unpolished. Or maybe that was intentional. Or maybe it’s just me. [Video removed at studio’s request.] Perez Hilton first posted the video today, along with fawning words for Hathaway’s performance: “If we had any doubts about this, they are GONE now!!!” Over at The Atlantic Wire , Richard Lawson called it “unsettling,” a reaction more in line with my own. My theater nerd pal (and Popular Mechanics editor) Erin McCarthy immediately sent over this video of stage goddess Lea Salonga singing the same number with a much stronger, yet still deeply emotional voice, but perhaps the comparison — or any comparisons, as the entire film’s cast is bound to suffer scrutiny — is unfair. Hathaway is a strong singer in her own right (see: The Oscars) but she’s probably deep in character as the desperate Fantine and her vocal interpretation may reflect that. Was it wise to film the largely sung-through story with live singing? That’s the biggest question so far as we await better looks at Hooper’s Les Mis , due in theaters December 14. [ Perez Hilton , Atlantic Wire ]
A trailer for Tom Hooper’s upcoming Les Miserables film leaked onto the interwebs today, revealing looks at Hugh Jackman in action in the musical adaptation. But nevermind the handsome, jaunty period stylings of 19th century France in turmoil as envisioned by Hooper; get an earful of Anne Hathaway’s warbly voice singing a tearful rendition of “I Dreamed a Dream”… and sound off on her Fantine. Are you excited or worried, theater nerds? To be completely fair, this is the worst-quality video you could imagine for a trailer, which appears to have been filmed off of a computer. Even so, the footage looks great to me — sweeping shots, dynamic camera moves, Jackman’s Jean Valjean disappearing into the shadows. What’s most concerning is also the most important element of the film: The singing. According to reports from CinemaCon (where similar footage from the film was screened, including portions of Hathaway’s “I Dreamed a Dream” number), Hooper’s plan was to film most of the musical numbers with his cast singing live, which might explain why Hathaway’s voice sounds a bit unpolished. Or maybe that was intentional. Or maybe it’s just me. [Video removed at studio’s request.] Perez Hilton first posted the video today, along with fawning words for Hathaway’s performance: “If we had any doubts about this, they are GONE now!!!” Over at The Atlantic Wire , Richard Lawson called it “unsettling,” a reaction more in line with my own. My theater nerd pal (and Popular Mechanics editor) Erin McCarthy immediately sent over this video of stage goddess Lea Salonga singing the same number with a much stronger, yet still deeply emotional voice, but perhaps the comparison — or any comparisons, as the entire film’s cast is bound to suffer scrutiny — is unfair. Hathaway is a strong singer in her own right (see: The Oscars) but she’s probably deep in character as the desperate Fantine and her vocal interpretation may reflect that. Was it wise to film the largely sung-through story with live singing? That’s the biggest question so far as we await better looks at Hooper’s Les Mis , due in theaters December 14. [ Perez Hilton , Atlantic Wire ]
Sacha Baron Cohen and Larry Charles’ The Dictator is indefensible and hilarious, an unruly thing that invites you to laugh at things you feel you shouldn’t. I’ve heard people — even some who like the picture — referring to The Dictator as offensive, and one of the guys sitting behind me at the screening laughed at some jokes and remained awkwardly mute during others. After one of these pauses — the vibrations of his uneasiness were traveling right through my seat back — I heard him say to his pal, “I’m not sure how I feel about this.” But as the end credits rolled he announced joyously, “That was great!” as if he’d endured an enema cleansing that made him feel a whole lot better afterward. Cohen has many gifts as a performer, and with The Dictator he reveals yet another one: He knows how to flush stuff right out of you. Cohen’s invented character du jour is a despot named General Admiral Haffaz Aladeen, ruler of the equally made-up North African state of Wadiya. Aladeen hates the West, hates Jews and regularly calls for the execution of anyone who undermines his authority, by, say, questioning his firm belief that nuclear missiles should be pointy and not rounded. His chief adviser is his Uncle Tamir (Ben Kingsley), who chafes under Aladeen’s authoritarian rule and seeks to undermine him. After Aladeen survives an assassination attempt, Tamir persuades him to go to New York to address the United Nations, which has been sticking its nose into his sordid doings. Once he gets to the city — he makes his grand entrance on the back of a decorated camel — he’s kidnapped, stripped of his protruding steel-wool beard and medal-and-scrambled-egg-encrusted uniform, and forced to live as an anonymous immigrant with a tenuous grasp of the English language. It’s at this point that he meets Zoey (Anna Faris), a peacenik mighty-mite who runs a whole-foods store and who, in her desire to be fair and generous to all peoples, attempts to understand his motivations as he spouts all sorts of racist and sexist invective. Meanwhile, Aladeen — who has adopted the name Alison Burgers, for reasons so ridiculous that they’re better left unexplained until you see the film — attempts to reclaim his stature with the help of scientist and Wadiyan exile Nadal (Jason Mantzoukas), who agrees to help him regain his mojo by bulking up in the nukes department. Cohen’s targets here include people who fly planes into buildings for religious reasons, people who hate Jews, and women with hair under their arms. As they used to say on Sesame Street , one of these things is not like the others, but those of you who like to cultivate fragrant jungles in your armpits will just have to deal. The satire in The Dictator is sharp but not exquisitely pointed, and the movie is better for it: It’s clear enough where Cohen’s sympathies lie — his jokes have a kind of sick buoyancy, instead of hammering you with their politics. Cohen’s humor is political, though in the end it may really only be humanitarian. At home in Wadiya, amongst his riches, his servants and his high-cost prostitutes (one of whom is Megan Fox, gamely playing herself), Aladeen likes to play video games, including a Wii-style amusement called “Munich Olympics.” I groaned, along with much of the audience, when he hit the “play” button, but there’s anger in the joke as well as audacity. Cohen doesn’t suffer bullies gladly, which makes a character like Aladeen an irresistible canvas for him. The Dictator is a written-and-rehearsed picture, unlike the extended prank Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan , and it’s probably the better film. As he did on that picture (and the more wayward Brüno ), Cohen again pairs with director Larry Charles, who’s acutely in tune with his rhythms. Charles — who has worked extensively in TV as a producer and/or writer on shows like Seinfeld , Entourage and Curb Your Enthusiasm , and who also directed the gloriously woolly 2003 Bob Dylan fever dream Masked and Anonymous — has by this point proved to be a great midwife for the ideas of oddball intellects. He gives some shape and heft even to Cohen’s silliest gags, like the one in which it’s explained that Aladeen amended the Wadiyan language so that “negative” and “positive” are the same word — this bit of silliness occasions a great little cameo for Aasif Mandvi as a doctor who’s trying to give a patient the result of his AIDS test. Add to that the pleasure of watching Cohen in all his long-legged, language-mangling glory: The Dictator works both as satire and as comedy, and the two don’t always mingle so easily. Cohen has a way of slinging lines that’s as casual as a cook flipping meat patties in a burger joint. “The police here are such fascists!” he says, aghast at the behavior of New York City cops, but he’s really just setting us up for the kicker: “And not in the good way!” By the time Aladeen has been in in New York for a while, his sartorial choices have been unduly influenced by crunchy-granola Zoey, to the point where he thinks nothing of wearing Crocs in public. When Nadal uses this footwear choice as evidence of how far Aladeen has fallen, the has-been tyrant can only agree: “Crocs,” he says dejectedly, “the universal symbol of men who have given up hope.” Cohen may be playing an autocrat, but he doesn’t let his ego run roughshod over his fellow actors. Anna Faris gets less screentime than Cohen does, but she stands up to him admirably, maybe because she’s willing to go just as far as he is for a laugh, even a painful one. As Zoey, a no-makeup martinet with firm ideas about equality among all peoples, she captures perfectly the tyrannical smugness of the tiny but powerful nation of white people known as Park Slope, Brooklyn. The Dictator , for all its liberal leanings, doesn’t let anyone off the hook, not even well-intentioned liberals. Cohen comes right out and says things that most of us, in polite conversation, wouldn’t dare. He knows it’s the impolite conversation that really gets things moving. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
Sacha Baron Cohen and Larry Charles’ The Dictator is indefensible and hilarious, an unruly thing that invites you to laugh at things you feel you shouldn’t. I’ve heard people — even some who like the picture — referring to The Dictator as offensive, and one of the guys sitting behind me at the screening laughed at some jokes and remained awkwardly mute during others. After one of these pauses — the vibrations of his uneasiness were traveling right through my seat back — I heard him say to his pal, “I’m not sure how I feel about this.” But as the end credits rolled he announced joyously, “That was great!” as if he’d endured an enema cleansing that made him feel a whole lot better afterward. Cohen has many gifts as a performer, and with The Dictator he reveals yet another one: He knows how to flush stuff right out of you. Cohen’s invented character du jour is a despot named General Admiral Haffaz Aladeen, ruler of the equally made-up North African state of Wadiya. Aladeen hates the West, hates Jews and regularly calls for the execution of anyone who undermines his authority, by, say, questioning his firm belief that nuclear missiles should be pointy and not rounded. His chief adviser is his Uncle Tamir (Ben Kingsley), who chafes under Aladeen’s authoritarian rule and seeks to undermine him. After Aladeen survives an assassination attempt, Tamir persuades him to go to New York to address the United Nations, which has been sticking its nose into his sordid doings. Once he gets to the city — he makes his grand entrance on the back of a decorated camel — he’s kidnapped, stripped of his protruding steel-wool beard and medal-and-scrambled-egg-encrusted uniform, and forced to live as an anonymous immigrant with a tenuous grasp of the English language. It’s at this point that he meets Zoey (Anna Faris), a peacenik mighty-mite who runs a whole-foods store and who, in her desire to be fair and generous to all peoples, attempts to understand his motivations as he spouts all sorts of racist and sexist invective. Meanwhile, Aladeen — who has adopted the name Alison Burgers, for reasons so ridiculous that they’re better left unexplained until you see the film — attempts to reclaim his stature with the help of scientist and Wadiyan exile Nadal (Jason Mantzoukas), who agrees to help him regain his mojo by bulking up in the nukes department. Cohen’s targets here include people who fly planes into buildings for religious reasons, people who hate Jews, and women with hair under their arms. As they used to say on Sesame Street , one of these things is not like the others, but those of you who like to cultivate fragrant jungles in your armpits will just have to deal. The satire in The Dictator is sharp but not exquisitely pointed, and the movie is better for it: It’s clear enough where Cohen’s sympathies lie — his jokes have a kind of sick buoyancy, instead of hammering you with their politics. Cohen’s humor is political, though in the end it may really only be humanitarian. At home in Wadiya, amongst his riches, his servants and his high-cost prostitutes (one of whom is Megan Fox, gamely playing herself), Aladeen likes to play video games, including a Wii-style amusement called “Munich Olympics.” I groaned, along with much of the audience, when he hit the “play” button, but there’s anger in the joke as well as audacity. Cohen doesn’t suffer bullies gladly, which makes a character like Aladeen an irresistible canvas for him. The Dictator is a written-and-rehearsed picture, unlike the extended prank Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan , and it’s probably the better film. As he did on that picture (and the more wayward Brüno ), Cohen again pairs with director Larry Charles, who’s acutely in tune with his rhythms. Charles — who has worked extensively in TV as a producer and/or writer on shows like Seinfeld , Entourage and Curb Your Enthusiasm , and who also directed the gloriously woolly 2003 Bob Dylan fever dream Masked and Anonymous — has by this point proved to be a great midwife for the ideas of oddball intellects. He gives some shape and heft even to Cohen’s silliest gags, like the one in which it’s explained that Aladeen amended the Wadiyan language so that “negative” and “positive” are the same word — this bit of silliness occasions a great little cameo for Aasif Mandvi as a doctor who’s trying to give a patient the result of his AIDS test. Add to that the pleasure of watching Cohen in all his long-legged, language-mangling glory: The Dictator works both as satire and as comedy, and the two don’t always mingle so easily. Cohen has a way of slinging lines that’s as casual as a cook flipping meat patties in a burger joint. “The police here are such fascists!” he says, aghast at the behavior of New York City cops, but he’s really just setting us up for the kicker: “And not in the good way!” By the time Aladeen has been in in New York for a while, his sartorial choices have been unduly influenced by crunchy-granola Zoey, to the point where he thinks nothing of wearing Crocs in public. When Nadal uses this footwear choice as evidence of how far Aladeen has fallen, the has-been tyrant can only agree: “Crocs,” he says dejectedly, “the universal symbol of men who have given up hope.” Cohen may be playing an autocrat, but he doesn’t let his ego run roughshod over his fellow actors. Anna Faris gets less screentime than Cohen does, but she stands up to him admirably, maybe because she’s willing to go just as far as he is for a laugh, even a painful one. As Zoey, a no-makeup martinet with firm ideas about equality among all peoples, she captures perfectly the tyrannical smugness of the tiny but powerful nation of white people known as Park Slope, Brooklyn. The Dictator , for all its liberal leanings, doesn’t let anyone off the hook, not even well-intentioned liberals. Cohen comes right out and says things that most of us, in polite conversation, wouldn’t dare. He knows it’s the impolite conversation that really gets things moving. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
Also in Tuesday afternoon’s Biz Break, Exclusive Media takes rights to Zac Efron/Dennis Quaid starrer; Universal picks up rights to Kathryn Bigelow’s untitled bin Laden film; and with the initial craze over 3-D fading comes scrutiny over the medium. Weinsteins Take Rights to Cannes’ The Sapphires Starring comedian Chris Dowd and Deborah Mailman, The Sapphires will screen at the 65th Cannes Film Festival this Saturday. Wayne Blair directed the feature which is inspired by a true story about four young and talented Australian Aboriginal girls from a remote mission as they learn about love, friendship and war when their all girl group The Sapphires entertains the U.S. troops in Vietnam in 1968. 10 Win 39th Student Academy Awards The Academy of Motion Picture Arts and Sciences’ 39th Annual Student Academy Awards were unveiled; the organization will host an awards ceremony June 9th. The winners in the Narrative category: Nani , Justin Tipping (American Film Institute); Narcocorrido , Ryan Prows (American Film Institute); Under , Mark Raso (Columbia University). Documentary: Dying Green , Ellen Tripler (American University); Hiro: A Story of Japanese Internment , Keiko Wright (NYU); Lost Country , Heather Burky (Art Inst. of Jacksonville). Animation: Eyrie , David Wolter (Calif. Institute of the Arts); The Jockstrap Raiders , Mark Nelson (UCLA); My Little Friend , Eric Prah (Ringling College of Art and Design). Alternative: The Reality Clock , Amanda Tasse (USC). Exclusive Media Nabs Rights to Dennis Quaid, Zac Efron Starrer At Any Price The film, directed by Chop Shop director Ramin Bahrani, also stars Kim Dickens and Heather Graham and revolves around rebellious Dean Whipple (Efron), who wants nothing more than to pursue his dream of becoming a professional race car driver, whilst trying to avoid the obligations to his family’s farming empire. But Dean’s ambitious father Henry (Quaid), whose manic pursuit of expansion has alienated the whole family, sets his sights on Dean’s succession. Around the ‘net… How 48 Hours at Large in L.A. Turned Fellini into a Maestro Fellini Black and White is set to explore what may have happened when the celebrated Italian film director Federico Fellini disappeared for 48 hours on his first visit to America, where he was due to attend the Oscar awards. Instead of a smooth trip to the 1957 ceremony, the man who was to make such classics as La Dolce Vita and 8½ almost missed the awards gala after going missing for two days somewhere in Los Angeles, The Guardian reports . Universal Takes International Rights to Kathryn Bigelow’s Untitled Bin Laden Film Universal took select international rights to the true story about the team that hunted and killed Osama bin Laden last year. Sony Pictures will release the film starring Jessica Chastain, Joel Edgerton, Jason Clarke, Mark Strong and Edgar Ramirez in the U.S., Deadline reports . 3-D Comes into Sharper Focus Despite the format’s troubles, 2011 marked another record year for 3-D, with total box office revenue from 3-D movies hitting $6.9 billion, an 18 percent jump, according to provisional figures from Screen Digest, THR reports .
Also in Tuesday afternoon’s Biz Break, Exclusive Media takes rights to Zac Efron/Dennis Quaid starrer; Universal picks up rights to Kathryn Bigelow’s untitled bin Laden film; and with the initial craze over 3-D fading comes scrutiny over the medium. Weinsteins Take Rights to Cannes’ The Sapphires Starring comedian Chris Dowd and Deborah Mailman, The Sapphires will screen at the 65th Cannes Film Festival this Saturday. Wayne Blair directed the feature which is inspired by a true story about four young and talented Australian Aboriginal girls from a remote mission as they learn about love, friendship and war when their all girl group The Sapphires entertains the U.S. troops in Vietnam in 1968. 10 Win 39th Student Academy Awards The Academy of Motion Picture Arts and Sciences’ 39th Annual Student Academy Awards were unveiled; the organization will host an awards ceremony June 9th. The winners in the Narrative category: Nani , Justin Tipping (American Film Institute); Narcocorrido , Ryan Prows (American Film Institute); Under , Mark Raso (Columbia University). Documentary: Dying Green , Ellen Tripler (American University); Hiro: A Story of Japanese Internment , Keiko Wright (NYU); Lost Country , Heather Burky (Art Inst. of Jacksonville). Animation: Eyrie , David Wolter (Calif. Institute of the Arts); The Jockstrap Raiders , Mark Nelson (UCLA); My Little Friend , Eric Prah (Ringling College of Art and Design). Alternative: The Reality Clock , Amanda Tasse (USC). Exclusive Media Nabs Rights to Dennis Quaid, Zac Efron Starrer At Any Price The film, directed by Chop Shop director Ramin Bahrani, also stars Kim Dickens and Heather Graham and revolves around rebellious Dean Whipple (Efron), who wants nothing more than to pursue his dream of becoming a professional race car driver, whilst trying to avoid the obligations to his family’s farming empire. But Dean’s ambitious father Henry (Quaid), whose manic pursuit of expansion has alienated the whole family, sets his sights on Dean’s succession. Around the ‘net… How 48 Hours at Large in L.A. Turned Fellini into a Maestro Fellini Black and White is set to explore what may have happened when the celebrated Italian film director Federico Fellini disappeared for 48 hours on his first visit to America, where he was due to attend the Oscar awards. Instead of a smooth trip to the 1957 ceremony, the man who was to make such classics as La Dolce Vita and 8½ almost missed the awards gala after going missing for two days somewhere in Los Angeles, The Guardian reports . Universal Takes International Rights to Kathryn Bigelow’s Untitled Bin Laden Film Universal took select international rights to the true story about the team that hunted and killed Osama bin Laden last year. Sony Pictures will release the film starring Jessica Chastain, Joel Edgerton, Jason Clarke, Mark Strong and Edgar Ramirez in the U.S., Deadline reports . 3-D Comes into Sharper Focus Despite the format’s troubles, 2011 marked another record year for 3-D, with total box office revenue from 3-D movies hitting $6.9 billion, an 18 percent jump, according to provisional figures from Screen Digest, THR reports .
It’s spring rummage week at the movies, with four releases – Lockout , The Three Stooges , Cabin in the Woods and Craig Moss’s vigilante goof Bad Ass – retooling old gems and selling off genres for parts. Maybe next year we can look forward to a film made up solely of references to this quartet – The Three Bad Asses Escape Lockout in the Woods ? Wait, don’t Google that. I don’t want to know. Spoofing all the ways that it’s all been done before has itself become a pretty predictable gig. A genre, even. But every once in a while a movie like 21 Jump Street manages to stay two steps ahead of our endlessly attenuated expectations, making clued-in silliness look like a (funny) walk in the park. Bad Ass has a bit of that gonzo energy – a fair bit, actually. In the first few minutes a montage sequence challenges the record for film clichés-per-second to tell the back-story of Frank Vega, a Santa Rosa farmboy who grew up to fall in love in a pasture and then fight in Vietnam, where the memory of his girl back home sustained him through unimaginable torture. Once returned, Frank (played as a young man by Shalim Ortiz) finds his true love married with kids, and his hope of becoming a police officer is snuffed out by a bum leg. He begins selling hot dogs in the street, a career that carries him all the way to the moment where he turns into Danny Trejo. A considerable part of the point of any Danny Trejo performance involves the question of what a person has to do to get a face like that. It’s what made him a favorite of genre geeks like Robert Rodriguez: The face is its own movie with its own set of references. Here he is the gentle ogre, a scary-looking softie in combat shorts and a camo jacket who just wants to get through the day and nurse his disappointments with a bottle of El Matador at night. The problem is he lives in the vicious Los Angeles of Falling Down, where there’s always some racially charged a-hole trying to bring you down. The morning of one particular bus ride, it’s a couple of skinheads harassing an older man in a Black Panthers beret. When Frank intervenes with a few definitive blows – the geriatric set has all the hand-to-hand skills in Bad Ass – a cell phone video taken by a member of the generation that doesn’t do much else with their hands makes him a YouTube star. But Internet celebrity doesn’t pay the bills, nor does it protect your best friend from his enemies. Shortly after his Vietnam buddy Klondike (Harrison Page) joins Frank in his recently deceased mother’s home, he is gunned down by a couple of gangsters. Frank’s abiding faith in the police (a little strange, given the routing the system gave him) is shaken when they fail to follow up on the murder, and he takes matters into his own iron-cast hands. Frank doesn’t want to fight, but the world keeps demanding (and then rewarding) his beat-downs, whether they involve the cholos shaking down the local liquor store, the barflies spoiling for a piece of the tough guy, or his jerk-ass neighbor, who beats on his pretty wife (Joyful Drake) and yells at his sitcom-ready son (John Duffy). “Violence just seems to follow me,” he protests when one of his cop buddies tells him to cool it with the public beatings. It’s one of many lines in a script (also written by Moss) that plays like the entire Charles Bronson oeuvre was fed through a shredder, tossed into the air, and glued into a new configuration wherever it landed. The effect, a kind of hard-boiled camp, makes the first two-thirds of Bad Ass lots of fun. Moss, the Weird Al of genre goofs, has a surprisingly light touch (especially given that his last film was a Twilight take-off called Breaking Wind , also starring Trejo). Very often the line between spoofing and playing it straight is too subtle to make out. When Frank tackles an old lady to shield her from drive-by fire and she makes a corny joke about being manhandled, Moss uses a sound bridge of sitcom canned laughter to carry us into the next scene of Frank alone in front of the television that night. When a cop warns Frank, “They say you’ve been leaving a bloody trail all across the city,” Frank shrugs: “Doesn’t sound familiar to me.” It’s the casual tone that makes all the difference, but it can’t quite carry the movie. When the mystery behind Klondike’s execution begs resolving and Frank begins romancing his battered neighbor, the plot’s worminess proves a distraction from Bad Ass ’s more mindless charms. It’s a funny catch for this kind of thing – to really let it fly the movie needs the safety of a narrative’s inner logic. The Internet celebrity factor adds novelty but not much else, and by the time Frank is hunting down the gang boss behind a vague political conspiracy (involving Ron Perlman and Charles S. Dutton) an anomalous chyron introduces a key location because the storytelling isn’t strong enough to get us there on its own. This feels disappointing mainly because, to do some borrowing of my own, in the world of classic send-ups, Bad Ass coulda been a contender. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
We take a look back at the seven-year relationship between two of the world’s biggest movie stars. By John Mitchell Angelina Jolie and Brad Pitt in 2007 Photo: Getty Images That noise you just heard was the heads of celebrity tabloid editors’ heads exploding in unison at the news that Brad Pitt finally put a ring on it and proposed to Angelina Jolie . Rumors of an engagement began to swirl when Jolie was spotted at a private viewing at the Los Angeles County Museum of Art’s Chinese galleries on Wednesday rocking quite a sparkler on her ring finger. Pitt’s manager Cynthia Pett-Dante confirmed the engagement to People , saying, “It is a promise for the future and their kids are very happy.” The pair have been together for seven years and have six children. Their love story has been documented like crazy by the tabloids, but in honor of their long-overdue engagement, we decided to take a look back at the highlights of their relationship to show you how they got from meeting on a movie set to preparing to walk down the aisle.
Maggie Q is some old as far as I’m concerned….at 32….bitch from Hawaii……Who is half asian…but more interestingly…half Vietnamese, cuz her white daddy worked for the government and fell in love with a local bitch during the Vietnam war…and saved her by bringing her to Hawaii where they produced this bitch a few years later…a fate far more exciting that living in communism as a hooker….or getting blown the fuck up by left over land mines and angry north vietnamese who hate you can you allied with America and killed their family and villages before they took everyong out……. She’s been in one or two American movies, the rest of her career has been the Asian American in Asian movies….where she probably has a huge fan base…cuz she’s got white in her and that makes her exotic to them…. Now she’s in Inked magazine showing a lot of ass…..but not as much skin as I’d expect from someone with her level of fame….you can’t please everyone….not even me…unless you get naked…no matter who you are.e…cuz I have low standards
I wonder if Maria Menounos’ pants jacked up her ass count as a cameltoe, you know, cuz she’s greek, and her asshole is her main vagina? Yes this is what I do with my time….I contemplate such life changing, important, observations….I am a modern day Leonardo Divinci or some philosopher or some shit…. TO SEE THE REST OF THE PICS FOLLOW THIS LINK I approve of this message: LIKE US ON FACEBOOK EVEN IF YOU DON’T LIKE US
