Old as fuck Kate Beckinsale….the mom of some slutty 18 year old college girl…who nerds and weirdos know and love from being in some Underworld movie about vampires and all the sequels… My theory is that she could potentially be a vampire because she doesn’t age…and still looks like she looked when she was a younger mom…but then again, maybe it’s just testament to breeding young so that the body bounces back…or Plastic Surgery, or her whole existence is about conditioning herself to look good but I’ll stick with vampire theory…it makes more sense to her LARPING fans…not too busy LARPING to notice her. TO SEE THE REST OF THE PICS CLICK HERE The post Kate Beckinsale in a Bra of the Day appeared first on DrunkenStepFather.com .
Megan Irwin is possibly Steve Irwin’s daughter, posing all naked or naked enough because the dad died when she was young, eaten by the wildlife he used to exploit to get rich, and she now has daddy issues…. Not to mention, she’s used to the good life, he was a big fucking star in his zookeeper’s outfit….and she’s forced to post seductively to get the bills paid, or people to follow her, because she fears the predators her dad used to exploit, but not scared to exploit herself…for that same audience… She’s used to that good life…and the good life comes from this… Then again, Megan Irwin may not be Steve Irwins daughter and this post was a waste of all of our time. The post Megan Irwin Slutty Shoot of the Day appeared first on DrunkenStepFather.com .
Just a Girl VS a Car…because Girls are Crazy Model Eater Crushes 4000 Calorie Burger Naked on Escalator Lesbian Prankster Fail – Damn Lesbians – I Didn’t Know they Knew How to Laugh Man Drinks a Drink That Makes Him Jump Zebra VS Zookeeper – GOOD Bald Eagle Tries to Kill Himself because America Tiny Hands – Massive TWAT on CNN The post Dude Finds a Guy Fucking His Daughter and Makes Him Twerk and Other Videos of the Day appeared first on DrunkenStepfather .
Movieline is pleased to present the first installment of One-Sheet Wonder , a new column on the best, worst, weirdest and other milestones of contemporary movie-poster art. — Ed. We’re a little more than two months away from the debut of the Cannes Film Festival opener Moonrise Kingdom , Wes Anderson’s first live-action film in five years, and the promo push is on. The first trailer hit a while back, and the first poster was revealed last week. And while the trailer is an exhilarating promo clip, on first glance it’s easy to dismiss the poster. It feels minimal and rather meh overall, like a starving-artist, Bob Ross knock-off masquerading as a one-sheet (“Look at that happy little waterfall…”). But since The Life Aquatic , posters for Anderson’s films have trended to a less-is-more approach. The Darjeeling Limited , for example, focused on, essentially, a snapshot of the three leads in a moment of quiet introspection, whereas Rushmore is all about bombastic (Photoshopped) revolution. The reason for this change is Anderson’s movies, increasingly, have been sold to his fans rather than audiences at large. Not surprisingly, this began with The Royal Tenenbaums as Anderson established his unique visual style. Since then, his posters have become more conceptual and more for his acolytes. ( Fantastic Mr. Fox — aimed squarely at kids with its kooky, busy everything-but-whackbat design — is the exception.) Moonrise Kingdom is the zenith (so far) of this marketing strategy. It’s not very active, but it picks up many of Anderson’s trademarks. Sam and Suzy, the film’s leads, are in full-on Anderson mode — Sam carries a popgun and pulls his best young Bud Cort impression while Suzy is loaded down with a travel record player and Margot Tenenbaum-esque style/ennui — and their straight-on confrontation of the viewer is an Anderson trademark. And while the foreground is fairly flat, there’s a world of depth and texture in the background, a staple of Anderson’s cinematography. The poster also continues the practice (begun on Darjeeling ) of placing the credit block at the top of the poster, above the title, drawing our eye (and consideration) to an image rather than text. When you factor in the font-type similarities to the invitation script at the beginning of Tenenbaums , it could be that Anderson is finally establishing a design continuum for his ad art to complement the one in his films. Visually dazzling? Maybe not to the motion-poster (blech) crowd, but for Anderson devotees it’s exciting. It picks up on his filmmaking sensibilities like no poster before it — and it aesthetically establishes Moonrise Kingdom ’s place in Anderson’s legacy vis-à-vis the Criterion Collection. Criterion’s releases of Bottle Rocket , Rushmore , Tenenbaums , Aquatic and Darjeeling are whimsical, but they eschew studio publicity shots for a handcrafted, Andersonian representation of a scene or the essence of the film. (Criterion’s Tenenbaums and Aquatic releases had studio art slipcovers over the hand-drawn ones because they were the only official releases of the films, Buena Vista didn’t likely want to scare off the normals with childlike illustrations.) Moonrise Kingdom is the first theatrical poster for an Anderson film to similarly disregard poorly edited stills (a la Rushmore or Bottle Rocket ) for a painted distillation of what we can imply is the film’s spirit. Ultimately, it might seem this poster is selling Anderson’s sensibility more than the film, but that’s because they’re one and the same. The poster says, “Wes Anderson has a new movie coming out,” and that will either sell people on it or drive them away. Such is the plight of an auteur. Focus Features understands the audience for this film — the cinephile who genuflects at the Wes Anderson altar — and the studio absolutely reaches it with this poster. It might not be the flashiest of Anderson’s ads to date, but it’s certainly the most authentic. Dante A. Ciampaglia is a writer, editor and photographer in New York. You can find him on Twitter , Tumblr , and, occasionally, his blog .
SXSW ers will get a peek at Will Ferrell’s Spanish-language comedy Casa de mi Padre this week in Austin, but here’s a quick taste of what you’re in for: Ferrell as a Mexican ranchero singing the moonlit ditty “Yo No Se” in a scene from the film, which is best described as something of a Spanish telenovela satire grindhouse comedy. Yo No Se performed by Will Ferrell from Will Ferrell Ferrell plays Armando Alvarez, the son of a rancher who falls for the girlfriend (Genesis Rodriguez) of his brother (Diego Luna) and must defend his family from a local drug lord (Gael Garcia Bernal). Efren Ramirez and Adrian Martinez also co-star as Ferrell’s ranch hand pals, who join him in a moonlit serenade in the above scene… as cowboys are wont to do. [ Funny or Die ]
As you likely know, the Golden Raspberry Awards are quickly approaching with all the promise of recognizing the worst of the last year in cinema. As you also likely know, the reaction to the Razzies among film critics and commentators has yielded many of the same complaints we hear every year: The nominations tend to omit movies that take themselves more seriously and/or aspire to something a little more sophisticated than Adam Sandler jump-roping with his shrill twin sister. The editors at Movieline concur with this perspective and hope to change it with the help of both esteemed peers and loyal readers. Thus the inaugural Soily Awards, our attempt to reconcile the year’s highest-profile Hollywood misfires with their truly uninspired brethren. To be awarded on March 23, the Soilies will showcase the new spectrum of awful that confronts today’s filmgoers, with the ultimate goal of redefining Bad Movies for the 21st century. Or at least not letting high-achieving 2011 crapmakers like Clint Eastwood or Natalie Portman off the hook. Winners in the six categories below — whose nominees were chosen by Movieline’s distinguished Brown-Ribbon panel of experts — will receive one of the lovely Soilies statuettes seen above. We have a brand-new Facebook page for the occasion, where a Reader’s Choice component will be introduced as well later this week. Stay tuned! The inaugural nominees are: The Soily for Worst Picture of 2011 The most appalling, misconceived and/or unpleasant-to-watch film of 2011. The more ambitious/pretentious, the better. Abduction Conan the Barbarian Green Lantern The Human Centipede II (Full Sequence) Transformers: Dark of the Moon The Soily for Achievement in Bad Directing The director of the most appalling, misconceived and/or unpleasant-to-watch film of 2011 — or maybe just most appalling director? (NOTE: The award will be named after its inaugural winner.) Michael Bay, Transformers: Dark of the Moon Dennis Dugan, Jack and Jill Clint Eastwood, J. Edgar David Gordon Green, Your Highness and The Sitter Zack Snyder, Sucker Punch The Soily for Achievement in Bad Acting A unisex award recognizing the worst and/or least inspired performance by any actor in any film in 2011. Russell Brand, Arthur Glenn Close, Albert Nobbs Taylor Lautner, Abduction and The Twilight Saga: Breaking Dawn – Part I Alex Pettyfer, I Am Number Four and Beastly Adam Sandler, Just Go With It and Jack and Jill The Brown Paycheck Achievement in Bad Acting A unisex award recognizing the most lopsided ratio of salary to quality. Bradley Cooper, The Hangover Part II Harrison Ford, Cowboys and Aliens Nicole Kidman, Just Go With It Helen Mirren, Arthur Natalie Portman, Your Highness , No Strings Attached and Thor The Shart Prize A film that seemed like it might be bad but turned out much, much more aromatically awful than anyone could have imagined. Arthur Atlas Shrugged: Part I Bucky Larson: Born to Be a Star Your Highness Zookeeper The Shit-the-Bed Award Arguably the most prestigious Soily, this honor goes to the movie that, despite its pedigree and everything it had going for it on paper, nevertheless resulted in a massive failure to move the cultural needle or achieve anything remotely resembling entertainment. Carnage Extremely Loud & Incredibly Close The Iron Lady J. Edgar War Horse I would like to thank the Soilies’ extraordinary Brown-Ribbon Panel for their contributions both here and to come as we vote on the year’s worst:
A possible calculus for Kevin James films: The more pathetic his typically schlubby, confidence-challenged character, the bigger the cash-grabbing cojones behind the production. Consider the audacity of calling Zookeeper — James’s latest interminable march through the crudest possible gestures toward character, conceit, and comedy — a movie. This “story” of a middle-aged zookeeper (James) trying to win back his status-obsessed ex (Leslie Bibb) with the help of the cheerful inmates at his animal prison — while his gorgeous, soulful co-worker (Rosario Dawson) looks on — pushes past banality and onto the surreal plane being staked out by bad movies that are bad in a new and genuinely dispiriting way.
If you thought that sitcom rerun advertising was exclusive to commercials, you’re apparently wrong. Sadly (or excitingly, depending on your views on time-travel marketing), networks have found a way to generate ad revenue for new films and products in old episodes of your favorite television series by straight-up superimposing those products into a scene. For evidence, look no further than a recent rerun of a 2007 episode of How I Met Your Mother that allegedly (and eerily) advertised this weekend’s Kevin James vehicle Zookeeper .
