2089 posts categorized "MOVIES"
Courtesy of Mr. Man, check out some amazingly hot shower scenes in the gallery above, featuring (in order) Kevin Bacon, Jackie Chan, Matt Damon, Jamie Foxx, Sean Penn, Sam Rockwell, Will Smith, Sylvester Stallone and Paul Walker.
There's no frontal, but plenty of backal, nudity. No ifs or ands, but quite a few butts.
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BOY CULTURE RATING: *** out of ****
In Still Alice, an articulate, accomplished linguistics professor (Julianne Moore) begins to forget things. She gets lost. She repeats herself. She suspects she could have a brain tumor, but the real answer is even more devastating—at the age of 50, she has early-onset Alzheimer's disease.
Her workaholic husband (Alec Baldwin), handsome son (Hunter Parrish) and warring daughters—one archly perfect (Kate Bosworth), one studiously rebellious (Kristen Stewart)—have to cope with this out-of-the-blue development, and must make choices about their own lives and about the woman who is at the core of their family.
Richard Glatzer and Wash Westmoreland were hired to adapt the film from Lisa Genova's highly regarded novel of the same name, and wound up directing it. The partners in creativity and in love have crafted a no-frills, achingly intimate document of what often is a breathtakingly swift decline, one which allows Moore precious little space in which to do anything more than be. The result is a moving, unaffected, ephemeral performance of the type for which she is renowned, and a performance which could become the one that finally brings her the Oscar she's richly deserved for many years.
Baldwin, always so good, may have burned himself with his long stint on 30 Rock and as a frequent SNL host; he has snarky resting face, which distracts from his character and from the film. Stewart, on the other hand, gives a mature performance that perfectly complements Moore's. The others aren't really fleshed out enough to judge.
Ultimately, the film is so hands-off it sometimes feels a little underdeveloped. That hurts it as an overall artistic statement, making it feel like an unadorned TV movie at times, but that approach does nothing to damage Moore and Stewart's effortless shared depth.
As a postscript: It may surprise some to know that Westmoreland's directing career was launched in gay porn in the '90s, and that his work with Glatzer includes the broadly comic The Fluffer (2001), set in that milieu. Less of a surprise is that the men co-directed the affecting drama Quinceañera in 2006.
The Oscar nominations are in, and there are some snubs and surprises.
Most shocking to me was the hardcore snubbing of Selma. It's a really good film, a biopic with a lot of nuance and artistry. It's absolutely, unequivocally on par with and I would argue better than—as a film, as a piece of direction, as a collection of performances—The Theory of Everything and The Imitation Game—and yet the achievements by director Ava DuVernay and lead actor David Oyelowo were ignored. (This guy's pissed, too.)
I have to say I must be living in a bubble, because I had thought Nightcrawler and Jake Gyllenhaal were going to be nominated. It was my favorite movie of the year, it's got nearly universal praise (far better reviews than The Theory of Everything and American Sniper), and it's a subject I would have thought voters would find engaging. It's a shame.
I wasn't in the least bit surprised that Jennifer Aniston didn't get nominated. I haven't seen Cake, but no matter how good she is, I think it is perceived pretty clearly as a naked attempt at awards, a true, old-fashioned vehicle. And Aniston has not built up the kind of serious-effort points from the Academy to be this year's Sandra Bullock or Reese Witherspoon. Plus, the film has been negatively reviewed even if her performance has drawn compliments.
The most irritating development to me (aside from the out-of-nowhere embrace of American Sniper, the movie with the worst reviews of the eight nominated and a movie I have zero interest in seeing and now many have to) is the strong showing by Foxcatcher. I found that movie compelling throughout in a dry way, but as much as I love Steve Carell, I truly think his performance is silly. It comes off as phony and the fake nose changes from scene to scene. Why is the prosthesis even necessary? His character was not that famous to the average filmgoer that capturing his exact appearance was that important. The film's credibility is also seriously damaged by what feels like a strong-armed attempt to make it into a dated ick-fest regarding a creepy homo. To be sure, du Pont was almost certainly getting off on being surrounded by those jocks, but the framing the director used of this story feels exploitative and vaguely homophobic.
Check out all the nominations after the jump, with my notes, and please feel free to share yours. Blue are the ones I say will win, and if there is a pink choice, that's the one I wish would win. Otherwise, I'm happy for the one I think will win. Got it?...
Cheryl Boone Isaacs, prez of the Academy of Motion Picture Arts & Sciences, has created this year's Adele Dazeem early—in announcing an Oscar nomination for cinematographer Dick Pope, she called him Dick Poop. Standing next to Chris Pine might or might not have been an extenuating circumstance.
A list of films most deserving of a Best Picture nomination that did not get one...it's crazy that some of these were snubbed.
Meryl Streep was denied the lead in the 1976 film (ET calls it a “classic”...ha!) King Kong because, as she was told, she was “too ugly.” Ouch.