Monday, March 30, 2015
Saturday, March 28, 2015
From acclaimed director Antoine Fuqua (TRAINING DAY) and starring Oscar nominated Jake Gyllenhaal (NIGHTCRAWLER, BROKEBACK MOUNTAIN) comes a story of tragedy, loss and the painful road to redemption… Billy “The Great” Hope (Gyllenhaal) is the reigning Junior Middleweight Champion whose unorthodox stance, the so-called “Southpaw,” consists of an ineloquent, though brutal, display of offensive fighting… one fueled by his own feelings of inadequacy and a desperate need for love, money and fame. With a beautiful family, home and financial security, Billy is on top both in and out of the ring until a tragic accident leaves his wife dead and sends him into a downward spiral. His days now an endless haze of alcohol and prescription drugs, his daughter taken by Child Services and his home repossessed by the bank, Billy’s fate is all but sealed until a washed up former boxer named Tick agrees to take the bereaved pugilist under his wing so long as he agrees to his strict ethos. Relentless and utterly committed to a fighter that thinks as much as he throws punches, Tick rebuilds Billy into a new man: one that is agile, fearsome and uncompromising in the ring while thoughtful, loving and disciplined outside of it. Now, as he works to regain custody of his daughter and mounts a professional comeback, Billy must face his demons head-on as he learns that, sometimes, your greatest opponent can be yourself.
Bradley Cooper & Jennifer Lawrence ("Pale Blue Eyes") video.
Wednesday, March 25, 2015
A young and pretty waitress learns to know a famous, but alcohol-addicted actor at a Hollywood party, who falls in love with right away with the pretty girl. He recognizes her great talent and promotes her. She quickly rises to stardom in Hollywood, while the alcohol completely destroys him.
The first remake came out in 1954 and starred Judy Garland and James Mason. It was nominated for a slew of awards, and Garland and Mason won best actress and actor Golden Globes for their work. The second remake, starring Barbra Streisand and Kris Kristofferson, was directed by Frank Pierson. It won five Golden Globe Awards including best motion picture - musical/comedy, as well as the Academy Award for best original song for "Evergreen."
Tuesday, March 24, 2015
Watch Serena - Jennifer Lawrence in Drama
Adapted from Ron Rash’s novel by Christopher Kyle, Serena re-teamed Lawrence and Cooper before Silver Linings Playbook even opened, two-and-a-half years ago. Since then it has been through at least three different edits on the search for distribution and it still has its problems, which is not to say that it is a mess. The glamorous stars are compelling and look dreamy in their period duds and out of them, in perhaps a few more sizzling sex scenes by firelight than are strictly necessary, and the landscapes are breathtaking.
"Serena" is now available On Demand and on iTunes. The movie opens in theaters on March 27. Source: www.accesshollywood.com
Monday, March 23, 2015
Whether or not Joan had fallen in love with Clark Gable, her marriage to Douglas Fairbanks Jr. was probably doomed from the start. In many ways Doug was a spoiled, isolated child of privilege who had married a comparatively sophisticated older woman who had pulled herself up by her bootstraps. For all his charm and levity, Fairbanks was, emotionally speaking, a boy who’d had everything handed to him at birth —by contrast, Joan had had to struggle for the same things. “Looking back,” Joan remembered, “it would probably be unfair of me to say Doug was superficial and I was so worldweary." Doug was old-fashioned, suggesting that Joan give up her career and let him be the sole bread-winner —a sure sign that he never really understood his wife at all. Then there was the lack of children. “I didn’t need another child,” Joan said, “I already had one in Doug.” In her autobiography, Joan mentioned several miscarriages; privately she admitted that on at least one occasion she had had an abortion. She hid this fact from Doug, just as she hid her affair with Gable.
Joan’s performance in A Woman’s Face (along with her Oscar-winning turn in the later Mildred Pierce) has stuck even in the minds of people who weren’t necessarily big fans of hers —and in strange ways. Premier special effects wizard Ray Harryhausen was thinking of Joan in A Woman’s Face when he created his Medusa for the fantasy film Clash of the Titans in 1981.
Joan wanted to star in the film version of Mildred Pierce very badly. Warner Bros. queen Bette Davis had turned it down, and the front-runner for the role was Barbara Stanwyck (who had already triumphed in another James M. Cain adaptation, Double Indemnity).
Mildred Pierce was the first film Joan did for producer Jerry Wald, who would produce six more films with Joan from 1946 to 1959. “Jerry always had faith in me,” Joan was to say years later. Mildred Pierce is almost perfect moviemaking. The picture is imbued with real cinematic knowhow (albeit in a style not as showy as Hitchcock’s), and the dialogue is often priceless. Michael Curtiz’s direction is crisp, smooth and highly efficient, his handling of both players and props taut and assured. Curtiz and the brilliant cinematographer Ernest Haller ensure that Mildred Pierce is filled with expert camerawork, interesting angles, and evocative lighting schemes. Max Steiner may have recycled some music from his score for Now, Voyager but his opening theme for Mildred Pierce is excellent.
Joan is wonderful in Mildred Pierce, although there were critics of the time who suggested that she didn’t have the requisite emotion in certain sequences. Joan does seem to hold back a bit after the death of Mildred’s other, younger daughter; she was afraid that if she overplayed the hysteria and abject grief most mothers would feel at such a moment, she would be accused of chewing the scenery. Curtiz felt strongly that she should underplay the scene to emphasize her character’s obsession with Veda. “Please, God, don’t let anything happen to Veda,” Mildred says significantly at the end of the scene.
Henry Hart of Films in Review wasn’t the only one to suggest that there were many elements of Joan in Mildred Pierce. “Crawford gave Mildred Pierce a reality it might have otherwise lacked,” said Hart, “because it was her own life in some ways, a strong woman struggling against misfortune and the wrong men.” Because of this, Joan made her Mildred Pierce seem real despite the melodramatic and even farfetched aspects of the plot (one suspects that the more “naturalistic” approach of a 21st century actress wouldn’t be nearly as interesting). -"Joan Crawford: The Essential Biography" (2002) by Lawrence J. Quirk and William Schoell
Saturday, March 21, 2015
When asked if shooting sex scenes with each other is more comfortable because of their friendship, Lawrence was quick to say, "No." "I guess it's more comfortable than not knowing the other person? I don't know," she added. "They're just awkward." "You never know how it's going to be," Cooper chimed in. "But for us, we laughed most of the time." "I pointed and laughed," Lawrence added, laughing hard. Source: etonline.com