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Robert Pattinson apparently had enough of being known for being Edward Cullen in the Twilight movies and as the actor that adorns all the covers of the teenage magazines (and who gets a metric ton of ribbing in the lad magazines like Maxim). He's definitely far from being the pale, sparkly heartthrob vampire in The Rover, an upcoming film set in a desolate, dystopian future in the Australian Outback (New country motto: "Now EVERYTHING Here Wants To Kill You, Not Just The Animals and Insects").
This isn't some sort of hasty image makeover, like New Kids On the Block suddenly attempting to rap or Michael Jackson trying to look tough on Bad. It's not Pattinson doing some romantic comedy, like the ill-received Remember Me, in between filming Twilight sequels. He looks nothing like anything we've seen him in before — his normally thick hair has been shaved nearly bald and he sports a perpetual stubble. Also, his frame is gaunter, since his character probably lives day-by-day in terms of finding his next source of food. He looks just very jagged and hard — though his trademark thick eyebrows are still present.
Watch Pattinson's eyes in every scene he appears in the trailer. They're constantly watchful, cautious, even almost feral. They show a survival instinct, where they have to take every bit of detail going on around them to make sure they don't miss anything. Listen during the whole trailer... his character doesn't speak once, except in an almost involuntary shout as he ducks behind a bed during a fusillade of gunfire. Another former cover boy, Guy Pearce, stars alongside him and looks like if he went another week without shaving, he'd resemble Tom Hanks in Cast Away.
One person who Pattinson could probably identify with is Brad Pitt, another man vying for the world record of Highest Cheekbones. Pitt also decided he just wanted to be known as an actor, and not someone who relied on being easy on the eyes. This could be Pattinson's Twelve Monkeys. if he succeeds, then people like Hayden Christiensen, who is probably very tired of hearing people mock him about those "grains of sand" lines in Star Wars, might want to take note.
Otherwise, we might see Pattinson in a Twilight reboot a decade or so from now.
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Melodic piano notes trickle in the background of the trailer for Breath In, starring Felicity Jones, Guy Pearce, and Amy Ryan. The dramatic film comes from the acclaimed director Drake Doremus, who also directed Like Crazy, in which Jones starred as well.
The trailer for Breath In starts with some precious family bonding over a classic game of Jenga, complete with giggling as the tower collapses. But then drama escalates when Sophie Williams (Jones) moves in as an exchanged student from the U.K. and seriously shakes things up.
After murmuring to the father of her host family, Keith (Pearce), that "one day you'll be free," theatrics unfold and sexual tension between bespectacled Keith and schoolgirl Williams bubbles over and soon ignites in a full-on frenzy. Tears stream and a symphony sounds as chaos unravels.
Take a deep breath before you catch Breathe In in theaters July 19.
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Factory Girl centers on East Coast socialite Edie Sedgwick (Sienna Miller) who in the ‘60s was considered Andy Warhol’s muse was linked romantically to Bob Dylan and eventually died of a drug overdose at 28. The story starts as Sedgwick like a contemporary Paris Hilton becomes a tabloid fixture on the New York social scene. Warhol (Guy Pearce) brings Edie into his Factory workshop populated by boho artsy types who spend all day indulging Warhol’s artistic fantasies. When Edie quickly scales the social ladder as Andy’s pal she meets a Bob Dylan-like rock star (Hayden Christensen). Edie reaches a social stratosphere quickly but it is fleeting and she spirals downward lashing out at everyone especially Warhol. Edie dies sadly dismissed by some of the ones who loved her best. As a tabloid staple herself due to her on-again off-again relationship with Jude Law Miller’s performance as Edie is striking. Miller studied Sedgwick’s life for a year to play the role listening to tapes and interviewing friends and family of the deceased socialite and it paid off. Her commitment and effortlessness to Sedgwick’s physicality voice tone and histrionics feel lived in and Method-perfect. Pearce as the duplicitous Warhol also disappears into the role behind white face make-up and a slight build. Christensen however nearly kills the movie as Billy Quinn a fictional version of Bob Dylan but more like a badly conspicuous caricature of the famous folk singer. When Christensen moves freely without self conscience he is as good as he was in Shattered Glass. But when he opens his mouth Christensen becomes Anakin Skywalker playing Bob Dylan. Guaranteed at least one person in the audience will laugh. George Hickenlooper bricks this one. The Mayor of the Sunset Strip director seems to have whipped something organic out of the 87-minute Factory Girl--too short to make an impact but mercifully and wisely cut down to the bare minimum. Hickenlooper has said he had to do a lot of “hand-holding” while making Factory Girl--and that he will never make another biopic—and his restlessness and frustration are evident in the movie’s lack of cohesion. The film’s meticulousness to details is undermined by its ham-handedness and shoddy dramatics. Back to the factory line.