Guests Alec Baldwin, Jane Fonda, Jessica Chastain and Eva Longoria also joined the event's host, The Artist star Berenice Bejo, at the Palais for the opening night.
The members of the Cannes Film Festival jury, headed up by Italian filmmaker Nanni Moretti and including judges Diane Kruger, Jean Paul Gaultier, Ewan McGregor and Alexander Payne, took the stage at the premiere as Moretti gave a warm welcome to all of the festival attendees.
Gossip singer Beth Ditto provided the music by performing a cover of Sir Elton John's Candle in the Wind as a montage of photos of this year's (12) poster girl Marilyn Monroe were shown on the big screen.
Anderson then joined the cast of Moonrise Kingdom to introduce the movie and officially launch the 65th annual film gala.
The romantic comedy is the first of 22 titles in competition for the coveted Palme d'Or prize to be screened at the Cannes Film Festival.
Although the actual cause of Whitney Houston's death is still under investigation, Celine Dion believes she already knows what lead to the superstar singer's tragic fate: "drugs" and "show business." Dion spoke on the phone with Good Morning America this morning and openly discussed her opinions on the matter as she looked back on Houston's legendary career and personal struggles.
Of course, the world is all too aware of Houston's battle with addiction after she famously fessed up to using cocaine, marijuana, and pills in a 2002 interview with Diane Sawyer. And Dion is sure that's what became her ultimate downfall, stating, "It's just really unfortunate that drugs, bad people, bad influences took over her dreams, her motherhood." The "My Heart Will Go On" singer also compared Houston's problems with that of other music legends, including the likes of Elvis Presley, Marilyn Monroe, Amy Winehouse, and Michael Jackson, blaming drugs and the stress of fame as their demises.
And it's because of seeing her fellow artists fall prey to such abuse, that Dion is scared of drugs and show business itself. She explained, "What happens when you have everything? Love, support, motherhood…Something happens that I don't understand. That's why I'm scared of show business, of drugs and hanging out. That's why I don't go to parties!"
And though Dion's preventative actions might seem a bit extreme, she definitely has a point. The pressures of fame have caused several icons to turn to drugs as a means of escape and often times these habits take from this world long before their time. And while Houston's cause of death is unconfirmed, the evidence makes drugs or pills a very likely possibility. If that's the case, let's hope it brings more awareness to the future generations of performers, so they won't also meet with tragic fates.
Click on the picture above for more photos of Celine Dion.
If the railway thriller Unstoppable looks familiar it’s only because its director Tony Scott and star Denzel Washington partnered just over a year ago on another railway thriller The Taking of Pelham 123. In Unstoppable the train is granted a bigger slice of the narrative pie than it received in Pelham serving not only as the film’s principal setting but also its primary villain. Stocked with a payload of dangerous chemicals Train 777 (that’s one more evil than 666!) hurtles unmanned towards a calamitous rendezvous with the helpless residents of Stanton Pennsylvania. Surely an upgrade over a hammy John Travolta no?
On whom can we depend to put a stop to this massive killing machine this “missile the size of the Chrysler Building ” in the ominous words of Rosario Dawson’s station dispatcher? Not the entry-level clods (Ethan Suplee and T.J. Miller) whose ineptitude originally set the train on its fateful path. (In a chilling testament to the potential dangers posed by the obesity epidemic a chunky Suplee runs to catch up with the coasting train in the hopes of triggering its emergency brake before it leaves the station only to collapse in a wheezing heap unsuccessful.) Certainly not their supervisor (Kevin Dunn) a middle-management goon more concerned with impressing his corporate superiors than ensuring proper rail safety. And most definitely not the parent company’s feckless golf-playing (the nerve!) CEO whose disaster-containment strategy is dictated purely by stock price.
No sooner or later the burden of heroism must fall on the capable shoulders of our man Denzel. As Frank Barnes a resolutely competent locomotive engineer on a routine training assignment with a reluctant apprentice (Chris Pine unshaven) he emerges as the only force capable of preventing the Train of Doom from reaching its grisly destination. Of course in any train-related emergency such as the one depicted in Unstoppable a litany of things must go wrong before the task of averting disaster becomes the sole responsibility of the engineer of another train. And screenwriter Mark Bomback (Live Free or Die Hard) trooper that he is takes care to cycle through every single one of them lest we question the believability of such a scenario. Because believability is so important in films like this.
Denzel’s most formidable foe in Unstoppable it turns out is his own director. As an alleged “old-school” filmmaker Tony Scott largely eschews the usage of CGI but he embraces almost every other fashionable action-movie gimmick occasionally to nauseating effect. When the camera isn’t jostling about or zooming in and out jarringly it’s wheeling at breakneck speed across a dolly track; countless circling shots of key dialogue exchanges give the impression that we’re eavesdropping on these conversations from a helicopter. No static shots are allowed and cuts are quick and relentless giving us nary a moment to catch our breath or recover our equilibrium.
These are the tactics of an insecure director one with startlingly little faith in his material or his performers. As Unstoppable nears it climax we’re invested in the action not because of the incessant play-by-play of the TV reporters who’ve converged on the scene — a ploy mandated by Scott’s frantic style which by this point has left the story teetering on incoherence — but because of our almost accidental bond with the film’s protagonists who despite the director’s best efforts have managed to make just enough of an imprint on our consciousness that we’d prefer they not perish in a fiery train wreck.
Much has changed in the world of finance since Oliver Stone first explored its grubby innards in 1987’s Wall Street a film that netted Michael Douglas a Best Actor Oscar for his iconic portrayal of scheming corporate raider Gordon Gekko. Technological advances regulatory changes a terrorist attack a global economic meltdown and the emergence of China as a dominant player have combined to transform the securities industry in the two-plus decades since Gekko paraphrasing Ivan Boesky first captured its more sinister aspects in those famous words “Greed is good.”
What hasn’t changed is Stone who remains every bit as hubristic and heavy-handed as ever. With his sprawling spotty follow-up Wall Street: Money Never Sleeps he has once again taken it upon himself to put forth the definitive portrait of the culture of money and the film suffers badly for it. Set in 2008 in those halcyon days just prior to the subprime mortgage crisis and its subsequent leveling of financial landscape the film is told through the wide eyes of young Jake Moore (Shia LaBeouf) the 21st-century heir to Bud Fox’s mantle. (Charlie Sheen who portrayed Fox in the first film resurfaces in a fun but ultimately pointless cameo in the sequel.)
Jake we are told is a successful proprietary trader but his countenance more closely resembles that of a venture capitalist. (The risky practices and alleged conflicts of interests of prop traders are widely believed to be among the causes of the financial collapse; the Obama administration has recently proposed their ban.) Though he’s as profit-driven as any other young Wall Street turk he also boasts something of an idealistic streak and hopes to use his position at the prestigious investment banking firm of Keller Zabel to further the cause of a cutting-edge green energy startup. No doubt it’s this noble trait that appeals to his girlfriend Winnie (Carey Mulligan) a progressive pixie who runs a muckraking leftist blog and who also happens to be Gekko’s estranged daughter.
Jake’s bright future takes a dark turn when rumors of over-exposure to “toxic assets” swallow up first his company Keller Zabel and then its founder Lou (Frank Langella) who opts to retire beneath a speeding subway train after the Federal Reserve denies his request for an emergency bailout. Devastated by the suicide of his boss and mentor Jake vows to exact revenge upon the slithery brute he believes to be the source of the poisonous rumors: Bretton James (Josh Brolin) a prominent partner at Churchill Schwartz (read: Goldman Sachs) Keller’s chief rival.
And where exactly does Gordon Gekko figure in all of this? After the opening sequence during which he emerges from a lengthy prison stay to find no one waiting to greet him Gekko doesn’t re-enter the story until about the 30th minute and lurks mainly on its periphery for much of his screen time. In the years since his incarceration for the various misdeeds chronicled in the first film he’s rebranded himself as a sort of populist crusader against speculator avarice hawking a book about the ills of the financial system entitled Is Greed Good? (“You’re all pretty much fucked ” he instructs a lecture audience.) Gekko’s got a grudge of his own against Bretton his one-time protege turned state’s witness in his securities fraud conviction and he agrees to supply Jake with crucial insider info in exchange for help in brokering a reconciliation with his daughter Winnie.
All of this is set against a backdrop of the collapses and bailouts of the 2008 financial tumult — a topic that could easily warrant its own film. (Indeed HBO is currently readying its adaptation of Aaron Ross Sorkin’s book about the crisis.) His ambition outstripping his ability Stone labors awkwardly to integrate the macro of the crisis with its many backroom deals and soap-opera intrigues and the micro of Jake’s increasingly complex relationship with Gekko. Mulligan’s character meant to serve as the film’s emotional anchor as well as its conscience is ultimately little more than a distraction diverting us from the story’s more compelling elements. The last third of the film which focuses on Gekko’s reemergence as a Wall Street player feels tacked-on as if driven by data from test audiences dissatisfied with his relatively minor presence in the early goings.
There are moments in Money Never Sleeps where Stone successfully invokes the heady verve of the 1987 film but for a story dealing with such titillating subject matter its pace too often drags to a near-halt as it wallows excessively in Gekko family melodrama. (The performances it should be noted are all terrific though LaBeouf is an exceedingly tough sell as a would-be BSD.) And a topic as sexy as money should never ever be boring.
Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.
Milwaukee Brewers' big swinger Stan Ross (Bernie Mac) is a baseball star--a man with big talent a bigger mouth and an even bigger ego. Nine years ago he achieved legendary status by getting 3 000 base hits and was revered by his fans but had burned most of the bridges with everyone else especially when he stuck it to his team by abruptly retiring from the game. No matter. Stan spent years capitalizing on his "Mr. 3000" persona and now is just waiting for his final honor--induction into the Hall of Fame. What he gets instead however is a slap in the face when it's discovered that three of his 3 000 hits aren't valid making him only "Mr. 2 997." To reclaim his record Stan is forced to return to the field and play once again for his former team and earn those three hits--and it ain't easy. The game has changed and so has he--pushing 50 Ross is faced with both physical and mental challenges. Not only must he measure up to the new kids on the block like the Brewers' cocky power hitter T-Rex Pennebaker (Brian White) he also has to contend with less-than-supportive sports journalists especially his former flame Mo Simmons (Angela Bassett) all of whom remember the lashings they took from invective-spoutin' Stan the Man back in the day. But this time around something happens to Stan. Now hungry to prove himself he finds his love for the sport and his team renewed realizing there is a difference between having a successful life and a meaningful one. See? I told you it was corny.
Bernie Mac is a smart man. Having played smaller but memorable roles in films such as Ocean's Eleven and Bad Santa Mac has made a wise choice picking Mr. 3000 as his first foray into leading man territory. First of all Mac actually used to play the game pretty seriously so you can definitely feel the love but the character also really suits this king of comedy emphasizing his gruff sense of humor (the scene in which he tells a group of school children their favorite story character has died just to shut them up is classic Mac) while also showing off some genuine acting chops as the self-centered Stan tries to change his life. Mac can pull off the romantic stuff too if you can believe it. He clicks immediately with the always-good Bassett as the two put on a rather refreshing display of affection tinged with some obvious history from their shared past. Stan also has a quirky but genuine relationship with his former teammate Boca (as in Boca Raton Fla. because of his trademark velour jogging suits) played by character actor Michael Rispoli (Death to Smoochy). Boca is Stan's only real and honest friend'; his cryptic refrain "That's why I love you man " becomes a running gag throughout the film. Other supporting standouts include White (who is actually a former pro-football player) as Stan's arrogant protégé and Paul Sorvino as the Brewers' stoic team manager who says next to nothing--until it really counts.
Baseball movies always seem to work. There's just something about that all-American pastime that gets moviegoers' emotions stirring--the underdogs; the camaraderie; the jaded ball player; the crack of the bat; the magical home run; the peanut-chomping fans; and of course the pure love of the game. Director Charles Stone III (Drumline) captures a good deal of that in Mr. 3000 as well as adding some funkiness to the proceedings with his savvy cast and a cool old time R&B soundtrack (Earth Wind and Fire gets you grooving every time). Still there's an inherent problem: We've seen this baseball formula done so many times before in better movies such as Bull Durham and The Natural. It's also highly predictable that Stan is going not only learn some lessons about life but will also impart that wisdom and inspiration to his younger teammates. Yeah yeah. Even Stan ends the movie saying "Was that corny enough for you?" It is--but that's why we love it man.