All-around kooky-yet-serious actor Jeremy Irons has got some bizarre opinions, and he decided to share some of his thoughts on the hot topic of marriage equality. In an interview with The Huffington Post on Wednesday, the Academy Award winner explained that while he does not have particularly strong feelings on the subject, he does believe that it raises interesting questions.
The biggest concern Irons has is about advocates for same-sex marriage as opposed to civil unions. "It seems to me that now, they're fighting for the name and I worry that it means somehow we debase or change what marriage is," Irons says. "I just worry about that."
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The Borgias star also raises some... rather unique points of view about incest, inbreeding, taxing estates, death duties, marrying his son, and marrying his dog(?). "I just wish everybody who is living with one other person the best of luck in the world, because it's fantatsic," Irons added. "Living with another animal, whether it be a husband or a dog, is great. It's lovely to have someone to love."
Irons, you're so weird. Let's say it all together now: You have no idea.
Watch the full interview below:
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[Photo Credit: Bert Van Den Broucke/Getty Images]
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The American education system is a perpetually fertile ground for examination and critique. The latest film to mine the fields is Won’t Back Down, the 2012 drama that stars Oscar nominees Maggie Gyllenhaal and Viola Davis in an empowering story inspired by actual events. Hard-working single mom Jamie Fitzpatrick (Gyllenhaal) is concerned that John Adams Elementary is not giving her daughter the educational experience she deserves. Teaming with a caring teacher (Davis) who wants the best future for her own son, she sets out to improve attitudes and elevate the school’s academic standards. Despite the odds, with courage, hope and persistence, the women just might prevail.
Below is an exclusive featurette from the Won't Back Down Blu-ray, titled "The Importance of Education." Check out the video below. The Blu-ray is available now.
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As if high school wasn’t hard enough, try sitting through homeroom, hearing others gossip about you while trying to contain emerging witch powers that are pulling you towards the dark side… Yeah, on second thought, high school wasn’t so bad for you, huh? Unfortunately for young witch— or "caster" — Lena (Alice Englert), it is.
A new, longer trailer for the movie adaptation of Kami Garcia and Margaret Stohl‘s YA novel Beautiful Creatures just hit the web, and the battle between good and evil casters looks dark and extremely fun (it helps to put the haunting vocals of Florence + the Machine behind the supernatural footage). Focusing on Lena’s upcoming 16th birthday when her powers will be claimed either for the light or dark, the movie brings a whole new definition to family feud. Lena’s cousin Ridley (Emmy Rossum) chose the darkness on her 16th birthday, and the entire family is caught up in whether Lena will choose light or dark, because apparently she is going to be super strong and could tip the scales in some big war against humans. And Rossum kills it as a vampy siren caster, all sassy and filled with attitude. If I was in Lena’s position, I’d choose the darkness just to hang out with this cool older cousin. Priorities, guys. Plus, her eyes. Her dress. So cool!
And there’s a love story at the core of the movie too: Lena meets Ethan (Alden Ehrenreich), a small-town guy who dreams of something bigger, and they instantly fall for each other. This is somehow a bad thing for the good casters, because it will lead Lena further into temptation of choosing the darkness? Maybe? You’d think young love would be a good thing.
And can I just say how excited I am for a supernatural tale set in the south? I can’t get enough of those southern accents. It puts a campy feel on what already looks like a fun, enjoyable film.
Also starring Viola Davis and Emma Thompson, Beautiful Creatures casts its spell on theaters on Feb. 13, 2013. Check out the trailer below:
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
Tomorrow, American audiences will be reunited with one of their favorite movie duos of recent years: Harold Lee and Kumar Patel, returning to theaters for their third film installment, A Very Harold and Kumar 3D Christmas. Although we'll be reunited with plenty of characters from the first two films, we'll also be meeting a few new ones, including Danny Trejo as Harold's very intimidating father-in-law, Mr. Perez. This got us thinking about a few other not-so-preferable in-laws from movies past: the manipulative, the violent, the absolutely no-holds-barred insane. We've compiled a list of a few of the most memorable in-laws we're all glad we don't have in our families.
Monster-in-Law: Charlotte Cantilini vs. Viola Fields
Fathers may look intimidating from a physical point of view, but it’s nothing compared to what the mothers can mentally bring to the table.
Charlotte has finally met the man of her dreams and is on her way to pure wedding bliss—until her fiancée’s mother tries to get in the way. Jane Fonda does an incredible job of portraying any wife’s worst nightmare: the controlling mother-in-law. Not wanting to be replaced as the number one woman in her son’s heart, Fonda’s character does everything in her power (from mind games to guilt trips) to stop the marriage from happening. It’s an in-law nightmare to the fullest extent, but then again no one ever said marriage was going to be easy, right? Future brides beware—there’s nothing more powerful than a mother’s pull over her son.
My Big Fat Greek Wedding: Ian Miller vs. The Entire Family
This movie focuses on a different kind of intimidation entirely in that it’s based off of sheer volume. While Toula is trying to come to terms with her heritage and cultural identity, her non-Greek fiancée, Ian, struggles to gain acceptance from her family…and I mean her entire family.
The title doesn’t lie, this family is huge, meaning there’s just so many of them it’s hard to keep them all straight. They’re loud, they’re opinionated, and they’re none too thrilled that Toula is going against tradition and marrying a man who isn’t Greek. Have you ever tried to convince a traditional family that one of their traditions isn’t that important? Not an easy feat, but if Ian ever wants to truly be considered a member of the family he needs to find a way to worm himself into their hearts and dinner tables (which are crowded enough to begin with). No pressure or anything. As the saying goes, you’re not marrying just one person – you’re marrying the entire family.
Armageddon: A.J. Frost vs. Harry Stamper
One of my favorite scenes in the movie is when Bruce Willis’ character walks around an oil rig, shooting at Ben Affleck’s character after finding out he’s been sleeping with his daughter. Talk about intimidation!
Bruce Willis himself already give
s off a “don’t mess with me” vibe, so adding a gun into the mix only further increases the fear factor. Now technically at this point these two characters aren’t related quite yet, but the father-in-law/son-in-law dynamic remains constant between these two characters throughout the entire duration of the film. It’s the usual dilemma many fathers eventually face: nobody is good enough to marry their little girl. And since both men are stubborn and natural born leaders, talking becomes a rather difficult task for the two of them (yelling doesn’t count). Granted, their relationship gets a little too extreme to be entirely believable (hopefully no guy has had their father-in-law use him for target practice), but the protective fatherly instincts are both understandable and relatable—just maybe not gun worthy.
Son-in-Law: Pauly Shore vs. the Entire Midwest
When Pauly Shore’s Crawl (that’s his name, not some kind of Bay Area rave dance) ventures to the rural Midwestern hometown of his college girlfriend, Rebecca Warner, he is not exactly the most welcome newcomer to the farmlands. Crawl is rude, idiotic, sex-starved, infantile, selfish and unwilling to adapt to the modest and dignified lifestyle of the townspeople. Mr. and Mrs. Warner alike are both threatened and disgusted by their houseguest, and can’t stomach the idea of him producing a grandchild with their only daughter.
And who can blame them. When their small town values get tossed asunder by this ineloquent tourist, it’s mystifying that they don’t run him out of town with an angry mob. But then again, he does teach them the latest slang. Where would the Warners be without “grubbage” in their vocabulary?
The Birdcage: The Goldman Family vs. Sen. Kevin Kealy
There’s bound to be one intolerant member in every family. But when Val Goldman, son of prominent gay nightclub owners Armand and Albert, becomes engaged to the daughter of an openly homophobic United States Senator…that’s pushing the limits. Devoted to making their son happy, Armand and Albert pretend to be something they are not in order to appease the bigoted senator at a family dinner and win his approval of Val for his daughter. However, it’s not long before the charade is blown, and the true, despicable feelings are let loose.
Before Kealy came along, Val and his fathers cherished their blissful, loving family unit. It was only when the menacing figure stepped into their lives that Val did profess any shame for the sort of parents he had. Now that's an intimidating in-law. It doesn’t take long for him to realize what truly matters, however. The senator may be an intimidating menace, but he’s no match for the Goldman family’s love.
The In-Laws: Sheldon Kornpett vs. Vincent Ricardo
Most troublesome in-law situations deal directly with at least one of the parties involved in the new marriage. The classic comedy film The In-Laws, however, illustrates the trouble that can occur between the extended families—specifically, the respective fathers of the bride and groom. Now, getting along with an in-law might be a troublesome feat in a normal circumstance. But when one is a supposed government operative who drags you along on his death-defying schemes? That’s none too easy to get past.
Sheldon Kornpett is a mild-mannered dentist whose life gets twisted out of shape when his daughter marries the son of Vincent Ricardo, a secret agent without much of a regard for his or Sheldon’s life. In the days surrounding the wedding, Ricardo ropes Sheldon into some high-risk globetrotting adventures—none of which Sheldon, a simple dentist, ever signed up for. Sure, it makes for interesting wedding toast material, but a maniacal action-hero (or antihero) like Vincent Ricardo is not exactly the sort of man you want coming over for family dinners every other weekend.
Meet the Parents: Greg Focker vs. Jack Byrnes
The mother of all father-in-laws is Jack Byrnes, the possessive, untrusting retired CIA agent who makes one simple weekend (and two very profitable sequels) hell for his daughter’s boyfriend/husband, Greg Focker. Most potential in-laws stick to passive-aggressive hostility, or roundabout manipulation to make the whole idea of courting their family members an unbearable experience. Jack Byrnes’ endeavors in this field are a tour de force. He employs verbal intimidation, threats, actual physical violence, and a vast array of high tech spy equipment—not excluding polygraph machines.
And what is perhaps the worst thing about Jack? He never seems to take a liking to Greg. Sure, each movie ends with him swallowing his pride and giving his poor victim a pat on the back…but things are right back to the way they began come Act I of the next movie. Let’s just hope, for Greg Focker’s sake, that he won’t be suffering through any fourquels or fivequels…otherwise, that marriage might be on thin ice.
Snow White and the Seven Dwarfs: The Prince vs. The Evil Queen
Mirror, mirror on the wall, who’s the most intimidating in-law of them all? Even Disney stories can’t catch a break with the in-laws. The pressure pretty much doubles when you’re dealing with royal families since so much is at stake and they don’t want their children partnering up with someone that could ruin their kingdom (I assume since I can’t really speak from experience). But this relationship was doomed to be fraught with intimidation.
It’s really hard to really establish a bond with your mother-in-law when she keeps trying to kill your wife. It just tends to put a damper on things, even in the animated world. The Evil Queen makes all other in-laws look like a walk in the park. Granted, she was a step-mother, but that still counts since she was basically the only family Snow White had left. It’s your basic hero-villain dynamic, so they never really stood much of a chance of making nice with one another and you can forget about any family dinners (especially anything with apples).