Scarlett Johansson was among the mourners who gathered for the funeral of respected stylist Annabel Tollman on Friday (14Jun13). Tollman, 39, who styled many stars including Johansson during her fashion career, died on Thursday (06Jun13) and her life was celebrated at a funeral in New York City on Friday.
The private service at Manhattan's Grace Church attracted hundreds of mourners, including stars of the fashion world, designers Cynthia Rowley and Mark Badgley, as well as actress Tara Subkoff and Johansson, who also attended the reception at the Four Seasons restaurant, according to the New York Daily News.
After Tollman's death, the Lost In Translation star released a statement paying tribute to her friend, describing her as the "epitome of class and elegance".
Johansson added, "She celebrated the female figure and taught me how to dress the part of an independent, self-possessed and confident young lady, as she represented all of those qualities. I will miss her friendship deeply; she touched all of those that knew her with a warmth, intelligence, thoughtfulness, beauty and grace."
Model/actress Milla Jovovich turned herself into a living artwork on Tuesday (28May13) as part of the famous Venice Biennale festival in Italy. The Resident Evil star has teamed up with American artist Tara Subkoff to create a performance piece for the Venice art exhibition in conjunction with the Marella clothing brand.
Jovovich was installed in a transparent box in the city, and instructed to play a character over the course of five hours, only communicating with the outside world via her electronic devices.
She posted a series of pictures on her Twitter.com page in the run up to the event, writing, "Hey every1 (sic) I'm about to start the performance piece w (with) Tara Subkoff I (am) now fake Milla for the nxt 5 hrs (sic). Goodbye real Milla."
Jovovich went on to post more pictures from her time inside the box, tweeting to fans and using Facebook.com as part of the performance piece.
The King's Speech moviemaker is said to have met fashion designer Tara Subkoff during last year's (11) Hollywood awards season and he reportedly proposed in Paris, France in May (11).
However, a new report suggests Hooper ended the relationship last weekend (21-22Jan12).
A source tells New York Post gossip column Page Six, "They had just celebrated their one-year anniversary... He broke up with her on Friday, and the last time they spoke was Saturday... (He) just wasn't ready to get married. He's married to his career. He's just going into production on a huge film. He's under a tremendous amount of pressure..."
By all appearances The Killer Inside Me’s setting of Central City Texas is the epitome of the cinematic small town complete with slow–drawl country music tunes a businessman who practically owns the town and a doe-eyed lady who most of the townsfolk love but whose heart belongs to the deputy sheriff. Lou Ford (Casey Affleck) though is no ordinary deputy sheriff as we learn when he is ordered to evict a local prostitute Joyce Lakeland (the always gorgeous Jessica Alba) because she has taken up with the son of town boss Chester Conway (Ned Beatty). Unfortunately for Conway this is Jessica Alba we're talking about! After a rather interesting exchange with Joyce Ford takes up with her himself and hatches a plan for them to skip town together. When Ford’s fiancé Amy Stanton (a fetching Kate Hudson) suspects an affair between the two trouble ensues and a maelstrom of murder mischief and mayhem soon envelops Central City.
Based on the novel by Jim Thompson who also wrote The Grifters and The Getaway as well as screenplays for Stanley Kubrick’s films The Killing and Paths of Glory The Killer Inside Me is one of the better films of its ilk wherein the “hero” is actually a disturbed — and disturbing — individual. Directed by Michael Winterbottom (A Mighty Heart) and featuring a supporting cast of actors that could each carry their own film (and indeed some have) including Bill Pullman Simon Baker and Elias "I’m not Christopher Meloni and he is not me" Koteas this movie should be penciled into everyone’s must–see list.
To answer the main question on the minds of the panting fanboys: Yes both of the film's buxom beauties Alba and Hudson show heaping gobs of skin. Unfortunately this is film noir a genre in which attractive female characters seldom survive to see the final credits roll.
With that in mind a word of warning: The Killer Inside Me does get a bit gratuitous with its violence and while it's not Bad Lieutenant- or David Lynch-level gratuitous it's still out-there blunt-trauma-to-the-head violent. Winterbottom makes the dangerous choice of rarely cutting away from the looks on the faces of those involved in these scenes and we as viewers become willing accomplices in Ford’s actions. In the film’s defense the violence is actually used for character development and there are enough moments of subtle bleak black humor to counterbalance it. But if you're the squeamish type you might wish to stay home.
Long out of the shadow of his more famous brother Casey Affleck comes out of his own shadow in The Killer Inside Me creating a character as charismatically menacing as a villainous protagonist could be; an Anton Chigurh you could bring home to meet your family. With no shred of his “Baastaahn” accent apparent Affleck speaks in a southern drawl that sounds like he's about to crack at any instant; because usually he is. It's the kind of role that will be talked about for years (if this film gets the proper promotion that is) and in my opinion will make him a very early candidate for Best Actor.
As the real-life 1950's pin-up girl Bettie Page actress Gretchen Mol shakes her moneymaker in this true-American-story drama. Page a Tennessee-raised religious cutie moves to New York in 1949 for a new life when college dreams don't materialize. She's a trusting soul who loves to pose for strangers' cameras and naturally falls into modeling. In no time she's wearing suggestive lingerie and trading spankings with other models. To Bettie the bondage get-ups are silly not prurient. But despite efforts to expand herself and learn acting she remains a pin-up girl. In Bettie's most famous picture she's posing nude in a Santa hat in a 1955 Playboy magazine. After testifying at Congress amid the sexual Puritanism of the '50s Bettie realizes her "notorious" reputation. She quits the biz for her religious beliefs and disappears from the public eye for good. Mol's performance is described in press materials as "incandescent." It is brave to say the least. The actress’ movie career has needed a jolt since she was labeled the next “It” girl in the late ‘90s after starring with Matt Damon in the 1998 Rounders. Her last film was Neil LaBute’s 2003 The Shape of Things. But Mol finds her niche in Notorious. She plays Bettie as she was--a simple-minded and free-spirited character which can be a dangerous combination. The actress doesn't add impresario nuances to the pliable young woman beyond the Southern accents but it is an incandescent performance nonetheless. Lili Taylor (I Shot Andy Warhol) brings her rough features to Paula Klaw Bettie's tough-minded manager transitioning from the Emmy-nominated success of HBO’s Six Feet Under. Mol and Taylor play off each other very well. Recent Oscar-nominee David Strathairn (Good Night and Good Luck) also sneaks in there as a Southern senator calling for pornography investigations. In the hands of director/writer Mary Harron and writer Guinevere Turner Notorious snaps along like an old crime noir quick like a paperback on the beach. It is ironic and biting smoldering with sexuality but the melodramatic intentions are obvious. The dialogue lapses into clunky spots occasionally but they seem deliberate. The script's potency should not be understated. It's a statement about government's role in bedroom matters and the side effects of an American society prudish about its sexuality. Harron seems a sharp-edged journalist a chronicler of 20th century America and recruited Oscar-nominated researcher Sam Green (The Weather Undergound) to strengthen the movie's veracity such as recreating '50s-era Times Square. Bygone technical methods such as Super 8 cameras are used to match the classy black-and-white photography. Notorious is a little rough but fairly successful in its mission.
Set in the 1970s male-dominated news world the dashing mustached Ron Burgundy (Will Ferrell) is indeed a legend as San Diego's top-rated anchorman. He and his news team--including field reporter and all-around ladies man Brian Fantana (Paul Rudd) sports cowboy Champ Kind (David Koechner) and mindless weatherman Brick Tamland (Steve Carell)--live life large as local television icons boozing and womanizing with the best of them. As Ron puts it they have been coming to the "same party for 12 years--and in no way is that depressing." But their world is about to turn upside down when an ambitious newswoman Veronica Corningstone (Christina Applegate) is hired by the managing news producer (Fred Willard) to spice things up. The guys aren't worried at first treating her like any other woman that is to say sexually harassing her--and despite that Veronica and Ron hit it off. But soon Ms. Corningstone's true agenda is revealed--she wants to land an anchor spot and she isn't about the let anything stand in her way including a perfectly coiffed slightly hairy idiot newsman named Ron Burgundy. Of course this means war.
No longer is Ferrell just a side character illuminating the proceedings with his hilarity. Along with pals Jack Black Vince Vaughn and Ben Stiller (who make strategic cameos in Anchorman--but we aren't telling how 'cause that'll ruin the fun) the former Saturday Night Live alum has become one of the new kings of cinematic comedy. People expect Ferrell to be gut-bustin' funny now and luckily he delivers once again as Ron Burgundy. With a voice that "could make a wolverine purr " Burgundy is all hot air great hair and polyester debonair a dim bulb who tries to understand the news stories he recites but gives up quickly because it requires too much thought and simply reads the teleprompter exactly as it is written. Ferrell is at his best when he is allowed to free-associate either by himself (while getting ready to go on the air) or with his co-stars Rudd Koechner and Carell (singing a strangely harmonious rendition of "Afternoon Delight"). Keep your eyes on Carell--he is a comic gem on the rise. The Daily Show co-star had a brief but memorable turn in last year's Bruce Almighty as an anchorman (ironic huh?) Jim Carrey messes with but in Anchorman Carell is absolutely side-splitting as Brick who doesn't have a single brain cell working rattling off non sequiturs like "I ate an entire red candle " when talking about a party the night before. Christina Applegate subjected to this lunacy holds her own god bless her and does an admirable job playing the straight woman to this group of wackos.
Adam McKay former SNL head writer makes his directorial and screenwriting debut with Anchorman. The story has a fairly classic and simplistic framework--Burgundy starts out on top falls to rock bottom and climbs his way back up again--but it's pretty evident early on that with the likes of Ferrell and the rest all McKay has to do is turn the camera on them and let it all happen. Watching Burgundy incoherent breaking down in a phone booth after his dog is supposedly booted off a bridge by an irate motorcyclist or the news team rumble where San Diego news rivals go at each other with nasty weapons it's funny stuff. But rather than just let the comedy come from the story á la Old School Anchorman throws in some antics that probably sounded comical on paper but end up being silly and forced. For example Veronica and Ron going to "pleasure town " (sexual bliss) with animated furry animals and rainbows instead of seeing the love act itself or the gang trying to get out of a bear pit after they've woken up the hibernating animals that's a little over the top. At least Anchorman never goes for the toilet humor--nope you won't find a vomit urine semen or poop joke in this film. You will however find gratuitous shots of Ferrell's hairy chest. Shiver.
Following a trail of bodies FBI agent Peter Novak (Vince Vaughn) tracks down and captures disturbed serial killer Carl Stargher (Vincent D'Onofrio) in The Cell. Before Carl can reveal the whereabouts of his final victim (a woman trapped in a cell on the verge of drowning) he has a seizure and falls into a coma. Enter psychologist Catherine Deane (Lopez) who tries a radical new therapy. Using a chemical link to Carl's brain that could destroy her own sanity Catherine agrees to enter the labyrinthine kingdom that is the mind of this madman. Her mission: Find the cell's location before time runs out and avoid getting trapped inside the killer's head.
Jennifer Lopez looks a bit dazed and confused as she reacts to the wild and weird visuals but manages to keep a straight face with a wardrobe from Mars. Vaughn squeezes as much quirk as possible from his flatly written character and graduates to believable hero status. As the killer D'Onofrio has little to do but shoulder the weight of lavish costumes and numerous prosthetic piercings. Still his oft-altered voice and unpredictable nature make him a quite menacing villain.
The true star of the film commercial and music-video director Tarsem ("Losing My Religion") makes his feature-film debut here. His origins are abundantly clear in the fantastic mind-bending imagery mixed with static acting and minimal dialogue. Inspired by non sequitur dream imagery and artwork from the likes of Hieronymous Bosch and M.C. Escher Tarsem has created some of the most exquisite and phantasmic visuals put on celluloid yet. Come Oscar time keep an eye out for costume and art direction nods.