Family shows such as Modern Family and Parenthood are hard to resist, because they're so easy to relate to. They remind us about all the good and bad times that we've gone through with our own family. Often, the remind us to appreciate our loved ones and all that they do for us.
1. They are going to say the wrong thing at the wrong time, and you're going to be embarrassed.
2. They always make time for romantic crises.
3. They understand what you really mean.
4. Their happiness = your happiness
5. You will endure the worst and the best times together.
6. They have the potential to really disappoint you.
7. They're always proud of you even if they don't say it.
8. They waste no time in celebrating your accomplishments.
9. They know what you need without you having to say it.
10. Family will always stick by you...
11. ...and accept you.
12. You'll cherish the small moments with them all your life.
There are some celebrities that are so cute together, we immediately "ship" them, meaning we want two people to be in a friendship (bromances for life) or real relationship. Some of them are together, some of them are broken up, and some of them are just best friends. Either way, we are waiting for the day that they get finally get together.
1. Rachel McAdams and Ryan Gyosling
Yes, we know they started off hating each other. Yes, we know they did try dating in real life only to break up. But THIS is still playing over and over in our minds.
2. Neil Patrick Harris and Cobie Smulders
We know, Neil is married with kids and ladies aren't his thing, but their characters on How I Met Your Mother were so gosh darn perfect for each other that we can't help but ship them!
3. Louis Tomlinson and Harry Styles from One Direction
Their friendship is the cutest thing ever and it's 90% of the reason we love One Direction.
4. Zoey Deschanel and Joseph Gordon-Levitt
While filming a movie together they took a break to make this little duet and we never stopped shipping them since!
5. Drake and Rihanna
Their relationship history has some drama to it, but in the Chris Brown, Rihanna, and Drake love triangle there is no doubt which one is the better choice.
6. Robert Pattinson and Kristen Stewart
It looks like this relationship is over for good and we're totally bummed about that.
7. Adam Levine and Blake Shelton
Is there a celebrity pairing that has a better back and forth than this one? We think not!
8. Nina Dobrev and Ian Somerhalder
Another cute co-star couple that had to bite the dust. But we will always have The Vampire Diaries to give us our fix.
9. Miss Piggy and Kermit The Frog
This might be the first celebrity couple we have ever shipped and it still stands today!
10. Tom Felton and Emma Watson
When news of Emma's crush reached Tom he said he saw her like a sister, but we still argue that they would make a great couple in real life.
11. Jay Z and Beyonce
We die every time we get a glimpse into their perfect life together.
12. Taylor Swift and Lorde
They are such an odd pairing, and we love them for it!
13. Emma Stone and Andrew Garfield
I mean a couple that can dance like this together has to stay together forever!
14. Tina Fey and Amy Poehler
They need to stay best friends forever and then invite us over for dinner. THIS IS OUR FANTASY!
15. Benedict Cumberbatch and Keira Knightley
Because we all want a man to do this for us...
Which celebrities do you ship? Tweet us your answers by using the Twitter handles below!
Actor Jake Gyllenhaal performed a poetry reading at a charity event in New York on Wednesday (01Oct14) to raise money for members of the U.S. military. The Donnie Darko star performed You Will Be Destroyed in Your Own Way, written by veteran Derrick Brown, at the Words of War benefit, which raised funds for military healthcare organisation The Headstrong Project.
Good Night, And Good Luck star David Strathairn, ER actor Anthony Edwards and Mystic Pizza's Lili Taylor performed a scene from the Japanese play Fujito which details the grief of war.
Gyllenhaal, who read at the inaugural gala last year (13), told the audience it was an "honour and a privilege" to attend the event, where guests also included Girls star Adam Driver and U.S. talk show host Seth Meyers.
The dinner raised $400,000 (£250,000) for the charity, which helps fund treatment for Iraq and Afghanistan veterans dealing with post traumatic stress disorder (PTSD).
The Weinstein Company
Sundance is long gone, Cannes sailed away months ago, and both Tribeca and the Los Angeles Film Festivals have cleared away until next year. But when one major film festival ends, another starts putting its lineup together, and this time, it's Canada's time to shine. The Toronto International Film Festival, which will run from September 4 until the 14, has unveiled the list of titles they'll be premiering this year, and it's packed with under-the-radar indies, highly anticipated returns from accliamed directors, and of course, several likely awards contenders. But with nearly 60 films all making their debut in Toronto this fall, it can be hard to pick out the good from the bad and the exciting from the ones you've probably seen before. In an attempt to simplify the decision-making process for you, we've highlighted some of the most exciting films to hit north of the border this fall.
The Imitation Game Who’s Involved: Benedict Cumberbatch, Kiera Knightley, Matthew Goode and Charles Dance star What It’s About: The British mathematician and computer scientist Alan Turing, who helped the Allies win WWII by cracking German codes, and was then prosecuted by the government for being homosexual. Thoughts: Finally, a cast good enough to convince you that math is interesting for two hours.
The Last Five Years Who’s Involved: Anna Kendrick and Jeremy Jordan What It’s About: A musical that tells the story of a married couple’s five-year relationship – his perspective runs from the day they met to when it all fell apart, and hers from the end back to the beginning. Thoughts: The perfect example as to why you should pay attention when your theater nerd friend tries plays you cast recordings.
Foxcatcher Who’s Involved: Bennett Miller directs; Channing Tatum, Steve Carell, and Mark Ruffalo starWhat It’s About: Based on a true story, it follows two championship wrestler brothers and the tragic consequences that they face after getting involved with an eccentric millionaire coach. Thoughts: We really are going to have to come up with the Tatum equivalent of “McConaissance” sometime soon.
A Little ChaosWho’s Involved: Alan Rickman directs; Kate Winslet, Stanley Tucci and Rickman star What It’s About: A landscape gardener finds herself struggling with the politics of Louis XIV’s court and her own demons after she’s hired to work at the Garden of Versailles. Thoughts: You had us at “Rickman.”
The Riot Club Who’s Involved: Lone Scherfig directs; Sam Claflin, Max Irons, Natalie Dormer and Jessica Brown-Findlay star What It’s About: A privileged young man is inducted into the “Riot’s Club,” an exclusive, wild group of young men full of debauchery and bad behavior, during his first year at Oxford. Thoughts: Look! It’s that guy from that thing! And that girl, from that other thing! I like them. They should be in more things.
Before We Go Who’s Involved: Chris Evans directs; Evans and Alice Eve star What It’s About: Two strangers bond over the course of one night in Manhattan, and the conflicts in their lives allow them to explore more about each other and themselves. Thoughts: Captain America is directing movies now!
Warner Bros. Pictures
This Is Where I Leave You Who’s Involved: Shawn Levy directs; Tina Fey, Jason Bateman, Adam Driver, Connie Britton and Jane Fonda star What It’s About: Four adult siblings return to their childhood home after their father dies. Dysfunction and hijinks ensue. Thoughts: Does Driver say “outer space” in this? Can we re-write the script so that he does?
Men, Women and Children Who’s Involved: Jason Reitman directs; Jennifer Garner, Adam Sandler and Judy Greer star What It’s About: A group of parents and children navigate the way the Internet has changed their relationships and lives. Thoughts: Well, it’s got be better than Labor Day, right?
Miss Julie Who’s Involved: Liv Ullman directs; Jessica Chastain and Colin Farrell star What It’s About: Set over the course of one night in the 1880s, an aristocratic woman and her father’s valet struggle for power. Thoughts: Should we also be thinking about the “Farrellissance?”
Nightcrawler Who’s Involved: Jake Gyllenhaal, Rene Russo, and Bill Paxton star What It’s About: An ambitious journalist becomes involved with the world of LA nighttime journalism, and the line between spectator and perpetrator becomes blurred. Thoughts: Oh, so this isn’t an X-Men solo film? That’s slightly disappointing.
Rosewater Who’s Involved: Jon Stewart directs; Gael Garcia Bernal stars What It’s About: The true story of Iranian-Canadian journalist Maziar Bahari, who appeared on The Daily Show before being imprisoned for five months by the Iranian government. Thoughts: This is the movie that gave us Last Week Tonight with John Oliver, and for that we shall always be grateful.
The Theory of Everything Who’s Involved: Eddie Redmayne, Felicity Jones, Emily Watson, and David Thewlis star What It’s About: The life and relationship of world-renowned physicist Stephen Hawking and his wife Jane Wilde from their first meeting at Cambridge through Hawking’s diagnosis through their numerous accomplishments. Thoughts: Oscar Season 2014: Alan Turing vs. Stephen Hawking in The Battle of the British Genius Biopics.
Whiplash Who’s Involved: Damien Chazelle directs; Miles Teller and J.K. Simmons star What It’s About: An ambitious jazz drummer who enrolls at a prestigious music conservatory, but must endure the brutal, intense tutelage of a brilliant, drill sergeant-like teacher in order to achieve greatness. Thoughts: Look, we’ll stop talking about this one once it finally comes out, and not a moment sooner, okay?
"I didn’t know anybody would be so fixated on this. I wanted to do something crazy. I don’t know why I did it. I really couldn’t tell you logically there was a reason. I just wanted to do it and honestly, it’s so much of a headache now I might want to shave my head or something." Maroon 5 frontman Adam Levine is surprised by all the attention he's received after deciding to turn his brown locks bleach blond.
Not only was Pitch Perfect epically funny it also had an amazing soundtrack. It was the perfect blend of nostalgic pop hits, current Top 40s, and innovative musical mash-ups. But can the upcoming sequel, with Elizabeth Banks now serving as director, top the 2012 movie?
They have all the tools: Anna Kendrick proved she was a viable recording artist after “Cups” went from a cute song to a viral hit. Fans may not realize that Ester Dean, who plays Cynthia Rose, is behind some of the most memorable pop hits. She produced the infectious Selena Gomez hit “Come & Get It” and the David Guetta/Nicki Minaj collaboration “Turn Me On.” We may not know any of the songs that will be in the movie but here are a few songs we’re dying to hear get an aca-adjustment.
The Audition Song
In the first film, all the freshman had to perform Kelly Clarkson’s “Since You’ve Been Gone.” Rebel Wilson kills it and Skylar Astin belts out a high note. For the sequel, we think Miley Cyrus’ “Wrecking Ball” is the perfect song. The Bellas could very well choose the song since they sang “Party in the USA” in the last film. Plus, the song is catchy, and by now, who doesn’t know the lyrics?
The riff-off was one of the best moments of the movie. All the competing a capella groups meet up in an empty pool to sing fully arranged a capella songs with no prior rehearsal. However, through Hollywood magic they end up being fully in-synch. In the first film, songs like “Like a Virgin” by Madonna, “S&M” by Rihanna (written by Dean), and “No Diggity” by Blackstreet made the cut. This is a great opportunity for “Come & Get It” to make an appearance since the producers have an in with Dean. Also, “Somebody that I Used to Know” got some amazing a capella treatment by Pentatronix. There’s also a chance for Kendrick to rap and perhaps sing Iggy Azaelea’s “Fancy” or dare we say it, Kreayshawn’s viral video hit “Gucci, Gucci.”
The Barden Bellas
Now that Becca (Kendrick) has revealed her magical DJ powers and ability to write mash-ups, it stands to reason the ladies will be singing one or two of them, adhering to songs by female artists. “Let It Go” is inescapable. Here’s an awesome mashup by DJ Axcess that mixes it with Madonna’s “Frozen.” To add a little more pep to the somber hit why not add Britney Spears’ “Hot as Ice”? Another great mash-up (see below) features “Drop Dead Beautiful” by Spears and written by Dean. It also speeds up Kerry Hilson’s “Pretty Girl Rock.” However, they should replace the Chris Brown sample for obvous reasons with TLC’s “Unpretty.”
In the first film, Astin, Adam DeVine, and Ben Platt sang amazing pop songs as part of the all-male group on campus. The sequel should do a gender-swap of Carly Rae Jepsen’s “Call Me Maybe.” There were a ton of viral videos of men singing the song. An all chorally-arranged version of The Pixies classic “Where Is My Mind” would be an awesome moment in the movie. Plus, it’s been a great time for guys in music with “Radioactive” by Imagine Dragons or anything by Sam Smith who killed it at Coachella. Or what about this Bastille slowjam cover of “No Scrubs” by TLC.
What songs do you want to see in the sequel?
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Summit Entertainment via Everett Entertainment
For all the good tidings, joy to all men, and general warm fuzziness that the Christmas season ushers in every year, it sure delivers a load of clunkers to the cinema. There's a reason why we'd rather watch a full 24 hours of A Christmas Story every year than venture into the holiday-themed DVD aisle, a tinsel-wrapped wasteland. The sad truth is that new Christmas movies are largely terrible, and before you can type out a caps-locked "BAH HUMBUG," think about the last Christmas movie you saw that could become a classic. One that could truly endure through the years, and one that you could see yourself revisiting every time December rolls around. For our money, the last good Christmas film was Arthur Christmas, and before that... well, good luck finding anything really special that has came out since 2003's Elf.
But don't lose all hope just yet. It may be early to tell, but there's a north star shining on the horizon. One that is ready to bring a Christmas miracle to theaters this year. The trio that delivered the woefully under-seen dramedy 50/50 might save Christmas. Director Jonathan Levine is teaming up with Joseph Gordon-Levitt and Seth Rogen once again for a Christmas comedy. The film will follow three childhood friends who reunite in New York City for an annual Christmas Eve outing. Rogen and Gordon-Levitt will play two of the friends, while the third role has yet to be cast. With the pedigree of all involved, this yet untitled Christmas film has the strong chance of actually becoming something really worthwhile, and all we have to do is look back at 50/50 to see why.
50/50 was about real people and real relationshipsMany Christmas films often take shortcuts rather than really focusing on relationships that feel authentic. Many involve a family getting together for the holiday, only to constantly bicker at each other until they finally decide to find the "Spirit of the Christmas" in the last 20 minutes of the movie, and enjoy what's left of the holiday, while the audience wonders why these people, who clearly hate each other, bothered to see each other in the first place. On the flipside, the relationships in 50/50, and especially the central relationship between Adam (Gordon-Levitt) and Kyle (Rogen), feel authentic, so when they do fight it actually matters. The film says that they're childhood friends, and it goes out of its way to make us believe it.
It wasn't too saccharine or melodramaticObviously the holidays season is the most joyous time of year. But too many films lay on the schmaltz too thick, winding up way too sweet and saccharine. Good Christmas films usually have at least a thin thread of cynicism running through, and 50/50 deals with its subject matter with an even tone. Even though it's a film about cancer, it doesn't spend all of its time hanging its head and moping through the story, but it also doesn't make light of the diagnosis. It showcases the ups and downs of dealing with something that serious, and Levine can do the same thing with his film. Imagine having a scene as heartrending as Adam's midnight phone-call to Katharine (Anna Kendrick), or one as funny as Adam shaving his head in a Christmas film.
It did romance better than Love Actually Love Actually, for all its manic effort, spent too much time ping-ponging between too many different perspectives and relationships to make any one of it's many couples feel real or authentic. The film just says each couple has found love on Christmas, without giving the audience time to believe it. 50/50, on the other hand, allows its central romance to breathe. So when the film eases us into the relationship between Adam and Katherine, we buy their budding affection way more than many of the half baked relationships in most Christmas films.
Give Martin Freeman an empty room and he'll give you comedy. The best parts of The Hobbit: An Unexpected Journey — an admittedly mishandled movie in large — involved his subdued grimaces, his Chaplinian waddling, and the way he carried himself with equal parts neurosis and snark in every scene. If there is one primary misstep of An Unexpected Journey's terrifically improved sequel, The Desolation of Smaug, it is the spiritual absence of Bilbo Baggins.
Freeman's good-natured but disgruntled Hobbit takes a backseat to the Dwarf team in this chapter of Peter Jackon's three-part saga, distributing the heavy lifting among the front lines of the bearded mooks. Thankfully, we're not shafted with too much "Thorin's destiny" backstory, instead focusing on the trek forward, through far more interesting terrain than we got last time around. The Dwarves voyage through a trippy woodland that'll conjur fond memories of The Legend of Zelda's unnavigable forest levels and inside the borders of Lake-town, a man-occupied working class monarchy that is more vivid and living than any place we have seen yet in the series. And while Unexpected Journey's goblin caverns might have been cool to look at, none of the quests in Desolation feel nearly as close to a tangential detour. Every step the Dwarves take is one that beckons us closer to the central, increasingly engaging story.
Desolation is not entirely without its curiosities. While Gandalf's mission to meet the Necromancer serves to connect the Hobbit trilogy to the Lord of the Rings movies, the occasional cuts over to the wizard's pursuits are primarily distracting and just a bit dull. Although we're happy to welcome the Elf race back into our Middle-earth adventures, it's easy to imagine a version of this story that didn't involve side characters like Legolas and Kate... I mean, Tauriel... and still felt whole (perhaps even more cohesive). The latter's love affair with hot Dwarf Kili seems like a last minute addition to the canon, and one not built on anything beyond the cinematic rule that two sexually compatible attractive people should probably have something brewing alongside all the action.
But the most egregious of crimes committed by Desolation is, unquestionably, the shafting of Bilbo Baggins to secondary status. Yes, he proves himself a savior to his fellow travelers four times in the film, but long stretches of action go by without so much as a word from the wide-eyed burglar. When he finally takes center stage in his theatrical face-off with Smaug — an exercise in double-talk reminiscent of Oedipus outsmarting the Sphinx — the film picks up with a new, cool energy, with a chilling fun laced around the impending doom of their back-and-forth. We've been waiting since the first frames of Unexpected to see how the dragon material will pay off, and it does in spades... albeit in the final third of Desolation, but with equal parts gravitas and fun, to reunite us with our Tolkien passions once more.
Benedict Cumberbatch's dragon doesn't do much to subvert expectation — he's slithering, sadistic, vain, manipulative, and vaguely Londonian. But tradition feels good here. Smaug's half hour spent toying with the mousey Bilbo (who does get a chance to showcase his aptitude at small-scale physical comedy here) is terrific in every way.
Its Hobbit problem aside, Desolation proves itself worthy of Bilbo's past proclamation. "I'm going on an adventure!" more than pays off here, in the form of mystifying boat rides, edge-of-your-seat efforts in dragon slaying, and the most joyful action set piece we've seen in years. Twelve Dwarves, twelve barrels, and one roaring river amounts for enough fun to warrant your trip to the theater for this latest outing into Middle-earth.
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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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