Take a tip from teenagers this Valentine’s Day and do it up big. Everything’s a grand gesture when you’re young and these teen movies prove that young love trumps all. So get out there and do something nice for your significant other – and we don’t just mean getting tickets to the Fifty Shades of Grey movie.
1. Say Anything
The now-iconic boombox gesture. Except these days it would probably involve holding up an iPhone or something.
2. The Fault In Our Stars
Augustus used his wish to give Hazel her dream trip to Amsterdam. Sigh…
3. 10 Things I Hate About You
The public singing and dancing. How could you resist?
Edward would watch Bella as she slept (which definitely sounds creepy now that we think about it) and he took her flying through the woods. Unconventional romance, to be sure, but she swooned nonetheless.
5. Cruel Intentions
When a bad boy reveals his sensitive side to you, you know it’s love.
6. A Walk to Remember
He married her and fulfilled her dying wish, doesn’t get more grand than that.
7. Moonrise Kingdom
What’s more romantic than running away together?
8. Romeo + Juliet
The classic tale of star-crossed lovers. They basically disown their families to be together. They also die in the end but let’s just pretend it all worked out.
9. Save the Last Dance
Being a good dancer: hot. Showing up to your girl's dance audition because you know how important it is to her: even hotter.
10. The Perks of Being a Wallflower
We kind of wish people still exchanged mixtapes like Charlie and Sam.
11. The Notebook
Noah climbs a Ferris wheel just to ask Allie out. Yeah, he's kind of insane...but in the most romantic way.
Juno fills Paulie Bleeker's mailbox with his favorite orange Tic Tacs. Even sassy Juno can be sweet.
What do YOU think are some of the most romantic teen movie gestures? Tell us on social media!
The holidays aren't the only time of year when family feels far away and you're missing home. Throughout the year you may find yourself wishing you could be with your loved ones, and these films are a great way to remind you of both a family's upside and downside. 15. "The Family Stone"
The films portrays the struggles of joining a new family.14. "The Godfather"
A classic film of strong family ties. 13. " The Blind Side"
This film is more about friends who become family and how the line is eventually blurred, because you care for them just as much. 12. "Cheaper By the Dozen"
This is great if you come from a big, crazy family 11. " The Upside of Anger"
Because sometimes someone new comes along and joins the crew. 10. "The Kids Are All Right"
A movie about the modern family. 9. "I Don't Know How She Does It"
This will remind you of the times one of your parents would leave town, and you could get away with anything! 8. "Away We Go"
This is a great movie for portraying the sweet innocence and nerves of a new family. 7. "My Big Fat Greek Wedding"
You don't have to be Greek to appreciate what it means to have a rather loud and intrusive family. 6. "Meet the Parents"
I think we can all imagine an awkward bring-your-new-significant-other-home moment with our own families. 5. "The Royal Tenebaums"
If you want to remember the grittier side of family life. 4. "The Descendants"
Like the previous movie, this one is about the hardships family must endure together. 3. "Father of the Bride"
If you need a good crying/laughing combo.2. "Extremely Loud & Incredibly Close"
This will remind you of the power of loss and having answers1. "Little Miss Sunshine"
There's nothing a family wouldn't do to help you chase your dreams.
Being a superhero would be awesome. But being a superhero that is a part of the greatest superhero team ever (boo Justice League) that's about as awesome as life can get. We might all just be boring humans, but have you ever just wondered what it would be like to have superpowers? Us too. Next time there is an Avengers initiative, sign us up!
1. The Avengers aren't some cookie cutter superhero team that always gets along. Their arguments are what make them so awesome:
They fight. They disagree. They get angry. There is not as much pressure to fit in if everyone is this normal/weird.
2. They play fight with each other:
Who doesn't want to poke the Hulk to see if he gets mad or not?
3. They don't just blindly follow orders:
They might do some really illegal digging, but it's for the right reasons.
4. You've heard that Iron Man is a pretty funny guy:
5. And that Captain America is hilariously behind on the times:
We kind of want to be an Avenger just so we can join Tony Stark in constantly mocking the Cap.
6. Thor is someone you think would have your back in a fight:
7. As dangerous as it might be, you're really interested in seeing Bruce Banner Hulk Out" up close:
8. These villains don't seem so bad:
9. Okay, maybe they're a little scary, but you could take them:
If you were there, Thor would be A-okay.
10. You really think you could nail that "unnecessary group pose before going into battle" thing:
We're 100% sure this is counterproductive to the mission, but it looks so badass.
11. Looking badass is actually 95% of the reason you're looking to join:
12. How awesome would it be if the Black Widow could teach you this move:
13. And this one:
14. If you get mad at each other, you can totally express it:
15. They're a group of people who love to celebrate and party:
How sweet, they remembered your birthday!
16. You've perfected your throw:
You would fit in so well.
17. He may have his secrets, but you need to experience Nick Fury's sass in person:
18. Most importantly, you know some great places to eat after defeating a villain:
Who wants some Korean beef tacos after we take down Ultron?!
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Proud father Robert Downey, Jr. has gushed about his newborn daughter Avri Roel in a sweet Facebook.com post following her birth on Tuesday (04Nov14).
The Iron Man star took to his social networking page on Wednesday morning (05Nov14) to share his joy with fans, hours after reports about the new addition first surfaced online. Confirming the news, he writes, "After 9 months of intensive development, Team Downey is pleased to announce our 2014 fall/winter project."
Joking about his penchant for snapping photos of the tot, he adds, "Principal photography commenced 11-14 and will continue until she says, 'Dad! You are embarrassing me... I'm 30, this has gotta stop.' "Yep...Avri Roel Downey joined the party @ 3:22 a.m. on November 4th... she's 7lbs even, spans 20 inches, and is accompanied by a variety of Susan's traits that have seemingly overwritten my 'junk DNA.' "I'll post pics here + there when I'm not too busy staring..."
He added the tweet, "Girl Joy!! Avri Roel Downey, 7lbs, 20 in (inches)., 3:22 a.m. 11-4-14... Pretty like mama, and dimples like my uncle Jim!"
The new arrival is the couple's second child - a sister for their son Exton, who was born in 2012.
Downey, Jr. is also dad to 21-year-old Indio from his first marriage to actress Deborah Falconer.
He married Susan in 2005.
DJ Calvin Harris has scored his fifth number one single on the U.K. music charts with Blame. The track, featuring English singer John Newman, has beaten Lilly Wood & Robin Schulz's Prayer in C to the top of the charts.
Harris' previous number one singles include I'm Not Alone, Sweet Nothing, Under Control and Summer.
He also featured on two other top songs; Dizzee Rascal's Dance Wiv Me and Rihanna's We Found Love.
Rounding out the top five are Sam Smith's I'm Not the Only One, Taylor Swift's Shake It Off and Iggy Azalea and Rita Ora's Black Widow.
Meanwhile on the albums chart, Led Zeppelin's Robert Plant has scored this week's (ends14Sep14) highest new entry with Lullaby And The Ceaseless Roar.
Plant's 10th solo album debuted at number two behind Smith's In The Lonely Hour.
Ed Sheeran's X, Royal Blood's self-titled Mercury Music Prize-favoured eponymous album and George Ezra's Wanted On Voyage sound out the new top five.
We opened 2014 with heated anticipation for the next great turns from Wes Anderson, Richard Linklater, Christopher Nolan, Lars von Trier, and a number of other cinematic vets. But the year has also treated us to a hefty sum of noteworthy first timers. We've caught a wide variety of debut attempts over the course of these past eight months, with enough qualitative range to incite reactions from "The next Hitchcock!" to "I might be able to get you a gig with my friend who does wedding videos, but don't tell him you know me." Here's a quick rundown of the debut flicks we've seen so far in '14, from great to terrible.
Tribeca Film via Everett Collection
Palo AltoDirector: Gia CoppolaWhy we're already on her bandwagon: In the vein of her aunt Sofia, the young Gia Coppola showcases an indubitable understanding of upper class ennui.
Hide Your Smiling Faces Director: Daniel Patrick CarboneWhy we're already on his bandwagon: Carbone's primarily wordless coming-of-age drama shows off his patience and pensiveness, not to mention his ability to skirt the self-importance than many films of Smiling Faces' ilk seem to bear.
Obvious ChildDirector: Gillian RobespierreWhy we're already on her bandwagon: It's funny as hell even within the margins of genre tradition, and sweet without succumbing to Hollywood sugar.
THE VERY GOOD
Zero MotivationDirector: Talya LavieShows promise of: A knack for absurdist humor and grounded character relationships alike.
It Felt Like LoveDirector: Eliza HittmanShows promise of: A uniquely keen empathy for how young people conduct themselves, both internally and among one another.
Tribeca Film via Everett Collection
The Bachelor Weekend/The StagDirector: John ButlerShows potential in: A good sense of humor, especially when it veers closer to Apatow than McKay.
Are You HereDirector: Matthew WeinerShows potential in: Social commentary through character construction, but Weiner needs a better handle on cinematic pacing.
The One I LoveDirector: Charlie McDowellShows potential in: Big ideas, and the presentation thereof, but lacks in the ultimate execution of where they can and ought to go.
Drafthouse Films via Everett Collection
Beneath the Harvest SkyDirector: Aron Gaudet and Gita PullapillyThere's room for improvement regarding: A sharper attention to the characters and story, which occasionally fade out of focus at the behest of a vivid North Maine setting.
LullabyDirector: Andrew LevitasThere's room for improvement regarding The acerbic but knowing humor shared by the central family members, in favor of the intense melodrama that the film feels impelled to stuff itself with from time to time.
Cheap ThrillsDirector: E.L. KatzThere's room for improvement regarding: The energy set toward invoking a truly interesting story or course of events, rather than the allowance of the "weird" or "dangerous" to take the wheel altogether like it does here.
TammyDirector: Ben FalconeThere's room for improvement regarding: An authentic commitment to the sincerity in the characters, in place of wild and wacky antics like jetski crashes and deer mouth-to-mouth... though these were probably studio notes, we have to assume.
Music Box Films via Everett Collection
Winter’s TaleDirector: Akiva GoldsmanWhat we hope he gets right next time: A more defined storytelling goal. While some of the film's elements worked in a vaccuum, Goldsman had been gestating a Winter's Tale adaptation for years, coming out the gate with something that is oddly both convoluted and terribly narrow.
MaleficentDirector: Robert StrombergWhat we hope he gets right next time: More Angie.
A Coffee in Berlin/Oh BoyDirector: Jan Ole GersterWhat we hope he gets right next time: A better understanding of the fine line between cheeky and irritating.
Earth to EchoDirector: Dave GreenWhat we hope he gets right next time: Ditch the essentially pointless found footage antic and hone in on the fleeting spirit of the kids.
TranscendenceDirector: Wally PfisterWhy we're nervous for his future: Pfister is a skilled cinematographer, but his grasp of character, story, and ambiance seem dangerously absent.
Goodbye to All ThatDirector: Angus McLachlanWhy we're nervous for his future: Ambitions seem to fall shy of originality, settling instead on retreading the same indie dramedy territory we've seen time and time again, but without any discernible charisma.
If I StayDirector: R.J. CutlerWhy we're nervous for his future: A dastardly aesthetic, paper-thin characters, a devoted marriage to teen movie cliches, and a potentially dangerous mentality driving the story altogether do not bode well for Cutler's future behind the camera.
Behaving BadlyDirector: Tim GarrickWhy we're nervous for his future: Because he thought this horrible thing could work.
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Getty Images/Vera Anderson
I was humming a tune from Robert Altman's Popeye, a terribly underrated feat of Robin Williams' comedy (and his first cinematic role), when I read the news of the actor's passing. Hastily, I diverted attention to the public sphere, rushing through the social media posts of friends, colleagues, and strangers, hoping for a taste of which Williams roles most touched the lives of each and every individual vocalizing grief. I knew there would be no shortage of reference to Williams' dramatic work — his Good Will Huntings and Dead Poets Societys — but of course my expectation was to find the principal focus on his comedy. More than an actor was Williams a comedian, whether he be playing on stage, on television, or on the big screen.
So it was an especially jarring turn to discover, when I launched back from the tributes to ingest more information, just how Williams died: authorities had begun calling the incident a suicide. Only for a moment, though, was I so rattled in surprise. Williams' endeavors with rehab for drugs and alcohol, both this summer and earlier on in the 2000s, were no secret. But more significant than this is the fact that nobody is or isn't "the type" to take his own life; nobody should be a more surprising victim of suicide than anybody else. Stigmas to the contrary are a large part of why depression is such a treacherous epidemic in our world and country.
Upon learning of Williams' death, some are bound to consider the dichotomy between the man we knew — the one who'd dress in drag and howl in a Scottish accent, who'd roar through the radio waves of the Pacific Rim — and the man in earnest. Some might doubt that the Williams we met as Mork, loved as Patch Adams, played with as Alan Parrish, and wished upon as the Genie, was anything whatsoever real. Anything more than "for the cameras."
It certaintly was. It was a Williams for us. From him.
Upon perusing Facebook and Twitter and speaking with friends, I found something you don't often see when a beloved actor dies: variety. Every other voice had a different Williams role to celebrate, ranging from the wacky Aladdin, the sweet and schmaltzy Hook, the stern and sincere The Birdcage, the dark and severe Insomnia, and the esoteric The Fisher King. The constants were affection and familiarity. More than a few folks who grew up in the '80s and '90s likened Williams to a distant family member, or even a surrogate father. Clearly, the man had fostered an incredibly, unprecedentedly intimate presence with a generation of film and television watchers.
And each of those "types" of Williams is just as valid as the next. As such, the "type" of Williams we — the public — all collectively know is as valid, as palpable, as real as anything that he might be beyond the limelight.
A friend of mine expressed consternation over the proper decorum in situations like these: is it tacky to expose your grief for a passing friend whom you've never met, who never knew you? It doesn't seem to be — although it would be tacky to presume that I know anything of what Williams might or could or should want, we can rest assured that he brought his talents, his hobbies, his self into the world in the way he did in the hopes of making us laugh. Few comedians, and even fewer actors, of our generation could be deemed so potently invested in the happiness and enjoyment of their audiences. In every one of his movies, Williams was giving us a very big, powerful, important part of him. That, and all the laughter that came with it, was for us. So it doesn't seem all that off base to think that we couldn't share every feeling of love and sorrow we might have about him.
Finally, we return to the question of authenticity — what about the man behind the laughter? The man so stricken with pain? The "real" Williams?
That's where the danger comes in: the thought that only the morose can be depressed, that anyone so capable of earning a laugh must be riding a permanent cloud nine. That Williams' humor was the result of a chemical reaction with celluloid, and would dissipate immediately upon production wrap. Williams, like many depressed men and women, was a man who liked to, maybe even lived to, joke. A man who could command any room, nail any impression, or knock out any punchline. Granted, Williams can probably do this a lot better than the vast majority of folks out there, depressed or otherwise. But he's not a unique breed. There is no discernible breed. Depression and the turmoils that come with it can inflict anyone: the funny, the mopey, the angry, the brawny, the silly, the sensitive. From your Sean Maguires to your Daniel Hillards.
It often takes a stride to learn that the depression living within any of these people can be real. And for those who suffer with the disease, it is just as difficult, if not more so, to understand that the rest of you — the funny, the sweet, the strong, the "Seize the day!", the "Beee yourself!", the "Hellooo!" — is, too, very much real. No matter which side of the equation you might be on, you have one more lesson here to learn from John Keating:
We did know the real Williams. We just didn't know every part of the real Williams. We might not have known the real pains, the tragedies that too many people face alone and don't have to. But we knew something just as real: his ability and his drive — no, his insistence — to make the world laugh. And yes, he made the world cry plenty. When he battled for a soul in Bicentennial Man or delivered special peace to a hospital of sick children in Patch Adams or dragged Matt Damon out of his own carnivorous guilt in Good Will Hunting, he made us cry. But the Williams that made us laugh... the one who splashed his face with pie frosting, babbled around Sweethaven in a feverish stupor, and doled out life lessons to a wannabe prince via obscenely anachronistic pop culture references... well, that's my real Williams. And he's just as real as anybody else's.
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Woody Allen was thrilled when Oscar winner Colin Firth signed on to star as a cynical illusionist in his new film Magic In The Moonlight - because he wrote the part of Stanley with the British actor in mind.
The filmmaker admits Firth's casting was especially sweet because he has failed to land so many of the world's top actors for his film projects. He explains, "The guys are great but they are hard to get, they are always busy. I have called (Robert) De Niro, I've spoken on the phone to Dustin Hoffman and Jack Nicholson."
"Nicholson was going to do Hannah And Her Sisters. I wasn't thinking of Michael Caine at the time as I wasn't thinking of an English guy. It would never have occurred to me."
But when he started writing his latest project, he couldn't get past the thought of casting another Englishman, adding, "I was thinking of him as I was writing the movie and we were determined to have him, but he was scheduled to do another project."
"Fortunately for us, at the last minute his other project was postponed. Colin was the perfect person to play this because it requires a certain savoir faire (social grace). You want an elegant, good-looking person who can do the wit and can have that attitude without him getting on your nerves; someone you would like to watch for the whole movie."
Allen reveals the idea of casting Emma Stone opposite Firth came to him as he was working out: "I'm on my treadmill in the morning and I'm surfing through (TV channels) to kill the time and suddenly I would see these post-adolescent movies and think, 'Who's that girl? She's beautiful and she's very good'."
"I mentioned her name to Juliet Taylor, who casts for me, and she said, 'Yes, she's not just a pretty face. She's a very good actress'. She's very intelligent to chat with. She did such a good job she's in the (next) movie I'm doing now."
And it seems Allen is slowly getting his way when it comes to working with the world's top actors: "Now I am working with Joaquin Phoenix, a great actor, and Sean Penn... I would love to work with Kevin Spacey."
ABC Television Network
It's been a rough year for freshmen comedies. Despite critical raves, loyal-but-tiny fanbases, and heavily orchestrated Twitter campaigns, we lost a lot of potentially great series this year. Trophy Wife showed us a new kind of TV family, but may have been crippled by its ironic title from the start. Enlisted won the hearts of its few viewers and the support of the U.S. military, but couldn't overcome a weak timeslot and wonky scheduling. And despite an A-list star in Robin Williams, advertising comedy The Crazy Ones never found its audience. But while we've had to say our farewells to these shows, we don't have to wave goodbye forever to the comic talents they introduced us to. Here are a few of this season's breakout stars who we know have illustrious careers in their future.
Parker Young, Enlisted
We're always surprised to find that someone so chiseled can be as funny as Parker Young is in Enlisted's first and only season. As sweet and sincere baby brother Randy, Young tempered the swagger and sarcasm of older siblings Pete and Derrick and brought some serious heart to the show. Before booking the military comedy and a role on the slightly longer lasting but also canceled Suburgatory, the actor's credits consisted of guest spots here and there and — obviously — several modeling gigs. Now that the world knows he's not just a pretty face, we're hoping for big things from Parker.
Albert Tsai and Michaela Watkins, Trophy Wife
If Trophy Wife left us with one gift, it was that of little Albert Tsai, who has the timing aspiring comics would chop arms off for. Bert worked in conjunction with any and every other character on that show, but we're especially fond of his scenes with loopy mom Jackie. Michaela Watkins isn't exactly a Hollywood newbie, but Trophy Wife reintroduced her to some viewers who hadn't seen her regularly since her single season as a SNL cast member. Watkins got to deliver some of the show's finest one liners ("Wait. Robert Downey had a son?") and we're dying to see her back on our TVs soon.
James Wolk and Hamish Linklater, The Crazy Ones
Wolk is no stranger to Mad Men fans, who know him as the mysterious (and, as of late, heartbreaking) Bob Benson. And Linklater is a veteran stage actor who also played a significant role in The Newsroom's second season. But The Crazy Ones got us to fall in love with the two of them together, and we just can't let go. Zach Cropper and Andrew Keanelly — or Zandrew, if you will — had a bromance that, given time, would have rivaled that of even Turk and J.D. Wolk and Linklater are both skilled actors in their own right, but we can no longer imagine them apart. Thanks, CBS.
Taylor Swift seems to be in a dating rut. The country-pop superstar has largely been hanging out with pals like Lorde and Karlie Kloss over the last year, leaving the relationship drama to friends (or former friends) like Ed Sheeran and Selena Gomez. There have been rumors that she was dating Zach Braff or Divergent's Theo James, but both turned out to be false. While it's probably good that Swift is spending some time without a male companion and getting to know herself better — she's still young after all — we're jonesing for the days when her dating habits were fodder for tabloids and the basis for her songs. Since we don't have anything new to talk about, we've decided to look backwards. Swift has had plenty of boyfriends over the years, but who's your favorite?
When the Jonas Brothers were first a thing and Swift was bursting onto the scene, there was a tour bus romance. While he has taken a couple of veiled shots at Swift for her habit of taking out her relationship pains out in her songs, instead of throwing her under the bus the way that he did with Miley Cyrus and Demi Lovato, he's largely been complimentary of his ex.
The duo had a brief fling while filming Valentine's Day, where they played a cute jock-cheerleader couple. The face of Twilight's Team Jacob is now dating The 100 star Marie Avgeropoulos, but for a brief time the Taylor-Taylor combo was adorable.
It was the coupling that was so crazy that it made sense. Mayer is 12 years older and came in with his own set of dating issues… he's the (far) less innocent male version of Swift. As with all of either singer's past relationships, the pairing was fairly brief but they both at least came away with great fodder for new lyrics.
The grandson of Robert F. Kennedy enjoyed some summer loving from Swift when he was 18 and she was 23. Like all great summer flings, it ended with the start of the school year.
Swift's other dalliance with an older man — Gyllenhaal is nine years her senior — led to exceedingly sweet paparazzi photos of the two enjoying morning walks around New York. They were together enough that she reportedly scored an introduction to Jake's epically cool sister Maggie Gyllenhaal. That alone would make the whole thing worth it to us.
Then there was Swift's other younger gentleman, the One Direction cutie. The two dated for a few months into the early part of 2013, until they broke up after a fight while taking a Caribbean holiday. While they've reportedly been polite to each other while making the party rounds, it seems that Styles might irritate Swift more than the other exes. Some were shocked when Swift appeared to mouth "Shut the f**k up" in reference to Styles talking to reporters at the 2013 MTV VMAs.
All of Swift's ex-boyfriends have a certain amount of appeal — otherwise she probably wouldn’t have dated them — but the two that stand out above the rest are the "bad boy" John Mayer and the "boy toy" Harry Styles. Vote below to tell us which ex, Mayer or Styles, you think Swift will most regret never, ever getting back together with.