Actors Mia Farrow and Dylan Mcdermott have led the tributes to their former co-star Lord Richard Attenborough, following the British movie icon's death on Sunday (24Aug14). The exact cause of death has yet to be revealed, but Attenborough had been living in a nursing home with his wife, Sheila Sim, and was confined to a wheelchair after suffering a serious fall in 2008.
McDermott, who starred alongside Attenborough in the 1994 reboot of Christmas film Miracle on 34th Street, took to Twitter.com to pay tribute to the man who played Kris Kringle, and wrote, "Rest in peace Richard Attenborough. U (sic) were the best Santa ever."
Their co-star and former child actress Mara Wilson also added, "Sir Richard Attenborough was the only Santa Claus I ever believed in. A wonderful man. Still in shock right now. May he rest in peace."
News of Attenborough's death comes almost two weeks after Wilson's Mrs. Doubtfire co-star, Robin Williams passed away after committing suicide.
Mia Farrow, who worked with Attenborough in 1964's Guns at Batasi, also added her own tribute to her friend, and wrote, "Richard Attenborough was the kindest man I have ever had the privilege of working with. A Prince. RIP 'Pa' - and thank you," as well as comedian Ricky Gervais, who added, "RIP Richard Attenborough. One of the true greats of the silver screen."
Other Twitter tributes have come from Edgar Wright, former 007 star Samantha Bond, Rob Schneider, Stephen Amell, and British Prime Minister David Cameron, who noted that Attenborough's "acting in 'Brighton Rock' was brilliant, his directing of 'Gandhi' was stunning," and adding, "Richard Attenborough was one of the greats of cinema."
Born in Cambridge, England, he studied at the Royal Academy of Dramatic Art and served in the Royal Air Force during World War II before pursuing an acting career.
He made his debut as a sailor in the 1942 film In Which We Serve and gained popular acclaim playing ruthless young thug Pinkie Brown in Brighton Rock in 1947, eventually becoming a staple of countless British films over the next 30 years.
An accomplished stage actor, Attenborough was one of the original cast members of The Mousetrap, which went on to become the longest-running play in London's West End.
In the 1960s, he expanded his range of acting, taking on a variety of roles that exposed him to a wider audience - most notably as Squadron Leader Roger Bartlett in 1963's The Great Escape.
Hitting his stride, Attenborough won back-to-back Golden Globe Awards for Best Supporting Actor in 1967 and 1968 - for The Sand Pebbles and Doctor Dolittle.
But he'll be most fondly remembered for his behind-the-camera skills. In the late 1950s, he formed a production company, Beaver Films, and directed his first picture, Oh! What A Lovely War, in 1969.
He later scooped the Best Director and Best Picture Oscars in 1982 for his epic Gandhi, which also won him another Golden Globe Award the following year.
Other directorial credits followed - notably the 1992 biopic Chaplin, and classic 1993 movie Shadowlands - before Attenborough made a welcome return to the screen in 1993 as eccentric John Hammond in Jurassic Park.
Attenborough won a total of eight Oscars during his career. He was made a Commander of the Order of the British Empire (CBE) in 1967, and a knighthood came in 1976. In 1993, he was bestowed the honour of life peer, becoming Baron Attenborough, of Richmond upon Thames, London.
And in 2006, Attenborough and his brother David, a popular broadcaster and beloved nature expert, were awarded the title of Distinguished Honorary Fellows of the University of Leicester in recognition of their services to the university.
Attenborough was also later awarded an Honorary Doctorate of Drama from the Royal Scottish Academy of Music and Drama in Glasgow, and was an Honorary Fellow of Bangor University.
On Boxing Day 2004, tragedy struck Attenborough's family when his eldest daughter Jane, her daughter Lucy, and her mother-in-law, also named Jane, died in the devastating Asian tsunami.
His family is expected to make a full statement about his death on Monday (25Aug14).
Cheer up, Paul Rudd. Pull off your hood, put down your gym bag, and turn that frown upside down... rather, cock the extremities of that brooding horizontal bracket a few degrees north. Just because your pal Edgar Wright was booted from the director's chair on the Ant-Man set, production has restarted over in San Francisco, and the public's once fervent faith in the developing Marvel movie is now in comparable to that for Paul Blart: Mall Cop 2, that doesn't mean you have to look so bummed in the first official pic for the upcoming superhero flick.
But maybe there's another reason that Rudd is down in the dumps. Though we can't exactly see what sour travesty is meeting the poor man's eyeline, we can begin to imagine a multitude of nightmares that might earn such melancholy from our dear, sweet Scott Lang. For instance...
A long wait for his favorite eatery...Hollywood.com/Marvel/Getty Images
The inability to post his #tbt...Hollywood.com/Marvel/Twitter
His team losing the World Cup...Hollywood.com/Marvel/Getty Images
The only new movie playing at his local theater is...Hollywood.com/Marvel/Warner Bros.
We're with ya, Rudd. Any of these would get us in a hood-frowny mood too. And to all those out there who know of this heartache, share your own Poor Paul Rudd images with us with a #poorpaulrudd hashtag. We'll share and link to your Twitter!
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Summer at the movie theater generally means one thing: big-budget popcorn films packed with explosions, robots, superheroes, aliens, or a combination of all four. But even though we're currently in the middle of blockbuster season, that doesn't mean that action movies or outrageous comedies are your only option for summer entertainment. This also happens to be the best season for indie movies, and low-key, high-brow alternatives to the obnoxious, annoying and/or unintelligent blockbusters are flooding into theaters everywhere. So, when you're tired of being dragged along to yet another movie where superheroes punch each other or people (unrealistically) run away from explosions in slow motion, or you're forced to endure another onslaught of unfunny, overly-crude humor, why not take spend the afternoon with one of these indies (opening on or around the same dates) instead?
Instead of Tammy, Try Life Itself (Opens July 4) Melissa McCarthy makes her screenwriting debut in Tammy, a film about a woman searching for a new lease on life on a road trip with her alcoholic, diabetic, inappropriate grandmother, Pearl (Susan Sarandon). But if you’re looking for a quieter – if no less cinematic – celebration of life, try Life Itself, the documentary about the life and career of the legendary film critic Roger Ebert. It’s an uplifting, fascinating look at a man who made film criticism accessible to the public and became the definitive voice of entertainment and cinema, even when he could no longer speak. Although it probably won’t have as many pratfalls as Tammy is likely to have…
Instead of Dawn of the Planet of the Apes, Try Boyhood (Opens July 11) In many ways, Caesar, the simian overlord from Planet of the Apes and Mason, the titular boy at the heart of Boyhood, are on a similar journey. Both are discovering their full potential, both are dealing with a growing sense of responsibility and pressure from the people around them and both are experiencing the joys and pains of growing up. It just so happens that Caesar’s growing pains have to do with the new monkey-led nation he’s establishing and Mason’s are the result of the ups and downs of the normal teenager experience.
Instead of Sex Tape, Try Mood Indigo (Opens July 18) At the box office, summer love is generally interpreted as a raunchy comedy, and this year’s offering is Sex Tape. However, there is a sweeter, more romantic alternative hitting theaters the same day: Mood Indigo. Directed by Michel Gondry, it’s a surreal love story about two newlyweds (Audrey Tatou and Romain Duris), whose relationship is tested when it’s discovered that a flower is growing in her lungs. A little offbeat, very dreamy, and wonderfully heartwarming, it’s a sweet summer treat. Plus, it has just enough special effects to satisfy any lingering desire for big-budget spectacle.
Instead of Lucy, Try Happy Christmas (Opens July 25) Summer movie season isn’t known for having a notable amount of female-fronted films, but 2014 has several lined up. The big-budget option is Lucy, which stars Scarlett Johansson as the only person in the world who is able to unlock and control the full potential of her brain’s capacity, but if you’re not in the mood for shooting, explosions and special effects, you can instead check out Happy Christmas, which opens the same day. Anna Kendrick stars as an irresponsible young woman who moves in with her brother (Joe Swanberg), his wife (Melanie Lynskey) and their infant son without any warning, and her slow, rocky journey towards adulthood.
Instead of Guardians of the Galaxy, Try The Trip to Italy (Opens August 15) Equal parts comedy and action, Guardians of the Galaxy is about a band of misfits who come together to save the universe. The Trip to Italy has a bit less action and a lot more impressions, but it too centers on a pair of misfits (Steve Coogan and Rob Brydon), who are on mission to travel around Italy, review restaurants and annoy the crap out of each other. Watching these two trade jokes and attempt to one-up each other is quite possibly the most pleasant way to spend a summer afternoon.
Instead of Sin City: A Dame to Kill For, Try Love Is Strange (Opens August 22) Six years after the first Sin City hit theaters comes A Dame to Kill For, which sees Josh Brolin’s Dwight hunted down by the woman he loves (Eva Green), and brings back several of Frank Miller’s classic characters – well, the ones that weren’t brutally killed anyway. But if you’re in the mood for a more low-key love story, try Love Is Strange, a film about a middle-aged gay couple forced to live with friends after one of them loses his job at a Catholic school. Part love story, part family dramedy, part fish-out-of-water tale, it’s a funny, original take on the marriage plot, anchored by excellent performances from John Lithgow and Alfred Molina.
Instead of The Expendables 3, Try The Congress (Opens August 29) If you’re a fan of actors in a career renaissance and action films, but you’re looking for something a bit more inventive than Stallone and Co. blowing things up, The Congress might be the film for you. The sci-fi film centers on a fictionalized, down-on-her-luck version of Robin Wright agrees to allow a studio to digitize her likeness for a future Hollywood. However, the studio will have complete control over her image for the rest of time, and Wright has no say in what or who they turn her into. Just as exciting, but much more stimulating and creative, The Congress is a perfect alternative to your standard action fare.
20th Century Fox Film via Everett Collection
Kissing is as much a part of movies as car chases and sarcastic best friends. All kinds of kisses have been captured on film, but there are some more than others that make us swoon as lovers lips join together.
We're taking a look at the most memorable kisses in film from the '80s on, including the Worst Kisses and the Most Perplexing Kisses. Here, however, are the kisses that made our hearts flutter.
Anna and Kristoff, Frozen
"I could kiss you," Kristoff says as he gleefully picks Anna up in the air. We watched the animated pair bond over an adventure to save her sister, Elsa, from the wrath of hostile villagers. The comment leads to a peck on the check that morphs into an embrace. Disney princesses always get their big kiss, but few are as well earned as Anna's.
Sandra Bullock and Bill Pullman, While You Were Sleeping
You would expect a couple to have kissed — really kissed, not an under-the-mistletoe peck — prior to getting engaged, but such was not the case for Bullock's Lucy and her true love, Pullman's Jack. Falling in love while she pretended to be the fiancée of his in-a-coma brother, the pair skipped right to the ring after Jack (and his family) realized they couldn't live without Lucy. Sealing a marriage proposal with a kiss has never been sweeter.
Matt Damon and Emily Blunt, The Adjustment Bureau
The movie, about a shadow agency that controls everyone's lives, is a bit of a mess. What can't be denied, however, is the crazy chemistry that exists between Damon's politician and Blunt's mystery woman. Blunt follows Damon into the men's room at the Waldorf Astoria and strikes up a conversation about crashing a wedding. How does that lead to a passionate kiss? Well, what else were they going to do in the bathroom?
Jamie Foxx and Kerry Washington, Django Unchained
Quentin Tarantino is not known for romance, but in his Western epic, Foxx's Django is driven by only one thing: the desire to save his wife, played by Washington, from the clutches of a nefarious slaveowner. When Foxx finally tracks her down, trapped on a plantation owned by Leonardo DiCaprio's bad guy, we're treated to a slow, sweet, reverberating moment as Washington gradually realizes that her love has come for her. The kiss begins within a chilling silhouette until the camera turns to show the passion of lovers reunited.
Michael Cera and Kat Dennings, Nick and Norah's Infinite Playlist
Cera and Dennings' mixed-up teens actually kiss moments after meeting one another, as Dennings asks him to be her boyfriend for "five minutes" so that she can dupe a rival (who happens to be Cera's ex) into believing she isn't dateless. The real kiss, though, comes later on, as Dennings' Norah takes guitar aficionado Nick to see Electric Lady Studios. One thing leads to another and soon Dennings' impossibly full red lips are working overtime.
Heath Ledger and Jake Gyllenhaal, Brokeback Mountain
Much has been made over the years about the love scenes shared between Ledger and Gyllenhaal, even leading to a hilarious Jonah Hill rant in Knocked Up about the lack of explicitness. The duo brought a palpable passion to the movie in full, but there is something special about the urgency of the scene wherein Ledger's Ennis sees Gyllenhaal's Jack Twist from his apartment window and rushes to embrace him. As Ennis pushes Jack into a stairwell, the two attack each other like a pair of hungry wolves, throwing caution to the wind. Nearly 10 years later, the scene has lost none of its original impact.
John Cusack and Ione Skye, Say Anything...
Few teen romances have been as influential as Cameron Crowe's story of a high-achiever falling for the earnest slacker that dares to ask her out. As you would expect, there are multiple kisses throughout as the duo fall head over heels, including a particularly sweet embrace in the rain. It's when Skye's Diane Court realizes that she needs Cusack's Lloyd Dobler that takes the cake, though. The fact that she kind of distracted him during a sparring session, causing him to get his nose bashed in by Don "The Dragon" Wilson moments before only adds to the tenderness.
Leondardo DiCaprio and Kate Winslet, Titanic
Back in 1997, seemingly every woman on the planet wanted to trade places with Winslet's Rose. The romance aboard the doomed ship left movie audiences teary-eyed long after the credits rolled. In the iconic scene, DiCaprio's Jack takes Rose to the railing of the ship and extends her arms outward, making her feel as though she's... well, why not let her famous line tell the story. "I'm flying, Jack!" Rose exclaims, before Winslet turns backwards to let her lips meet DiCaprio's. No matter what happened after, thanks to Celine Dion, we're always assured that their hearts will go on.
Cary Ewles and Robin Wright, The Princess Bride
"Since the invention of the kiss," Peter Falk's narrarator intones in Rob Reiner's much-loved fantasy, "There have been five kisses that were rated the most passionate, the most pure. This one left them all behind." Such is the power of the happy ending smooch that Ewles' Westley lays on Wright's Buttercup. For a guy that was "nearly dead" not long before, and a woman almost forced to marry a prince — not to mention that trip through the fire swamp — that seems like a fitting reward.
Molly Ringwald and Michael Schoeffling, Sixteen Candles
Ringwald's Sam had an epically bad birthday. Her family, preoccupied by her sister's impending wedding, forgets that it's even happening and the geeky Farmer Ted (Anthony Michael Hall) has parlayed a pair of her panties into a money-making venture. Worse, she's hopelessly in love with Schoeffling's senior dreamboat, Jake Ryan. As she exits her sister's nuptials and the crowd parts, there is Jake leaning against his sportscar waiting for her. As teen fantasies go, it's a hard one to top. Sam finally gets a birthday cake with the namesake candles and a sweet kiss from Jake to boot. It may have been a bit of a fire hazard, but it sure was romantic.
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 via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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Best Motion Picture, Drama12 Years a SlaveGravityCaptain PhillipsRushPhilomena
Best Motion Picture, Musical or ComedyNebraskaAmerican HustleThe Wolf of Wall StreetInside Llewyn DavisHer
Best Actor in a Motion Picture, DramaChiwetel Ejiofor, 12 Years a SlaveMatthew McConaughey, Dallas Buyers Club Tom Hanks, Captain Phillips Robert Redford, All Is Lost Idris Elba, Mandela: Long Walk to Freedom
Best Actor in a Motion Picture, Musical or ComedyBruce Dern, NerbaskaLeonardo DiCaprio, The Wolf of Wall StreetChristian Bale, American HustleOscar Isaac, Inside Llewyn DavisJoaquin Phoenix, Her
Best Actress in a Motion Picture, DramaCate Blanchett, Blue JasmineSandra Bullock, GravityEmma Thompson, Saving Mr. BanksJudi Dench, PhilomenaKate Winslet, Labor Day
Best Actress in a Motion Picture, Musical or ComedyMeryl Streep, August: Osage CountyJulia Louis-Dreyfus, Enough SaidAmy Adams, American HustleJulie Delpy, Before MidnightGreta Gerwig, Frances Ha
Best Director - Motion PictureAlfonso Cuaron, GravitySteve McQueen, 12 Years a SlaveDavid O. Russell, American HustlePaul Greengrass, Captain PhillipsAlexander Payne, Nebraska
Best Screenplay - Motion PictureJohn Ridley, 12 Years a SlaveBob Nelson, NebraskaEric Warren Singer and David O. Russell, American HustleJeff Pope and Steve Coogan, PhilomenaSpike Jonze, Her
Best Supporting Actor in a Motion PictureMichael Fassbender, 12 Years a SlaveJared Leto, Dallas Buyers ClubBradley Cooper, American HustleDaniel Bruhl, RushBarkhad Abdi, Captain Phillips
Best Supporting Actress in a Motion PictureLupita Nyong'o, 12 Years a SlaveJennifer Lawrence, American HustleJulia Roberts, August: Osage CountyJune Squibb, NebraskaSally Hawkins, Blue Jasmine
Best TV Series, DramaBreaking BadDownton AbbeyHouse CardsMasters of SexThe Good Wife
Best TV Series, ComedyThe Big Bang TheoryModern FamilyGirlsBrooklyn Nine-NineParks and Recreation
Best Actor in a TV Series, DramaBryan Cranston, Breaking BadMichael Sheen, Masters of SexKevin Spacey, House of CardsJames Spader, The BlacklistLiev Schreiber, Ray Donovan
Best Actor in a TV Series, ComedyJason Bateman, Arrested DevelopmentDon Cheadle, House of LiesMichael J. Fox, The Michael J. FoxJim Parsons, The Big Bang TheoryAndy Samberg, Brooklyn Nine-Nine
Best Actress in a TV Series, DramaJulianne Margulies, The Good WifeKerry Washington, ScandalTatiana Maslany, Orphan BlackRobin Wright, House of CardsTaylor Schilling, Orange Is the New Black
Best Actress in a TV Series, Comedy Zooey Deschanel, New Girl Lena Dunham, Girls Julia Louis-Dreyfus, VeepAmy Poehler, Parks and Recreation Edie Falco, Nurse Jackie
Best Mini-Series or TV Movie American Horror Story: CovenBehind the CandelabraDancing on the EdgeTop of LakeWhite Queen
Best Actor in a Mini-Series or TV MovieMatt Damon, Behind the CandelabraChiwetel Ejiofor, Dancing on the EdgeIdris Elba, LutherAl Pacino, Phil SpectorMichael Douglas, Behind the Candelabra
Best Actress in a Mini-Series or TV MovieHelena Bonham Carter, Burton and TaylorRebecca Ferguson, White QueenJessica Lange, American Horror Story: CovenHelen Mirren, Phil SpectorElisabeth Moss, Top of the Lake
Best Supporting Actor in a Series, Mini-Series or TV MovieRob Lowe, Behind the Candelabra Josh Charles, The Good WifeAaron Paul, Breaking BadCorey Stoll, House of CardsJohn Voight, Ray Donovan
Best Supporting Actress in a Series, Mini-Series or TV MovieHayden Panetierre, NashvilleJacqueline Bisset, Dancing on the EdgeJanet McTeer, White QueenMonica Potter, ParenthoodSofia Vergara, Modern Family
Best Animated Feature FilmFrozenThe CroodsDespicable Me 2
Best Foreign Language FilmBlue Is the Warmest ColorThe PastThe HuntThe Wind RisesThe Great Beauty
Best Original Score - Motion PictureGravityThe Book Thief12 Years a SlaveAll Is LostMandela: Long Walk to Freedom
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Actor Cary Elwes is set to recall his experiences on the set of cult fantasy film The Princess Bride for a new book. Elwes has teamed up with biographer Joe Layden for the tome, which is scheduled to be published next year (14).
The actor played hero Westley in the 1987 movie, opposite Robin Wright, Billy Crystal and Andre the Giant, among others.
As You Wish: Tales From The Princess Bride will also feature interviews with his co-stars and a foreword written by director Rob Reiner.
Lions Gate via Everett Collection
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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Robin Wright's star-studded movie classic The Princess Bride is heading for the stage - as a musical. Disney Theatrical Productions executives have announced plans to collaborate with William Goldman on a show based on his 1973 fairytale, which he adapted for the big screen in 1987.
A statement from Walt Disney Studios chairman Alan Horn reads: "My involvement in The Princess Bride goes back to 1987 and it has always been close to my heart. For all those years and a few more, I've been friends with the brilliant Bill Goldman, and to now have a stage production of this film in development at Disney is honestly a dream come true."
Wright's film, directed by Rob Reiner, also featured Cary Elwes, Mandy Patinkin, Wallace Shawn, Andre the Giant, Billy Crystal and Peter Falk.