The 300 hunk reportedly fell for the European beauty when she was hired to help Butler promote a new razor for the Dubai-based Super Max brand this spring (12).
The couple was first rumoured to be romantically involved in May (12), but Ghenea played down the claims at the time, stating, "Gerard is a friend of mine. We are friends and nothing more."
However, the New York Daily News reports the relationship has since developed into something more intimate, with a source telling the publication, "Gerry isn't seeing other women, which is serious for him, since he always has lots of girls."
A representative for Butler, who has prevously been linked to Cameron Diaz, Jennifer Aniston and reality TV star Brandi Glanville, has refused to comment on the new romance reports.
There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
In the cinematic desert that is the January-February movie-release schedule one gains a greater appreciation for mere competence. And that’s precisely what you’ll get with Man on a Ledge a mid-budget thriller with modest aspirations and genuine popcorn appeal. Sam Worthington (Avatar Clash of the Titans) stars as Nick Cassidy a former New York City cop wrongly convicted for the theft of a prized diamond. After exhausting all judicial avenues for exoneration he takes the unusual and seemingly desperate next step of planting himself on a ledge outside the penthouse of midtown’s Roosevelt Hotel and threatening to jump. An NYPD psychologist (Elizabeth Banks) is summoned to talk him down unaware that Nick harbors an ulterior motive. From his perch above midtown he is secretly orchestrating a scheme to take revenge against the corrupt corporate chieftain (Ed Harris) who engineered his demise and prove his innocence once and for all.
Director Asger Leth making his U.S. feature-film debut with Man on a Ledge keeps the pace brisk and never allows the tone to stray into self-seriousness which is crucial for a movie whose premise is so devoutly ridiculous. The script from Pablo F. Fenjves provides enough feints and twists to keep us engaged. Jamie Bell and Genesis Rodriguez aren’t the most believable of couples but there’s a screwball charm to their comic routine as amateur thieves charged with aiding Nick’s scheme. (Leth can’t resist inserting an entirely superfluous – but nonetheless greatly appreciated – scene of the criminally gorgeous Rodriguez stripping down to a thong in the middle of a heist.) Worthington makes for a likable populist protagonist even if his Australian accent betrays him on copious occasions and Harris’ disturbingly emaciated frame lends an added menace to his devious plutocrat villain.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
I once asked my Mom why she doesn't go to the theater to see movies. She responded quickly:
"They don't make movies for me, so I don't go see them."
To be fair, that argument is a paradox—if people my mother's age, the baby boomer generation, flocked relentlessly to the movie theaters and spent their hard-earned money on big screen entertainment, maybe things would be different. But like my mother insists, there's nothing out there to hook them in the first place. So instead, movie studios focus on the youngsters with cash to burn, passing on small dramas and adult fare in favor of major blockbusters with brand-awareness. That's how Hollywood stays in business.
But is it working? While finally box office tallies aren't in for 2011, a look earlier this year predicted less-than-fruitful earnings for the studios. Gerry Lopez, an executive at AMC Theaters, told the LA Times, "I think it all boils down to the quality of the movies. This year we just haven't had those kind of movies that cut across all quadrants of age, race and income." Michael Lynton, chief exec at Sony Pictures Entertainment, echoed the sentiment: "So far there is just nothing terribly compelling about what we're delivering as an industry."
The major players in the movie world are currently struggling with two major issues: to keep bringing in a profit and keep people coming back to the theater. Their latest strategy kills two birds with one stone: 3D. The 3D experience started trickling in to theaters in anticipation of James Cameron's Avatar, and after that movie became the highest grossing movie of all time, the studios went all in on the technology. Whereas Cameron saw the stereoscopic advancement as another stylistic choice for filmmakers, an art, studios saw dollar signs. 3D made a movie an event, one people couldn't replicate entirely in the comfort of their own home, while simultaneously bringing additional profits. It was a win-win.
Cut to 2011, a year where each weekend sees the release of a 3D movie and grosses are on par or lower than when the price-hike didn't exist. When a movie bombs, it's bad. When a 3D movie bombs (sorry, Conan the Barbarian 3D), it's even worse. Obviously, 3D isn't going anywhere any time soon (and it shouldn't—see Hugo for an example of the technology used to perfection), but on the surface, Hollywood's get-rich-quick scheme appears to be backfiring.
Universal Studios head honcho Ron Meyer recently told a film festival audience, "It’s great to win awards and make films that you’re proud of and make money, but your first obligation is to make money and then worry about being proud of what you do.” That's a fine strategy and one that clearly explains the rush for 3D "event" pictures, but isn't Ron Meyer forgetting someone important here? My mother (and the demographic she represents) would like to go the movies too. My suggestion: sell movies as "adult."
This week, director Steve McQueen's NC-17 drama Shame, a movie no one thought could find a home with its frank portrayal of sex addiction, opens in limited theaters. The NC-17 rating is a known taboo in the industry, a curse that destines a film to mediocre business. But Fox Searchlight took a bold step in releasing Shame unedited, leaving Michael Fassbender's breathtaking performance completely intact (and bare). The move may payoff in a big way—AMC Theaters, known for having a ban on NC-17 movies, will feature Shame.
If the movie succeeds at the box office, studios may be willing take the plunge on financing or acquiring more adult-themed movies, but the mere fact that the movie made it into a major chain is inspiring. For the first time in recent memory, a movie is waving its NC-17 flag with pride. It's an event film, paralleling Avatar's pop culture idiosyncrasy, but with a price tag dwarfed by Transformers and comic movie titans. On a theater marquee, Shame will stand out amongst a sea of PG and PG-13s. That sounds like the real win-win.
People in high places acknowledge that they don't make movies for my Mom. They understand the paradox too. But in the wake of Shame, and $100 million successes like The Social Network and Black Swan, there feels like a new opportunity. A chance to establish a year-round slate of adult "blockbuster" movies, ones that take risks, explore realistic themes and appeal to a different crowd. Exploding robot action movies and magic fantasy epics are fine, and in 3D they can be quite spectacular—but they're designed for a slice of the population Hollywood has been relentlessly chasing for years. There's a crowd out there looking for movies that spark their interests (like my Mom). Someone just needs to make movies for them.