If you judge only by her Oscar-winning performance in The Silver Linings Playbook, you might think that Jennifer Lawrence is well into her 30s. Her performance in David O. Russell's dramedy was so mature and compelling that it's hard to believe she's a mere 23. Yes, the Hunger Games star turns 23 today, Aug. 15, and we're pleased to celebrate what promises to be a long and varied future in the cinema. But what exactly do the coming years have in store for JLaw? After Catching Fire and the Mockingjay movies, and Russell's next picture American Hustle, where will Lawrence take her career? We have some suggestions — or wishes — for Lawrence's career.
23 Roles We'd Love to See Jennifer Lawrence Take
1) Kat Stratford in a 10 Things I Hate About You remake. If she can play 30-year-olds now, she can play high schoolers. And yes, she can manage a bitchface.
2) Jaina Solo, daughter of Leia and Han, in Star Wars VII. Imagine Lawrence levitating X-Wings, cutting up Tauntauns, and stopping by Tosche Station for power converters.
3) Ophelia in a Hamlet adaptation. She can do crazy, we've seen it.
4) At the center of her own Showtime series, a la The United States of Tara or Weeds — a loony young mom with a plot-defining secret.
5) Headlining a Victorian era period piece. Imagine the costumes.
6) Playing Elaine in a Seinfeld movie. Obviously, no one is ever going to make a Seinfeld movie. And if they did, they'd probably cast the actors who were actually on Seinfeld. But imagine it... just imagine it...
7) In a Wes Anderson movie, playing (as per Wes Anderson tradition) a dead-eyed, monotone, nihilistic femme fatale. We buy it.
8) Molly Ringwald's role in a Sixteen Candles remake. Sixteen might be pushing it... how about Twenty-One Candles? Not quite the same ring, but that gives us an idea!
9) Taking Sean Penn's role in a gender-swapping 21 Grams remake!
10) Playing Paul Rudd's daughter in a movie that stars Steve Martin as his dad and Dick Van Dyke as his dad. This is actually an idea that we've been working on for quite some time...
11) Remember My Boys on TBS? That show was pretty good, right? Well, if she was in it, it would have been awesome. Do that.
12) Cher's role in a Mermaids remake.
13) Julia Roberts' role in a Pretty Woman remake.
14) Faye Dunaway's role in a Chinatown remake.
15) Playing herself in a Charlie Kaufman movie about how, in "reality," she's a horrible Machiavellian sociopath.
16) Taking on a Ripley-like role in the follow-up to Prometheus.
17) Becky Sharp in a Vanity Fair adaptation.
18) Samus Aran in a Metroid adaptation.
19) Princess Zelda in a film adaptation of Ocarina of Time, which is incredibly necessary.
20) Janis Joplin in a biographical picture about her life and work.
21) Playing all five sisters in a black comedy about strikingly different quintuplets.
22) The verbose, death-obsessed heroine in a Woody Allen movie.
23) The 13th Doctor.
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
Weddings--they're always fun. The tension the drunkenness the cold feet the wacky family dynamics. Good times. For single gal Kat Ellis (Debra Messing) going to her sister's wedding in merry ole England also means hiring one of New York's premier male escorts Nick Mercer (Dermot Mulroney) to pose as her new boyfriend. Kat's primarily goal is to make her ex-fiancé Jeffrey (Jeremy Sheffield) who dumped her two years ago jealous. Yes her solution crosses a few morally dubious lines plus costs her a tidy $6 000 which she had to drain from her 401K. But no matter. The insightful and charismatic Nick is a showstopper "the Yoda of escorts " convincing everyone that he and Kat are madly in love including Kat. She's soon feeling things she's never before felt. Well duh. He's like the perfect guy--that's his job. Doesn't take a rocket scientist to figure how this is going to turn out.
Will & Grace's Debra Messing is quite appealing in her first feature starring role but she really isn't straying too far from her dizzy Emmy-winning alter TV ego. Kat is a glorified Grace: smart attractive but insecure a little klutzy and certainly not afraid to be seen with smudged mascara and bad hair. The coiffed and well-manicured Mulroney on the other hand gets to be a smooth-talkin' hunk through the whole film. After playing a mullet-haired idiot in About Schmidt it must have been refreshing for Mulroney. Kat's no-nonsense mother played by the always-good character actress Holland Taylor and her self-absorbed sister Amy played by Catch Me If You Can's Amy Adams do their best not to fall into the "dysfunctional family" clichés. But it's the Brits in the cast--including Jack Davenport (The Talented Mr. Ripley) as Amy's earnest husband-to-be Edward Sheffield as Ed's best mate the aforementioned cad Jeffery and Sarah Parish as Kat and Amy's madcap cousin T.J.--that add the right amount of Four Weddings and a Funeral joie de vivre.
The Wedding Date is formulaic and predictable but here's what it does right: From the start director Clare Kilner (How To Deal) doesn't bog the film down with a lot of back story i.e. superfluous scenes of Kat depressed talking to her friends about hiring an escort calling the escort etc. Instead as she's nervously rushing around getting ready to fly to London we see the progression: photos of Kat and the ex lying around an article from a magazine about Nick on the bed and most importantly Nick's voice on an answering machine assuring her it'll all be OK. Kilner wisely chooses to concentrate on the wedding which has all the romanticism and comic elements built right in. Pumped up by engaging performances you tend to forgive all the contrivances and manipulations because darn it you're just having a pleasant time.