Previously-unseen racy photographs from a promotional shoot for Angelina Jolie's film Hackers have surfaced online, almost 20 years after they were taken.
The images feature the Maleficent star posing seductively in a long, black dress and high heels, while other pictures depict the beauty topless as she faces a wall with the front of the dress pulled down to her waist, exposing her bare back and tattoos.
The images were shot by photographer Marcel Indik for the 1995 movie, but were kept under wraps until now, according to the New York Daily News.
Jolie met her first husband, Johnny Lee Miller, on the set of Hackers. The couple wed in 1996, but divorced in 1999.
She went on to wed Billy Bob Thornton and is now married to Brad Pitt.
TV director/writer Theodore J. Flicker has died at the age of 84. Flicker passed away in his sleep in Sante Fe, New Mexico on Friday (12Sep14), after a battle with hypersensitivity pneumonitis, according to The Hollywood Reporter.
The New Jersey native began his career in the 1950s after studying at London's prestigious Royal Academy of Dramatic Arts, becoming one of the early members of the Compass Players improv comedy troupe in Chicago, Illinois. He also directed the Broadway musical adaptation of his The Nervous Set.
In 1964, he transitioned into movies and TV and went on to write and direct several films and shows, including The Troublemaker, The Andy Griffith Show, The Dick Van Dyke Show, The Man From U.N.C.L.E. and The Streets of San Francisco.
Flicker also appeared onscreen in Night Gallery, Beware! The Blob and The Legend of the Lone Ranger.
He also created beloved TV comedy Barney Miller, which ran from 1975 to 1982.
Getty Images/Kevin Mazur
Hip-hop superstar Jay Z returned home on Saturday (12Jul14) to make a surprise appearance at the Brooklyn Hip Hop Festival in New York. The music icon joined his rapper pal Jay Electronica on stage at the annual event and played Young, Gifted & Black, We Made It, Shiny Suit Theory and PSA, much to the delight of the audience. Electronica also introduced another Brooklyn native, Talib Kweli, to perform Just Begun with him, as well as Mac Miller and J. Cole. Jay Z followed up the guest appearance by racing to the MetLife Stadium in nearby New Jersey, where he later hit the stage with his wife Beyonce for their second consecutive night at the venue, as part of their joint On The Run tour.
Actress Elisabeth Moss is joining the film adaptation of author J. G. Ballard's classic thriller High-Rise.
The Mad Men star and The Hobbit actor Luke Evans have been cast in the big screen version of the English novelist's 1975 book about residents of a luxurious apartment building who end up at war with one another. Moss and Evans will play a "trouble-making" couple in the film.
The actors join previously cast British stars Tom Hiddleston and Sienna Miller as the leads, as well as Jeremy Irons and James Purefoy.
Pearl Jam's Jeff Ament left a fan with a broken nose after playing a basketball game with him and Arcade Fire's Win Butler in New Zealand at the weekend (18-19Jan14). Sherif Hassan was invited to play with the musicians in Auckland during their break from the Big Day Out festival and he admits the game was a little more physical than he'd imagined it would be.
He tells Triple J radio station, "(Ament is) aggressive, I'll tell you that much. He broke my nose. It was actually the last play of the game - the one time I decided to play proper defence. All I heard was Win going off about how the rules are rubbish down here, and throwing balls around and chucking a bit of a hissy fit."
Despite the injury, Hassan insists he has no hard feelings towards Ament and will not be seeking compensation.
He continues, "It was worth it. (Ament) got us all tickets to the Auckland BDO and hooked us up with backstage passes. I got to meet Lorde, Major Lazer and Mac Miller... We got to the front of stage for Pearl Jam, and Eddie Vedder gave me a shout out."
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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Here are some of this week's highlights from Flavorwire, VH1, Celebuzz, and Hollywood.com, ranging from books to reality TV.
In true academic form, Flavorwire judges you by your favorite book of 2013.Find out what it means if you liked Jonathan Franzen's new book, or Chimamanda Ngozi Adichie's Americanah before Beyoncé sampled her. Check it out at Flavorwire.
Who were the worst reality show villains of 2013? It's a nasty, but varied list, ranging from dance moms to real housewives. Find out if your personal least favorite made the cut at VH1 celebrity.
Tis the season of strange holiday album releases.And Hollywood.com lists this year's best, from Kelly Clarkson to Mary J. Blige. Listen to a sample of them all here.
Find out Kanye's craziest quotes.Celebuzz is listing their year's favorites through the 12 Days of Christmas. You've got six Bieber scandals and, our favorite, seven crazy Kanye West quotes. Find out what they are at Celebuzz.
Gwyneth Paltrow hosted a festive charity dinner in London on Monday night (25Nov13) to raise money for underprivileged kids. The Iron Man star teamed up with fashion designer Matthew Williamson to host the event at Aqua Shard to bring in money for the Kids Company organisation.
The event featured a Christmas tree decorated with baubles specially designed by stars including actress Sienna Miller and singer Mary J. Blige.
The sparkly ornaments will be auctioned off to raise money for the cause.
After the event, Paltrow took to her Twitter.com page to thank Williamson for his help, writing, "Thank you Matthew Williamson for supporting Kids Company UK."
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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After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
More Reviews:'The Hunt' Is Frustrating and Fantastic'You're Next' Amuses and Occasionally Scares'Short Term 12' Is Real and Miraculous
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