As if there was any doubt, it looks like Blue Ivy Carter is growing up to be just as fierce as her mama. Beyoncé posted some adorable photos of her 18-month-old daughter to her Tumblr on Thursday.
If you’ve seen Beyoncé's Tumblr, you know that she — or her team, because let's face it, Queen Bey doesn't have time to update her own Tumblr — only posts the most flawless photos to make sure everyone knows how fabulous her life is. But the pictures of her daughter are particularly precious, especially one of little Blue Ivy reaching out to touch her mom's nose (above).
We also got a look at the toddler's wardrobe, which includes a peach tulle dress and tiny pink Tom Ford heels.
Not even two years old and already wearing heels? Bey must be teaching her to strut early. Another pic has Blue Ivy rocking a purple bejeweled crown, probably because she's the offspring of music royalty.
I think we can all agree: Blue Ivy has it good.
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Director Jason Reitman made a very smart decision when approaching his new film Young Adult. His past two successes Juno and Up in the Air were stylized dramedies one with colorful dialogue and production design flourishes the other with precision camera work his director's hand evident at every turn. In his latest he pulls way back letting his lead character—a vile destructive former high school prom queen named Mavis (Charlize Theron)—do the talking. And talk she does—every word a stinging insult disillusioned wish holier-than-thou gripe or embarrassing truth. Reitman unleashes an unfiltered Theron and the results are gut-wrenching hilarious and powerful.
While working on her latest Sweet Valley High-esque book Mavis receives a mass e-mail from her high school boyfriend Buddy (Patrick Wilson) announcing that he and his wife are expecting their first child. This sets a fire under Mavis' ass and after chugging a 2-Liter of Diet Coke and throwing on a Hello Kitty tee she hits the road to take back the man that's rightfully hers. Mavis shacks up in a drab hotel located in the heart of her small Minnesota hometown and immediately proceeds to the bar to indulge in her favorite pastime: pounding back whiskey. There she runs in to one of her forgettable high school classmates Matt Freehauf (Patton Oswalt) who she only recalls after being reminded of a horrendous gay bashing that left both his legs crippled ("And I'm not even gay."). The two form an unlikely friendship—Matt being enamored by Mavis' pathetic quest Mavis needing an ear to talk off.
Young Adult's simple premise allows writer Diablo Cody (Juno The United States of Tara) to move Mavis from depressing suburban local to depressing suburban local with ease creating a playground of homogenized perfection for Theron's foul behavior. Whether she open-mouth chewing on fried chicken at the local KFC/Taco Bell covering up last night's hangover with a fresh facial or seducing Buddy at the Applebee's-esque restaurant Mavis never falters always looking down at her surroundings finding excuses for why she's not the source of her own problems.
Theron's performance is fearless one of the few crass female performances shaded with human complexity and empathy. Young Adult is a very funny film that works because of its star's ability to teeter the edge of comical and truly unlikable. Oswalt and Wilson amplify the main performance embodying their own grounded characters to properly riff with the vulgar Mavis. Matt is a very Patton-y character to begin with but between is jokey back-and-forths with Mavis is an inherent sadness one Oswalt surfaces with a contrasting subtly. Unlike Mavis Matt has the ability to rise above is own plight and change. His new friend is tragically a lost cause. At times the film's story feels too narrow never allowing us to really explore Mavis' other relationships but it's hard to naysay for wanting more.
Few movies attempt to mine comedy out of the bleakness of everyday life; even fewer do so while twisting storytelling conventions. You watch Young Adult with hopes for Mavis but Reitman and Cody aren't ready to indulge you. In Theron they've found one of the few actresses in town who can simultaneously look like a conventionally gorgeous blonde bombshell and complete make-up-caked crap a woman with the balls to take a character who relishes in schadenfreude. They don't squander that talent. From the first to the umpteenth Teenage Fanclub sound cue Mavis is delusional caught up in her own fantasy and willing to execute it at any cost. It's a truly cringe-worthy mission but it works because sadly we all know someone like that.
Sangster began his career as a clapper boy at the age of 16, before moving up to roles as an assistant director and screenwriter. But it was his stint as a writer at Britain's Hammer Horror studios which made his name, going on to tackle some of their most famous films, including The Mummy and Dracula, starring Sir Christopher Lee.
He later remarked, "All of a sudden I'm a cult figure. But it's all due to about five movies: a couple of Frankensteins, a couple of Draculas and a Mummy."
Sangster's other notable screen credits include Betty Davis' The Nanny and Paranoiac, which starred Oliver Reed.
He is survived by his second wife, actress Mary Peach, and his son. No cause of death had been made public as WENN went to press.
Based on the graphic novel by Neil Gaiman (Sandman) and re-conceived by director Henry Selick (The Nightmare Before Christmas James and the Giant Peach) in 3-D stop-motion animation Coraline (voiced by Dakota Fanning) opens a world of twisted wonder when she passes through a secret door in her new house and suddenly discovers an alternate existence mirroring her own life but making it so much more interesting and satisfying until her Other Mother (Teri Hatcher) tries to turn her little visit into a permanent one. Fanning is the ideal Coraline -- curious fickle frightened and determined. She does an excellent job bringing to life this young girl suddenly caught up in an extraordinary adventure that rivals what Dorothy went through on the road to Oz. Hatcher is properly bland as her real mother and slippery as her Other -- she’s clearly having fun ditching Desperate Housewives. Standout is Keith David voicing an exquisitely drawn but quite mysterious Cat. There’s also brief but amusing work from the team of Jennifer Saunders and Dawn French (Absolutely Fabulous) as Coraline’s very very British and very eccentric neighbors and an even wackier Ian McShane as the Russian Mr. Bobinsky. Selick has created a modern classic that tops even his brilliant Nightmare Before Christmas turning the world of Coraline into something we’ve seen before. It’s Alice in Wonderland times 10 but despite its soft PG rating is really dark stuff. Kids won’t be turned off by this but some not-clued-in parents might. The film will be shown in both 3-D and regular formats but go for the 3-D version if possible. It’s a mind-blowing use of the technology and perhaps the best yet put on screen.
As Phone Booth not-so-subtly points out most folks these days spend a great deal of time on the phone--so much so that the compulsion to answer even a random ringing phone is sometimes just too hard to pass up. Such is the fate of one Stu Shepard (Colin Farrell) a smooth-talking PR rep who revels in his self-serving unethical existence. He prefers to wheel and deal on his cell phone while pacing the streets of New York but uses a public phone booth for the calls he doesn't want wife Kelly (Radha Mitchell) to find out about like the special one he wants to make to Pam (Katie Holmes) a wannabe actress he's trying to get in the sack. Yet on this particular afternoon the pay phone rings--and being the phone junkie he is Stu answers it. Biiiig mistake. The caller turns out to be a serial killer with a sniper rifle who tells Stu he'll be shot dead if he hangs up the phone. Of course Stu thinks it's a sick joke at first but after the sniper kills someone near the booth Stu is suddenly thrust into a hellish game of cat and mouse with the unseen gunman. Eventually the police arrive led by senior officer Captain Ramey (Forest Whitaker) who first mistake Stu for the crazy shooter. Soon however Ramey his team Kelly and even Pam become ensnared in the sniper's web--and only Stu can save them by digging deep into his soul and coming clean ultimately outwitting the killer at his own game.
That this is pretty much a one-man show is a given--and Farrell bears the weight of it on his shoulders quite well. The Irish actor has a certain reckless-yet-oh-so-vulnerable approach towards his craft which he uses to full benefit in Phone Booth. Stu goes from cocky bravado to gut-wrenching defenselessness in one fell swoop and even though his character's dialogue gets heavy-handed about what a schmuck he has been Farrell manages to make it all believable. As the sniper Kiefer Sutherland is menacing and sardonic as he goads Stu into his confessions but the baddie never comes off as evil as you would like him to be. Of the supporting players only Whitaker stands out as the police captain who is thankfully a lot smarter than he first appears to be. Holmes and Mitchell on the other hand have the tedious tasks of playing "the women" and neither are able to rise above their thankless parts.
Phone Booth had some difficulties making it to the big screen. Originally From Hell's Allan and Albert Hughes were attached to direct with a varying list of A-list actors attached to star at different times including Will Smith and Jim Carrey. Eventually the film fell into director Joel Schumacher's lap in 2000 and (after Carrey dropped out) he cast newcomer Farrell with whom the director had just worked in Tigerland. Twentieth Century Fox at last was able to set a November 2002 release date--but then came the horrifying real-life events last October where two snipers in the Washington D.C. area randomly killed several people and the studio decided to postpone the release due to those sensitive circumstances. Now that the film is finally coming out the wait seems to have paid off since a) Farrell has become a bona-fide star in the meantime with The Recruit and Daredevil under his belt and b) Phone Booth is just as fresh and visually stimulating as if it was made yesterday. Schumacher shot the film in 10 days because he knew he had to pull out all the stops to sell the concept of having the action revolve around one guy standing in a phone booth. The result is an excellent fast-paced film which uses a split-screen style to tell the story--and keep the movie's--and the audience's--adrenaline pumping throughout.