Have you ever wondered what some of Hollywood's most popular stars looked like before they landed their biggest (or at least, one of their biggest) roles? We were curious. I mean, you're telling us there are just videos out there of people like Rachel McAdams and Miley Cyrus before they were household names? Sign us up, we're ready to watch! And we bet you are too.
1. Matthew McConaughey reading for David Wooderson in Dazed and Confused:
2. Jason Momoa reading for Khal Drogo in Game Of Thones:
3. Rachel McAdams reading for Allie in The Notebook:
4. Emma Stone reading for Olive in Easy A:
5. Selena Gomez reading for Alex Russo in Wizards of Waverly Place:
6. Steve Carell reading for Brick in Anchorman: The Legend of Ron Burgundy:
7. Megan Fox reading for Mikaela in Transformers:
8. Blake Lively reading for Serena in Gossip Girl:
9. Lea Michele reading for Rachel in Glee:
10. Miley Cyrus reading for "Zoey," the original best friend created for Hannah Montana:
11. Scarlett Johansson reading for Judy Shepard in Jumanji:
12. Robert De Niro reading for Sonny Corleone in The Godfather:
13. Demi Lovato reading for Sonny in Sonny With A Chance:
14. Gabourey Sidibe reading for Precious in Precious:
15. Jennifer Garner reading for Elektra in Daredevil:
Who had your favorite audition tape? Tweet us if you think they did or didn't deserve the role!
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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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You can’t change the channel between Thanksgiving and Dec. 25 without stumbling upon a Lifetime movie about falling in love with Santa (against all odds) or a variety show starring Blake Shelton, stop-motion Blake Shelton, and a man in a turkey suit. It’s a veritable avalanche of Christmas-themed programming. Meanwhile, Hanukkah programs are few and far between. Luckily, there’s a Sesame Street special that delivers the family friendly variety show appeal of so many non-Shelton Christmas specials: Shalom Sesame Show 6: Chanukah.
The special, which aired originally in 1990, features 17 segments in honor of the Festival of Lights, including a stop-motion video about what it takes to make a bottle of olive oil, starring Joan Rivers as a microphone, narrating the whole story. But if microphone Joan Rivers wasn’t enough, there are not one, but two songs: “Eight Beautiful Notes” and “Do De Rubber Duck.” But the piece de resistance is a little gem they call “Dreidel of Fortune.” Do you like dad jokes? And awful puns? And young teen stars making fun of their elders? Of course you do.
Bear with the educational element of this segment and enjoy the game show that swept televisions playing this program in 1990: Dreidel... of... Fortune!
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[Photo Credit: PBS]
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Easy A a teen sex comedy with no actual sex aims rather conspicuously to plumb the best bits of Diablo Cody and Alexander Payne in its upside-down self-consciously campy take on Nathaniel Hawthorne’s The Scarlet Letter. In the role of its high-school Hester Prynne is Emma Stone the sly husky heroine of last year’s surprise hit Zombieland. Tested by a film that is far less clever than its director Will Gluck or screenwriter Bert Royal would have us believe (and they desperately want us to believe) she passes with flying colors delivering a performance that should elevate her into the upper echelon of actresses possessing brains and beauty in equal measure.
Stone plays Olive the kind of quick-witted hyper-literate teen that our educational system produces in ever-diminishing numbers. (If it ever produced them to begin with.) More knowing and sophisticated than others her age she is nonetheless not immune to the pressure of peers and the dread of being labeled a loser. Under duress by a prying friend (Aly Michalka) to dish the details of her birthday weekend a rather mundane affair mainly spent jumping on her bed to the tune of Natasha Bedingfield’s pop monstrosity “Pocket Full of Sunshine ” she feels compelled to embellish a bit and concocts an entirely fictional account of losing her virginity (dubbed the “V-Card” by Royal trying too hard) to a boy from a junior college across town.
Word of Olive’s deflowering spreads with startling speed aided by the incessant rumor-mongering of a catty Evangelical eavesdropper (Amanda Bynes). Suddenly branded a tramp on account of a seemingly harmless little lie Olive opts to embrace her newly tarnished reputation and put it to good use. In a viciously stratified social environment where even the most awkward acne-plagued pariah can earn respect and even admiration from members of the upper castes for having gone All the Way Olive anoints herself the Mother Theresa of (fake) sluts bestowing her blessing upon downtrodden gents in need of a reputation boost. And she resolves to look the part too traipsing around in scandalous bustiers and affixing the letter “A” to her chest.
There are limits to Easy A’s Scarlet Letter conceit overly Glee-ful tone forced repartee and pop-culture references (John Hughes is invoked so many times he should get a producer credit). Which is why director Gluck must be grateful to have found Stone who handles the verbal calisthenics of Royal’s script with charm and verve and a certain effortless appeal that keeps us engaged even as the film wallows in contrived irony and heavy-handedness. Keep your eye on her.