When Lindsey Vonn had to pull out of the Sochi Winter Olympics with a knee injury, it not only robbed NBC of the chance to show Tiger Woods during its broadcast, but it deprived the network of one of the faces of the Games that it so desperately craves. In addition to being a world class athlete, Vonn is well known and beautiful — a network promotional executive's dream.
While a missing Vonn doesn't help NBC, there are plenty of other athletes representing the United States that the Peacock will try to get the audience to care about. These eight athletes are likely to get the star treatment and get hearts racing for their athletic talent… and more.
Ashley Wanger, Figure Skating — Wagner is sure to get all sorts of attention after she finished fourth at the Olympics Trials and was put on the team anyway. The fact that she has a lot of sponsors hoping to cash in on her looks should she win a medal probably had nothing to do with it.
Julia Mancuso, Alpine Skiing — She's going to slot into the role that Vonn would've played. Not only does she have the looks to pull that off, but she has her own line of underwear called "Kiss My Tiara." At the 2010 Games in Vancouver, Mancuso passed out thongs to fellow competitors.
Zach Parise, Men's Hockey — Studies have shown that women make up a large chunk of Olympic viewers, so it's only right that there's plenty of eye candy on that side of the ledger as well. Parise, normally a winger for the Minnesota Wild, has the sort of rugged good looks that one would expect from a hockey player…and all of his teeth.
Ellery Hollingsworth, Snowboarding — Since it doesn't appear that swimsuit model Clair Bidez nor Instagram hottie Hannah Teter are going to make the team, Hollingsworth should be next in line to carry on the tradition of snowboarders that can make temperatures rise.
Gretchen Bleiler/Elena Hight, Snowboarding — OK, so women's snowboarding is to the Winter Games what beach volleyball is to summer…just with more clothing. Bleiler, who's been around long enough to have some name recognition outside of the X-Games set, and Hight, who's Hawaiian, are the next most likely candidates besides Hollingsworth to gain new followers. Really, there should just be a reality show devoted to the whole group of them.
Bode Miller, Alpine Skiing — Along with snowboarder Shaun White, Miller is probably the best known of the returning athletes. This will be his fifth Olympics and probably his swan song. Since he's aged in much the same way as David Beckham — seemingly getting better looking — NBC will be sure to give him plenty of attention.
Lolo Jones, Bobsledding — There's no guarantee that Jones will actually make the squad, but if she does, there will be an NBC camera assigned to follow the Summer Olympics hurdler and proponent of abstinence at all times.
Found-footage filmmaking has been all the rage in horror films for the past few years with the Paranormal Activity franchise and its innumerable variants making enthusiastic use of the cheap but effective vérité technique for conjuring scares. Silent House the new (well somewhat new) thriller from the husband-and-wife directing team of Chris Kentis and Laura Lau may not technically be found-footage but its hand-held “captured in real time” approach achieves essentially the same effect minus the idiotic faux disclaimers attesting to its "authenticity."
Presented as a single 88-minute take without any visible editing (think Alfred Hitchcock’s Rope) Silent House stars Elizabeth Olsen (Martha Marcy May Marlene) as Sarah a somewhat aloof young girl staying with her father (Adam Trese) as he and his brother (Eric Sheffer Stevens) renovate their family’s waterfront vacation home in preparation for its sale. After years of neglect the house has fallen into disrepair lacking electricity phone lines or much of anything else that might possibly aid a girl in surviving a home invasion the potential for which is made abundantly clear in the film’s opening act.
And just who might wish to pay Sarah an unwelcome visit? Silent House’s script written by Lau offers any number of likely suspects from the vandals who’ve repeatedly trashed the vacation home to the unsavory ex-boyfriend who’s recently resurfaced in Sarah’s life. And that supposed “childhood friend” who paid her an ominous visit can’t possibly have good intentions. Oh and let’s not forget the simmering feud between Sarah’s father and uncle the fallout from which is bound to turn one of them homicidal. Perhaps they’ll all join forces and form some kind of supergroup the Power Station of sociopaths.
Whoever they are they’re exceedingly ill-tempered as Sarah learns when she happens upon her bloodied father in one of the upstairs bedrooms. Sounds of footsteps signal that his attacker(s) is near and soon Sarah is engaged in a terrifying game of hide-and-seek scrambling about the house to evade capture.
Generous kudos must be paid to cameraman Igor Martinovic who works in lock-step with Olsen in Silent House trailing close behind as she darts up and down the stairs peering over her shoulder as she gingerly opens a door and training on her face as she grimaces in silent terror trying to contain her panic as her unseen tormentor approaches. There are times however when Silent House could use a steadier hand. During some of the film’s more frantic moments the action becomes so hopelessly frenzied as to turn cinema vérité into cinema vomité.
Silent House’s "captured in real time" gimmick is exceedingly well-executed with hidden cuts spread pretty much seamlessly throughout the film. (Of course the fact that I spent a good deal of time scanning for said hidden cuts testifies to its potential to become a distraction.) Lau and Kentis establish a steady build-and-release rhythm with the tension while dropping in subtle clues here and there as to the motives behind the mayhem.
The success or failure of Silent House ultimately hinges on the efforts of Olsen who quite impressively shoulders the burden of inhabiting nearly every frame of the film. Olsen is significantly more nuanced than your typical scream-queen and it’s her performance alone that holds the film aloft during its more ludicrous moments.
Good as she is Olsen can’t hope to rescue the film’s poorly conceived third act. Over a year removed from its 2011 Sundance debut Silent House saw its ending thoroughly rejiggered in preparation for its theatrical release with the final 15 minutes replaced entirely. In its existing iteration the film abruptly takes leave of its senses during the climax with a flurry of preposterous twists and revelations that are only frightening in their abject inanity.
Click here to hear Elizabeth Olsen talk about Silent House's arduous shooting process in our exclusive interview.
Follow Thomas Leupp on Twitter.
Follow Hollywood.com on Twitter.
Douglas McGrath’s new movie I Don’t Know How She Does It is based off of Allison Pearson’s wildly successful novel of the same name that was on The New York Times’ hardcover bestseller list for 23 weeks. Both mediums focus on the complicated life of Kate Reddy (played by an I'll admit it enjoyably perky Sarah Jessica Parker in the movie) who is the woman all working mothers want to be: smart determined and fiercely passionate about doing everything she can to balance her family with her high profile job at an investment banking firm. She’s the mom who’s thoughtful enough to try and distort a store-bought cherry pie with a rolling pin so it looks more homemade for her daughter’s bake sale and the one who finds joy in searching for a clean blouse that doesn’t have the marshmallows from her son’s Rice Krispies Treats soaked into it. Of course Kate dreads leaving her children each day but she loves her job very much and allows herself to part ways with them by concentrating on the belief that one day they’ll understand how much she genuinely wanted to go to work. And while it’s clear the movie’s goal is to humorously depict the lives of women who work and have families it shockingly shies away from ending the still-popular belief that women are best "pregnant barefoot and in the kitchen."
Within the first minute of the movie the fourth wall is broken -- and continues to break throughout the movie -- and several of Kate’s colleagues and friends verify that Kate is an outstanding mother and a supremely productive member of the work force (which was pretty unnecessary considering how we were just going to see all of Kate's talents anyway). Her friend Allison (played by Christina Hendricks) opens up a bit more than the others and unveils that even though Kate's totally great she really wasn't doing very well with her responsibilities last winter. Then we flash back three months and watch as Kate goes from being an unnoticed employee at her Boston firm to writing a proposal and catching the interest of Jack Abelhammer (Pierce Brosnan) at the branch’s New York office. Jack is enthusiastic about Kate’s ideas and decides he wants to take the proposal and present it to a major client which excites Kate because it would be great for her career. However the problem is the proposal needs a lot of work before it can be shown to anybody and Jack is careful to ask if Kate is comfortable traveling between Boston and New York and working day and night for two months until the whole thing is finished. In the back of her mind she knows she should be spending heaps more time with her family instead of agreeing to take on more responsibilities at work but she decides to do it anyway because as the saying goes “if it ain’t hard it ain’t worth it.”
So Kate and her assistant Momo (played by a finally enjoyable Olivia Munn) begin working overtime. She spends three days a week in New York and the other four days glued to her computer in Boston. When she does make plans with her kids to do something like build a snowman she ends up flaking out because something happens at the last minute regarding the proposal and she needs to drop everything to go work on it with Jack in New York. As angry as the kids are with their mom Kate’s husband Richard (Greg Kinnear) is even angrier because since his wife is away and working all the time he becomes the caregiver by default.
Now here’s where things get a little dicey: Richard is an unemployed architect and so I was surprised to watch him give his wife so much grief for working to keep their cute children fed. However the audience is supposed to understand where he’s coming from: we’re supposed to applaud Richard’s courage to make Kate feel guilty for being with Abelhammer instead of with her kids and we’re supposed to take his side as he repeatedly tries to convince her that she should be ashamed of putting her work ahead of her family. We're supposed to figure out that Richard feels bad for not working and understand that when he's screaming at Kate for having a job he's really just venting about how frustrated he is that he's unemployed. And here’s where the movie has the opportunity to open up and blossom and be symbolic of how a woman should never have to apologize for having a career. Exactly here is where the movie should have stretched out its wings and showed Kate yelling from the top of her lungs about how unfair it is that women are frowned upon for having a job and a family whereas it’s completely fine for men to have both. But instead of defending herself like that Kate responded to her husband’s grievances by bowing her head down and acknowledging that she’s wrong for working so hard for being away from her children for making bad choices and for making her husband’s life harder. But the thing is that she hasn’t made bad choices! She’s made all the right ones because her husband doesn’t work! The point is McGrath had the opportunity to really emphasize how men with families and women with families are treated differently in the workplace -- but he ended up depicting how dangerous it is to be a woman with a job because it means that one day her husband might resent her and make her apologize for it. And so instead of significantly expanding upon Pearson's efforts to level the ground for women with children in the workplace McGrath (rather confusingly) stopped just short of following her lead.