Author

Matt Patches
After a few years of working behind the scenes on movies and TV shows (and earning an IMDb page for bragging rights), Movies Editor Matt Patches made a hard right into the world of entertainment journalism. In 2009, Patches became the Associate Movies Editor of UGO.com, departing in 2010 to go rogue as a writer-for-hire. Patches covered movies and festivals for a number of outlets, including Movieline, MTV NextMovie, CinemaBlend, and Film School Rejects, before joining Hollywood.com as Movies Editor in 2011. He proudly names "Groundhog Day" as his favorite movie of all time.
  • Alicia Keys Goes Spielberg at Sundance: 'Inevitable Defeat' Is a Tale from the Concrete Jungle
    By: Matt Patches January 20, 2013 12:43pm EST
    Alicia Keys' music career isn't going anywhere — we're still humming "Empire State of Mind" and the singer/songwriter is set to perform the National Anthem at this year's Super Bowl — but at this year's Sundance, the prolific artist solidifies herself as a new and essential voice in the movie business. World, make room for another Renaissance woman. Keys' is the executive producer and composer of The Inevitable Defeat of Mister and Pete, a film rooted in the vivid landscapes and percussive nature of Brooklyn, New York. Under the eye of George Tillman Jr. (Notorious), Inevitable Defeat is the coming-of-age story of Mister (Skylan Brooks), a 13-year-old have a hard time keeping his head above the water. He's flunking 8th grade, barely avoiding being roped into local gang violence, and watching his mother, Gloria (Jennifer Hudson), lose herself to drug addiction and prostitution. On top of it all, Mister kicks off the summer with a lousy job: playing babysitter to Pete (Ethan Dizon), a young Korean kid whose mother is even more burnt out than Gloria. Mister has dreams of becoming an actor with a big audition in August acting as the light at the end of the tunnel, but even he has doubts he'll get there by the end of summer. New York is an eclectic city, giving the filmmakers who have played there free reign to find their unique vibe. Spike Lee's classic Do the Right Thing set the bar high for Brooklyn summer aesthetics, but Tillman Jr. and Keys' choices make the neighborhood new again. Their borough is more Steven Spielberg than Lee, a childlike perspective that's overflowing with color, heightened characters, and the occasional harrowing danger. The inciting incident of Inevitable Defeat is a kid's worst nightmare: when Mister's apartment complex is raided by police, his mother is taken into custody. Committed to staying out of a boy's home, Mister hides himself and Pete until the cops leave. At 13, a boy already in over his head is stranded to fend for himself and care for another. Like the great Spielberg films, Inevitable Defeat manages to look slick, with blooming light and pitch perfect production design while giving weight to Mister's impossible task (as the title foreshadows). Mister and Pete scramble to find food — Gloria's pantry already scarce with a can of beans and a jar of tomato sauce — crossing path's with a cast of characters all with their own motives. The complex's bully DipStick is constantly trying to rat them out; Henry (Jeffrey Wright), a homeless war vet, won't let them canvas for change donations on his turf; and after too many favors, the local bodega owner is ready to wring Mister's neck. The ensemble enlivens the world around Mister and Pete, though rarely is anyone around to help them. Mister's world is insular. In his past, Mister never relied on his mother — by the time she's incarcerated, he's downright embarrassed by her. But without her, he is forced to go through years worth of growing up in a few weeks' time. Tillman finds comedy in that conceit, eliciting laughs from Mister's first attempt at cooking a turkey, and a fair share of drama too. The young duo manage to figure out how to find food without actually having money, but when the electricity goes out and Pete starts losing himself to illness, the pressure begins to crack Mister. Inevitable Defeat slathers on a heap of subplots (one in particular, Jordin Sparks' former building resident in a dangerous relationship with a rich businessman, is more of a time-filler than it's likely meant to be). Thanks to two breakout performances by Brooks and Dizon, who stand out against their Oscar-nominated costars, the heavy material is almost always palatable. The Inevitable Defeat of Mister and Pete is a recognizable achievement for Keys and her collaborators because it captures the heart and soul that made her a music icon. Keys provides songs for the film that fit naturally into Mister's existential journey. Even when the singer/songwriter isn't laying on vocals behind the action, in the movie's many quiet moments, you can still hear them. Inevitable Defeat feels visualized from Keys musical work. Somtimes it's soft, tender, and heartbreaking. Sometimes it's belting notes and pounding on the keyboard. The array of songs fit seamlessly into one album. Or in this case, distinct scenes flow into a single, charming movie. [Photo Credit: Unified Pictures] Follow Matt Patches on Twitter @misterpatches More: Gael Garcia Bernal Is the Hottest Import at Sundance Daniel Radcliffe Proves Himself a Star in Sundance's 'Kill Your Darlings' Naomi Watts and Robin Wright Sleeping with Each Other's Sons Is as Creepy as It Sounds You Might Also Like: 100 Hottest Women of the Century: Do You Agree? 9 Most Insane Celebrity Baby Bumps
  • In the Middle of a Gun Violence Epidemic, 'Blue Caprice' Hits Sundance Hard
    By: Matt Patches January 20, 2013 7:51am EST
    On Friday, the first day of the Sundance Film Festival, I was standing in line for a movie when suddenly, there was a loud, rapid fire string of popping sounds. Smoke erupted from one side of the enclosing tent. Someone yelled, "Run!" The crowd screamed in unison, dropped as low as it could, and stampeded over the line-managing metal gates. People flooded the parking lot. I hid behind a car for safety, hoping whatever was happening had ended. Turns out, it was just a fire extinguisher that had burst. These days, we're all on edge. Like myself, bystanders in the Sundance tent reacted to the shot-like sounds quickly, memories of news headlines from the last six months triggering survival instincts. That awareness makes the debut of Blue Caprice particularly unsettling. From director Alexandre Moors (who recently co-directed the short film Cruel Summer with Kanye West), the film tracks the year-long lead up to the 2002 Washington D.C. Sniper shootings, a string of murders known for its seemingly random nature. When the duo behind the killing spree,"Nation of Islam" member John Allen Muhammad and the 17-year-old Lee Boyd Malvo, were finally captured, both men remained silent on their motives. Even so, Moors and writer R.F.I Porto seize historical info to fictionalize and fill in the blanks for Muhammad and Malvo. Why would anyone commit such a heinous act? Blue Caprice presents a possible, frightening reason. Isaiah Washington stars as Muhammad, who meets Malvo (Tequan Richmond) after breaking a restraining order, kidnapping his three young children from their mother, and fleeing to Antigua. Muhammad takes Malvo under his wing, and when time jumps forward five months and the father figure is forced to give up his actual children yet again, he clings to the wayward teenager. Muhammad sees a second-in-command in Malvo, a soldier worthy of his cause. That drive is ambiguous; Muhammad seeks revenge against his ex-wife, but also despises society. Chaos, he believes, his only weapon, and when the two men cross paths with an Muhammad's old, gun-toting buddy, a plan becomes clear and inevitable. Often clinical and cold, Blue Caprice confidently reflects on a subject that few would voluntarily embrace. Washington gives himself over to Muhammad — we know there's something wrong behind his eyes, that rational thought was replaced by twisted logic long ago. Muhammad is a rambler of grandiose ideas. He's convinced that by shooting men, women, and children at random, that other misfits from around the nation will join him to form an anarchistic army. Malvo believes him too. After months of mental degradation, through Muhammad's inspiring words, the man's rigorous training schedule, or instances of physical torture (at one point, Muhammad binds Malvo to a tree and leaves him there to break his way out), the teen sees eye to eye with Muhammad. Murdering strangers becomes his purpose. And he's good at it. Moors styles Blue Caprice with a gritty palette, precision angles, and a dissonant soundscape that builds up the pressure. Often, the director strips everything away from the movie, allowing our fear to complicate his character's journey. After picking off their first few victims, Moors follows Muhammad and Malvo's signature vehicle, a shoddy, blue Chevrolet Caprice as it cruises along the Capital Beltway. The car exudes evil — not too far off from the killer truck in Spielberg's Duel or Stephen King's Christine. As they travel from place to place, It becomes quickly apparent that catching the murderous pair (as we know police eventually do) will be a stroke of luck. Blue Caprice functions independently as a searing drama, but the current climate makes it even more powerful. The film provokes questions: were Muhammad and Malvo ignored by people who could have prevented their rampage? Did the accessibility of firearms enable them to carry out the plan? Would they have eventually found a way to hurt others even if guns weren't part of the equation? In one scene, Washington and Malvo wrestle in the woods, violently pinning each other with rabid fury. This is their preparation, their normal state. In another movie, they might be Batman's diabolical villains. But they're real people, and they're the reason people today continue to watch their backs and run at the slightest popping sound. Discussions over gun violence and control in the United States is susceptible to sensationalism. It's a big picture conversation born from the actions of individuals. Blue Caprice wisely avoids connecting itself to those grand ideas, instead focusing on the people. We may never fully settle from what's happened in the past decade — as evidenced by the hysteria of the Sundance tent incident — but thanks to Blue Caprice, we can, at the very least, understand the root of the problem. [Photo Credit: SimonSays Entertainment] Follow Matt Patches on Twitter @misterpatches More: Daniel Radcliffe Proves Himself a Star in Sundance's 'Kill Your Darlings' Sundance's 'Breathe In': Homewreckers Are the New 'Manic Pixie Dream Girls' Can't We Get Sundance Star Jennifer Coolidge Her Own Movie Already? You Might Also Like: 100 Hottest Women of the Century: Do You Agree? 9 Most Insane Celebrity Baby Bumps
  • Sundance's 'Breathe In': Homewreckers Are the New 'Manic Pixie Dream Girls'
    By: Matt Patches January 19, 2013 4:03pm EST
    Back in 2005, writer Nathan Rabin coined the phrase "Manic Pixie Dream Girl" to describe Kirsten Dunst's character in Elizabethtown, a type of recurring female character that "exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures." Today, the archetype still remains, but has since sprouted new companions as the sensibilities of filmmakers adapt to the times. If Sundance 2013 is any indication, specifically Breathe In, the new film from Like Crazy director Drake Doremus, that new variation is less all-knowing, more sharp and unknowingly seductive. Inspiring in the life-shattering way rather than the life-enhancing variety. In the film, happily married music teacher Keith (Guy Pearce) has his nostalgic feelings for the past cranked to 11 when foreign exchange student Sophie (Felicity Jones) arrives to live at his home. Feeling that his life took a wrong turn (he used to be in a rock band but now he teaches piano), Keith discovers new possibilities in Sophie's innocence and intellect. He's happy with his wife Megan (Amy Ryan) and daughter Lauren (Mackenzie Davis) but with Sophie, Keith sees a return to his happiest moments. "The Disaffected Sexually-Charged Ingenue"? "The Spaced Out Siren Prodigy"? We may need to work on the phrase, but the fact of the matter is that it's an emerging presence in indie film. Breathe In resembles the Sundance 2012 premiere Nobody Walks, which starred Olivia Thirlby as a promising New York City experimental filmmaker who shacks up with family friends in L.A. in hopes of completing a new short. John Krasinski played the sound designer husband, who only needed on day with Thirlby's beautiful, creative self to throw in the towel on his marriage to Rosemarie DeWitt and hook up with the 20-something. You can find similar traits in 2012's The Oranges, Leighton Meister helping to push Hugh Laurie out of his multi-decade marriage to Catherine Keener. To all men in their 40s entertaining young, female house guests: beware. It never works out. Breathe In is a spiffier film than Nobody Walks, sporting luscious photography and a broader scope than its lower-budget counterpart, but both suffer from the dramatic emaciation of their female leads. Jones is a stunning actress — see Doremus' Like Crazy for evidence — but she merely floats through Breathe In. We see as Sophie mesmerizes Keith with her expert piano skills, we see Keith equally entranced by the glow of her bikini-clad body sunbathing by the lake, but what we don't see is any real life connection the two would make that would challenge everything Keith has ever known, so much so that he sacrifices his family for a new beginning. We're just told that's the case — the script forcing us down a path, swelling music making up for Sophie and Keith's foundationless romance. Sophie isn't a fleshed out character, she's a cinematic pawn to explore the male fantasy. This isn't to say that the scenario of Breathe In is impossible. Relationship dramas date back to the beginning of written work — what it takes is a closer analysis. Luckily Doremus has a fantastic ensemble on his hands — Pearce is always reliable and Ryan finds a way to wake the movie up with spats of humor — but this new shade of MPDG acts as an easy out for the movie. And if it continues to be a trend, more movies to come down the line. [Photo Credit: Indian Paintbrush] Follow Matt Patches on Twitter @misterpatches More: Daniel Radcliffe Proves Himself a Star in Sundance's 'Kill Your Darlings' Naomi Watts and Robin Wright Sleeping with Each Other's Sons Is as Creepy as It Sounds Sundance Doc Makes Interesting Comparisons to Manti Te'o, Lance Armstrong Controversies
  • We're Kind of Terrified to Search After Sundance's 'Google and the World Brain'
    By: Matt Patches January 19, 2013 10:25am EST
    In October 2004, Google announced an ambitious project, one that has imagined by the greatest minds of the world for as long as humans have recorded their thoughts. The Google Print Library aimed to be an all-encompassing destination for information. The plan: scan every book in the world and make them available to view by anyone, at any time, anywhere. A utopian concept — one that quickly took shape as Google connected with America's universitys to digitize thousands of manuscripts. "Google Books" was recognized by many as one the 21st century's great innovations. For others, a terrifying seizure of power. In Google and the World Brain, director Ben Lewis investigates the potential issues with the company's rising stature through interviews with writers, librarians, employees of the Titan corporation, and futurists. On the surface, even the most cautious can't help but speak in awe of the "world library." But when Lewis drops cautionary quotes from H.G Wells into the mix - predictions of a super power who eclipses all government with knowledge - the tone takes a turn for the worse. Futurist writer Jaron Lanier is the most vocal: with everyone in awe over Google's attempts to manifest the world library, Lanier believes society missed the step to regulate them. If there's one issue for the film is the inability to crack Google's secretive process. When it comes to their high tech tech book scanning, a mobile unit that treks to libraries across the globe, there are only 6 seconds of recorded footage depicting the process in action. The only Google employee Lewis enlists can't be pushed to weigh in on the negative ramifications of the project. When legal battles eventually ensue against Google, authors taking action in the murky world of copyright law, Lewis' often opt to keep mum. As the court room warring continues today, sources keep confidential information (that would add to Lewis' case) out of the interviews. Still, Lewis intriguing subject matter outweighs any road blocks he faces when mining facts. Like the futurists he's speaks with, Google and the World Brain looks at today to predict the future. Google isn't a nefarious enterprise, but decades from now, will power change them? There goal is to create the ultimate vault of information, one that can also support ads and enhance the artificial intelligence of their search engine. H.G. Wells wasn't far off when he imagined the future being home to a "world brain." Lewis' documentary isn't that different from the science fiction author's own forward thinking. Could Google pose a potential problem for the world as a whole, even if they're goals are to help evolve society? Leave your thoughts in the comments. [Photo Credit: Polar Star Films] Follow Matt Patches on Twitter @misterpatches More: Daniel Radcliffe Proves Himself a Star in Sundance's 'Kill Your Darlings' Sundance Doc Makes Interesting Comparisons to Manti Te'o, Lance Armstrong Controversies Sundance 2013: James Franco's BDSM Porn, Drunk Policemen, and More — TRAILERS From Our Partners: Child Stars: Where Are They Now? (Celebuzz) Craziest Celebrity Swimsuits (Celebuzz)
  • Daniel Radcliffe Proves Himself a Star in Sundance's 'Kill Your Darlings'
    By: Matt Patches January 18, 2013 4:27pm EST
    According to director John Krokidas, his feature debut Kill Your Darlings took nearly 11 years to bring to screen. After premiering at the 2013 Sundance Film Festival Friday afternoon, the slow cook appears to have only strengthened the film. If Darlings was released a decade earlier, it wouldn't have the impressive roster of Daniel Radcliffe, Dane DeHaan, Ben Foster, Michael C. Hall, Jack Huston, and Elizabeth Olsen to bring the vivid story of Allen Ginsberg and the beat poets to life. It's hard to imagine any other ensemble pulling it off. Even after a string of other performances (including the gothic Woman in Black), the question still lingers whether Radcliffe will evolve past his lightning-scarred former character into a viable leading man. Kill Your Darlings puts the speculation to rest. Embodying the unrestrained Ginsberg in his early years, Radcliffe bears witness to the energy, chaos, love, and harsh truths that flow through the streets of '40s New York. When he's accepted by Columbia University to study poetry, he's exposed to the alternative underbelly of the city, courtesy of the smooth-talking devil on his shoulder, Lucien Carr (DeHaan). Through Carr, Ginsberg is introduced to a rebellious group of writers: the on-again-off-again lover David Kammerer (Hall), the drug connoisseur William Burroughs (Foster), and the star quarterback of the literary squad, Jack Kerouac (Huston). Together, they eventually form "The New Vision," a poetic task force whose sole mission is to destroy lesser works of rigid indecency (that is to say, Ogden Nash is in their crosshairs). Krokidas takes full advantage of his setting, draping Kill Your Darlings in bold colors and compositions. The director knows when his scenes require a bit of swing — as Ginsberg and Carr delve deeper into the world of anti-establishment poetry, Krokidas' responds with stylish camera work and rhythmic editing. In a scene at the collective's Christopher Street jazz club hangout, Krokidas allows imagination to take hold of his realistic biopic. The effects of nitrous oxide seep in, the surrounding clientele come to a halt, and Carr and Ginsberg float around the room manipulating the frozen scene. When Ginsberg wakes up from his trip, it all makes perfect sense. But Krokidas also knows when to let the talent do the talking. Radcliffe is a performer who can stay silent, expose the mind of a thinker through the subtlest of reactions. One moment sees the actor wound up by recreational drug use, and Radcliffe rises to the occasion by stripping down, running around a room, and eventually settling at a typewriter to bang out his first poem. DeHaan is his foil, always ready to unleash bravado; his Carr enlivens the world around him, making it easy to see why Ginsberg would have been so taken by him. If Radcliffe's performance puts skeptics to rest, DeHaan's proves he's at the top of Hollywood's young actor's pack. The duo's romantic relationship creates conflict over the course of the entire movie, eventually swelling to a burst of passion. The authenticity of the moment may surprise even the biggest diehard Harry Potter fans. Kill Your Darlings has a rare vision behind it, and it's clear Radcliffe and DeHaan are in on the plan. The ups and downs never miss a beat, nor do they feel stricken to the form that Hollywood may normally take to bring a story of this nature to life. That feels like a cue from Ginsberg himself — as we see in the film, the poet's early days were filled with school lessons he threw to the wind (and flipped the bird to, naturally). His independent spirit runs through the veins of Darlings, a great Sundance pick that will no doubt find a home before year's end. And we'll still be talking about it then. [Photo Credit: Benaroya Pictures] Follow Matt Patches on Twitter @misterpatches More: Sundance Doc Makes Interesting Comparisons to Manti Te'o, Lance Armstrong Controversies Sundance 2013: James Franco's BDSM Porn, Drunk Policemen, and More — TRAILERS Robert Redford and Obama Ask: Is Gun Violence in Movies a Problem? From Our Partners: Child Stars: Where Are They Now? (Celebuzz) Craziest Celebrity Swimsuits (Celebuzz)
  • Sundance Post-'Beasts': The Festival Is More Important Than Ever
    By: Matt Patches January 15, 2013 1:28pm EST
    In January of 2012, director Benh Zeitlin's debut feature Beasts of the Southern Wild premiered to 1,270 Sundance attendees who, as the triumphant score crescendoed into the end credits, leapt out of their seats into a standing ovation. Audience reaction quickly poured out of the screening, many suggesting the movie was an early lock for award-season and the end-of-the-year Oscar race. A premature response from the energized festival-goers? Apparently not. Zeitlin's drama-with-a-drop-of-fantasy was quickly grabbed by Fox Searchlight following Sundance, where it picked up steam upon release and landed four Oscar nominations at the 85th Academy Awards. Beasts actually winning those awards against competition like Silver Linings Playbook and Steven Spielberg's Lincoln looks unlikely, but the mere fact of its presence is a triumph for the little guys. The really little guys. The definition of independent film and the culture of the Sundance Film Festival has changed since Robert Redford's Park City, Utah experiment first kicked off in 1978. Thanks to Hollywood's "blockbuster or bust" mentality, the types of lower-budget films that once peppered the studio slates are now done for low budgets with actors looking to gain a little indie cred. Instead of funding the next breakout comedy, award-contending drama, or even horror franchise, studios are looking to Sundance for recommendations. Welcome those crafty and daring enough to bring their visions to screen, then pick them up for movie-goers to enjoy. Following Sundance buzz also puts you, the future audience, in control of what they may see in their multiplexes later that year. Reception from those on the ground at Park City is only the first step. Through social media and Internet comments, Sundance has found a way to put those in the driver's seat. Hear about a movie you love? Make it loud and clear and that movie may eventually find a home. Beasts' big win sends a message to studios: original ideas can connect with audiences. The film made a solid $11 million in its summer run this past year, but now that it has a few awards to its name, the business is expected to go up. 2013's collection of titles that may have looked too fringe for the masses suddenly seem like fresh ideas ripe for the picking. Same goes for documentary films — four of the five Oscar nominees debuted at the 2012 fest. The outsider, The Gatekeepers, will play at Sundance 2013. With VOD, Netflix, and other streaming services emerging as major avenues of digestion, buyers are more eager than ever to pick up the Sundance movies. There's something for everyone when it comes to the festival line-up. For the first time, those movies can finally see the light of day in some shape or form. The scale of release comes down to demand. Along with being a place for discovery, Sundance also works as a launching pad for those brazen enough to stay completely independent. Shane Carruth isn't the first DIY filmmaker to keep his films close to the chest, but after wowing audiences with his heady sci-fi movie Primer in 2004, the director is hoping to recreate the magic by distributing his 2013 Sundance premiere, Upstream Color, on his own. Through crafty marketing and image-heavy teaser trailers, Carruth has built up excitement for the movie. He's building towards the Sundance premiere, which likely produce divisive reactions. The controversy should help bring more eyes to the movie and leverage the film when it makes its way to theaters and VOD in Spring 2013. In the early days of Sundance, the festival's stories — the shocks, the praise, the general tastemaking — rarely impacted those outside major cities with independent cinemas. In other words, most places around the world. But that's the past; we're living in a post-Beasts world where a Sundance unknown can end a year-long journey at the Best Directors table. We're living in a movie-going landscape where even the smallest film can find steal the spotlight for a mere second, zip through Twitter feeds and Facebook walls, and connect with someone who is going to love it. Sundance 2013 is right around the corner — are you going to be watching? Follow Matt Patches on Twitter @misterpatches [Photo Credit: Fox Searchlight] More: Oscar Nom Benh Zeitlin Praises 'Master Spielberg,' Compares 'Beasts' to 'Last Crusade' 'Upstream Color': The Mysterious Sundance Premiere 10 Years in the Making — TRAILER 'Beasts of the Southern Wild': Training Pigs to Pull Off Special Effects — EXCLUSIVE VIDEO From Our Partners: Megan Fox’s 12 Hottest Moments (Moviefone) 20 Hottest Bikini Bodies: Miley and More! (Hollywood.com)
  • Anne Hathaway Post-Oscar Prospects: A New 'Taming of the Shrew'
    By: Matt Patches January 15, 2013 5:53am EST
    Despite last week's Academy Award nominations leaving us with a few raised eyebrows and a heap of questions, one actress stands out as the prestigious ceremony's sure thing. After a stirring performance in Les Misérables, any Oscar pool participant would be remiss to bet against Anne Hathaway. Unless they wanted to be "that guy." Paired with her rave-worthy performance in the summer's The Dark Knight Rises, Hathaway is riding high and, judging from her next project, aiming to keep her quality-level on the ups. The Wrap reports that Hathaway has signed on to star in a new adaptation of William Shakespeare's Taming of the Shrew, to be penned by Shame and Iron Lady screenwriter Abi Morgan. Hollywood.com has reached out to Hathaway's reps for confirmation, but they were not immediately available for comment. At the center of Shakespeare's original version of Shrew is Katherina, a strong female character unwilling to play ball when Petruchio, a potential suitor, comes knocking at her door. Through mind games and mischief, Petruchio eventually "tames" Katherina to become his wife. With a vivacious and keen actress like Hathaway in the lead, it's likely Morgan may be playing loosely with the source material for their upcoming movie version. This won't be the first time Shrew has made its way to screen: the play has had its fair share of straight adaptations, versions dating as far back as 1908, and has been routinely modernized, most recently as 1999's 10 Things I Hate About You and the 2003 LL Cool J film Deliver Us from Eva. The legendary play even found its way to Broadway, in the form of Cole Porter's 1948 musical Kiss Me, Kate. The news comes in the wake of Hathaway's potential collaboration with Steven Spielberg, the blockbuster sci-fi flick Robopocaylpse, heading back into the oven for further development. Looking to fill the gap, Taming of the Shrew could come together quickly for the actress. Hathaway will also lend her voice to the upcoming sequel Rio 2, currently in the works from Blue Sky animation. Follow Matt Patches on Twitter @misterpatches [Photo Credit: Dimitrios Kambouris/WireImage] More: 'Les Misérables': Anne Hathaway Reveals She Was the Cosette to Her Mother's Fantine Oscar Nominees 101: Everything You Need to Know About the Stars and Their Movies 'Les Misérables': Anne Hathaway Reveals She Was the Cosette to Her Mother's Fantine From Our Partners: Megan Fox’s 12 Hottest Moments (Moviefone) Golden Globes: Tina and Amy’s Best Zinger’s (Moviefone)
  • Why 'Argo' Could Ride the Golden Globes to an Unexpected Oscar Victory
    By: Matt Patches January 14, 2013 11:06am EST
    Everyone loves an underdog, especially the movie-minded folks out in Hollywood (well, minus the ones that invested in 2007's ill-fated Underdog). Like the perfectly-constructed dramas Academy voters fawn over year after year, the bumpy journey of Ben Affleck's Argo — a film that owned, then quickly disappeared from, the awards conversation — may deserve an Oscar of its own. It all depends on the ending: whether the beloved Affleck can come from behind to take home the Academy's Best Picture award after losing traction in the wake of its release. After Sunday night's Golden Globes, the actor-turned-director was looking like a prize fighter ready to go all the way: Affleck picked up the Globe for "Best Director" followed by a "Best Motion Picture, Drama" win for his true story thriller, the unbelievable story of a 1979 mission to rescue Iranian Embassy members under the masquerade of a sci-fi blockbuster production. The win is bittersweet for Affleck, who only days before was snubbed by the Academy Awards in their Best Director category. Argo picked up a nomination for Best Picture, but support for the movie looked minimal without Affleck in the Director top five. Which also makes the Globes win a surprise. Argo is one of the many "prestige" films, movies one would never find in the first 8 months of the year when Hollywood floods the market with blockbusters, to beat the odds and make big bucks at the box office. Since its Oct. 12 release date, Argo has grossed over $111.6 million, picking up coveted critics awards along the way. Affleck's third feature was always considered a frontrunner; like two movies perfectly weaved together, Argo kicks off with the heart of a caper comedy before segueing into an intense thriller worthy of greats like Michael Mann and Sydney Pollack. A movie about movies, Argo had all the right parts for a Best Picture contender. The only thing going against it was time. Since 2000, only four of the Best Picture-winning films have been released before November. A majority of nominees have also been late-year releases — like the "bet $1" strategy in Price Is Right, movie studios' hope is that releasing their Oscar hopefuls closer to the actual voting deadlines will give them an edge. Argo built up strong buzz when it was first released, but with heavy-hitters like Lincoln, Silver Linings Playbook, Life of Pi, and Les Miserables popping up before the Academy called for votes, Affleck's gem lost luster. The Social Network ran into the same problem when it was released on Oct. 1, 2010. David Fincher's riveting drama was the one to beat for months after it debuted. The King's Speech arrived in December to steal its thunder. But don't count Affleck out of the running. The Golden Globes surprise turned heads in Hollywood and with the final Oscars votes still weeks away from being cast — final ballots are mailed to voting members in late January and are due the Tuesday prior to Oscar Sunday — the sympathy garnered from his win could sway the Academy. Having won an Oscar for co-writing Good Will Hunting in 1997, Affleck is an industry darling. He built up a status as a leading man before putting it aside for a directing career (it's still hard to believe the star of Armageddon was the eye behind The Town). Still, losing sight of his 2012 picture was easy with legends like Steven Spielberg, Ang Lee, new favorite David O. Russell, and Quentin Tarantino and Kathryn Bigelow, two directors who also failed to make the cut, but who likely took votes away from Affleck, Ross Perot-style. The Academy, watching Affleck take home two big awards at the Globes, could recognize their "egregious" mistake and pay respect to the triple-threat the only way they can: with a Best Picture win. History speaks volumes when it comes to Oscar predictions and the Academy's inclination on how to vote. If Nate Silver can predict the president with a complex series of algorithms and data, awards prognosticators can do the same with 85 years worth of Academy Award winners. Affleck's one major road block to taking back the gold is the rarity of that kind of wealth-spreading occurring in the past. Only three films have won Best Picture without having their directors nominated: Wings (1928), Grand Hotel (1932), and Driving Miss Daisy (1989). In the last decade, only Ang Lee was able to break away from the Best Picture/Director double-win, when he took home the prize in 2005 for Brokeback Mountain, over Paul Haggis, director of the Best Picture-winning Crash. On top of that, the Golden Globes aren't sure thing predictors for the Oscars — their Best Drama category has only named a Best Picture winner twice in the last ten years. Ben Affleck is fighting a losing battle when it comes to Argo at the Oscars, but it's one the industry wants him to fight. They rose for a standing ovation when he won the Golden Globes. They respect him. He's the underdog everyone loves. Like Rocky, he may not win the big prize in the end, but that may not matter as long as he's up for the fight. There's always Rocky II. Follow Matt Patches on Twitter @misterpatches [Photo Credit: Warner Bros. Pictures] More: Is Quvenzhane Wallis Oscar's Youngest Nominee, and 9 Other Questions About 2013's Race 'Argo,' Jodie, Tina, and Amy: The Golden Globes Gave Us a Crazy Night Oscar Nominations 2013: Biggest Snubs and Surprises — GALLERY From Our Partners: Megan Fox’s 12 Hottest Moments (Moviefone) Golden Globes: Tina and Amy’s Best Zinger’s (Moviefone)
  • 'Hunger Games: Catching Fire': Can Jennifer Lawrence Resist Finnick's 'Seductive Purr'? — PICS
    By: Matt Patches January 14, 2013 9:10am EST
    While Finnick and Katniss' relationship in The Hunger Games: Catching Fire never evolves into a full-fledged romance — a "love rectangle" may be too much, even for a young adult fiction adaptation — the first official images from the movie could lead someone to believe that romantic tension is in the air. Jennifer Lawrence and series newcomer Sam Claflin (Pirates of the Caribbean: On Stranger Tides, Snow White and the Huntsman) get up close in personal in the batch of stills, likely whispering game plans for the 75th Hunger Games as opposed to sweet nothings. In her novel, author Suzanne Collins does describe Finnick has having a "seductive purr." It's an aspect of the character that Claflin and director Francis Lawrence have clearly invested in. Two additional pictures reveal more of the highly anticipated sequel, set for Nov. 22, 2013 release. If they look familiar, it's because the book finds a way to send Katniss back to the titular deathwatch. For the 75th Hunger Games aka The Quarter Quell, all past Hunger Games winners are reenlisted for a new battle. That'll teach them to consider rising up against the government! Check out the photos below, teasing looks at Liam Hemsworth's Gale and Josh Hutcherson in Peeta's new threads, then weigh in: is Lawrence living up to the style that helped 2012's The Hunger Games become one of the year's biggest success stories? Follow Matt Patches on Twitter @misterpatches [Photo Credit: Lionsgate (3)] More: New 'The Hunger Games: Catching Fire' Poster will Spark Your Excitement — POSTER 'The Hunger Games: Catching Fire' First Look: The Quarter Quell Begins! — PICS 'Hunger Games: Catching Fire' Director Returning for Two-Part 'Mockingjay' From Our Partners: Megan Fox’s 12 Hottest Moments (Moviefone) Golden Globes: Tina and Amy’s Best Zinger’s (Moviefone)
  • Jodie Foster Clarifies Globes Speech: 'I Could Never Stop Acting'
    By: Matt Patches January 14, 2013 6:23am EST
    At Sunday night's 70th Annual Golden Globe Awards, actress/director Jodie Foster was bestowed with the Cecil B. DeMille Award, a lifetime achievement award presented to her by friend and fellow thespian, Robert Downey Jr. While most stars may humbly accept an honorary award with a few kind words and thank yous, Foster took the road less traveled, delivering a daring, impassioned speech that celebrated the arts, professed love to her family and friends, and quietly damned the people obsessed with digging into her personal life. Like that, Foster stole the show, completely justifying why she was receiving the award in the first place. While presented with vigor, Foster also kept her comments ambiguous, leaving many audience members scratching their heads. Was the star declaring that she was done with Hollywood and her life in the spotlight? Not quite, as Foster later clarified for journalists backstage at the Globes. “No, I am not retiring,” Foster told The Hollywood Reporter. “I could never stop acting. You’d have to drag me with wild horses." The actress went on to say that her work is evolving and she's anxious to direct again. “I’m actually more into it than I’ve been." Foster's backstage comments clarified a bit from her speech in which she described the murky nature of her future in the movie business, and which fans interpreted as a retirement proclamation: "This feels like the end of one era and the beginning of something else. Scary and exicting. And know what? Well, I will never be up on the stage again, or any stage for that matter. Change, you gotta love it. I will continue to tell stories to move people by being moved, the greatest job in the world. It's just that from now on, I may be holding a different talking stick, and maybe it won't be as sparkly. Maybe it won't open on 3,000 screens. Maybe it will be so quiet and delicate, only dogs can hear it whistle. But it will be my writing on the wall." One look at Foster's upcoming slate and it's clear the Renaissance Woman isn't slowing down. Next up is director Neil Blomkamp's District 9 follow-up, Elysium. When Hollywood.com spoke to Foster about the socially-inclined sci-fi film at this past summer's San Diego Comic-Con, the actress was just as pointed and elegant as she was during her Globes speech. "We've polarized our classes more and more," Foster said. "That's happened more in the last 50 years than it's happened in the last 500 years. It's outrageous. It's bringing countries down and we're paying for it. Earth is paying for it." Foster has a lot on her mind and she's not afraid to say it. In her comments from backstage at the Globes, Foster compared her award to university commencement. With an impressive resume and burning ambition, we're guessing the Cecil B. DeMille-winner will have little problem breaking in to today's job market. Follow Matt Patches on Twitter @misterpatches [Photo Credit: Trae Patton/Getty Images] More: Jodie Foster Will Be 4th Youngest Winner of Golden Globes' Lifetime Achievement Award 'Argo,' Jodie, Tina, and Amy: The Golden Globes Gave Us a Crazy Night Comic-Con 2012: Jodie Foster on How 'Elysium' Predicts the Future (And It Doesn't Look Good) From Our Partners: 25 Risqué Miley Cyrus Stage Outfits (Celebuzz) Guess the Celebrity Bikini Body! (Celebuzz)