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, 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 as Movies Editor in 2011. He proudly names "Groundhog Day" as his favorite movie of all time.
  • Jack Reynor Says Tribeca's 'What Richard Did' Is About Introspection, 'Transformers 4' Is About 'Blowing S**t Up'
    By: Matt Patches Apr 24, 2013
    When Michael Bay saw What Richard Did for the first time, actor Jack Reynor wasn't on his radar. Now he's the star of the upcoming Transformers 4. Reynor isn't sure exactly what convinced Bay to take a chance on him. "I'm not 100% certain. It's not something Michael and I really talked about. I'm a bit more, 'Yes, sir. No, sir,' with Michael. I just do what he says, take the job seriously, and get it done," Reynor says. Having seen What Richard Did at the 2013 Tribeca Film Festival, we can clear the fog on why Reynor might be the perfect pick to star opposite Mark Wahlberg in the upcoming sci-fi sequel: he's absolutely brilliant in it. In the Irish film directed by Cannes vet Lenny Abrahamson, Reynor stars as Richard, a typical high school senior with a picture perfect life. He's got a lovely family, a great group of friends, a steady position as a soon-to-be-pro rugby player, and he's inching closer to a relationship with the object of his affection. Basically, Richard has it made — but he's modest about it. Abrahamson's film rolls along with tender care, naturalistic and familiar in all the right ways as his character invests deeper and deeper into his relationships. "We spent a long time working on the movie before we shot it," Reynor says of the preparation. "We spent eight months workshopping and talking extensively about what kind of film we wanted to make. I think in those workshops, where we would talk about pretty much ever aspect of our lives, we came up with the most truthful story that we could." Reynor describes Abrahamson as a "genius" who employed techniques that created the fluid, recognizable cadence to What Richard Did's scenes. What looks and sounds like off-the-cuff acting is more like guided improvisation. "In scenes where they're badgering back and forth with one another, we had topics we set up," Reynor says. "We wanted to make it improv, but controlled improv. So we had topics: school, girls… conversations where we didn't set the words. Key points that we needed to go to where we needed to pass the ball between each other very quickly." Abrahamson also pushed the young actor to shade Richard with his own past. In one scene, Richard recounts the traumatizing event of accidentally killing a pet gerbil by drowning it in the toilet. Yeah, that was true. "That was my own personal story. I really killed that poor thing when I was five years old. Buried him in a shot glass," he says. Abrahamson didn't want a carbon copy of Reynor to stand in for Richard, but he was striving for reality. "I think Lenny would tell you as well, it's very difficult to take an actor and force them into a performance without making it feel a little contrived," the actor explains. "So Lenny wanted to bring the character to me. So we got an amalgamation of me and the character. There are definitely elements of myself that I invest into it. Which I think lends a lot of truth into it. But at the end of the day, Richard and I are very different people." One of the toughest scenes — the kind of gut-wrenching moment that would easily make Reynor a must-have in the eye's of Bay — comes late in the film, as Richard grabbles with the devastating consequences of "what he did." The character's life is shattered and Reynor explodes in a fury of emotion. It works because Richard's never directly reminded of his past actions. Instead, they continue to haunt every second of his life. "We decided to use this little trigger," Reynor says. "Richard wakes up and is instantly flooded with the thoughts of everything that's happened. It's about feelings. He feels this incredible shame and guilt and terror and it's an overload." The actor says that physicality played a bigger part in bringing the scene to life than any script note or "dramatic" angle did. "But it was very much about waking up and getting into a physical posture that allowed for it to be unlocked. It's difficult to explain, but it came physically more than mentally," he says. Transformers 4 may sound like an entirely different animal than What Richard Did, but according to Reynor… well, it is. "With Richard, I was excited to make this film with such an amazing role for an actor. Play a wide range of emotion and really invest myself in the character," he says. "With Transformers, I'm going to get to drive fast cars and have a lot of fun. That's what appeals to me about it. I want to have as much fun as possible." Reynor says that regardless of the scale or subject matter, his goal to be truthful never wavers. The director relationships are the real variable. For instance, the conversations he has with Abrahamson are entirely different than the ones he's had with Bay in these months before shooting the film. "With Lenny, we're talking introspectively about the human condition," he says. "With Michael, we're talking blowing s**t up." As serious-minded as Reynor sounds, his defining quality (that is quite evident on screen and off) is a desire to enjoy the work, enjoy the people around him, and enjoy the moment. His character Richard can often be seen kicking back and sipping beer while chatting to his friends. Reynor is quick to answer if he himself has a brew of choice. "Guinness, Guinness, Guinness, Guinness," he says before ruing the fact that'll he live in America for a majority of the Transformers 4 shoot. "I can't drink it here. It's terrible. What makes me so awfully sad is seeing them put Guinness in pitchers. You can't do that! That's terrible. You pour a pint of Guinness a certain way or it's not Guinness!" So while he's happy to be in New York City for Tribeca and revving up for Bay's next blockbuster, Reynor's looking ahead when he can return to Ireland. "When I get home after Transformers there'll definitely be a bit of drinking." Follow Matt Patches on Twitter @misterpatches More: Will Forte Gets Dramatic at TribecaChinese Reality Show To Cast 'Transformers 4' ActorsTribeca's Horror Movie 'Dark Touch' Is Legit Horrifying From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'Thor: The Dark World' Trailer: 10 Key Moments Reveal Love Triangles, 'Avengers' Connections, and Possible Deaths
    By: Matt Patches Apr 23, 2013
    With little more than a week before Iron Man 3, Marvel has wisely whets audiences appetites for their next endeavor: Thor: The Dark World. The first glimpse of the Thor sequel is a swift 1:46, but it's chock full of details. We knew Thor (Chris Hemsworth) and Jane (Natalie Portman) would eventually reunite, but the when/where/how has been up in the air. Now, we have a clearer picture. Here's the info we were able to trudge from the brief trailer:   The trailer opens on a group of kids entering a loading depot – no Thor or Asgardian magic to be found. Yet one of the kids seems to be either imbued with powers or being assisted by an off-screen presence. When he touches the front end of a mac truck, it begins to hover in the air. Are the other realms of Thor mythology bleeding into our own? We get our first glimpse of Thor's new adversary Malekith the Accursed (Christopher Eccleston) from behind. He's dangling from a hookup that's more reminiscent of science fiction than the first Thor's fantasy aesthetic. Like the ship from Predator 2 or a Borg cube from Star Trek, Malekith's "ship" is pure alien technology, tying this the sequel to the grand finale of The Avengers. It's unclear if this enormous rock pillar is connected to the levitating car trick, but clearly something from an alternate universe arrives on Earth's doorstep. Part Superman Returns' kryptonian rock, part Star Trek space drill, this otherworldly object smashes through the edge of the coast (at the National Maritime Museum? Brits, this one is on you), chasing Kat Dennings' Darcy Lewis. When Thor and Jane make it to Asgard, they're greeted by Sif (Jaimie Alexander). If those aren't the eyes of jealous childhood friend ready to start a love triangle, I don't know what are. Tanning bed or Asgardian medical bay? In this shot, Jane is wearing a dress different from when she zipped up the rainbow bridge to Asgard for the first time and when she's later seen grappling in the magical clenches of Malekith. What happens in-between? Her voiceover says "We're from separate worlds. Maybe they separate for a reason." Someone has a case of inter-dimensional jet lag. Malekith's warships once again pull from a science fiction palette rather than one of run-of-the-mill, Tolkien-inspired fantasy. Thor stressed that what humans saw as magic was really an evolved understanding of science. Thor: The Dark World pushes that explanation further. This is director Alan Taylor in full Game of Thrones mode (of which he is one of the main directors). One of the weaker parts of Thor were the hero's hammer-clobbering action sequences. The big Frost Giants scene from the first film was played in dim light. Finally, we see Thor bust some baddies up in broad daylight. The battle is likely taking place in Svartalfheim, the home realm of Malekith and his Dark Elf bandits. And then there's the Malekith money shot. In paparazzi snapshots leaked from set, Eccleston was pasty white across his whole face. In this shot, we see that half of his makeup job is covered in a crusty metallic shell. The comics explain that Malekith has a weakness to Iron — are we witnessing him having an allergic reaction. Very possible, thanks to what appears to be an iron piece of armor that Jane is wearing under her coat. Unless of course she thought a breastplate would be enough to ward off Malekith and she is painfully mistaken. In which case, Thor: The Dark World may make the bold (and, perhaps, contractually obligated) move of killing of Jane. Thor's Darth Vader-esque "NOOOOOOOOO!" plays to the theory. And the big finish. Wondering where Loki has been since The Avengers? Apparently he's been locked in an Asgardian holding cell a la Benedict Cumberbatch in Star Trek Into Darkness and Javier Bardem in Skyfall, growing out his hair like an '80s rock icon and waiting patiently for Thor to return. He'll be back along Thor's side once again in Dark World (we actually see him scaling a mountain earlier in the trailer), but don't expect him to play too nice…. Follow Matt Patches on Twitter @misterpatches More: First 'Thor: The Dark World' Trailer Reminds Us A Whole Lot Of 'star Trek'Thor, Your Giant Hammer Is Ruining My TV Reception'Iron Man 3' Set for $125 Million Debut From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Michael Bay's 'Pain & Gain' and 9 Comedies Inspired By Horrific Events
    By: Matt Patches Apr 23, 2013
    With this week's Pain & Gain, director Michael Bay (Armageddon, Transformers) scales down his usual explosive antics to tell a real crime tale with a twisted sense of humor. Pain & Gain stars Mark Wahlberg and Dwayne "The Rock" Johnson as two bumbling bodybuilders who devise a scheme to kidnap a local millionaire and torture him into handing over his cash. In the vein of movies like Fargo, Bay's movie finds humor in a dark side of human nature. Making the pitch black comedy a bit more uncomfortable is the fact that it's based on the true story of Florida accountant Marc Schiller who suffered at the hands of kidnappers in 1994. Pain & Gain isn't Hollywood's first attempt at spinning tragedy into comedy. Find out which movies used the same tactics in our gallery 10 Comedies Inspired By Horrific Events: Follow Matt Patches on Twitter @misterpatches More: See Wahlberg & Johnson at the 'Pain & Gain' Premiere8 Actors Who Didn't Understand Famous MoviesMark Wahlberg, The Rock Will Pump You Up From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • How Will Forte Got Out of His Head to Tackle His First Drama, 'Run & Jump'
    By: Matt Patches Apr 22, 2013
    "I am so happy I didn't have to do an Irish accent," Will Forte says when describing the experience of migrating to Ireland to shoot his first dramatic role, Run & Jump. "I do the worst Irish accent. It's all based on the Lucky Charms commercials." He tries his hand at "purple horseshoes," and it dawns on him that it might be sub-cereal character level. "Actually, I can't even do the Lucky Charms accent." Run & Jump makes its debut at the Tribeca Film Festival and pairs the former Saturday Night Live player with Maxine Peake, an English actress famous for her stage and TV work, including the UK version of Shameless. Peake stars as Vanetia, a vibrant Irish woman whose husband, Connor (Edward MacLiam), suffered a violent stroke that left him in a coma. After awakening and spending four months recovering, Vanetia brings him home — accompanied by Ted (Forte), an American psychologist who plans on studying Connor. Oscar-nominated director Steph Green captures the collision of new personalities and relationships with frankness, subtle camera work, and the popping colors of the Irish backdrop. Green didn't ask Forte to attempt his Lucky Charms accent, but it was still demanding for the actor, who is better known for outlandish characters like MacGruber than for losing himself in understated realism. "It was kind of terrifying for me, having never done anything like this," Forte says. He admits that he responded to the script but had no idea if he could pull off the "acting" required. "A lot of the stuff I've been involved in, you have to do a lot of big, broad characters. So my internal mechanism to figure out what real people act like is a little off. It's just different to be a real person." Forte wasn't alone. When Peake got the call that Green wanted her for the film, she couldn't help but be a bit self-deprecating. For the actress, there became an obvious difference between her past work and Run & Jump. "Once Steph explains it, it's very minimal," she says. "'Stop crying.' There was a lot of that. I'm known in England for crying a lot, so I was out of my comfort zone. Will was out out of his comfort zone because he wasn't doing comedy and I was out my comfort zone because I wasn't allowed to cry." Forte says moving to Ireland was a huge help in tackling dramatic work. "It really helped because it was this safe environment very far away from anyone I knew." Forte began his career as part of The Groundlings comedy troupe, going on to tackle behind-the-scenes roles writing comedy. He had to shake his writer's perspective when he was eventually given the opportunity to perform on camera. "When I got the chance to act, I would be thinking, 'Oh these guys who wrote this thing for me are disappointed.' I get into my head on that stuff." He jokes that moving away was vital for Run & Jump. "I cannot do domestic serious [laughs]. Everything was a new experience." The duo rehearsed with Green for nearly a year and half, building back story that you only see traces of in the finished film. "My character was born in Ireland, went to England, and came back," Peake says. "That's all the backstory Steph and I did — and all the lines were cut in the edit … but it was about her sense of identity." The actual lines may not have made the film, but the characters in Run & Jump have a rare sense of age. They're lived in, having pasts that become clear by present interaction and Vanetia remembering a time that was. "The trap you can fall into as an actor is feeling sorry for the actor instead of being true to the character's emotional life," Peake says. "I think that was a balance Steph told me. There was a scene where Ed's character walks past him and I'm having a couple of tea. And then I was [crying sounds]. And Steph says, 'Why are you doing that? Just sit and have a cup of tea.' Of course! She had such a vision of how someone would deal with grief." According to Forte, the early days of rehearsals required a bit of hand-holding. But he worked with Green rigorously, turning the actual shoot into more of a fine-tuning process. A bit of facial hair only made him more confident. "For some reason, my acting changed with the beard. It was like a cloak. Like a safety blanket." In a way, it was like a totally different actor went and shot Run & Jump. An out-of-body experience. "I didn't do a bad job in that scene, that guy with the beard did a bad job in the scene!" Forte jokes. Follow Matt Patches on Twitter @misterpatches More: Tribeca: Ben Stiller Divulges Career SecretsTribeca Film Festival 2013: 15 Movies to Have On Your RadarOur Latest 'Saturday Night Live' Recap From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Listen: Duncan Sheik Wrote a 'Because of Winn Dixie' Musical
    By: Matt Patches Apr 19, 2013
    Have you ever listened to the sweet, sweet sounds of Duncan Sheik's 1996 hit "Barely Breathing" and thought, "I wish a 10-year-old girl was singing this song to a lost puppy"? If so, your dreams are about to come true. Singer/songwriter Ducan Sheik, who previously penned the hit Broadway show Spring Awakening, is lending his talents to an new musical based on Kate DiCamillo's Newbery Award-winning book, Because of Winn Dixie. The show is currently in development with renowned theater pet trainer Bill Berloni, best known for his work on the original production of Annie. Berloni appeared on WNYC's Soundcheck to discuss the recent revival of Annie, but capped the interview with a recording of Sheik performing a number from the show (the tune kicks in at the 12:30 mark) While not the most obvious coupling, it's easy to imagine Sheik's folky '90s sound fitting the summery setting of Because of Winn Dixie. The book was previously adapted into a 2005 film starring Carrie Diaries star AnnaSophia Robb. Now, Berloni will attempt to pull it off on stage — tricky, but the titular pup is featured in nearly every scene. Keeping that in mind, while we enjoyed Sheik's soothing preview of the show, the big question remains: will there be a number where the dog takes the lead? No word on when or if the show will make its way to Broadway, but Sheik's latest theatrical effort will make its debut Arkansas Repertory Theater in Little Rock, Ark. this December. Follow Matt Patches on Twitter @misterpatches More: Cameron Mackintosh Hints at a 'Miss Saigon' MovieHot Guys with Puppies From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'Oblivion' Designer Confirms Tom Cruise's Ship Wasn't Modeled After a D**k
    By: Matt Patches Apr 19, 2013
    According to Oblivion production designer Darren Gilford, the film's unique "bubble ship" was inspired by many real life machines, vehicles, and technology. One thing it wasn't based on was the male anatomy, the accusation that many Internet commenters have been making. "I've been reading some of the reviews, so I cringe when I hear that," Gilford says with a laugh. He has a sense of humor about how some unique minds may have perceived his latest creation. "There was one review that said 'white testicles' and I went 'UGH.'" Oblivion is Gilford's second collaboration with director Joseph Kosinski, a former architect whose penchant for meticulous design helped realize the vivid world of Tron: Legacy. Kosinski is a rare case, a filmmaker who brings all walks of life to the table when he's developing a movie, and whose background pushes him to treat his science fiction like science. "I think he's got a good balance between that and the artistic style," Gilford says. "The science definitely has to be grounded for Joe. It's got to be based in reality." From the get go, Kosinski had a clear vision for how he wanted the world of Oblivion to appear. It was all about juxtaposition. "We wanted to have a really high contrast between the world above and the world below," Gilford says. "The world above needs to be a healthy, sterile, clean, clinical environment." With that in mind, Gilford set out to translate images initially drawn by Swedish graphic artist Andree Wallin into functional, fully-realized sets and vehicles. Oblivion started its life as a comic book so Kosinski could show off the concept to studios. Gilford knew those ideas would have to be pushed further for the movie version. "Those very basic shapes and forms were the point of departure," he explains. "They all kind of came together when we developed looks and illustrations and we knew they had to be in the same family, in the same world." Gilford suggests that there wasn't a singular point of conception. Everything was designed simultaneously. Kosinski created a design mantra and it informed each moment of the movie. "When we started developing the sky tower, early on he said, 'I don't want any distortion,'" Gilford says. "'I want it to feel very anamorphic in an architectural style. I want the verticals to be true to the edges of frame.' That goes back to his eye for architecture and eye for photography." Gilford says that even in the early comic book drafts, Tom Cruise's "Jack" traveled across the post-apocalyptic landscapes in a "bubble ship," inspired by Kosinski's love for old Bell 47 helicopters. "[It had a] big glass ball and a very dragon fly shape and it's got a tental structure on the back of it," Gilford says. "He always loved that for the visibility that bubble offered." Riffing on the design of the Bell also allowed Gilford's team to create something that suited their star's tastes. "Knowing that [Cruise] was a pilot and wanting him to be comfortable and in control, we did a lot of research in helicopters, the controls of a real helicopter. The collective, the throttle, how those elements work off the right and left hand. It goes back to what the Tet would have researched." The Tet, the hovering pyramid that oversees Jack's work on planet Earth, also influenced the bubble ship's look. Again, Gilford wanted contrast. "The Tet is a triangle shape and the cockpit which was a sphere. It was very geometric." According to Gilford, Wallin's first sketches of the bubble ship had the engines as canisters, but the finished product went spherical. For the production designer, it's all about simplicity. "We always like to keep our designs based in clean, geometric shapes. Not getting too crazy organic or too liquid or too sculptural." Gilford's goals and influences revolve around the most basic shapes, because we perceive them accurately. "That was definitely the influence — not the phallic shape!" Besides finding the bubble ship aesthetically pleasing, Gilford acknowledges that the script for Oblivion demanded the basic approach. "We needed to be 60 years in the future," he says. "The interior is influenced by the tradition of helicopters. Not the one from the floor, but from the console. The landing gear, all traditional helicopters. So the audience connects. The engines have a F14 fighter engine look. How they adjust and flaps direct the thrust — it's all based on influences that the audience is somewhat familiar with. We didn't want to go too far out of that." Oblivion has a number of twists and turns as Jack falls down the rabbit hole and, in turn, Gilford's line of thinking for the bubble ship design had its own mindbending logic to grapple with. Beware, spoilers! "The big reveal is that the futuristic aesthetic is a human projected evolution of what the aliens, the Tet, could gather from the human research," he says. Since Jack is being given directives from the invading aliens, not actual humans, the technology needed to feel as though it was interpreted by an outside perspective. "The fun part of that was that we could blur the lines in the beginning of the story. You want to think it's a human evolution of technology and design, but ultimately it's an alien design. The design aspect freed us up in that sense. We had to play in both sides of the story." So really, blame any suggestive imagery on the aliens. Oblivion is currently in theaters. Follow Matt Patches on Twitter @misterpatches More: Could Famous Monuments Really Survive The Apocalypse?Tom Cruise Only Gets Hurt HandsomelyRead Our 'Oblivion' Review  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'Oblivion' Review: Let's Face It, Tom Cruise Is the Man
    By: Matt Patches Apr 18, 2013
    Tom Cruise is the biggest star on the planet, yet his greatest strength is a willingness to take a back seat to a director's vision. In Oblivion, the actor dials back his usual heroism to play pensive wanderer Jack, a technician preparing to return to the rest of civilization that recently vacated a post-apocalyptic version of Earth. After aliens destroyed our planet's moon, humans nuked the crap out of them before heading to Saturn. Jack helps harvest remaining sea water of Earth, used as fuel on the new planet, and with only days left, he dreams of the past — memories he, theoretically, should not have. That's some serious plot. Cruise wisely goes along for the ride, leaving most of the work to director Joe Kosinski (Tron Legacy), who's just as caught up with the fluid motions of his futuristic vehicles and decimated metropolis landscapes as he is with Jack's emotional roller coaster ride. Kosinski, working off a screenplay he wrote with Karl Gajdusek (Last Resort) and Michael Arndt (Star Wars VII), picks and chooses an array of sci-fi concepts to stuff into the movie, making Oblivion a wholly original story where every moment feels familiar. Luckily, Kosinski is a master patch worker. He sweeps slowly over every landscape like he's shooting a nature film, with a fetishism over the operation of every piece of technology so we understand how it works, takes us through the daily operations of Jack and his Victoria (Andrea Riseborough) step by step so we're drowning in the monotony of their jobs. It's a slow build and Kosinski, unlike so many genre movies we see today, demands we see the work he's put into building the world of Oblivion. And it's satisfying. Cruise makes for the perfect surrogate on Jack's observational journey. Like War of the Worlds, he can sell the blue collar worker going through the motions of flying his Mac-inspired spaceship to fix broken drone bots and he can sell the action that amps up as he uncovers the truth about his existence. Jack is never confident, and the emergence of a mysterious human visitor, Julia (Olga Kurylenko), or the leader of a subterranean resistance group (enhanced by the gravitas of Morgan Freeman), make him draw back further into his head. Kosinski twists and turns and forces Cruise back into his own head and it subverts our expectations of a public figure we still imagine jumping up and down on Oprah's couch. There's an epic quality to Oblivion that Kosinski embraces too casually. It misses out on greatness by never finding an emotional hook and letting the score by electronica artist M83 do the talking. While Victoria and Jack's relationship is meant to be cold ("We are still an effective team," Victoria tells her literal higher ups each morning), there's little personality in the world around them — especially in the overcompensating soundtrack. It's a Tron Legacy rehash, blaring horns and pounding drums burying Cruise's hushed work. By the end, when Jack rises up to hero status, it feels more like an excuse to match the soundscape than the next step of his evolution. Oblivion is the definition of style over substance, but Kosinski delivers on the eye candy. He and Cruise give the story and characters just enough weight that they're worth following through the multi-million dollar screensaver world — a spectacle that must be seen on IMAX. Dense with backstory, Oblivion is the type of movie that won't survive scrutiny, and that's half the fun. It'll mesmerize in the moment and spur debate, fury, and plenty of questions on the walk to the car. 3.5/5 What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes! More: 'Oblivion': Tom Cruise's Post-apocalyptic Future Is Appropriately GlossyTom Cruise Only Gets Hurt Handsomely And Here Are 7 Pics To Prove ItThe Beginning of Tom Cruise's 'Oblivion' Looks Like the End of 'Planet of the Apes' From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Cannes Film Festival: Ryan Gosling, Emma Watson, Justin Timberlake, and More Head to France
    By: Matt Patches Apr 18, 2013
    The Cannes Film Festival: where big name Hollywood stars and renowned American directors rub shoulders with the global elite. It's like moviedom's version of the Olympics, filmmakers and performers from around the world spend a week along the beaches of France, showing off their latest work in hopes of generating buzz and finding breakout success. This year's slate of films sports plenty of recognizable faces: Ryan Gosling reteams with his Drive director Nicolas Winding-Refn for Only God Forgives; the Coen Bros. will show their loose Dave Van Ronk biopic starring Oscar Isaacs, Carey Mulligan, and Justin Timberlake; Steven Soderbergh's HBO movie Behind The Candelabra touts Matt Damon and Michael Douglas; and the "Out of Competition" category boasts Emma Watson's bad girl crime pic Bling Ring and the James Franco-directed Faulkner adaptation, As I Lay Dying. A packed roster. On top of that, Cannes 2013 also has an eclectic collection of foreign films that look equally fascinating — if they can live side by side with the Hollywood elite, that means something. Dive in to the full lineup below and watch out for's coverage of the 2013 Cannes Film Festival when the debuts begin in mid-May: Opening film: The Great Gatsby, dir: Baz Luhrmann
 Closing film: Zulu, dir: Jérôme Salle CompetitionOnly God Forgives, dir: Nicolas Winding-RefnLa Grande Bellezza, dir: Paolo SorrentinoBehind The Candelabra, Steven SoderberghThe Immigrant, dir: James GrayVenus In Fur, dir: Roman PolanskiStraw Shield, dir: Takashi MiikeNebraska, dir: Alexander PayneJeune Et Jolie, dir: Francois OzonThe Past, dir: Asghar FarhadiInside Llewyn Davis, dir: Joel & Ethan CoenJimmy P., dir: Arnaud DesplechinHeli, dir: Amat EscalanteGrisgris, dir: Mahamat-Saleh HarounLike Father Like Son, dir: Hirokazu Kore-EdaLa Vie D’Adèle, dir: Abdellatif KechicheBorgman, dir: Alex Vann WarmerdamA Touch Of Sin, dir: Zhangke JiaMichael Kohlhaas, dir: Arnaud DespallièresUn Château En Italie, dir: Valeria Bruni-Tedeschi Out of CompetitionBlood Ties, dir: Guillaume CanetAll Is Lost, dir: J.C. Chandor Un Certain RegardThe Bling Ring, dir: Sofia Coppola (Opening film)Omar, dir: Hany Abu-AssadDeath March, dir: Adolfo Alix, JrFruitvale: dir: Ryan Coogler*The Bastards, dir: Claire DenisNorte, Hangganan Ng Kasaysayan, dir: Lav DiazAs I Lay Dying, dir: James FrancoMiele, dir: Valeria Golino*L’Inconnu Du Lac, dir: Alain GuiraudieBends, dir: Flora Lau*L’Image Manquante, dir: Rithy PanhLa Jaula De Oro, dir: Diego Quemada-Diez*Anonymousv, dir: Mohammad RasoulofSarah Préfère La Course, dir: Chloé Robichaud*Grand Central, dir: Rebecca Zlotowski Midnight ScreeningsBlind Detective, dir: Johnnie ToMonsoon Shootout, dir: Amit Kumar* Homage To Jerry LewisMax Rose, dir: Daniel Noah Special ScreeningsSeduced And Abandoned, dir: James TobackWeekend Of A Champion, dir: Roman PolanskiMuhammad Ali’s Greatest Fight, dir: Stephen FrearsStop The Pounding Heart, dir: Roberto MinerviniBite The Dust, dir: Taisia Igumentseva (Cinéfondation)* Gala Screening in honor of IndiaBombay Talkies, dirs: Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar, Karan Johar Follow Matt Patches on Twitter @misterpatches More: Ryan Gosling Looks... Different On The 'Only God Forgives' PosterSee Emma Watson Pole Dancing In 'Bling Ring' — VideoMatt Damon and Michael Douglas Say 'Behind The Candelabra' Will Respect Liberace's Legacy From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Oscars Rehire Craig Zadan and Neil Meron to Produce: Sign of Faith or Do-Over?
    By: Matt Patches Apr 17, 2013
    Last year's Oscars pulled off the impossible: all at once, it was one of the more sluggish shows in Academy history while stirring the pot with Seth MacFarlane's controversial humor and showcasing a number of shocking wins. The ceremony was masterminded by Craig Zadan and Neil Meron, the producers of Chicago and NBC's Smash and reception to their work was split down the middle. Even we here at were divided, some of us approving of MacFarlane's hosting, some of us who found a grueling endurence test. So color us surprised that the Academy is rehiring the duo for next year's show, already set for March 2, 2014. The decision of who will oversee the prestigious ceremony is normally left to the final months of the year. But the official press release explains, "in order to establish continuity with this year's enormously successful show, we felt it was important to give these consummate professionals the green light now to begin creating another great evening." Continuity? Is this a Marvel comic book movie? Apparently the dense mythology established at last year's Oscars requires an experienced touch for the sequel. In some ways, what didn't work in Zadan and Meron's last effort was what made it a huge success. Their 84th Oscars ceremony drew in 40.3 million total viewers, delivered a 13.0 rating among adults 18-49 and became TV's most watched telecast in three years, per data from the Academy. Hiring MacFarlane — who has already stated he won't be returning for the 2014 show — certainly helped hook the younger audience. What tactics will the team take this year? The announcement of Zadan and Meron's return reminds us that their show "displayed a signature style that incorporated a single concept for the entire evening which linked together the disparate elements of the Oscar show through music," meaning the point of hiring them again is to utilize the same concept. But this can't be a simple copycat act — last year's telecast ran 30 minutes longer than usual, with "tributes" bloating the show without any rhyme or reason. Thanks to Zadan and Meron's Broadway roots and the Academy's forced love for Les Misérables, the 85th Oscars tipped their hat to the modern movie musical. Great concept, terrible execution. Bowing down to Chicago, the effort was a pat on the back to their own work. Adding to the confusing fluff of the night was the James Bond tribute, which offered little in the way of authentic 007 love (none of the actors appeared and Halle Berry's Jinx from Die Another Day appeared in a montage three times!). Zadan and Meron won points for recruiting Bond mainstay Shirley Bassey to sing a medley of theme songs, but it lacked pizazz. This is Bond, a character who's survived 50 years of cinema, a golden Hollywood franchise. If Zadan and Meron are going to try their hand at mustering nostalgia and merging it with the evening's festivities, they're going to have to do more than throw ideas at the wall. In some ways, rehiring Zadan and Meron feels akin to Ocean's 12/Ocean's 13. After the major misfire of the Ocean's sequel, Steven Soderbergh decided he should really come back to the franchise and go out with a bang. He experimented, now he had to try and find the soul that made the original concept so engaging. For naysayers of last year's Oscars, the return of Zadan and Meron shouldn't be an immediate red flag. The Academy Awards do need showstoppers, they do need gushing about old movies, they do need silly comedy bits featuring our favorite celebrities, and they desperately need a host with a little edge. Zadan and Meron were on the right path, but they flopped in the organization. It wasn't Hollywood's night, it was Hollywood's biggest circus. Are there comedians with an ounce of charm left in the world? Rumors swirled early in the 2013's planning stages that Jimmy Fallon or Jimmy Kimmel could step in as hosts — that would be perfect. Kimmel knows his movies and pop culture, Fallon too (with the added bonus that he can sing, dance, and play off Zadan and Meron's musical sensibilities). And while he's made every stop on the hosting circuit, Neil Patrick Harris is an obvious, solid choice. For many, he's the bridge between mainstream and the theater world. Music to Zadan and Meron's ears. The producing team's repechage gives them an advantage of knowing the hurdles necessary in tackling the Oscars with the unprecedented time to pull it off. They can watch the cultural reaction to a year in movies and target the zeitgeist more accurately. They'll have ample time to ensure that William Shatner doesn't strong-arm anyone into letting him take part in the telecast. Taking a hit from critics and social media reaction will impact the way business is conducted this year — meaning, Zadan and Meron's return isn't simply a sign of faith or call for do-over. It's a demand to take notes and restage. Two guys familiar with Preview Nights of Broadway musicals know a thing or two about that. Keep this in mind: with Smash all but cancelled, these two need something to do. Why not the Oscars again? Follow Matt Patches on Twitter @misterpatches More:Seth MacFarlane Will Not Host 2014 Oscars — Who's Next?Oscars 2013: Read the Losers' Discarded SpeechesThe Burning Questions of Oscars 2013 From Our PartnersJessica Alba Bikinis in St. Barts (Celebuzz)Which Game of Thrones Actor Looks Least Like His On-Screen Character? (Vulture)
  • Can Kate Upton Prove to Be More than Arm Candy in 'The Other Woman'?
    By: Matt Patches Apr 16, 2013
    Each season of America's Next Top Model, model-turned-actress-turned-talk-show-host-turned-reality-competition-host Tyra Banks challenges her congregation of fierce-faced hopefuls to an acting exercise. Whether it's dressing up in embarrassing costumes and "creating a character" or rolling around in motion capture suits to bring video game characters to life, they're asked to show off skills that go beyond a pouty lipped still photograph. It's part of the job. Which makes the jump from super model to Hollywood starlet natural, acceptable, and, over the past 100 years of cinema, routine. Making a career out of the leveraged attempt becomes the trickiest part of the segue. At only 20 years old, Sports Illustrated breakout Kate Upton seems like a promising addition to the pack. Yes, the stunning swimsuit model has thus far only appeared as "hot nun" in last year's The Three Stooges and a rich guy's mistress in Tower Heist. But her future looks promising with the announcement of a new role: Upton will star opposite Cameron Diaz in the upcoming dark comedy The Other Woman. It's a significant step up from her previous roles, which required nothing more than for her to look beautiful — according to The Hollywood Reporter, she'd be playing along with Diaz and Leslie Mann as a trio of women plots against a cheating husband played by Nikolaj Coster-Waldau (Game of Thrones). Comedic talent required. We've seen a lot of Upton, but little of her acting prowess (unfortunately, Tyra Banks didn't publicly put her through the ringer before she exploded on to the scene), but that The Other Woman director Nick Cassavetes is pairing her with Diaz is a sign of confidence. Diaz is one of the few women in Hollywood who carved out a substantial modeling career before shifting gears and remaining in the fast lane. Starting at 16, the actress modeled around the world for big name accounts. Five years later, she appeared in The Mask opposite Jim Carrey. Now she's a box office draw and go-to female comedic performer. People barely remember that 1992 soft core bondage movie that bridged her two careers (that's She's No Angel, by the way). Sure, for every Diaz there's a Kelly Brook. For every Oscar-winning model-turned-actress like Halle Berry, you have Stephanie Seymour. And while Transformers: Dark of the Moon leading lady Rosie Huntington-Whiteley might convince the skeptic that today's models are recruited purely for arm candy roles, it's important to remember that niches can be carved. Milla Jovovich became an action star. Olga Kurylenko is a science fiction darling. Rebecca Romijn continues to find success on the small screen. The downfall for models-turned-actresses is when their looks become the focus of their roles. The transition involves dropping the glamour — nearly impossible because of Hollywood demands. Even in movies that aim for realism or real character work, models are, intentionally or not, presented as visual stimuli. Cindy Crawford wasn't taking home any awards for her work in 1995's Fair Game, but it didn't help that she still looked like Cindy Crawford. Same goes for Gisele Bundchen, who continues to pop up in movies and play variations of herself. In Taxi she's the villainess and still looks like a million bucks! How could she not? Diaz did an amazing thing a mere five years after The Mask. She looked disheveled. If Upton steers down the right course in her movie career, there's reason to think she could go on to Diaz-level success. It won't even require a BDSM movie to get there. In the image-conscious world of Hollywood, shattering expectations by not looking like a human crafted with the Golden Ratio is key. Teaming up with a model-turned-actress like Diaz for a new comedy is a step in the right direction. Taking looks seriously won't. As a viewer, I endorse Kate Upton continuing to look amazing in movies — I just don't want her to rely on it. The world doesn't need a sequel to Pamela Anderson's Barb Wire starring the new "it girl." Unless Brooklyn Decker is free. Follow Matt Patches on Twitter @misterpatches More: Kate Upton Basically Naked on 'Sports Illustrated' CoverKate Upton Says Yes to Teen's Prom ProposalDove Video Proves Women Are More Beautiful Than They Think From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)