Mad Men Cast Gets Intimate in New York


Theres no doubt that Mad Men fans are the shows toughest critics, so when NBC Nightly News anchor Brian Williams opened last nights Mad-ness Returns to the Paley Center Q&A, he didnt hesitate to grill series creator Matthew Weiner on a glaring mistake from this past Sundays episode. The notoriously fastidious Weiner was made to eat crow when Williams pointed out that Joan Harris seemingly throwaway line about making a reservation at Le Cirque was an anachronism Mad Men is currently set in 1968, and the famed New York restaurant didnt open until 1974. Williams, ever the newsman and previously established Mad Men fanboy, even produced a copy of the days New York Post, which featured an article on the error. Weiner took the slip-up in stride, doing what any self-respecting showrunner would do, which was to pass the buck. He immediately put the blame on actress Christina Hendricks, who was conveniently not present for the panel: She was ad-libbing, Weiner joked.

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Weiner, along with cast members Jon Hamm, John Slattery, Vincent Kartheiser, January Jones, Jessica Par and Kiernan Shipka, sat down with Williams for an hour-and-15-minute conversation at the Paley Center for Media in New York about the Emmy Award-winning AMC drama that, even in its sixth season, continues to dominate the TV-culture zeitgeist. There was no rest for the weary though, as the cast only completed shooting this past Thursday. Williams gave his employer, NBC, plenty of free publicity throughout the evening, making faux-nervous comments like Im petrified Im going to Farley thisat the start of the panel (he didnt), and confirming with Weiner that a mention of an Old Spanish cocktail on Sunday nights Mad Men was indeed a tip of the hat to now-departed series 30 Rock. While Williams did his best to steer his questions evenly toward all members of the panel, there was no denying the bromance that has developed between him and series star Hamm over the years, no doubt thanks to the actors regular presence at 30 Rockefeller Center (home to Saturday Night Live, Williams day job he made it to the Paley Center on foot less than 15 minutes after finishing his Nightly broadcast and the setting for last years 30 Rock live episode, in which the two traded off playing David Brinkley). A running gag was Williams ribbing Hamm over his Don Draper-esque Mercedes-Benz commercials. Williams: It really doesnt seem like much work. At least I stand when I do my work, responded Hamm, referencing Williams desk job. But Williams didnt save all of his dry humor for Hamm. When he asked Par how much denial Megan is in over her marriage, she began by answering that her character is an optimist, but Williams quickly interrupted with his follow-up: Does Megan have a sense of smell [when Don walks in early in the morning from one of his trysts with Sylvia Rosen]?

One character whose affair score card is starting to creep up to Draper numbers, however, is Pete Campbell. Kartheiser spoke with Rolling Stone prior to the start of the panel about how Pete still hasnt quite mastered the art of infidelity: Hes not as good at cheating close to home as Don Draper is, thats true. He didnt account for [Cos Cob neighbor Brendas] obsessive quality. Pete Campbell gets it where he can get it I dont think hes too picky. He doesnt have the same kind of pull that Don Draper has, and he feels blessed if he can get any at all.

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Mad Men was touched upon at several points during the evening, with Williams asking Who do we thank or blame for Zou Bisou Bisou? as well as commending Weiner for the use of a Serge Gainsbourg song in this weeks episode. Par, whose rendition of the aforementioned y-y earworm was released on iTunes last year to mass acclaim, talked with RS about her desire to do more singing, but suggested its the struggling music business thats more of a roadblock: The industry is just rolling in it these days, theyre throwing money at me left and right, she quipped. Weiner, who also stopped to chat with RS, said that if he had to pick one song that encapsulated the mood of 1968, it would be Big Brother and the Holding Company, Piece of My Heart. Its soulful, its done by a white person [laughs] its a co-option of a kind its druggy, its sexual, its personal. He also hinted at why he selected 1968 as the time frame for this season: It was, as far as I can tell, the worst year in American history since 1863, and maybe 2013 well see. Hopefully not!

Even though weve only just begun to watch the sixth season, the shadow of the seventh and final batch of Mad Men episodes is beginning to creep up on not only the audience, but the cast and Weiner as well. Williams asked Weiner, who has already stated he knows how the series will end, if anyone else does at this stage. Weiner answered his wife, The Sopranos creator David Chase and a couple of writers are in on the secret. Like his own fans, Weiner admitted to being in a bit of denial over the not-yet-written denouement: Giving this up is going to be hard I dont expect it to ever happen again in my life. Its not a sacrifice, but I dont want to think about it. Its like everything mortal, its best dealt with by ignoring it.

Watch Eerie Trailer for J.J. Abrams Quasi-Sequel 10 Cloverfield Lane


Rumors of a sequel to Cloverfield, the 2008 found-footage monster thriller produced by J.J. Abrams, have been circulating since the film premiered. Now a trailer for 10 Cloverfield Lane, the projects blood relative, has debuted, presenting a post-apocalyptic scenario in which a character played by John Goodman seemingly holds a woman (Mary Elizabeth Winstead) and man (John Gallagher Jr.) captive in an underground cellar.

The clip opens with a normal-looking night at home, with the trio listening to musicand doing puzzles. Suddenly the room begins to shake, which prompts Winsteads character to climb toward escape. Dont open that door youre going to get all of us killed! Goodman exclaims. Winstead glimpses an outside world assumedly an ominous one we cant see, as Goodman warns at the climax, Somethings coming.

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10 Cloverfield Lane was produced by Abrams and directed by Dan Trachtenberg from a screenplay by Josh Campbell, Matt Stuecken and Damien Chazelle. It hits theaters on March 11th.

Just like the original Cloverfield, the project has been veiled in secrecy. News broke in 2014 about a post-apocalyptic thriller directed by Trachtenberg, though under previous titles The Cellar and Valencia to keep the sequel connection under wraps. Fans only learned the true title upon seeing the trailer during recent screenings of Michael Bays 13 Hours.

The idea came up a long time ago during production. Wewanted to makeita blood relative of Cloverfield, Abrams said in a statement to Collider. The idea was developed over time. We wanted to hold back the title for as long as possible.

However, it remains unclear how the two films are connected. 10 Cloverfield Lane appears to use a more traditional visual style and narrative than the originals found-footage format, and the trailer doesnt offer any clues about the overall setting or the identity of that evil threat outside.

Lovelace


Amanda Seyfried looks ripe to take on the life of Linda Lovelace, the Deep Throat blow-job queen who made porn accessible to 1970s America. Seyfried, doing a 180 from her sweet Cosette in Les Misrables, is combustible in the role. She finds the bright-eyed innocence of the Florida teen who makes the mistake of rebelling against her parents (Robert Patrick and, WTF, Sharon Stone) by marrying Chuck Traynor (Peter Sarsgaard), a bullying, abusive entrepreneur. Filmmakers Rob Epstein and Jeffrey Friedman do a solid job setting up the burgeoning porn scene. But they never make us see how makeshift porn families, or party invites from Hugh Hefner (James Franco), could be seductive to a lost kid like Linda. Unlike the far superior Boogie Nights, Lovelace ignores the transitions and temptations that led Linda into a trap. Seyfried could have acted the hell out of that. Instead, Lindas ordeal, from which it took her years to escape, becomes an ordeal for the audience. Disguised as a cautionary fable, the film wallows in Lindas degradation at the hands of Chuck, hardcore director Gerard Damiano (Hank Azaria) and Mob-financed producers (Bobby Cannavale, Chris Noth). We pity Linda, but its no substitute for understanding her.

That Awkward Moment


Take three horny guys, all twentysomethings, mix with a plot that was old last century, and serve to an audience so desperate for dick jokes and toilet gags they might forgive a movie wired only with clichs. The compensation comes in the three lead actors, all way too good for the material dished out by writer-director Tom Gormican. Michael B. Jordan, so memorable in Fruitvale Station, plays Mickey, a Manhattan doctor whose wife dumps him. In crisis, he turns to his buds, book-cover designers Jason (Zac Efron) and Daniel (Miles Teller). The guys decide a marathon of one-night stands is the answer. No commitments. Thats the ideal way to avoid wait for it that awkward moment when a babe decides she wants to get serious. Efron is the alleged sex godin one scene he even sports a dildowho breaks the rules by falling for Ellie (Imogen Poots). And, for symmetry, Daniel realizes that his non-sex buddy, Chelsea (the appealing Mackenzie Davis), is turning him on. Kudos to Teller (The Spectacular Now) for generating whatever laughs manage to poke their heads above this sea of misogyny and missed opportunities.

Vilmos Zsigmond, Oscar-Winning Cinematographer, Dead at 85


Vilmos Zsigmond, the Academy Award-winning cinematographer of Close Encounters of the Third Kind as well as films like The Deer Hunter, Deliverance and Heavens Gate, passed away Friday, his business partner Yuri Neyman confirmed to Variety. Zsigmond was 85.

The Hungarian-born Zsigmond who filmedthe Hungarian Revolution alongside his friend and fellow cinematographerLszl Kovcs before they bothrelocatedto Los Angelesbegan his Hollywood career as a director of photography on low-budget exploitation and horror films and TV movies before he was hired by director Robert Altman another veteran of made-for-TV features to serve as cinematographer on 1971s McCabe & Mrs. Miller.

Together, Altman and Zsigmond implemented that Westerns unique use of zoom shots a technique that wasnt frequently employed in big screen filmmaking as well as flashing the filmed footage to give McCabe & Mrs. Miller its old-time look. (At the 2014 Toronto International Film Festival, Zsigmond admitted that the studio wanted to fire him but Altman protected the cinematographer, blaming the underexposed footage on the processing lab.)

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Soon after McCabe & Mrs. Miller which earned a BAFTA nomination for its cinematography Zsigmond established himself as one of Hollywoods preeminent cinematographers, working with directors like Altman (The Long Goodbye, Images), Steven Spielberg (Sugarland Express, Close Encounters of the Third Kind, Michael Cimino (The Deer Hunter, Heavens Gate), Brian De Palma (Blow Out, Obsession), Martin Scorsese (camera operator on The Last Waltz) and Woody Allen (Melinda & Melinda, You Will Meet a Tall Dark Stranger).

A cinematographer can only be as good as the director, Zsigmond told Rolling Stone in a 1980 interview on the set of Heavens Gate. The story is the main thing, and the director knows the story and the characters better than anyone. I like to be on a picture at least four weeks before it starts, talking to the director, watching rehearsals, thinking. Then I can come up with ideas how to light it, what kind of a mood I want to build. The most important thing for a cameraman to know is the kind of story the director wants to tell.

In that 1980 interview, Cimino said of his frequent collaborator, What distinguishes Vilmos Zsigmond from other cinematographers is of course talent but, more, physical stamina. You just cant be great without it. On a movie, you often work fourteen-, sixteen-hour days, six days a week, for six months. It is so easy to let up because of fatigue. Vilmos will always say, We know its good; is there a way to make it better?'

A four-time Academy Award nominee, Zsigmond won the Best Cinematography Oscar in 1978 for Close Encounters of the Third Kind; he was also nominated for 1978s The Deer Hunter, 1984s The River and 2006s The Black Dahlia. In 2014, the Cannes Film Festival gave Zsigmond a Lifetime Achievement Award.

Lighting is where the cameraman can become an artist, Zsigmond sums up. The uses of lenses, the composition, many times come from the director. But with the lighting I can come in and create the mood. Thats my job, Zsigmond told Rolling Stonein 1980. I want the audience to look at my film and say, Hey, that guy didnt use any lights at all.'

Zsigmonds death comes just a week after Haskell Wexler, another Oscar-winning cinematographer, passed away at 93.

The Brothers Grimsby


If you hide inside an elephants vagina, the boy elephant whos fucking her is likely to splooge all over you. For that and other bits of carnal comic knowledge, thank Sacha Baron Cohen. The Cambridge-educated creator of Ali G, Borat and Brno has never ducked bodily fluids. Not if theyre used with intent to diss a hypocritical culture. Cohen is as raunchy as ever in The Brothers Grimsby. Its the strafing satire thats MIA.

Cohen, who co-wrote the script, isnt doing his usual mockumentary, where he catches people in the act of exposing their prejudices. Grimsby is straight-up narrative. Cohen plays Nobby Butcher, a football-loving wanker from dead-end Grimsby, where he lives in clueless squalor with his wife (Rebel Wilson) and their 11 kids. He keeps a room for Sebastian (Mark Strong), the brother he hasnt seen since Mum and Da died 28 years ago. It turns out that Sebastian is now an MI6 agent doing his 007 thing.

The bros reunite with way-too-predictable results. Directed with energy but little spirit by Louis Leterrier (The Transporter), Grimsby is a lame piece of funny business, bloated with frantic action and rectal violation. To save his brother, will Nobby suck poison out of Sebastians ball sack? Rhetorical question.

Soon, Nobby is outdoing his brother in the action department. In South Africa, they unite against a viral terrorist group led by Rhonda George (Penlope Cruz), who plans her most lethal attack at the World Cup final in Chile. Cohen and Strong, so great onstage in A View From the Bridge, have a lively chemistry when Leterrier doesnt douse it with sentimental drool. You get that sinking feeling when you realize that gross is all there is to Grimsby. The comic sting that set Cohen apart got lost somewhere. Maybe in that elephants vagina.

Christopher Abbott Quits Girls: Twitter Reacts


Yesterday, Rolling Stone posted the news that Christopher Abbott, the actor who plays Charlie on Girls, is quitting the show. It prompted a communal response of dread and doom from the Twittersphere. We also saw Facebook users offer their exasperation; the most common response, by far, was Noooooooooooooooo!

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We get it. No one saw this coming. He reunited with Marnie in the Season Two finale. He provided much-needed eye-candy on Girls amongst the ubiquitous, cringeworthy awkwardness. How could he be leaving? He reportedly clashed with series creator/star Lena Dunham, and it will be interesting to see how they write his exit into the Girls narrative.

Read on for a taste of the Internets horrified reactions to the news. Goodbye, Charlie.

Off the Cuff With Peter Travers: John Krasinski


The Office's John Krasinski recently disrupted the work at Rolling Stone offices to chat about his screen adaptation of David Foster Wallace's Brief Interviews With Hideous Men, in which he also plays a "scumbag," as Peter Travers puts it. Watch Krasinski discuss his impending Office wedding and his real-life engagement ("I hope I'm going into a good time in my life and I don't become a prick") and do his best Jason Bateman impression, and don't miss his post-Cuff interview where he turns the tables on Travers.

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Watch Eerie Trailer of New Horror-Thriller It Comes at Night


The trailer for Trey Edward Shults new horror film, It Comes at Night,opens with an armed man (Joel Edgerton) questioning a stranger bound to a tree, desperate for answers about an unknown threat. I just wanna talk, and I want honest answers, he tells the captive. Do you have any idea whats going on out there?

The post-apocalyptic tone deepens from there, as the protagonist decides to let the mans family stay at his house. He spells out a series of rules, emphasizing that an eerie red door their only method of entry must always stay closed and locked. Under no circumstances should they go out at night. The trailer ends with a flurry of violence, fire, screaming and one disturbing kiss.

It Comes at Nightpremiered this past weekend at the Overlook Film Festival. The movie stars Riley Keough, Christopher Abbott, Carmen Ejogo and Kelvin Harrison Jr. It hits theaters June 9th.

Edgerton told Entertainment Weekly that he views the film as a horror take on refugees and immigration and otherness Theres this question of whether to trust [his character] and his word that he has a family, and food, and stuff to offer.

Kingsman: The Golden Circle Review: Its James Bond on Laughing Gas, Violent as Ever


Whooshing by on screen like James Bond on laughing gas, Kingsman: The Golden Circle is a breathlessly comic, sometimes exhausting sequel to the surprise 2015 smash that all but begged for an R-rated follow-up. Now its here and just as manic and over-the-top as youd expect, only more so (the film is 141 minutes long). Those who hated the first film will be twice as irritated. Screw em. True Kingsman fans will appreciate that director Matthew Vaughn reacted to digs at The Secret Service for being gratuitously violent, sexually adolescent and politically reactionary by laying all of it on three times thicker.

Based on characters created by Mark Millar and Dave Gibbons for their 2012 comic book series, the sequel still concerns those Brit Secret service agents who hide their activities behind the elegant faade of Kingsman, a tailor shop on Saville Row that fronts for their spy game. Most of the old gang is back, especially the hugely appealing Taron Egerton as Gary Eggsy Unwin, the London street kid recruited into service by Oscar winner Colin Firth as 007-ish agent Harry Hart, code-named Galahad (the spies all have names of knights). Theres even a Merlin (Mark Strong) to teach them tricks of the trade.

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But wait didnt Firths character die in the first film? The movie grossed $414 million worldwide which means Galahad only got shot in the eye and lost his memory. (Thank you, the healing power of economics.) Logic is the first thing to go when theres new money to be minted. The upshot? Galahad gets an eye patch and is thrown back into the fray.

How do you make a sequel without repeating yourself? You dont not really. But Vaughn and co-writer Jane Goldman give it a try by blowing up the Kingsman HQ. The dirty deed is perpetrated by Poppy Adams (a delicious, demented Julianne Moore), a drug-cartel boss with the big, fake smile and ingratiating manner of a psycho TV weather lady. She literally grinds up people who annoy her. To take on Poppy and her Golden Circle, the gents join forces with Statesman, its Kentucky-based counterpart. That organization is run by Jeff Bridges as Champagne; you can call him Champ. His team includes Channing Tatum (Tequila), Pedro Pascal (Whiskey) and Halle Berry (Ginger Ale), who handles IT for the group. Did we mention that Elton John shows up? Perhaps we shouldnt.

The stunts defy the laws of gravity, but are no less fun for that; watch out for the fight on the ski lift. Even when Kingsman: The Golden Circle goes off the rails, and it inevitably does, this cracked caper wears you down with action and giggles. Sometimes overkill can hurt so good.

At the Movies With Peter Travers: Cirque du Freak: The Vampires Assistant, Amelia and Antichrist


With one weekend to go until Halloween, the cinematic fare entering movie theaters this Friday is frighteningly bad, and Rolling Stones Peter Travers tells you what to avoid like the plague this weekend At the Movies. Since were closing in on October 31st, well kick it off this week with Cirque du Freak: The Vampires Assistant, the movie adaptation of the 12-part British novel. Despite the presence of the always-great John C. Reilly, this movie is lame. A boy goes to a freak show, gets bitten by a vampire and zaniness ensues. Between True Blood and Twilight, vampires are hot right now, but this movie is pure Scum Bucket. Since the movie only used the first three books of the series for this film, Vampires Assistant ends with a cliffhanger, but after this debacle of a film its unlikely those sequels will ever be made.

Next is a film that was forecasted to be a major Oscar player, Amelia, starring two-time winner Hilary Swank as the aviatrix Amelia Earhart.

The film looks like an Academy Award nominee, perfectly capturing the 1930s in wardrobe and style. However, Nothing in this horrible waxworks of a movie comes to life, Travers says. The film takes Earharts fatal disappearance over the Pacific Ocean and makes it a boring cinematic experience. This film flies right into the Scum Bucket.

Finally, depending on how strong your stomach is, Danish directors Lars von Triers Antichrist is also a potential Scum Bucket film. If youre a fan of the Dogme 95 director, then you may give this film four stars. If youre faint of heart, you might give it zero. Travers took the middle ground and gave the story about two parents who cope with the death of their son in the most brutal way possible two stars. Travers is a fan of von Trier, but once the film enters the woods, scenes ensue that would make even Hostel fans squeamish. Its controversial, which is von Triers specialty, but watch it at your own risk.

Read this weeks reviews:
Cirque du Freak: The Vampires Assistant
Amelia
Antichrist

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Christoph Waltz on Big Eyes, Bond and Why He Doesnt Talk About Acting


Sorry to be so long pause all over the place. Christoph Waltz isnt a person you expect to be at a loss for what to say or unable to efficiently articulate, in crisp and clear diction, exactly what he means. Sure, the Austrian actors best-known characters Inglourious Basterds gleeful Nazi commandant Hans Landa and Django Unchaineds frontier man-hunter King Schultz, both courtesy of Quentin Tarantino and both of which won him Oscars have a tendency to be a little tangential in their conversations. But theres almost always an ulterior motive to their meanderings, and when delivered with Waltzs Cheshire-cat grin (its either ingratiating or psychotic take your pick), they come laced with equal parts charm and menace that gets the point across immediately.

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But when the 58-year-old star is asked to talk about playing his latest, somewhat less lethal protagonist the conniving, aspiring painter Walter Keane in Tim Burtons biopic Big Eyes and specifically, about his initial approach when reading a new script, you can hear a bit of hesitation on the other end of the phone line. The process of spilling the beans about his process is not something Waltz relishes, but he takes a stab at it nonetheless; unsatisfied with the response hes just given, the gentleman apologizes and starts again. He cant seem to find the right words. Or maybe he simply doesnt want to find them.

There is a lot of talk about what actors do and [the] actors process and all this academic kind of thing, this drama-school talk, he says. All that shouldnt be discussed in public. I dont know why thats turned into a general interest. It isnt. The story is. The movie is. The finished piece is. How they got there is really, in my opinion, not the publics business.

In fact, the process of creation, and taking ownership for the result, plays a central role in Big Eyes. Waltzs Eisenhower-era bohemian Walter is a failed artist who blithely takes credit for the paintings of his wife, Margaret Keane (played by Amy Adams), as her eerie, oddly adorable portraits of big-eyed children begin to attract attention. The more her/their kitschy work starts to become a mid-century populist sensation, the more Walter begins to slowly assert his dominance over her through intimidation and emotional manipulation. And yet, Waltz also manages to humanize this monster, portraying a ruthless con-artist forever wounded by the realization that hell never be the real thing actual talent eludes his oily grip.

Waltz is five years removed from his breakthrough in Inglourious Basterds, which brought him to the attention of U.S. audiences after a steady career as a European television actor. The clout he has now can help get a low-budget project on its feet; Big Eyes had gone through several false starts in 2008, Kate Hudson and Thomas Haden Church were slated to play the lead roles but writers Scott Alexander and Larry Karaszewski (Ed Wood) say that Waltzs interest was instrumental in finally propelling it forward.

Based upon his work with Quentin, Christoph has no fear of [playing] unlikeable at times, Alexander says in a separate interview alongside his co-writer. He just loves having all the colors to play with. A lot of the more traditional American leading men arent really as brave in terms of playing [a character] who may turn out not to be as cuddly as we thought he was.

When we first showed Tim the script,Karaszewski adds, he was like, I cant understand why we dont have a hundred people lined up to play Walter Keane this is the best character you guys have ever written. But what we found was, those traditional leading guys, they may play an eccentric character, but by the end of the movie, you have to feel like, Oh, hes cuddly. Walter is someone who gets more and more psychopathic as he goes along. Christoph understood that.

I tell you all these smart things about how I see Walter what does it matter? Its not about me.

Told of the writers comments regarding his fearlessness, Waltz laughs, responding, All I can say is, its funny that that should come from Larry and Scott, because they wrote the story. With a self-deprecating tone, he adds, I followed them. I read their script but they wrote it. On one hand, everybody says that writers are not respected enough and their work is not valued sufficiently. On the other hand, the actor always tries to put himself first. Waltz adopts an air of puffed-up pretentiousness: This is my process, this is my thought process, this is my opinion. But whatever he thinks about the character what his morals are, his social context, how he views the intricacies all of that is irrelevant. The actor is there to translate whats on the page onto the stage or the screen. So I find it important than an actor manages to actually Waltz lets out a sigh get out of the way. Vanish as a person behind the character, never to be seen or talked about again. Thats my philosophy.

Christoph Waltz and Amy Adams in 'Big Eyes.'

Its a philosophy he developed while growing up in Vienna, and studying acting there and in New York, Waltz quickly determined that the character he was playing was more interesting than the perspective he had on him. Now that hes become a celebrity, the questions about how he achieves what he achieves have multiplied substantially, which only makes Waltz want to, in his words, demystify the actor that much more. I tell you all these smart things about how I see Walter what does it matter? the actor says. Its not about me. The irony is fascinating: Walter is a man with no talent who cant stop talking about how he came up with the work hes appropriated and taken credit for. The man who plays him is an actor with incredible chops who doesnt like discussing how he applies them to a part.

If he wants to have people focus more on the end result than the preparation, the man has his work cut out for him. Two Academy Awards and now his fine performance here will only continue to draw people to him, intrigued by how he brings such snake-like charisma to magnetic cretins. Talking about Big Eyes is a struggle, but Waltz seems to get a wry kick out of another question interviewers want to ask him lately what his role is in the forthcoming James Bond film, Spectre. Im being pestered, but its not a big deal, because theres not much I can be pestered with, Waltz says, laughing. They ask, Can you tell? And I say, Yeah, I can tell you everything. Then they get stuck, because they dont really have that many questions to ask. And thats where it ends.

Which, one suspects, is how Waltz prefers it.

Sundance and Sex


Here in the cinemas of Sundance, sex is everywhere at least on screen. As if the sight of Mary Kate Olson making out with Sir Ben Kingsley in The Wackness wasnt enough to make you choke, along comes Choke, an entry in the dramatic competition that twists sex into exotic new shapes. The movie is based on a novel by Chuck Palahniuk, which should tell you something. The author of Fight Club cooked up fresh shocks in this one. The book opens with these words:

If youre going to read this, dont bother. After a couple of pages, you wont want to be here. So forget it. Go away. Get out while youre still in one piece. Save yourself.

Try resisting that. The movie version, adapted by director Clark Gregg, stars Sam Rockwell in the role of sex addict Vincent Mancini. Rockwell is now and always has been a swing-for-the-fences actor. And to see him screwing his brains out in various public places, including a recovery meeting, reveals a new side to his acting. Rockwell told me it took eleven hours to film one scene of him getting a blowjob in a confined space. When I mentioned there could be worse acting assignments, he said that they sent the girl home after two hours. The other nine hours, he says, was just me faking an orgasm. On the basis of this performance, Rockwell is hereby declared the Brando of cum shots.

As a movie, Choke is all over the place. But they plugged in a livewire with Rockwell, an actor with the skills to capture Palahniuk s dark humor without missing the pain that keeps the character human. When the great performances of Sundance 2008 are tallied at the end of the week, Rockwell has to be up near the top. No wonder Fox Searchlight bought Choke for $5 million. Rockwell and Palahniuk are kindred spirits, fearless tightrope walkers in a Hollywood of image-shining wussies.

Americas Got Talent Recap: A Semifinal Soiree, Finally


Its taken three months of endless auditions, Wild-Card rounds, YouTube shows and enough product placement to drive a dude wild, but we finally arrived at a semifinal round last night on Americas Got Talent.

If you havent been dutifully watching since the seventh season began in May, the competition has spent the past few weeks whittling down a crop of several dozen acts to the 24 still vying for the grand prize: $1 million and a shot at headlining in Las Vegas.Half of the semifinalists performed last night, each hoping to become one of the three acts advancing to the finals on Wednesdays results show. Lets see how they did.

Andrew De Leon: With bug-eyed contact lenses and a gothic sartorial sense, the opera singer was an early sensation this season before he was ousted in the Las Vegas round.But the judges brought him back last week for the Wild-Card round, and despite a pitchy performance, De Leon made the most of his second chance by advancing the semis. A week did De Leon well: the singer elevated his vocal projection last night to the stratosphere during his soaring rendition of Ave Maria. His increased confidence and charisma were palpable, but the judges werent digging it. There are times I feel the whole thing gets a bit strange, Howard Stern said. Howie Mandel added that he worried De Leons lack of formal training would be his downfall.

Todd Oliver: It took us some time to come around to this pet ventriloquists shtick. But over the past few weeks, after following Sterns advice and keeping his material topical, Oliver has made noticeable progress. His improvement continued on Tuesday: opting for a late-night talk show theme, Oliver and his trusty Boston Terrier sidekick Irving played off one another in winning fashion the comic even slipped in a Prince Harry-in-Vegas joke. The materials fantastic! Sharon Osbourne gushed. Mandel told Oliver he was possibly a headline act. Stern clarified: You are a headline act.

Donovan and Rebecca: This acrobatic husband-wife duo has thrived on its awe-inspiring strength: Rebecca has continually demonstrated her ability to lift Donovan, who is built like a Mack truck. The duo highlighted that quality last night as Rebecca picked up Donovan while hanging upside down from a trapeze. Later, she held him at a 180-degree angle, while wearing stiletto boots. Every time you see it its remarkable, Stern said of the pairs act. You really deserve to be in our finals, added Osbourne.

Edon: Life has been good for this 14-year-old singer, whos sort of a yarmulke-wearing Bieber: the pre-pubescent vocalist said hes already received several marriage proposals as a result of appearing on AGT. As for his semifinal performance? The singers take on One Directions What Makes You Beautiful left the audience chanting his name. You are the best singer in this competition, Mandel proclaimed. Stern however, felt otherwise. I was a little bit bored by that song, he said.

The Scott Brothers: This was the only act that we felt didnt deserve to be in the semifinals. Were we proved wrong? Not really. Donning metallic face paint, the brotherly dancing duo channeled their inner robot while swaying and shuffling in sync with one another. Theyre certainly adept dancers, and have much in the way of cohesiveness, but their routine on Tuesday felt akin to a buskers performance on a local boardwalk. I dont think its gonna be good enough this time, Stern said. Osbourne concurred: Youre great at what you do but its a really hard week.

Dittelman: Weve been trying to figure out this mind reader for the past few weeks now. How is it that hes been spot-on every time with his predictions? But once again Dittelman blew our, um, mind. This time the nerdy twentysomething had Stern use different colored markers to color in a self-portrait. The judge opted for a green face, orange sunglasses and red devil horns. Then came the big reveal. Dittelman uncovered a drawing that was, of course, identical to Sterns. Dittel, Dittel Dittelman! Osbourne shrieked. Im so impressed!

Turf: Thanks to his backstory hes essentially a homeless street performer this contortionist dancer has become a fan favorite this season. And while it would make for a wonderful story if Turf were to advance to the finals, it looked unlikely after his performance last night. Turf attempted to show off his dance chops and elevate himself to more than just a freak-show contortionist by shimmying to Chris Browns Yeah 3X. Instead of looking impressive, it came off as forced. Additionally, his joint-popping moves have started to feel a bit stale. There is similarity to what you do each time, Stern said. Mandel and Osbourne remained supportive. Just when I think Ive seen it all you pull me back in, Osbourne said.

Bria Kelly: This 16-year-old YouTube Show country singer benefitted from a weak cast of competitors during her only other performance. Last nights shrill rendition of Pinks F**kin Perfect didnt help put to rest any doubts about her talent, though.I dont think you did something that really stood out, Mandel said. Osbourne agreed, explaining that the young singer needed to show more emotion.

Joe Castillo: A beret-sporting artist who creates stories through sand manipulation, Castillo has specialized in matching his artistry with a cohesive storyline. But last night, aside from a tenuous peace and love theme, there was little connection among his sand drawings. With The Youngbloods Get Together as his background music, Castillo transformed a dove into two hands clasped before they became a woman and man hugging. It felt flat. The audience might have felt like theyve seen this before, Stern said, adding that he was concerned there was too much of a similarity to Castillos week-to-week showings.

William Close: After Closes previous performance, all three judges offered to personally finance the earth harpists Vegas show. No surprise, then, that they were enamored of the musicianfrom the second he stepped on stage last night. The earth harp a massive succession of strings anchored to the ceiling of the venue in which AGT is held is transfixing to watch in action, but Close should not have employed two god-awful singers who overshadowed his daring instrumental take on Muses Starlight. Still, the judges lapped it up. You are our favorite act, Mandel said. Stern didnt hide his fandom. Im loving this! he said, smiling.

Tom Cotter: Cotter, a middle-aged comedian, seemed too polished in previous outings to be considered an amateur. As only a small amount of background research will tell you, thats becausethe comedian has already has had some mainstream success, including a standup special on Comedy Central. But really, who can deny his talent? Tom Cotter is downright hilarious, and versatile. On Tuesday the comedian had Mandel pick a category from a list the judge chose College and he followed with an extended riff on the subject. He proceeded to call college students kidiots and explain how he had parts of his body magnetized in response to female students preference for tongue rings. Youre terrific! Stern said. Youre professional. Youre fun. Osbourne added that she loved his slightly more edgy material. Im dirty, she admitted.

Academy of Villains: Another YouTube Show act, this 30-person dramatic hip-hop troupe mesmerized us a few weeks back during their first outing. Although it was amusing to see so many dancers, all dressed as mimes, rock out to a Skrillex jam last night, it just wasnt memorable enough. Stern, as he had done all evening, was the only judge to rain on the parade. I think it was very similar this time, he said, comparing the groups performance to their first. I was wishing it would be over. Osbourne pleaded with America to just vote. I just pray that everybody picks up the phone, she said.

PREDICTIONS:Tough call, but our gut is telling us thatEdon,William CloseandTom Cotterwill advance to the finals on tonights result show, which also features a performance fromNeon Trees.

Last recap: The Wild Card Round

Hostage


Take a tired formula about a hostage situation in a small town where a mob accountant (Kevin Pollak) and his brat son and jailbait daughter are held captive at home by three psychos. Add Bruce Willis, hamming it up as a burnt-out L.A. hostage negotiator who comes to said small town to take the easy job of police chief, only to be called back to duty by sneaking into the house and saving the day. Stir with a director, Florent Siri, who has no shame about stealing every sadistic suspense trick from the Die Hard series. Serve to a gullible audience willing to pay top dollar for secondhand goods. Keep serving for as long as you can get away with it.

Breaking Bad Cast Drops Hints About Darkest Season Yet at Comic-Con


The cast of Breaking Bad offered some tidbits about the shows fifth season during a Comic-Con International panel in San Diego on Friday night. While exact details remained elusive, one thing was clear: The season, which premieres on Sunday night, is the shows darkest yet.This season is about winning; and what it means to stay on top, said executive producer Vince Gilligan.

This entire season is just creepy. Unsettling, added Aaron Paul, who plays meth dealer Jesse Pinkman.

The hour-long panel, moderated by TV Guides Michael Schneider, marked the first time Breaking Bad has made an appearance at Comic-Con. The panelists included Gilligan and seven of the shows actors, including Bryan Cranston, who stars as chemistry teacher-turned-meth maker Walter White.

Some devoted fans had apparently shown up early really early to get a good seat.Im scared to leave this line up. I dont want to miss breaking bad IN 5 HOURS. What is another 5 hours without peeing? tweeted a user named @elizabutt.

Despite the shows intensity, the panelists were clearly having a good time. Hitfixnoted thatCranston and Paul came onstage dressed in yellow hazmat suits. Actor Dean Norris who plays Whites DEA agent brother-in-law, Hank Schrader was dressed in an outfit that made him look like Xena.

At one point, the cast started eating some of Walter Whites famous blue meth, reportedTV Guide. Later, asked if his character had any redeeming qualities, Cranston said, He makes damn good meth.

The fifth season is the shows last, with 16 episodes set to air in two blocks of eight before it wraps up in 2013. In that time, Cranstons character reaches new lows: Gilligan said Walt does something during the season that made Gilligan lose all sympathy for the character, though he wouldnt specify what.

Hes found a new power and its his ego, Cranston said, according to the shows Twitter feed.

The new season adds two new characters into the mix. Jesse Plemons of Friday Night Lights plays a guy named Todd, and Scottish actress Laura Fraser plays Lydia, a former associate of meth kingpin Gus Fring, who died at the end of the fourth season. Pinkmans drug runner buddies Badger and Skinny Pete also make a return.

The show also brings in Madrigal, a German company that was bankrolling Gus operation. Gilligan said to expect more German subtitles on the show, noting that the second episode partially takes place in Hanover, Germany.

During the question-and-answer session, a fan asked if the season will include any bottle episodes, low-budget productions designed to save on costs. Gilligan said the seasons fifth episode is actually the polar opposite of a bottle episode. It was also the first one of the series that was filmed outside of Albuquerque all the way in Santa Fe, an hours drive away.

Asked what he plans to do after Breaking Bad, Gilligan said hed love to do TV or movies. In a very greedy sense, I hope that this is not the highlight of my career, he said.

Star Trek Beyond Cast Defends Gay Sulu Against George Takei Criticism


Star Trek actor John Cho recently revealed that Sulu, the character he plays in the reboot of the sci-fi series, will come out as gayin the upcoming Star Trek Beyond. The revelation is in part an homage to original Sulu portrayer George Takei, who himself came out in 2005.

However, although the altering of the character was penned as a tribute to Takei, the actor has stated that he wishes that the reboot hadnt taken liberties with the character painstakingly conceived by Star Trek creator Gene Roddenberry.

Im delighted that theres a gay character, Takei told The Hollywood Reporter. Unfortunately, its a twisting of Genes creation, to which he put in so much thought. I think its really unfortunate. Although Roddenberry was a strong supporter of LGBT equality, he envisioned Sulu as heterosexual.

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Despite not receiving Takeis approval, actor and Trekkie Simon Pegg, who co-wrote Star Trek Beyond and ultimately had a hand in Sulu coming out in the reboot, defended the revision to the Star Trek universe.

I have huge love and respect for George Takei, his heart, courage and humor are an inspiration, Pegg wrote to The Guardian. However, with regards to his thoughts on our Sulu, I must respectfully disagree with him.

Pegg added that Roddenberry would have allowed for some flexibilityof the Star Trek mythology, especially if it meant including the LGBT community in the final frontier.

Our Trek is an alternate timeline with alternate details, Pegg added. Whatever magic ingredient determines our sexuality was different for Sulu in our timeline. I like this idea because it suggests that in a hypothetical multiverse, across an infinite matrix of alternate realities, we are all LGBT somewhere. Whatever dimension we inhabit, we all just want to be loved by those we love (and I love George Takei).

Actor Zachary Quinto, who portrays Spock in the reboot and is openly gay, also applauded the addition of a gay character to the storyline while similarly expressing disappointment that Takei wasnt onboard with the tribute.

As a member of the LGBT community myself, I was disappointed by the fact that George was disappointed, Quinto told Pedestrian.tv. I think any member of the LGBT community that takes issue with the normalized and positive portrayal of members of our community in Hollywood and in mainstream blockbuster cinema.

Star Trek Beyond opens July 22nd.

Ernest Hemingway Biopic First Hollywood Film Shot in Cuba Since 1959


An upcoming biopic about Ernest Hemingways time in Havana just wrapped up production on location in Cuba, making it the first Hollywood film to shoot in the country since the 1959 revolution, according to The Hollywood Reporter.

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Papa tells the story of journalistDenne Bart Petitclercsfriendship with Hemingway, and is based on an autobiographical script by Petitclerc. The film was directed by Bob Yari, and stars Giovanni Ribisi as a young Petitclerc and Adrian Sparks as Hemingway.

Yari received a special license from the United States Treasury Department that exemptedPapa from most restrictions set forth in the decades-old embargo of Cuba, though a cap was placed on how much producers could spend. Such costs were kept down, however, by the ready availability of things like classic cars, while the production also received help from the Cuban film institute, ICAIC, in securing locations, period costumes and local actors.

It was an absolute passion to actually make it in Cuba where everything that is in the script happened, where the finca [farm] is where [Hemingway] lived, where his boat was, all the spots from the Morro castle to Cojimar where he fished, Yari told Hollywood Reporter. Its all here, so trying to duplicate it somewhere else was not very appealing.

Along with filming inside Hemingways former estate, Finca Vigia, which has long been closed to the public, Papa was allowed to shoot in famous Havana locations like the former Government Palace which is now a museum honoring Fidel Castros revolution and the Grand Theater, which is currently closed for restoration.

To be playing a section of the film where hes struggling with writers block, Im standing on exactly the square foot of ground that he stood on, with his typewriter in front of me, playing the scene, Sparks, whos played Hemingway on stage since 2005, said of filming in Cuba. It wasnt acting, it was channeling. It was just allowing him to come through.

The film did run into several bumps in Cuba, though, including a lack of Internet service, which forced a classic Hollywood practice of slipping daily schedules under hotel room doors; as well as a delay when cast members names were left off a list required to shoot on a boat in open water where security is high.

Protecting Hemingways legacy has been one of the few things America and Cuba have worked closely on over the years, and that mutual adoration is perhaps why it was possible for Papa to be filmed on location. Hemingway was probably the most prominent American to make Cuba his home, and I think the people of Cuba to this day cherish him and love him, Yari said. And hopefully this film will become an addition to that component of bridging this gap between two cultures and two peoples that have drifted apart.

Watch Mad Max Cause Destruction in Fury Road Trailer


Three decades after Thunderdome, the saga of Mad Max Rockatansky will continue withMad Max: Fury Road, whichjust released a mind-boggling new trailer stuffed with explosions and catastrophic high-speed calamity.

Mad Max: Fury Road finds Tom Hardy portraying the titular road warrior made famous by Mel Gibson who joins up with a caravan led by Charlize Therons character, Imperator Furiosa, trying to cross the desert. Among the other travelers are a handful of women sprung from the clutches of the nefarious Immortan Joe (Hugh Keays-Byrne, who played Toecutter in the original Mad Max), a man hellbent on retrieving his property.

The trailer offers an alluring look at the wild chase that ensues. The modified trucks and cars are suitably outrageous one, tricked out with a bevy of amps and speakers, is helmed by a maniac wielding a double-neck guitar/flame thrower and the mayhem they bring is gloriously hyper-stylized, especially when set against a barren desert backdrop.

Mad Max: Fury Road was directed and co-writtenby franchise mastermind George Miller (also, oddly enough, responsible for family-friendly films like Happy FeetandBabe), and marks his first film in the series since 1985sMad Max Beyond Thunderdome. Miller initiallyteasedFury Road during a panel at Comic-Con last summer, while the films first eye-poppingtrailerarrived in December.

I love chase movies; I think theyre the purest form of cinema, Miller told the Comic-Con audience, per the Sydney Morning Herald. Thats where the film language started. I wanted to make one long, extended chase, and see what we could pick up about the characters along the way.

Mad Max: Fury Road is scheduled to openon May 15th.

Force Awakens Trailer Has Football Fans Feeling Conflicted


So, Star Wars fans, was it worth it?

Wait, dont answer that; we know what youre going to say. The final trailer for The Force Awakens premiered last night duringMonday Night Football, instantly turning a pretty terrible NFC East game between the Giants and Eagles into a genuine pop culture event. And while we didnt get any of the exciting bells and whistles promised by a Redditor named DatESPNGUY thanks for nothing, dude were willing to bet you, the diehard Force fan, didnt mind. Because the trailer was fucking awesome.

But what did bother many Star Wars obsessives was the fact that they had to sit through an entire first half of turnover-filled, low-octane football (trust us, guys, most games arent like this) before the trailer debuted. And while watching Eli Manning and Sam Bradford exchange interceptions is nobodys idea of a good time, neither wasAttack of the Clones and we all made it through that (relatively) unscathed.

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Either way, people werent feeling the football love.

It didnt take long for Star Wars fans to move on from football, though. While tickets were expected to go on sale within anhour of the trailers debut, Fandango got a head start on the competition by opening their online store early. Sure, they almost immediately experienced crashes and loading issueswhich sent fans everywhere into a frenzy, but you know what they say about patience its a virtue, or something. Someone tell Chip Kelly.

Dont Breathe Review: Home-Invasion Thriller Will Scare You Sightless


This is some weird, twisted shit. Dont groan when I say Dont Breathe is a home-invasion thriller. Uruguayan writer-director Fede Alvarez, of 2013s gory Evil Dead remake, is as good as it gets when it comes to playing with the toys of the genre. The setup is pure clich: Three teen burglars Alex (Dylan Minnette), Rocky (Jane Levy), and her boyfriend Money (Daniel Zovatto) break into the creepy Detroit home of a blind Iraq vet and try to rob the dude while hes sleeping. Alex, who has an unrequited crush on Rocky, had previously stolen info on prime neighborhood targets from his fathers security-systems company. But the gang is slumming this time. Its Money who hears that the vet, known as the Blind Man and played by an uber-terrifying Stephen Lang (Avatar), has a stash of cash lying around from a settlement in a reckless driving case that killed his daughter. Since the his house is smack dab in the middle of a block of abandoned Detroit housing (cue the social-awareness button), theyll be no intrusive neighbors with smartphone cameras around when the trio drugs the dudes Rottweiler, breaks into his place and gets away with $300,000 large. Easy peasy.

Of course, nothing is easy in this nasty piece of business. It turns out the Blind Man is hiding more than currency, something that becomes apparent when the teens make the dumb decision to hide in the padded basement. Their pursuer cant see, but his hearing is superhero-level. That means Alvarez and co-writer Rodo Sayagues dont rely much on dialogue to get their points across. (If you couldnt guess why the movie is called Dont Breathe, now you know.) Silence is not only golden in this house of horrors it can save your life, and besides, no one can hear you scream. Not even the Saw films dreamed up anything this surgically scary. What makes this so memorably nerve-frying is the way Alvarez and cinematographer Pedro Luque use night-vision and every trick in the book and ones not invented yet to trap us in their vise. Claustrophobics, youve been warned.

Jon Hamm to Voice Star Wars Bounty Hunter Boba Fett for Audiobook


Jon Hamm will provide the voice for fan-favorite Star Wars bounty hunter Boba Fett in an upcoming audiobook celebrating the 40th anniversary of the sagas first film.

Neil Patrick Harris will also voice a character in From a Certain Point of View, which features stories by over 40 authors that reimagines a moment from the original film, but through the eyes of a supporting character, StarWars.com announced. Both the book penned by veterans of the Star Wars Expanded Universe and the audiobook are out October 3rd.

Since we have over 40 authors in this collection retelling different moments from Star Wars literary history, we wanted to use the audiobook as an opportunity to work with an all-star cast of narrators, book producer Nick Martorelli told StarWars.com. We matched our veteran Star Wars narrators with stories that suited their talents, and from there we dreamed big and reached out to people who might have been interested in celebrating this landmark 40th anniversary project.

Martorelli added, Everyone knows the basic shape of the story weve seen A New Hope hundreds of times. But this audiobook shows sides of that story weve never heard before. The amount of talent working on this audiobook is phenomenal, and theyve put together something special unique, but very familiar.

Boba Fett landed at Number Three on Rolling Stones 50 Best Star Wars Characters of All Time list, even though the character he only had four lines of dialogue in the original trilogy. Its long been rumored that the bounty hunter would receive his own Star Wars anthology film like Rogue One and the upcoming Han Solo prequel, but Star Wars producers have not yet confirmed a Boba Fett film.

Star Wars: The Force Awakens Schedules World Premiere


Cue the John Williams theme music:Star Wars: The Force Awakens will make its grand debut on December 14th in a galaxy far, far away known as Los Angeles, California, according to The Hollywood Reporter.

Disney and Lucasfilmdid not comment on which of the citys theaters would host the premiere. Its also unclear whether any tickets will be made available to the general public, thoughHollywood insiders will likely be fightinglike ruthless rancors to score their own.The Force Awakens opens for the rest of the United States on December 18th.

Prior to that date, however, the film will arrive in the United Kingdom on December 17th, though its unclear if its London premiere will happen before then. The Force Awakens also opens in France on December 16th.

As the films long-awaited debut draws near, Disney and Lucasfilm will continue to keep as much of it under wraps as possible, including placing a limit on press screenings. While director J.J. Abrams has offered afew peaksat his highly-anticipated reboot, most of whats known about The Force Awakens can be seen in its two enigmatic, albeit exhilarating, teasertrailers, and a behind-the-scenes videothat premiered at Comic-Con.

One of the few people outside the cast and crew harboringEpisode VII secrets is Star Wars superfan Kevin Smith, who visited the London set last summer. During a Q&A at the Neuchatel International Film Festival in Switzerland, Smith raved, It was tactile; it wasnt a series of fucking green and blue screens in which later on digital characters would be added. It was there; it was happening I saw uniforms; I saw artillery that I havent seen since I was a kid. I saw them shooting an actual sequence in a set that is real I walked across the set; there were explosions and it looked like a shot right out of a fucking Star Wars movie.

Don Drapers Long Journey Into Darkness on Mad Men


Theres a trashy Fifties film noir where Robert Mitchum and Ava Gardner play illicit lovers in New Orleans. When they rendezvous in a graveyard at midnight, Mitchum asks, Are you alone? Gardner replies, Isnt everyone? Great line Jack Nicholson swiped it for Chinatown. But in Mad Mens season finale, Don Draper didnt even have to finish the punch line. He just sat on his bar stool in the dark, gazing at a mysterious stranger with his haunted face, and you could see just how alone he was.

Thats where Mad Men left us at the end of that powerhouse fifth season. And as the new season begins with a lavish two-hour premiere, written by creator Matthew Weiner, alone remains a crowded place. That same question Are you alone? still stalks Don Draper, and without getting into any of the whos, whens or whys of the new season, suffice to say hes not alone in being alone.

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After three astounding seasons in a row, one thing is for sure: Mad Men is the greatest TV drama of all time, and its not even close. Mad Men is to TV what The Godfather was to the movies an epic tour of Americas deepest fantasies, deadliest traps, darkest scams. Like Francis Ford Coppola, Weiner has loaded his cast with a gallery of glamorously damaged hustlers whose biggest curse is believing all their own lies. Even in a golden age for movies in the 1970s, for TV in the 2010s it has no competition.

The new season continues at that same level of emotional brutality, as the Sterling Cooper Draper Pryce crew moves into an uncertain future. If youre a fan, you can be forgiven for hoping the premiere begins with Lane waking up, rolling over and telling Joan, Darling, Ive had the most dreadful dream. (Sorry dont get your hopes up.)

Mad Men usually kicks off the season with a few shockers Don hires a hooker to slap him around, Don and Megan have rough sex on the carpet, Don brings his daughter a souvenir brooch from the flight attendant he just banged. (Eeewww.) This one is no exception. Lets just say Dons newfound interest in Dante makes perfect sense The Inferno is a poem about a man who gets lost in the woods, halfway through the journey of his life, and ends up exploring hell. At least Dante comes out on the other end. Don might still have a way to go.

This story is from the April 11th, 2013 issue of Rolling Stone.

A Mighty Heart


Brangelina inspired a paparazzi frenzy by decorating the red carpet at Mays Cannes Film Festival he as one of the Oceans Thirteen gang, she as the star of A Mighty Heart, a devastating real-life drama that his company, Plan B, co-produced. Both stars made a pile squandering their talents on 2005s Mr. and Mrs. Smith. But A Mighty Heart reveals and rewards their deeper ambitions. Jolie plays journalist Mariane Pearl, the widow of Wall Street Journal reporter Daniel Pearl (Dan Futterman), who was kidnapped and murdered by jihadists in 2002.

Based on Marianes memoir, the film is given a raw and riveting docudrama treatment by the superb British director Michael Winterbottom, whose films from Welcome to Sarajevo to 24 Hour Party People are notable for their total absence of Hollywood bullshit. A Mighty Heart is no exception. From the moment Daniel and the pregnant Mariane arrive in Karachi, Pakistan he wants to investigate the connection between shoe bomber Richard Reid and militant Islamic groups Winterbottom exerts a grip that wont let go.

Having arranged a meeting with the elusive Sheikh Gilani, Daniel is warned by Randall Bennett (Will Patton) of the U.S. consulate and the captain (Irrfan Khan) of Pakistans counterterrorism unit to stick to public places. Daniel calls a taxi to take him to an agreed-upon restaurant and is never heard from again. The film focuses on Marianes five-week search to find her husband, who is alternately accused of working for the CIA and Mossad. Headquartered in the home of Daniels colleague Asra (the excellent Archie Panjabi), Mariane begins an agonizing quest that only ends with the release of a video The Slaughter of the Spy-Journalist, the Jew Daniel Pearl shown on TV at the time but wisely withheld by Winterbottom.

The films strict avoidance of exploitation and sensationalism only adds to the films emotional impact. In just a few scenes, Futterman the acclaimed screenwriter of Capote digs deeply into Daniel as a journalist and a man. But the film belongs to Jolie. She won an Oscar for 1999s Girl, Interrupted, but this is by far her best performance, strong and true in every detail from Marianes accent (her roots are Dutch and Afro-Cuban) to the strength she shows under fire. Her total immersion in the role keeps the film from getting lost in the rush of details. Even after Daniels death and subsequent beheading, Mariane holds Daniels spirit close. Jolie sees to it that the humane and haunting A Mighty Heart honors that spirit.

Peter Travers Best and Worst of 2010: From the Sublime (Social Network) to the Ridiculous (Tourist)


The Social Network or The Facebook Movie, as everyone seemed to call it tops Peter Travers list of the Best Films of the Year. Travers writes that the movie that told us who we were this year, this decade: willing slaves to technology as a substitute for direct communication. He adds that the film uses Facebook to hold up a mirror to the way we live now with wit, imagination, honesty and satire so cutting it can open wounds.

On the other hand, Johnny Depp and Angelina Jolies lame-ass thriller The Tourist topped Travers list of the 10 Worst Movies of 2010. It unintentionally brings out some terrible aspects of our world particularly big-budget, big-name hollowness. Depp and Jolie hit career lows, producing the chemistry of high-fashion zombies, Travers says, naming the film the worst of the year, by a mile.

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The First Purge: See Marisa Tomei Star in Terrifying First Trailer


The origins of The Purge are terrifyingly examined in the upcoming The First Purge, a prequel of sorts to the hit horror film franchise.

In the series fourth installment, Marisa Tomei portrays one of the architects of the Purge, a 12-hour window of bloody lawlessness where even homicide is legal.

When the inaugural Purge is met with indifference in one community, the government surreptitiously deploys its own troops to help spark the slaughter, forcing the citizens to band together and fight the disguised military. As shown in the trailer, Tomeis character soon regrets the dubious Purge and the genocide of United States citizens.

According to the films synopsis, To push the crime rate below one percent for the rest of the year, the New Founding Fathers of America (NFFA) test a sociological theory that vents aggression for one night in one isolated community. But when the violence of oppressors meets the rage of the marginalized, the contagion will explode from the trial-city borders and spread across the nation.

The First Purge which precedes The Purge, The Purge: Anarchy and The Purge: Election Day arrives on July 4th. The horror movie was previously named one of Rolling Stones 50 Most Anticipated Movies of 2018.

Ben Affleck Broods in First Batman vs. Superman Pic


Ben Affleck sure looks like the brooding Batman weve come to know and love in the first still from the upcoming Batman vs. Superman film, posted by director Zack Snyder on Twitter. The black-and-white shot shows Affleck in full Dark Knight gear complete with some serious muscle definition, throbbing veins and all standing alongside a very sharp looking Batmobile.

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Affleck will star alongside Henry Cavill, who will reprise his role as Superman from Man of Steel, which also stars Gal Gadot as Wonder Woman. The movie was scheduled to open this summer, but Warner Bros. delayed the release to give the filmmakers time to realize fully their vision, given the complex visual nature of the story. The film is now scheduled to open May 6th, 2016.

The news that Affleck would play Batman in the Batman vs. Superman sequel was met with plenty of derision (and Gigli jokes) on Twitter, the actor shrugged off the backlash and seems confident in his ability to pull off the role without stepping on Christian Bales turn in the Dark Knight trilogy.

Affleck even admitted he was wary of the role himself when Snyder first offered it to him, saying in an interview last year: Initially I was reluctant, as I felt I didnt fit the traditional mold, he said. But once Zack showed me the concept, and that it would be both different from the great movies that Chris [Nolan] and Christian [Bale] made but still in keeping with tradition I was excited.

Luce Review: Race, Privilege and Every Parents Nightmare


In the middle of a summer of dumb fun and comic-book escapism, its some kind of miracle to find a film as seriously ambitious, scrappy and suspenseful as Luce. A provocation about race, privilege and the expectations that come with both, the movie follows the title character, played by star-in-the-making Kelvin Harrison Jr. Hes an African-American student and academic all-star at the Arlington, Virginia high school he attends. His white parents, a doctor named Amy (Naomi Watts) and a financier named Peter (Tim Roth), couldnt be prouder; they adopted Luce at age seven from war-torn Eritrea, where he was trained to kill as part of a gun-toting army of children.

A decade of rehab and adjustment under their care has turned this young man into a first-rate athlete, a hyper-sharp debate team captain and the perfect choice to for senior-class valedictorian. During a run-through for a graduation speech about how much he owes America, the camera catches the usually smiling, supremely confident Luce alone and opening weeping. Its the only time we see him so shaken, and the moment pins you to your seat. Who is this teenager so weighed down by the assumptions people make about him?

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Thats the movie, and its riveting from start to finish. Nigerian-American director Julius Onah, who adapted J.C. Lees 2013 Off-Broadway play with the writer himself, knows what its like to be boxed into how others see you. His previous film, the 2018 Netflix film The Cloverfield Paradox, was a big-budget sci-fi clunker. But with his latest, Onah is out to show he can get audiences to challenge the very roots of what they believe.

He does this by putting Luce on a pedestal and then proceeding to rattle the ground underneath it. Suddenly, the public image of this bright young man is being questioned. His teacher and mentor, Harriet Wilson (Octavia Spencer), is feeling shaky in her faith regarding the schools exemplar. In response to her request to write an essay about a historical figure he admires, Luce chooses the revolutionary African writer Frantz Fanon, who advocated violence to fight colonization. Wilson is so unnerved, she searches the teens locker and finds illegal fireworks. Is he a potential terrorist? Is the violence instilled in him as a child only lying dormant, ready to re-erupt?

Wilson turns to Luces parents and the result is mutually defensive. The confrontation scene between Spencer and Watts builds to an unbearable tension, heightened by the camera artistry of Larkin Seiple and the jangling score Geoff Barrow and Ben Salisbury. Spencer, brilliant in one of the edgiest roles she has ever played, is a catalyst for high drama as the audience wonders if Wilson is justified in her actions or pushing a personal agenda fueled by personal resentment against Luce who she believes participated in a sexual assault against a former girlfriend, Stephanie Kim (Andrea Bang).

Through it all, the mysterious, magnificent Harrison holds us in thrall, nailing every nuance the breakout star of It Comes at Night is even more spectacular here. Luce is buffeted by winds that whip him whenever he refuses to conform to the expectations his family, friends, school, and adopted country set for him. Near the end, the film hints at answers, but hardly a resolution. How could it, with the hot button of race being pressed indiscriminately from the streets to the White House? You may leave this too-talky film a little frustrated, but you wont be unmoved. Its a penetrating examination of the constant battle of trying to see past our prejudices. Its truly a movie of and for its time.

Johnny Knoxville on Bad Grandpa Oscar Nomination: What an Honor


Amid the many surprising Oscar nominations this morning U2, Karen O and Christian Bale one stood above the rest: Jackass Presents: Bad Grandpacould win an Academy Award in March, as lead makeup effects artist Stephen Prouty was nominated for Best Makeup and Hairstyling. In the category, the elderly transformation he and his team gave Johnny Knoxville is up against the teams behind Dallas Buyers Cluband The Lone Ranger.

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What an honor that Stephen Prouty got nominated for best makeup and hairstyling for Jackass Presents: Bad Grandpa, Knoxville said in a statement. Am I as stunned as everyone else we didnt get the nod for Best Picture? Well, of course, duh. But I wont let that take away from my happiness for Steve, Tony Gardner and our whole makeup team. Wahoo!

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When Bad Grandpa came out in October, it knocked Gravity out of the top spot on the box office, raking in an estimated $32 million in its first week. Since the movies release, Bad Grandpa director Jeff Tremaine has moved onto another project: Mtley Cres biopic The Dirt. Ive been careful to make this a natural progression, Tremaine said at the time. Ive been offered a lot of scripts, butDirtis something I pursued with everything I had. Ive wanted to make this going back to 2001, when we were just planning the firstJackassmovie and I found out that David Gale at MTV Films had just optioned the book.

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Knoxville and the gang will find out if the movie wins an Academy Award at the ceremony on March 2nd. The show will be broadcast on ABC beginning at 7 p.m. EST.

Never Let Me Go


Heres a movie you cant get out of your head, a sci-fi horror story with the seductive allure of a classic romance. In filming Kazuo Ishiguros 2005 novel Never Let Me Go, director Mark Romanek (One Hour Photo) maintains the fragile mystery with a cinematic pull all his own. The children at Hailsham, a British boarding school, are being raised in what appears to be a parallel universe for a special mission they barely understand. One of them, Kathy, played with implosive grit and grace by the astonishing Carey Mulligan, narrates the tale, telling us what happens when she and her friends Tommy (Andrew Garfield), whom Kathy loves, and Ruth (a quicksilver Keira Knightley), who steals him from her join the others in the Cottages. Ill say no more, except to praise the visual skill with which Romanek creates this world, the delicate power of Alex Garlands screenplay, and the stellar performances. Garfield (the new Spider-Man) is mesmerizing. His scenes with Mulligan are heartbreakingly poignant. Ignore complaints that these lost children dont earn our sympathy because they dont rage against the machine that created them as expendables. Think instead of how many times youve resigned yourself to a skewed sense of duty promoted by others. The melancholy attached to the impermanence of life and love suffuses this film, making it memorably haunting and hypnotic.


Box Office Report: Monsters University Repeats Atop Chart, While The Heat Cooks at Second


WINNERS OF THE WEEK: Women. Last week, it was predominantly female audiences who pushed Monsters University and World War Z to box office glory. This weekend, it was women in front of the camera. Namely, the women of The Heat, Sandra Bullock and Melissa McCarthy, who pushed the all-X-chromosome buddy-cop comedy to an estimated $40.0 million debut. The two funny ladies helped the movie outperform expectations, which ranged wildly from about $20 to $35 million. The movies very positive word-of-mouth (as shown by its A- grade at CinemaScore) helped as well.

Meanwhile, Monsters, in its sophomore session, topped the deans list again, earning an estimated $46.2 million, for a 10-day total of $171.0 million. It was down just 44 percent from last weeks stellar premiere. And Z came in third this week with an estimated $29.8 million. Thats a 55 percent drop from last week, not bad for a movie with horror elements. Its 10-day earnings stand at $123.7 million in North America.

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LOSERS OF THE WEEK: Men. Specifically, the testosterone-fueled twosome of Channing Tatum and Jamie Foxx, whose action thriller White House Down seriously underperformed expectations. It had been expected to open in the high 30s, but it pulled in only an estimated $25.7 million. Thats even less than the $30.4 million debut three months ago of the similar but much less expensive thriller Olympus Has Fallen. Having its thunder stolen certainly didnt help, and neither did the surprisingly strong competition from The Heat and Z. The fourth-place finisher might have a shot at growing some legs and sticking around for a while (audiences liked it and gave it an A- at CinemaScore, same as The Heat), were it not for the imminent opening this week of The Lone Ranger.

Coming in fifth was Man of Steel, which lost another 50 percent of its business from last week. That still left an estimated $20.8 million, good for a three-week total of $248.7 million in North America. White House Down will be lucky to gross half that.

AND I JUST CANT HIDE IT: Sensing a space for counterprogramming this weekend, the nations art houses added six new offerings this week. Top pick was Im So Excited, the latest from Spanish master Pedro Almodvar, grossing an estimated $103,000 on five screens. (That $20,600 per-screen average is by far the best of any movie in theaters this week.) Jason Stathams latest, Redemption, earned an estimated $18,200 on 19 screens, for a paltry $958 per venue. Punk documentary A Band Called Death earned an estimated $28,500 on 13 screens, or $2,192 per screen. Neil Jordans vampire tale Byzantium, starring Saoirse Ronan and Gemma Arterton, earned an estimated $18,000 on six screens. Documentary How to Make Money Selling Drugs grossed only an estimated $10,500 on five screens. Youd think a movie with a title like that would do better than $2,100 per screen.

Love Is Strange


In a summer of movie romances, Love Is Strange is the one that cuts deepest. Without the usual bull and spackled-on sentiment, it hits you like a shot in the heart. Director Ira Sachs, who wrote the subtly nuanced script with Mauricio Zacharias, intuitively knows where attention must be paid.

George (Alfred Molina), a music teacher, and Ben (John Lithgow), an artist, have lived together in Manhattan for nearly 40 years. When state law finally allows them to marry, they do so happily among family and friends. But being legal gets George fired from his Catholic school, forcing them to sell their apartment. While foraging through the jungle of New York real estate, George moves downstairs with two gay cops (Cheyenne Jackson and Manny Perez). Ben squeezes into the Brooklyn apartment of a nephew (Darren Burrows), his work-at-home wife (Marisa Tomei, excellent), and their teen son (the extraordinary Charlie Tahan), who resists sharing his bunk bed with an old man who further cramps his privacy.

Its a sitcom setup that Sachs (Forty Shades of Blue, Keep the Lights On) imbues with the kind of humor and humanity that resonates with the issues of love, sex, separation, aging and loss that define a life.

Love Is Strange is, above all, a triumph for Lithgow and Molina, two consummate actors who bring decades of experience to artful performances that are as emotionally expressive in silence as they are in words. Acting doesnt get better than this. Want to know what love is? Watch Lithgow and Molina and learn.

Last Living Wizard of Oz Munchkin Jerry Maren Dead at 98


Jerry Maren, the last surviving munchkin from The Wizard of Oz, has died at the age of 98.

TMZ reports that Maren died last week at a San Diego nursing care facility, where the actor had spent the past few years as he battled dementia, and was laid to rest over the weekend at Los Angeles Forest Lawn Memorial Park.

Maren was 18 and newly arrived in Hollywood when he was cast along with over 100 other little people to portray munchkins in the big-screen adaptation of L. Frank Baums The Wonderful Wizard of Oz. Maren landed the role as the green-clothed member of the Lollipop Guild trio, one of the more prominent munchkin parts. (Seen below in the middle.)

Following The Wizard of Oz, Maren appeared in dozens of movie and television roles in a career that spanned nine decades, including The Twilight Zone, Where the Buffalo Roam, Get Smart and The Yada Yada episode of Seinfeld.

Maren became the last living munchkin following the death of Ruth Duccini in January 2014. Ive done so many things in show business, but people say, You were in The Wizard of Oz? It takes peoples breath away, Maren said in a 2011 interview. But then I realized, Geez, it must have been a hell of a picture, because everyone remembers it everywhere I go.

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