Add up the belly laughs in Mexican director Alejandro González Iñárritu’s first four features -- "Amores Perros," "21 Grams," "Babel" and "Biutiful" -- and, well, you'll find you have a lot of fingers going spare. Accomplished and sometimes exhilarating as his films (all of which have found favor with the Academy to some degree) have been, a change of pace wouldn't hurt him at this point.
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The moment I was hooked by the trailers for the 2009 "Star Trek" reboot was when Pike (Bruce Greenwood) challenged Jim Kirk (Chris Pine) to try to live up to the legacy of his father. The score, Greenwood's delivery, and the weight of what he was saying… all of that combined hit me dead center, and from that point on, they sort of had me on the hook.
I feel like it's a very smart choice, then, to bring this final trailer in the ad campaign for this summer's "Star Trek Into Darkness" back around to the two of them, Pike and Kirk, once again sitting together, once again discussing Kirk's potential as a leader. Pike is such a particular figure in "Trek" history, and perhaps the most significant refiguring in this new rebooted version of the "Trek" universe is the way he and Kirk deal with one another. You can't do much better in terms of mentor figures than Greenwood's Pike, and Kirk needs that voice in his ear, someone willing to push him and dare him to be a better person.
Steve Buscemi wants to be in a band. Specifically Vampire Weekend only to, y'know, help them reach a broader audience.
The actor/director will be helming Vampire Weekend's Amex Unstaged concert, webcast live on April 28 at 9 p.m. EST. In a promo clip for the show, it is revealed that Buscemi and VW's Chris Baio are distantly related, and it's a riff on that: how would a weird act and behave toward somebody that they're supposedly blood-relative to?
Set Visit: Danny McBride says 'This Is The End' is full of terrible things happening to famous people
NEW ORLEANS - If you're looking for a place to stage the end of the world, it seems to me that New Orleans is a pretty good choice.
Seth Rogen and Evan Goldberg are a formidable creative partnership. Standing on a soundstage for the first film they're co-directing, I was struck by just how laser focused their vision for their career has been and how well they've managed to build a space for them to make the films that genuinely make them laugh. When I first met Seth, it was at the premiere for "Anchorman." If you don't remember his role in the film, I wouldn't blame you. He plays a news cameraman, and in a film that seemed to be a showcase for one incredible character bit after another, Seth was one of the few people who didn't really have a giant moment.
The party after the premiere was at the Roosevelt, and it was a particularly rowdy celebration. That was a film that almost didn't happen several times along the way during development, and it seemed like everyone assembled understood just how much of a miracle it was that it even existed. At one point during the evening, I saw Seth Rogen sitting by himself at a table, and I walked over to say hello.
If I didn't know better, I'd say Tom Cruise is a nerd.
Sure, sure, he's been Captain Awesome since I was a young teenager, and he somehow looks better at his age than I've looked in my single best day ever, and he continues to somehow elude the same sort of career pitfalls that have sidelined even the most talented of his peers. So calling him a "nerd" may not be the traditional application of the word, but it seems to apply when you look at his taste in projects over the last few years.
It's one thing to do a couple of science-fiction movies in a row because Steven Spielberg calls, and "War Of The Worlds" and "Minority Report" are very different approaches to the same genre. With "Oblivion," "All You Need Is Kill," and the just-announced "Yukizake," Cruise seems to be almost single-handedly helping keep original science-fiction alive on the bigscreen. And, yes, I know he's not the filmmaker in each of these cases, but it's incredibly hard to get these films made, and when Cruise signs on, he can be the deciding factor for the financiers behind the films.
A quick review of last night's "How I Met Your Mother" coming up just as soon as my life turns into an angsty, existential Italian black-and-white movie...
On last night's episode of "The Real Housewives of Orange County," many significant things occurred. Tamra and Vicki made up (that was quick, right?), we learned Heather has a problem child (which totally messes with her perfect facade), and we met the new Housewife. On paper, Lydia McLaughlin appears to be a perfect fit for "The Real Housewives" franchise. Her family came from money, she describes herself as a princess, and her husband takes her out for date night on their private boat. Sounds just right, doesn't she?
I think we can all agree that tonight was an unfortunate night for "Dancing with the Stars" to test drive a new gimmick. By plopping a second pair of dancers -- polished professionals -- into each routine, the floor seemed crowded at a time when most people were likely distracted by thoughts of what had happened in Boston, of what they'd seen on the news moments earlier. Sorting out which couple was the one to watch and which couple was simply good was a little more effort than maybe some of us wanted to dedicate to reality TV tonight.
First she was dating Skrillex for real, now Ellie Goulding is romantically paired with another DJ, Calvin Harris, for pretend in the video for “I Need Your Love.”
[More after the jump...]
Everybody likes Morgan Freeman.
There aren't many actors you can say that about, but I honestly don't think I've ever had a conversation with someone where Freeman's name came up and someone said, "Oh, I can't stand him." That's kind of amazing. It's a testament to the fundamental honesty of what Freeman does on-camera, and the way he's picked and chosen roles over the last twenty-plus years.
He's one of those guys who worked for a long time in what must have felt like relative obscurity, one of his best-known roles being an ensemble part on "The Electric Company." All of that changed when "Street Smart" hit, and suddenly Hollywood figured out how great he was. Suddenly, he started getting the types of roles he deserved. Suddenly he was front and center in a number of big films, including the Oscar-winning smash hit "Driving Miss Daisy" and the Oscar-winning genre-defining Clint Eastwood film "Unforgiven."
Thanks to his distinctive voice and his warm, authoritative diction, Freeman's become the king of the voice-over work, and no one has made better use of that than Frank Darabont did in "The Shawshank Redemption," a film that seems to become more beloved with each passing year. I've spoken with him once or twice in the past, and he's always been cordial and engaging.