A new poster has been released for The Paperboy, Lee Daniels’ thriller in which Zac Efron finds himself falling for a distinctly cougarish Nicole Kidman.
Efron plays the brother of Matthew McConaughey’s investigative journalist, with both men working in tandem to prove the innocence of John Cusack’s death row inhabitant. Things are complicated however by the presence of Kidman’s character (a long-standing correspondent of the accused) and it isn’t long before she and Efron find themselves embarking upon an ill-advised affair. The poster doesn’t give us much more to go upon beyond that, suffice to say that Efron has clearly been putting a lot of hours in at the gym to get those biceps sufficiently pumped.
Adapted from the novel by Pete Dexter, The Paperboy has yet to receive an official release date, but is expected to arrive at some point in 2012.
The Academy of Motion Picture Arts and Sciences unveiled the poster for the 84th Academy Awards on Wednesday morning – a poster which pays homage to several great Best Picture winners of the classic gold statue.
Under the line, “Life, Camera, Action,” the poster — created by graphic designer Anthony Goldschmidt and Mark and Karen Crawford of the design firm Blood & Chocolate — features the Oscar statue next to posters from “Gone with the Wind” (1939), “Casablanca” (1943), “Giant” (1956), “The Sound of Music” (1965), “The Godfather” (1972), “Driving Miss Daisy” (1989), “Forrest Gump” (1994) and “Gladiator” (2000).
Seven of the films won Best Picture, except for “Giant,” which earned George Stevens a Best Director statue.
The tagline on the poster is, “Celebrate the movies in all of us.”
“Whether it’s a first date or a holiday gathering with friends or family, movies are a big part of our memory,” Tom Sherka, Academy President, said in a statement released on Wednesday morning. “The Academy Awards not only honor the excellence of these movies, but also celebrate what they mean to us as a culture and to each of us individually.”
The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 AM PST in the Academy’s Samuel Goldwyn Theater.The Academy Awards, hosted by Billy Crystal, will air on Sunday, February 26, 2012 at 7 PM EST/4 PM PST on ABC.
Old-stager Christopher Lee has been talking about his involvement with The Hobbit: An Unexpected Journey, and from the sounds of it, audiences are about to see a very different Saruman from the one villain of the Lord Of The Rings trilogy.
According to Lee, The Hobbit sees Saruman return as, “a good and noble man and the head of the Council Of Wizards, as he had always been.” However, don’t expect Lee to be snaffling up much screen time, as the ninety-year-old is apparently only interested in smaller roles these days. “I don’t play long parts,” he says. “They must be short parts, but they’ve got to be parts that mean something, that matter, where people will notice when I’m on the screen and people will remember the character after they’ve seen the film.”. That sounds like a fairly accurate description of Saruman to us! The Hobbit: An Unexpected Journey is released in the UK on 14 December 2012.
Christmas might be over, but the Batman-related pressies just keep on coming, with Anne Hathaway breaking Chris Nolan’s traditional wall of silence in order to give us an update on what we can expect from The Dark Knight Rises.
“Gotham City is full of grace,” says Hathaway. “You look at Heath’s performance as the Joker, there was a lot of madness there but there was also a grace and he had a code there. There’s a lot of belief and codes of behavior in Gotham and my character has one, too. A lot of the way she moves and interacts with people is informed by her worldview. Chris has given us all such complex, defined, sophisticated worldviews that it’s just a matter of doing your homework and getting underneath the character’s skin.”
“I really got into the comics after I was cast,” she continues, “and I like that when she made her first appearance she meets Bruce Wayne and says ‘Let go of me or I’ll claw your eyes out,’ and he says, ‘Careful, claws in or papa spank’. So I’m glad we’ve come a long way since then. I’m not saying anything against Bob Kane, though!”
And speaking of previous incarnations of the character, Hathaway isn’t remotely concerned by comparisons to Michelle Pfeiffer et al.
“What’s come before doesn’t limit or even affect this new version,” she says. “It doesn’t affect me because each Catwoman – and this is true in the comics as well – she is defined by the context of the Gotham City created around her. Catwoman is so influenced by Gotham and whoever is creating Gotham at the time. Michelle Pfeiffer’s Catwoman was informed by Tim Burton’s Gotham and Eartha Kitt was informed by Adam West’s Gotham. You have to live in whatever the reality of the world is and whatever Gotham is.”
Still more intriguing is the description of a scene that precedes the interview in the LA Times. Eyes away now if you don’t want to know what happens...
“Gotham City is a war zone,” begins the description. “A ruthless madman named Bane has ripped away any sense of security and the citizens, haggard and clutching suitcases with refugee anxiety, sit behind barbed wire waiting to see what will blow up next. A hooded prisoner is dragged in – it’s Bruce Wayne, one of Gotham’s most famous faces – but the eyes of the crowd go instead to the woman in black standing at the top of the staircase.”
“‘Sorry to spoil things, boys, but Bane needs these guys himself,’ says sultry Selina Kyle, played here by actress Anne Hathaway, navigating the steps with stiletto heels that, on closer inspection, turn out to have serrated edges capable of leaving nasty claw marks in a fight. She also wears high-tech goggles that, when not in use, flip up and resemble feline ears.”
So Bane and Catwoman are working together? Make of that what you will.The Dark Knight Risesis released in the UK on 20 July 2012.
Γνωρίζοντας ότι το blog μου αφορά τον κινηματογράφο και τους πρωταγωνιστές του, πήρα το θάρρος και αποφάσισα να κάνω αφιέρωμα σ΄ έναν άνθρωπο του θεάτρου, το Δ. Ποταμίτη που κατά τη γνώμη μου επηρέασε και τον κινηματογράφο.
Ο Δημήτρης Ποταμίτης(ηθοποιός,θεατρικός συγγραφέας,σκηνοθέτης,ποιητής) δε ζει πια,άφησε,όμως,πίσω του σημαντικό έργο.Η έντονη πρωσοπικότητά του εκφράστηκε κυρίως στο θέατρο ''Έρευνα''που ίδρυσε,στο οποίο ανέβασε πολλές και επιτυχημένες παραστάσεις.
Τη συνέντευξη που ακολουθεί πήρε απ' αυτόν το σημαντικό καλλιτέχνη και διανοούμενο η φιλόλογος-δημοσιογράφος Αναστασία Κεσκεσιάδου τον καιρό που η καριέρα του βρισκόταν σε πολύ γόνιμη φάση.
''Α.Κ'':Κύριε Ποταμίτη,εκτός από ηθοποιός,σκηνοθέτης και ποιητής,είστε γνωστός ως συγγραφέας θεατρικών έργων για μεγάλους και για μικρούς.Θα ήθελα να μας πείτε ποια στοιχεία καθιστούν ένα θεατρικό έργο για μεγάλους και για μικρούς ενδιαφέρον αντίστοιχα.
Απ.:Το ενδιαφέρον είναι καθαρά υποκειμενικό.Και όταν ζεις μάλιστα σε μια χώρα με έντονο το στοιχείο της υποκειμενικότητας, όπως είναι η Ελλάδα,αυτός ο υποκειμενισμός βασιλεύει και κυριαρχεί στα πάντα.Όσο μεγαλύτερη παρακμή έχει μια χώρα,τόσο πιο πολύ δεν μπορούμε να βρούμε την αντικειμενική άκρη στα πράγματα.Για μένα είναι στοιχείο παρακμής αυτό.Γιατί σίγουρα κάπου πρέπει να υπάρχει η αντικειμενική αλήθεια.Κάπου όλοι ξέρουμε και οφείλουμε να ξέρουμε ότι ο βόθρος βρωμάει.Ένα αριστούργημα του Μπέκετ,εάν το δουν όλοι αυτοί οι κάφροι που πάνε και βλέπουν την επιθεώρηση,θα σου πουν ότι πρόκειται περί σαχλαμάρας.Και κάποιοι αξιόλογοι άνθρωποι,που δυστυχώς είναι μειοψηφία και πάνε και βλέπουν τα πολλά έργα στα οποία τρέχει ο κόσμος σαν τρελός,σου λένε:τί αηδίες είναι αυτές.Το κακό,το δυστύχημα πάλι είναι,για να καταλάβετε πόσο υποκειμενικοί είμαστε στην Ελλάδα,ότι ο κόσμος δυστυχώς τρέχει σε έργα τα οποία εκ των υστέρων βρίζει.Όλοι τρέχουν εκεί που ξέρουν ότι θα δουν κακή δουλειά,κακό έργο,κακή παράσταση.Λοιπόν,αποκεί και πέρα τί θα πει ενδιαφέρον?Ενδιαφέρον είναι ένα έργο το οποίο προβληματίζεται στη φόρμα του,προβληματίζεται και στην ουσία του.Το περιεχόμενό του,δηλαδή,δεν ακροβατεί,αλλά ψάχνει να βρει λύσεις σε προβλήματα που απασχολούν το σημερινό άνθρωπο.Για να κάνει όχι μόνο το σημερινό αλλά τον ατελή άνθρωπο καλύτερο.Γιατί ο άνθρωπος είναι πέρα από το χρόνο.Θα πρέπει όμως,όπως είπα και πριν,ένα θεατρικό έργο,για να είναι ενδιαφέρον,να προβληματίζεται και στη φόρμα του.Δεν πρέπει να παραβλέπουμε την αισθητική χαρά.Κι εκεί μ'ενδιαφέρει ένα έργο που ψάχνει να βρει φόρμες πρωτότυπες,με καλύτερο τρόπο απ' ό,τι παλαιότερες.Όποιο έργο,δηλαδή,έχει ανθρώπινη σκέψη,ανθρώπινο βάσανο, σκέψη,νομίζω ότι έχει ενδιαφέρον.
''Α.Κ'':Όσον αφορά το παιδικό θέατρο:
Απ.:Ισχύουν ακριβώς τα ίδια.Το θέατρο για παιδιά διέπεται απ' τους ίδιους κανόνες που διέπεται το θέατρο για μεγάλους.Κι εκεί γίνεται η μεγάλη παρεξήγηση στην Ελλάδα.Αντιμετωπίζουμε τα παιδιά σαν καθυστερημένους ενήλικες κι όχι σαν αθώους ενήλικες.Γιατί αυτό σημαίνει να 'σαι παιδί:να είσαι αθώος.Όχι να είσαι καθυστερημένος πάντως.
''Α.Κ'':Εσείς,όταν γράφετε ποιες δυσκολίες αντιμετωπίζετε?
Απ.:Είναι σαν ένα ψηφιδωτό,όπου,αν δεν βάλεις την κατάλληλη πέτρα στο κατάλληλο σημείο,χάνεται όλη η ισορροπία.Είναι χιλιάδες,πραγματικά χιλιάδες μικρά μυστικά τα οποία πρέπει να τοποθετήσεις έτσι που να δημιουργήσουν την εικόνα που θέλεις.
''Α.Κ'':Θεωρείτε ότι η σύγχρονη ελληνική θεατρική παραγωγή είναι αρκετά ενδιαφέρουσα?
Απ.:Υπάρχει μια θεατρική παραγωγή σήμερα στην Ελλάδα πάρα πολύ σημαντική.Ακόμα δεν έχει συνέλθει και θ'αργήσει ακόμα πάρα πολύ να συνέλθει η νεοελληνική θεατρική παραγωγή από μια τροχοπέδη,μια ανασταλτική δύναμη που μας πήγε πίσω.Από κάποιους συγγραφείς,οι οποίοι δυστυχώς συνήθιζαν το ελληνικό κοινό στην ηθογραφία και στο νατουραλισμό.Σ'ένα νατουραλισμό φοβερό.Εγώ πιστεύω ότι το έγκλημα,ο θάνατος της τέχνης είναι ο νατουραλισμός.Δυστυχώς αυτοί έθισαν το κοινό να αντιλαμβάνεται μόνο νατουραλιστικά την τέχνη.Πράγμα που δεν είναι τέχνη.
(Το παρόν είναι μέρος της συνέντευξης που παραχώρησε ο Δ.Ποταμίτης στην κ.Αναστασία Κεσκεσιάδου, την οποία και ευχαριστώ θερμά για την παραχώρηση της συνέντευξης!)
The son of a moderately wealthy Manhattan surgeon (who was secretly addicted to opium) and a famed magazine illustrator, Humphrey Bogart was educated at Trinity School, New York City, sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1941) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.
Director Robert Luketic adapts Ben Mezrich's best-seller Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions to tell the true-life tale of six genius students who used their brains to beat considerable odds. Ben Campbell (Jim Sturgess) may be shy, but his wallflower reputation betrays his inner brilliance. As smart as Ben may be, however, if he can't pay his tuition he'll be kicked out of M.I.T. Fortunately, the answer to all of Ben's problems is right there in the cards. Recruited to join a team of extremely gifted students who have used their mastery of numbers to beat the odds at blackjack, Ben procures a fake identity in order to join the casino scammers and their brilliant leader -- eccentric math professor and stats genius Micky Rosa (Kevin Spacey) -- in some highly profitable weekend excursions to Las Vegas. Counting cards isn't illegal, and by using a complex series of signals, this team has cracked the code. Of course, it doesn't take long for Ben to become seduced by the glamorous Las Vegas lifestyle, and the attention afforded to him by his sexy teammate Jill Taylor (Kate Bosworth) finds him pushing his luck to the absolute limits. Laurence Fishburne stars as Cole Williams, the Sin City security chief who catches on to the group and makes it his mission to expose their lucrative blackjack scam.
Director Marc Webb has promised a grittier, darker Spider-Man story, and judging from what was presented at Comic-Con, that take is basically, “With great power, comes great responsibility, but what would you do if you never had any power before?” It’s a new way to come at the Spidey credo, and while I will always wonder what would’ve been with Sam Raimi’s Spider-Man 4, I’m willing to give Webb’s take a shot.
The film stars Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Sally Field, and Martin Sheen.
The Amazing Spider-Manopens in 3D on July 3, 2012.
The full name of the title is "The Hobbit: An Unexpected Journey." The first trailer of the film has recently been released.
The trailer shows Gandalf, Bilbo Baggins, and a bunch of other characters in the story that will make an impact. The story revolves around Bilbo Baggins, who is regarded as Frodos uncle or heir, going on an adventure with a group of dwarves. Gandalf will also be going along. Oh yea, good ol' Gollum will also makes his presence felt along with the ring.
On November 12, 1929, Grace Patricia Kelly was born in Philadelphia, Pennsylvania to wealthy parents. Her girlhood was uneventful for the most part, but one of the things she desired was to become an actress which she had decided on at an early age. After her high school graduation in 1947, Grace struck out on her own, heading to New York's bright lights to try her luck there. Grace worked some as a model and made her debut on Broadway in 1949. She also made a brief foray into the infant medium of television. Not content with the work in New York, Grace moved to Southern California for the more prestigious part of acting -- motion pictures. In 1951, she appeared in her first film entitled Fourteen Hours (1951) when she was 22. It was a small part, but a start nonetheless. The following year she landed the role of Amy Kane in High Noon (1952), a western starring Gary Cooper and Lloyd Bridges which turned out to be very popular. In 1953, Grace appeared in only one film, but it was another popular one. The film was Mogambo (1953) where Grace played Linda Nordley. The film was a jungle drama in which fellow cast members, Clark Gable and Ava Gardner turned in masterful performances. It was also one of the best films ever released by MGM. Although she got noticed with High Noon, her work with director Alfred Hitchcock, which began with Dial M for Murder (1954) made her a star. Her standout performance in Rear Window (1954) brought her to prominence. As Lisa Fremont, she was cast opposite James Stewart, who played a crippled photographer who witnesses a murder in the next apartment from his wheelchair. Grace stayed busy in 1954 appearing in five films. Grace would forever be immortalized by winning the Academy Award for Best Actress for her portrayal of Georgie Elgin opposite Bing Crosby in The Country Girl (1954). In 1955, Grace once again teamed with Hitchcock in To Catch a Thief (1955) co-starring Cary Grant. In 1956, she played Tracy Lord in the musical comedy High Society (1956) which also starred Frank Sinatra and Bing Crosby. The whimsical tale ended with her re-marrying her former husband, played by Crosby. The film was well received. It also turned out to be her final acting performance. Grace had recently met and married Prince Rainier of Monaco. By becoming a princess, she gave up her career. For the rest of her life, she was to remain in the news with her marriage and her three children. On September 14, 1982, Grace was killed in an automobile accident in her adoptive home country. She was just 52 years old.
Visionary filmmaker Christopher Nolan (Memento, The Dark Knight) writes and directs this psychological sci-fi action film about a thief who possesses the power to enter into the dreams of others. Dom Cobb (Leonardo DiCaprio) doesn't steal things, he steals ideas. By projecting himself deep into the subconscious of his targets, he can glean information that even the best computer hackers can't get to. In the world of corporate espionage, Cobb is the ultimate weapon. But even weapons have their weakness, and when Cobb loses everything, he's forced to embark on one final mission in a desperate quest for redemption. This time, Cobb won't be harvesting an idea, but sowing one. Should he and his team of specialists succeed, they will have discovered a new frontier in the art of psychic espionage. They've planned everything to perfection, and they have all the tools to get the job done. Their mission is complicated, however, by the sudden appearance of a malevolent foe that seems to know exactly what they're up to, and precisely how to stop them.