Archive for July, 2010

THE WAY THAT IT IS: MY GAME, MY RULES

Posted in Hot Video on July 30, 2010 by Miranda Wilding

This is the question of the day.

Is Tiger Woods an Irish Catholic?

Anyway…

AVA GARDNER is my hero for a wide variety of reasons. She was an iconoclastic maverick. She did everything on her own terms.

I can relate.

You know that PINK song U & UR HAND? Something tells me that AVA would’ve adored that.

One of the things that drives men crazy where I’m concerned (oh yeah…there’s more than one) is that they know I can be with whoever I want and that I’m fine on my own as well. So I can do whatever the hell I please. I have since I was two years old.

Welcome to the real world.

Would AVA have let all the BS get to her? I doubt it. She would’ve been too busy rolling around with FRANK.

She loved that man from the moment she met him until the day she left this earth.

Which brings me to this…

Many, many months ago (back in March, actually) I made a choice. As far as I’m concerned, it was the only one I could make.

It’s easy when your #1 is that clear cut. My commitment has never wavered.

This is it. Well past the horizon. As far as the eye can see…and beyond that. I’m totally aware of what makes me deliriously fulfilled. I know who has my best interests at heart.

This is my happy ending.

If someone doesn’t like the choices that I’ve made in my private life, that cuts no f’ing ice with me. Don’t let the door demolish you on the way out.

There’s worthy and then there’s meaningless. Go peddle it to someone who cares.

For our Friday musical highlight, I’ve chosen the gloriously appropriate BLEEDING LOVE by LEONA LEWIS.

Lyrics are a bit unorthodox. But I think they sum up what I’m feeling fairly succinctly.

So that’s that.

It’s a wild world out there, children. Stay safe this weekend.

It’s time for me to exit. You know which theatrical direction I’m talking about…

ONLY THE BEGINNING: VENICE 2010

Posted in Film Festivals on July 29, 2010 by Miranda Wilding




FROM THE ASSOCIATED PRESS

DARREN ARONOFSKY’S BLACK SWAN and SOFIA COPPOLA’S comic drama SOMEWHERE will make their world premieres at the 2010 VENICE FILM FESTIVAL.

Mr. Aronofsky returns to Venice with a psychological thriller two years after winning the top prize for his drama THE WRESTLER.

BLACK SWAN stars MILA KUNIS, NATALIE PORTMAN and WINONA RYDER.

Ms. Coppola will showcase her film featuring Stephen Dorff as a bad boy actor struggling through life.

German director TOM TYKWER will also premiere his movie DREI.

Lido regular and part time Italy resident GEORGE CLOONEY isn’t expected again this year. Mr. Aronofsky’s movie got tagged for the opening slot and the U.S. release of GEORGE’S new film THE AMERICAN was all ready scheduled for SEPTEMBER 1 — the opening day of the fest.

In the end, the picture, a thriller shot largely in the quake stricken region of Abruzzo, is absent from the festival lineup.

“We put together an opening night of which we are very proud,” fest director MARCO MUELLER said.

In all, 79 world premieres will be shown in Venice from SEPTEMBER 1 – 11.

Director QUENTIN TARANTINO is heading the jury that will award the festival’s top prize on SEPTEMBER 11. Director JOHN WOO will receive a GOLDEN LION for his career.

Here is a list of the films (and their directors) in competition for THE GOLDEN LION…

BLACK SWAN – DARREN ARONOFSKY

LA PECORA NERA (BLACK SHEEP) – ASCANIO CELESTINI

SOMEWHERE – SOFIA COPPOLA

HAPPY FEW – ANTONY CORDIER

LA SOLITUDINE DEI NUMERI PRIMI (THE SOLITUDE OF PRIME NUMBERS) – SAVERIO COSTANZO

OVSYANKI (SILENT SOULS) – ALEKSEI FEDORCHENKO

PROMISES WRITTEN IN WATER – VINCENT GALLO

ROAD TO NOWHERE – MONTE HELLMAN

BALADA TRISTE DE TROMPETA (A SAD TRUMPET BALLAD) – ALEX DE LA IGLESIA

VENUS NOIRE (BLACK VENUS) – ABDELLATIF KECHICHE

POST MORTEM – PABLO LARRAIN

BARNEY’S VERSION – RICHARD J. LEWIS

NOI CREDEVAMO (WE BELIEVED) – MARIO MARTONE

LA PASSIONE (THE PASSION) – CARLO MAZZACURATI

JUSAN NIN NO SHIKAKU (13 ASSASINS) -TAKASHI MIIKE

POTICHE – FRANCOIS OZON

MEEK’S CUTOFF – KELLY REICHARDT

MIRAL – JULIAN SCHNABEL

NORUWEI NO MON (NORWEGIAN WOOD) – ANH HUNG TRAN

ATTENBERG – ATHINA RACHEL TSANGARI

DI RENJIE ZHI TONGTIAN DIGUO (DETECTIVE DEE & THE MYSTERY OF PHANTOM FLAME) -TSUI HARK

DREI (THREE) – TOM TYKWER

And one surprise…

COME FLY AWAY: FROM BROADWAY TO A NATIONAL TOUR NEXT YEAR

Posted in Theatre on July 29, 2010 by Miranda Wilding


FROM THE ASSOCIATED PRESS

The FRANK SINATRA musical COME FLY AWAY will run throughout the summer on Broadway.

Its last performance will be at the MARQUIS THEATRE on SEPTEMBER 5, producers announced Wednesday.

The production was conceived, choreographed and directed by TWYLA THARP, who won a DRAMA DESK AWARD for choreography.

COME FLY AWAY will embark on a national tour in MAY 2011 in Chicago. More details on the tour will be announced later.

The show features a 19 piece band, 15 dancers and many of Sinatra’s most popular songs.

BETTY WHITE IS HOT (& NOT JUST IN CLEVELAND…)

Posted in Entertainment News, Phenomenons on July 28, 2010 by Miranda Wilding


FROM THE CANADIAN PRESS

It didn’t take long for BETTY WHITE to figure out that HOT IN CLEVELAND was sizzling.

She recently flew up to scenic Carmel, California to bask in the peace and quiet of her seaside second home as she worked on a new preface for one of her books.

As she always does, she rented a car at the airport and decided to make a quick stop at the market on her way home.

Of course, such public appearances are never quick when you’re one of the hottest stars in Hollywood.

“It took me an hour and a half to get out of the market,” BETTY told The Canadian Press in a telephone interview from Carmel.

The swarming fans, however, weren’t interested in chatting about any of her classic TV shows.

“It’s not Golden Girls. It’s not Mary Tyler Moore (that they asked about). It’s Hot In Cleveland. It’s just amazing how the show has caught on.”

Indeed, HOT IN CLEVELAND appears to be the summer’s surprise breakout hit.

The show centres on three cynical, washed up Hollywood types — played by real TV vets JANE LEEVES, WENDIE MALICK and VALERIE BERTINELLI — who wind up moving to Cleveland on a whim after a grounded flight exposes them to the charms of the midwest.

BETTY plays Elka Ostrovsky, the caretaker at the house rented by the other women. Elka is sarcastic, short tempered and (in the pilot, at least) occasionally stoned. She’s also indiscriminate about sharing the details of her apparently extensive sexual past — in BETTY’S own words, Elka is an “old smartass broad.”

And yet, BETTY wasn’t initially keen on signing on to the show full time. She had agreed to do a guest shot on the pilot with the proviso that she wouldn’t be involved with the show if it was picked up.

“That was the arrangement, ’cause my schedule — I know it sounds crazy — is a real busy one.”

The pilot was picked up though and in an extremely swift three weeks at that. And the producers knew they needed BETTY — whose crackerjack comic delivery elicited most of the pilot’s biggest laughs — to stay on board.

“They began (to ask) will you do this, will you do that? I said, that wasn’t the arrangement. Well then they started making concessions: ‘What if you only worked three days? What if this and what if that?’ And I had such a good time on the pilot that I found myself saying OK.”

“Of course — pushover here — I wound up doing them all!”

BETTY’S time commitment to the series only grew as TV Land ordered a 20 episode second season just weeks into the first season’s 10 show run.

BETTY said that she relishes working on the show.

“It’s (so) professional, but it’s such fun. The chemistry between everybody — they all love each other and on both sides of the camera. It’s just a delight.”

“And of course to be able to be doing a multicamera show in front of a live audience again is just the best. On a one camera comedy show you beat the joke to death doing re setups. But with this, the audience helps guide your timing. It’s just lovely. And the chemistry I think between those three girls is just delicious.”

BETTY, of course, has been on a tear lately.

It began with her scene stealing role in last summer’s rom com blockbuster THE PROPOSAL and reached its peak with a Facebook campaign that eventually thrust her into the demanding job of SATURDAY NIGHT LIVE guest host.

BETTY just earned an EMMY nomination for the spot — her 17th. (She called it a “lovely surprise.”)

While she has high praise for SNL honcho LORNE MICHAELS and cherishes the experience, she says she doesn’t think she’d be willing to host the show again.

“I think I got lucky this one time and I was so panic stricken. I don’t think I would have the courage to do it again. But everyone could not have been more supportive. I think Lorne Michaels is a genius. He’s just wonderful and couldn’t be nicer.”

“But I don’t think I’d be up for it again.”

The SNL gig again proved, if nothing else, that BETTY is an exemplary sport. Much of the comedic treasure on SNL was mined through jokes either about BETTY’S age or her willingness to say inappropriate things, whether she was calling AMY POEHLER a lesbian or creating winking double entendres around the word muffin.

Clearly, though BETTY enjoys toying with the audience’s popular perception of her, she’s wary of taking such excursions too far.

“Playing against type is always kind of fun if you don’t overdo it. Sometimes you get so busy playing against type you forget to play yourself. So I try to mix them up as much as I can.”

Also on the horizon is an appearance in the second season premiere of NBC’s razor sharp satire COMMUNITY, which she says she’s shooting next week. She chuckles constantly as she tries to describe the role.

“She’s an anthropology teacher and she’s a very nice, you know, naturally granny type lady but she blows a blow dart at one of the characters and she talks about all the terrible things that she’s done in the Amazon.”

“So she seems a very sweet lady with this nice little way, but she’s saying these terrible things.”

Also upcoming for BETTY is a role as — surprise, surprise — Grandma Bunny in the fall comedy YOU AGAIN, which stars SIGOURNEY WEAVER and KRISTIN CHENOWETH.

All these projects might seem like a lot to manage for her, but she’s eager to point out that she likes a stacked schedule.

While she faded from the spotlight a bit prior to her recent revival, she didn’t stop working. She filled her resume over the past two decades with scads of guest spots in TV shows and films plus frequent voice work.

So if you see BETTY WHITE in your local grocery store, choose your words carefully.

“Everybody says: ‘Oh, it’s so nice to see you back again.’ I never went away! I’ve been working steadily for the last 63 years.”

“I just love keeping busy. I guess that’s the bottom line.”

SALT ****

Posted in Film Reviews on July 28, 2010 by Miranda Wilding

In the films that she has appeared in, ANGELINA JOLIE has generally been a powerful courageous force of nature.

As EVELYN SALT, she gets to pull out every last stop imaginable. She doesn’t just take it to the wall. There’s literally nothing left of it by the time she’s finished.

Ms. Salt works for the CIA. Under interrogation, a defector accuses her of being a Russian spy. She protests and maintains her innocence. Her superior and close friend TED WINTER (LIEV SCHREIBER) believes her.

WILLIAM PEABODY (CHIWETEL EJIOFOR) in counterintelligence is a by the book bastard that hates Evelyn’s guts. He refuses to give her any concessions.

Evelyn insists on talking to her husband. She knows that this has all ready gotten out of control. Her status and integrity are on the line as well as her career, her life – and in circumstances like this her husband could be in danger. But she’s unable to reach her spouse by phone.

When the boom is lowered dramatically, you know Evelyn will have no choice but to blast her way the hell out of there.

She does. Then she goes on the run.

There is not a lot of exposition. But you need very little in this particular instance. The film – which is 100 minutes – is a tight white hot thriller that hits the ground running and never lets up.

SALT is beautifully shot by the superb ROBERT ELSWIT (THERE WILL BE BLOOD, DUPLICITY, THE BURNING PLAIN).

JAMES NEWTON HOWARD’S score is particularly memorable.

Director PHILLIP NOYCE should be given a great deal of credit. The pace is fast and furious and whips by at lightning speed.

The three principal actors are all incredibly good. The two men each have one big spectacularly delicious scene with our amazing female protagonist.

But ANGELINA is, of course, the main attraction here. She sells the picture. Whether she’s being a gutsy iron willed bad ass or a graceful enigma (depending on the scene) you can not take your eyes off of her.

She’s compelling, mysterious and unstoppable. She also did her own stunts…and it shows.

ANGELINA JOLIE is ultimately rather unique. She has a commanding strength that makes her a natural for action. She’s a gorgeous glamorous goddess with wicked charisma who is also incredibly talented.

She makes this motion picture come alive.

Who is EVELYN SALT? See the damn movie. It possesses the perfect popcorn punch.

You won’t regret it.

PHOTOS OF ANGELINA AT SALT’S MOSCOW PREMIERE

Posted in Film on July 28, 2010 by Miranda Wilding




I’ve had a million things to do so I haven’t had the opportunity to put these up until now.

But these pics were taken several days ago at SALT’S Moscow premiere.

The red looks so incredible on ANGELINA.

Now that, ladies and gentlemen, is a movie star…

THE KIDS ARE ALL RIGHT ***

Posted in Film Reviews on July 27, 2010 by Miranda Wilding

LISA CHOLODENKO understands the truth.

She knows more about romance and the psychology of the human heart than any director since MIKE NICHOLS. She has also elicited superlative performances from extraordinary actors in her previous films – PATRICIA CLARKSON in HIGH ART and FRANCES McDORMAND in LAUREL CANYON.

The latter features one of the most stunningly honest and erotic scenes of the new millennium: CHRISTIAN BALE and NATASCHA McELHONE sitting in a car in a parking lot, talking about how much they want each other.

All they do is kiss.

But that heightened exchange is so fraught with emotion, sweetness and a hard driving encompassing lust that when she says, “You can work on me all night long,” you fondly remember previous circumstances with the boys in your life and think, Oh yeah…

Been there. Done that. Many times over.

In her new movie THE KIDS ARE ALL RIGHT (cowritten with STUART BLUMBERG), the situations are much different. But certain longings linger.

JULES (JULIANNE MOORE) and NIC (ANNETTE BENING) have been together for two decades. Nic’s a doctor. Jules is a failed architect who became a stay at home parent and has recently started her own landscaping business.

They have two children: 18 year old JONI (MIA WASIKOWSKA) and LASER (JOSH HUTCHERSON), 15.

Joni’s summer is winding down. Within the next few weeks, she will be leaving home to attend college.

Their parents share a deep connection. They genuinely love each other. However, the spark between them is as faded and dry as the Mojave. They’re not excessively unhappy. But it feels like they’ve been on auto pilot forever.

They’re polar opposites in terms of temperament. Nic is hard, rigid, doesn’t mince words. Frankly, she can be an uptight controlling bitch. Jules is fanciful, fun, easygoing.

The kids have always been curious about their dad. For their mothers, it was a simple trip to the clinic for both of them. But Joni and Laser want to know who he is. They track him down.

When they find him, he’s equally intrigued and extremely interested in his children’s lives.

PAUL (MARK RUFFALO) is a never married motorcycle riding organic farmer/restaurateur with a laid back carefree attitude. For almost every female he meets, he’s the ultimate Mr. Foxy Fox.

He’s the kind of guy that women desperately want to sleep with. But they don’t take him particularly seriously. Initially, you get the sense that that’s really the way he wants it.

But Paul turns out to be hiding a certain amount of depth. In fact, he might very well be coming to a kind of symbolic crossroad as a consequence of early middle age.

His whimsical nature finds a profound symmetry with Jules’ open free spiritedness. When they become drawn into a full blown affair, it’s curiously unsurprising.

But this intense heat is bound to have a horrendous impact on everyone’s lives and future. Commitments wil be tested, hearts will be broken and destinies will shift before everything settles.

THE KIDS ARE ALL RIGHT is an intelligent comedy. There is a defined deftness and clarity to it. It’s exceptionally funny and relatable.

The actors are all terrific.

YAYA DACOSTA is particularly good as Paul’s current casual girlfriend.

MIA WASIKOWSKA never rises to the supreme levels that the others do. But she does some small clever things that show that she definitely understands her character.

The two female leads are both incredibly real. There’s no outward gloss to their respective appearances: minimal or no makeup, low key wardrobes, simple hairstyles. These are not women that live for glamour. They’re too busy doing other things.

JULIANNE MOORE convincingly plays sweet and self effacing.

ANNETTE BENING is not afraid of being unlikable. NIC, unfortunately, is exactly that much of the time. She’s blunt, forthright and not impressed with social graces. She’ll always tell you precisely what she thinks.

If you have a problem with that, she can’t help you.

But, as fine as the other actors are, the picture is completely stolen by MARK RUFFALO.

PAUL is a merry wanderer who hasn’t found himself yet. He has a career that delights him and makes him happy. He’s got a lot of women around that would kill to break the bed with him.

However, he’s just beginning to understand that there may be more to life than drifting through an endless series of flings. Under that big grin and flirtatious manner, there’s serious vulnerability and a desire for some stability.

It’s not only beautifully realized acting. But it’s one of the best performances of the year.

Ms. Cholodenko knows that it’s the people around us that make our lives worthwhile.

Relationships – like family dynamics – are messy, demanding, maddening and frustrating. They’re also fairly essential to any full vibrant existence.

Most days the joys greatly outweigh the sorrows. Everyone needs a place where they can belong.

So the kids are all right. In fact, they’re better than all right.

They’re absolutely splendid.

INCEPTION ****

Posted in Film Reviews on July 26, 2010 by Miranda Wilding


Ambitious individualistic filmmakers define the most fulfilling cinematic experiences.

CHRISTOPHER NOLAN (the writer/director of INCEPTION) is one of them.

DOM COBB (LEONARDO DiCAPRIO) is involved in an esoteric kind of corporate espionage. He is a specialist at extraction: retrieving people’s precious secrets when they’re dreaming.

This has made him a fugitive from justice. He can never go home again. He hasn’t seen his children in a long time. It is more than he can bear.

The billionaire industrialist SAITO (KEN WATANABE) offers Dom a way out. He is fascinated by the process of inception – the planting of an idea in a subject’s mind during sleep.

Saito wants to target ROBERT FISCHER (CILLIAN MURPHY), a competitor of great power, wealth and privilege. If Dom is willing to assist Saito in his objective, then he will help him return to his family. All he wants is for the request to be processed to his satisfaction…and to come along for the ride.

Dom agrees and assembles a prestigious group to assist him: his right hand man ARTHUR (JOSEPH GORDON LEVITT), the forger EAMES (TOM HARDY) and the aptly named architectural student ARIADNE (ELLEN PAGE).

But it won’t be a walk in the proverbial park. There are dark forces beyond anyone’s control that will make this scheme precarious at best. Dom’s deceased wife MAL (MARION COTILLARD) is only one of them.

That’s all you need to know…

INCEPTION is cerebral, operatic and thrillingly original. But it’s also incredibly satisfying. It’s JAMES BOND vs. the wide open spaces of your unruly subconscious. There’s enormous depth but plenty of exciting action sequences.

The film is possessed of multilayered narratives and interlocking scenarios. The kicks come hard and fast in this high stakes game of heist.

There are times that you can barely believe what you’re seeing. You’ll have to pick your jaw up off the floor…repeatedly.

In spite of the seriousness of the characters’ endeavours and the dangerous interplay between them, there is a strong undercurrent of sly ironic humour. The song that the dream team listens to as they go under is EDITH PIAF’S NON, NE REGRETTE RIEN. MARION COTILLARD won an Academy Award for portraying the famous French singer.

Indeed, remorse and great sorrow (or the lack thereof) are ongoing themes in this marvelously detailed intellectual exercise.

The picture succeeds superbly on a wide variety of fronts.

The cinematography by WALLY PFISTER (a veteran of many Nolan productions) is bold, sumptuous and exquisitely sensual.

HANS ZIMMER’S score is melodious and rousing.

Costume designer JEFFREY KURLAND (who worked on many of WOODY ALLEN’S movies) has created a wide variety of amazing wardrobe essentials.

The cast is extraordinary. They’re all extremely talented and perform to the best of their respective abilities.

As well as the previously mentioned, PETE POSTLETHWAITE is Robert’s seriously ill parent, TOM BERENGER portrays the Fischer family’s legal counsel and MICHAEL CAINE plays Dom’s father in law, a university professor.

TALLULAH RILEY has a few nice moments as a distracting blonde who meets Robert at a luxurious hotel bar.

But several performers deserve to be singled out.

TOM HARDY is stunningly charismatic. He’s reminiscent of a young ALAN BATES.

CILLIAN MURPHY (with his mesmerizing azure eyes) is profoundly touching as a man who has become greatly disconnected from his father.

But the fabulous MARION COTILLARD is the heart and damaged soul of the movie. She’s like a glittering 40s femme fatale – with all the power and electric grace of a gorgeous wounded woman. There are substantial reasons for her malevolence and the manipulative dominance of her husband’s mind.

She haunts each frame with her mysterious imperial presence. You’re thinking about her every second she’s not on screen.

INCEPTION is CHRISTOPHER NOLAN’S audacious unforgettable triumph. He is well on his way to becoming a legendary director.

The future of modern cinema is in excellent hands with such brilliant imaginative auteurs creating amazing works of art.

INCEPTION is the risk you must take. Your mind will be completely blown.

Surrender to its melancholy magnificence.

TAYLOR MOMSEN’S NEW GIG: THE FACE OF JOHN GALLIANO FRAGRANCE

Posted in Glamour on July 25, 2010 by Miranda Wilding




At just 16, TAYLOR MOMSEN has already locked down a starring role as GOSSIP GIRL’S resident bad girl. She’s also the lead singer for her band THE PRETTY RECKLESS.

And now the actor is adding fragrance face to her jam packed roster of artistic activities.

WWD has confirmed that, starting this fall, TAYLOR will star in ads for John Galliano’s new perfume. And while details on the campaign are still being worked out, you can expect to see TAYLOR’S edgy, rocker chic influence shine through.

The pairing is actually not her introduction to the beauty world. She helped Victoria’s Secret launch their Love Rocks scent collection at an event earlier this year.

A STUNNINGLY AUDACIOUS WEEKEND

Posted in Hot Video on July 23, 2010 by Miranda Wilding

Our Friday musical highlight is a monumental treasure from the 60s: YOU REALLY GOT ME by THE KINKS.

Fits my mood right about…now.

That’s it. This popsicle stand is blown.

I bid you good evening, my darlings.

It’s time for me to exit. Stage left…

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