A week and a half after its world premiere kicked off the 65th Cannes Film Festival, Wes Anderson's Moonrise Kingdom arrives Stateside this weekend in limited release. Starring Edward Norton, Bruce Willis, Bill Murray, Tilda Swinton, Frances McDormand, Jason Schwartzman and Bob Balaban, acting novices Jared Gilman and Kara Hayward steal the show kids on the cusp of their teens who fall in love on an island off New England in 1965. To stay together, the couple make a pact to make a dash for the wilderness, but the authorities are on their trail.
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Although Samuel L. Jackson has played S.H.I.E.L.D. agent Nick Fury in Iron Man, Iron Man 2, Thor, Captain America, and the record-breaking Avengers, his portrayal of the cigar-chomping Marvel Comics government agent isn’t definitive to everyone. Like, say, to David Hasselhoff — Baywatch legend, Knight Rider icon, and star of the upcoming Piranha 3DD — who donned Fury’s signature eye patch and scowl in his own 1998 telefilm, earned Stan Lee’s blessing, and claims that his is the “ultimate” Nick Fury.
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This week marks the big screen return of Will Smith — Hollywood’s most bankable star — after a four year absence from acting, during which time the erstwhile Fresh Prince refocused his personal pursuit of happiness: namely, producing the burgeoning entertainment careers of kids Jaden and Willow Smith, while fine-tuning his own career. So where do you go when you’re already on top — or were, a few films ago? Back to the blockbuster well, if you’re Smith, whose Men in Black 3 headlines the latest step in a lifetime career plan that, he describes, began when he was just a kid himself.
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Given the kind of vampire that’s dominated pop culture in recent years – hunky, as down in Bon Temps, or sparkly, like the eternal teens of Twilight — it’s no surprise that some folks may long for the bloodsucker of olde. Well, count Johnny Depp among the ranks of the traditionalists. His latest collaboration with director Tim Burton, an adaptation of the 1970s supernatural soap Dark Shadows, sees Depp in ghostly make-up and fangs as undead hero Barnabas Collins in what he describes as a counterpoint to movies about “vampires that look like underwear models.”
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While talking up this month’s Men in Black III – in which he does an uncanny Tommy Lee Jones impersonation playing Jones’ ‘60s-era younger self – Josh Brolin took a moment to discuss the upcoming project that makes him nervous just to think about: Spike Lee’s Oldboy, the remake of Park Chan-wook’s ultraviolent 2003 film, for which Brolin says he sought Park’s blessing before taking on the Hollywood remake.
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Gone are the days of callouses and carpenter pants. Today, men are rocking skinny jeans and moccasins as they treat themselves to spa days, having no shame in getting waxed, tweezed, manicured and/or exposed to other meticulous grooming techniques. This ongoing — and slightly horrifying — "manscaping" trend is spreading throughout America and beyond, and Morgan Spurlock (along with executive producers Ben Silverman, Will Arnett and Jason Bateman) captured it all in their world premiere Tribeca documentary, Mansome.
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To 'make it' in Hollywood, young actors used to kick-start their careers in television, sharpening their skills and earning notoriety (and maybe an Emmy or two) before frolicking in the greener grass of feature films. Today, with the growing budgets, themes, and imaginations of series TV, episodes have almost become mini movies, inspiring a newer generation of stars to not only gravitate toward television, but maybe even stay there — even as their careers take off. Alison Brie and Gillian Jacobs epitomize this trend, two actresses who earned their comedy stripes on NBC's Community, a place where dreamatoriums come to life and paintball wars are aplenty. Meanwhile, the pair is also on the Tribeca Film Festival circuit this year — Jacobs with the dark indie comedy Revenge for Jolly! and Brie with tonight's Tribeca opener, the buzzy hit-in-waiting The Five-Year Engagement.
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On the last day of her twenties, Nellie McKay paused to contemplate the milestone before her — or not. Taking a deep breath that soon escaped as a halting laugh, the singer/songwriter/actress and all-around pop polymath brought to mind another benchmark that loomed in her decade past.
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With today's theatrical opening of the documentary Hit So Hard, Movieline is pleased to revisit its coverage from the film's New York festival premiere on March 28, 2011. — Ed.
Courtney Love shrugged. "We've been in lots of rooms together," she said to a packed theater of moviegoers at the Museum of Modern Art, where Hit So Hard, a documentary about her band Hole (and, more specifically, drummer/addict/survivor Patty Schemel) had its New York premiere Monday night. The crowd laughed, steeped in nostalgia and recognition -- not that Love was talking about this room or this crowd.
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While no one is in any rush to revisit the most recent Oscar season, I'd be remiss not to point you back to our virtual roundtable of nominees for Best Foreign Language Feature — specifically, Canadian filmmaker Philippe Falardeau, whose classroom drama Monsieur Lazhar makes its way into limited release this weekend. He's pretty awesome, having brought a lot of the most poignant and intriguing points of view of any of the generous nominees who spent their Oscar week with Movieline.
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Italian filmmaker Nanni Moretti’s films speak for introverted individual concerns at work in a group dynamic. In Dear Diary, a 40 year-old Moretti rides around Rome on his motorcycle trying to figure out just how much of a part he wants in a society where legendary poet/filmmaker Pier Paolo Pasolini has died and soap operas are insanely popular. Similarly, his latest film, We Have a Pope (a.k.a. Habemus Papum), concerns a reluctant cardinal (an excellent performance by Michel Piccoli) elected to be the next pope but is too nervous to assume the role. Pope, which opens Friday in limited release, originally screened in competition at last year’s Cannes Film Festival — to which Moretti is planning his return next month as the president of this year’s competition jury. Talk about group dynamics.
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How do you come to the rescue of the millions of children who need someone — anyone — to do what they can’t: get their bullies off their backs? Director Lee Hirsch has sounded a call to action with his new documentary Bully, which exposes bullying from the front lines.
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How do you come to the rescue of the millions of children who need someone — anyone — to do what they can’t: get their bullies off their backs? Director Lee Hirsch has sounded a call to action with his new documentary Bully, which exposes bullying from the front lines.
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He's painted cinematic landscapes of psychosexual kink (The Cell), childhood fantasy (The Fall), and ancient Greek 3-D abs (Immortals), but in this week's Mirror Mirror director Tarsem takes a turn into uncharted territory: The family-friendly fairytale. Turning his attentions to the story of Snow White, Tarsem creates another visually rich fantasyland of imagination -- and gives the fabled princess a post-modern streak to boot -- with the help of the late Oscar-winning costume designer and longtime collaborator Eiko Ishioka (Mishima: A Life in Four Chapters, Bram Stoker's Dracula, Spider-Man: Turn off the Dark), who passed away in January at the age of 73. In an exclusive chat, Tarsem takes Movieline through his work with Ishioka and the whimsical, inventive, and utterly imaginative designs of Mirror Mirror that comprise their final collaboration on film.
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I met Abel Ferrara in a café on Mulberry Street. In an hour’s time, he didn’t once take his seat. The filmmaker makes a couple of phone calls, goes to the bathroom twice, shows me the new Web series that he’s developing with Vice TV on, and points me to two different articles about his movies. Unkempt and energetic, the Bronx-born director of such New York notorieties as Ms. 45, King of New York, Bad Lieutenant, The Funeral and this week's 4:44 Last Day on Earth is exactly what you’d imagine he’d be like if he were one of his movie’s characters.
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