After years on the hypercompetitive audition circuit (including one near-miss as McLovin in Superbad), 21-year-old actor Dustin Ingram finds himself breaking through this week as a leading man in the indie Meet Monica Velour. The film features Ingram as Tobe, a young film geek with a little more unusual interest than, say, Star Wars: Tobe instead obsesses over 1970s porn star Monica Velour (Kim Cattrall).
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In the new HBO documentary His Way (premiering tonight at 9 p.m. ET/PT), legendary entertainment impresario Jerry Weintraub finally gets his Hollywood close-up -- more than four decades after launching a career that intersected those of Frank Sinatra, Elvis Presley, Robert Altman, Steven Soderbergh, George Clooney, Julia Roberts and countless other figures he helped guide to spotlights of their own.
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At the age of 19, Logan Lerman (The Patriot, Jack & Bobby, Gamer) has been acting for over a decade and later this year will take on the most iconic character of his career -- one of the most recognizable heroes in literature, even: D'Artagnan in Paul W.S. Anderson's Three Musketeers. Lerman made his first trip to WonderCon with footage from the October 2011 3D action pic in tow and sat for a quick chat with Movieline about Anderson's insane-looking take on the Alexandre Dumas novel, the reportedly in-the-works sequel to Percy Jackson and the Olympians, and a little-known YouTube user known as monkeynuts1069.
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In San Francisco to present his upcoming teen assassin thriller Hanna at WonderCon, director Joe Wright threw a few pointed barbs toward Zack Snyder's Sucker Punch, calling out the film's brand of scantily clad feminism. Speaking exclusively with Movieline, Wright elaborated on the subject, tracing the "alarming" brand of sexually-exploitative girl power found in Sucker Punch back to the Spice Girls.
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It was with no small amount of eagerness that Movieline ventured to the Magic Castle in Los Angeles to meet with screen veteran Barbara Hershey and discuss her work in Insidious, her second horror film in the last four months, following December's Black Swan. There, ensconced in a room in the famed nightclub -- a place purposefully shrouded in mystery -- conversation turned from the James Wan-directed tale to the paranormal and beyond thanks to a series of eerie mystery noises that, fittingly enough, evoked the thrills and scares found in the haunted house chiller.
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A hyper-energized CG bunny voiced by Russell Brand may flit maniacally around James Marsden almost constantly in this week's live-action/animated Easter adventure Hop, but it's very much Marsden's moment to shine. As Fred, a 30-year-old loser still searching for direction, the Oklahoma-born actor plays straight man to Brand's rambunctious teenage rabbit in a PG-rated film filled with gleaming candy factories and Cute Overload-ready characters. He's come quite a long way, and deliberately so, from his role as a disturbed husband pushed to the brink of violence in the upcoming Straw Dogs remake.
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Barely a month after leading the Oscar delegation for her 2010 drama Blue Valentine, Michelle Williams is back on the road again stumping for her latest small, intimate, acclaimed -- and sure, emotionally harrowing -- indie release, Meek's Cutoff.
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Fans of Dario Argento's cult 1977 thriller Suspiria who are a bit wary of the upcoming Natalie Portman-starring remake, take note: Writer-director David Gordon Green would like to put your minds at ease. Catching up with Movieline while discussing his new stoner comedy Your Highness, the versatile filmmaker emphasized a commitment to faithfulness and shared plans to recreate specific scenes and dialogue from the original. Most exciting of all? He's got the rights to the original Suspiria score by prog-rock band Goblin -- and he intends to use it.
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Duncan Jones is a director who loves his science fiction. After finding success with his debut feature Moon, Jones assumed the helm of this week's Jake Gyllenhaal pic Source Code, about a soldier involved in a government project that sends him back to relive a dead man's final eight minutes in order to avert a terrorist attack. What's more, Jones spent his down time on the Source Code promo trail whipping up a treatment for his next film -- an even larger scale tale that he promises will be "my last blast of sci-fi." So really, who better to drop some friendly pro-tips on making science fiction cinema than the man currently making his mark in the genre?
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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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We already know how Matt Damon feels about the Michael Douglas touch -- particularly vis a vis its influence on the steamier side of their upcoming biopic Liberace. But as Movieline found out today, Douglas has an even bigger fan in the film's legendary producer Jerry Weintraub, who's calling his Oscar 2012 shot early with Liberace's leading man.
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In the four years since Canadian actor Reece Thompson starred in Jeffrey Blitz's crowd-pleasing Sundance entry Rocket Science, he's graduated from stuttering his way through a high school debate tourney to romancing Kat Dennings (in the forthcoming May indie Daydream Nation) and knocking up Hilary Duff (in the TBA indie Bloodworth). This April he joins forces with rising star Michael Angarano (Red State, Homework) to play Marshall, a straight-laced emotional cripple who accompanies best friend Sam (Angarano) on a weekend trip to win back the older woman of his dreams (Uma Thurman) in Max Winkler's offbeat feature debut, Ceremony.
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Speaking with Movieline at the end of a long day of interviews for Peep World, an ensemble comedy-drama in which she plays a spoiled aspiring ingenue, comedian/television star/film actress/bestselling author Sarah Silverman clutches a red backpack close, prepared to escape the strange confines of the luxury hotel she's been sitting in for hours. At odds with the confrontational comic persona that dominates her screen and stage persona, Silverman is gracious and thoughtful discussing her character, the wonders of Twitter, and more, but there's one thing she's really tired of: Being known as the "Jewish comedian Sarah Silverman."
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Julian Schnabel strolled into the sitting room, a deceptively casual giant in faded clothes and bare feet. The surrounding paintings -- his own, the collective cornerstone of his vast legend and wealth -- dwarfed him, much as the towering, infamous pink palazzo in which we stood dwarfed the modest West Village beyond its walls. Part monument, part sanctum, it was all universe, indomitable as its creator. Except for one problem.
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Clicking and unclicking his pen with nervous energy as he spoke, director Zack Snyder took Movieline back to the first smattering of ideas that ran through his brain when the concept for the girl-power action fantasy Sucker Punch first took root: Lobotomies. Planet of the Apes. Loss of self. The magic of music. And perhaps the most important takeaway of all from Friday's PG-13, pop culture-mashing fever dream: the idea that, simmering beneath the film's fantastical burlesque numbers and bloodthirsty rampages is a subversive desire to turn the tables on the very moviegoers who least expect it.
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