Will Ferrell movies can usually be summed up as “Will Ferrell as a…” and you get it. Will Ferrell as a reporter? That’s funny. Will Ferrell as a NASCAR driver? Also funny. But Will Ferrell as a Spanish soap opera action hero? Casa de mi Padre is a Spanish language film starring Ferrell as a rancher’s son who goes to war with drug dealers to protect his brother’s girl (Genesis Rodriguez). Where, exactly, did he come up with this idea?
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"She knows that I know that she knows that I know the whole scene is deliberate, right down to the supporting players -- assistants, various friends, family -- arranged here and there around the pool, ready to do a star's bidding... That Lopez has dared to try and pull off such a time-honored Hollywood gambit as Rising-Star-Interviewed-By-The-Pool is in keeping with her overall strategy of playing Big. Big is Jennifer Lopez's forte." The jury may be out on Lopez's maybe-wardrobe malfunction onstage at the Oscars, but you can treat yourself with Stephen Rebello's full 1998 Movieline must-read, stat.
"Nothing will come from this if you win!” joked Seth Rogen as he opened his hosting gig at the 2012 Film Independent Spirit Awards. “Absolutely nothing. This won't help you get paid anymore -- if anything, it proves you'll work for nothing.” That may be painfully true for many of the indie film nominees honored today at the annual Spirit Awards, held in a tent on the beach in balmy Santa Monica. But what does it mean that the night’s big winner was the Harvey Weinstein-backed awards season juggernaut The Artist?
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Kevin Tent had been nominated for three ACE Eddies before winning this month for The Descendants, which the American Cinema Editors deemed Best Edited Feature (Drama). Tent’s work in the cutting room played an important role in placing The Descendants firmly in the drama category. The longtime collaborator with Alexander Payne — Tent's other Eddie nods were for Sideways, About Schmidt and Election — says that much more comedy from the King family was shot than what we see onscreen and that removing it just felt right. In a few days, Tent will vie for the Best Film Editing Oscar for the first time. Movieline spoke with him about how the movie’s dramatic story came together, the attention from the Academy and his plans for Oscar night and beyond.
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The Academy Awards telecast stopped being a one-screen experience years ago. An Oscar viewing party is all well and good, but with a computer or phone nearby, a virtual theater full of people will enhance the experience from the first red-carpet arrivals to the music playing over the Best Picture winner’s speech. Yes, your friends are witty and can also fetch you a beer, but the best jokes about the winners, losers and everything in between are on Twitter. Some professionals make watching the Oscars simply worth the hours (and hours) spent. Doug Benson is one of them.
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I'm thrilled and honored to welcome you to the first of several virtual roundtables featuring Oscar's nominee class of 2012 -- commencing today with those behind the five films nominated for Best Documentary Feature. They are (in alphabetical order):
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Sometime after getting her start on NBC’s short-lived but well-loved cult series Freaks and Geeks, starring in two live-action studio Scooby-Doo movies, appearing for six seasons on ER, and turning in various screen performances (including a role as Ennis del Mar’s waitress fling in Brokeback Mountain), Linda Cardellini took a break to reassess her career. “I wanted to step back and reevaluate myself as an actress and find out what I was capable of,” she told Movieline, describing her turn as a shell-shocked female soldier readjusting to life at home in this week’s Return, “and this was sort of the perfect role for that.”
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It’s the biggest, most important question of the season, people: Whom will Reese Witherspoon choose, between pillow-lipped Brit Tom Hardy and confident playboy Chris Pine, in the spy vs. spy love triangle rom-com This Means War? While you won’t get any spoilers here for the Valentine’s Day release, let Hardy and director McG tease you with the envelope-pushing alternate ending ideas that didn’t quite make it to the final cut. (And no -- McG didn't learn from Terminator: Salvation, which he admitted he “pussed out on.” Hindsight, my friends.)
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Every performer must pay their dues, but with this week’s old school-flavored ghost pic The Innkeepers character actor Pat Healy cashes in over a decade of memorable supporting turns and guest spots for the spotlight at an auspicious moment in his career. Having popped up in a number of great films over the years (Magnolia! Ghost World! Rescue Dawn!) Healy stars with Sara Paxton in the Ti West film as a sardonic desk clerk at the Yankee Pedlar Inn, where spooky happenings are afoot; meanwhile, Healy also earned writing credits on the award-winning In Treatment and recently took Sundance by storm with Craig Zobel’s controversial Compliance. And to think: It all began with the one-two punch of My Best Friend’s Wedding and Home Alone 3…
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He’s certainly no stranger to the world of entertainment, but Grammy-winning musician Common only recently began channeling his energies into acting. (His first film: Joe Carnahan’s Smokin’ Aces). And yet, relative newbie status be damned! The hip-hop veteran, currently seen on AMC's Hell on Wheels, sat down last week with Movieline to discuss his Sundance pic LUV, a Baltimore-set family/gangster tale from director Sheldon Candis, and his goals for future greatness: “God willing, I’ll become one of the great actors of our day.”
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Critics will argue over whether or not Joe Carnahan’s latest, The Grey (currently holding at 76 percent at Rotten Tomatoes), succeeds as the latest nature-as-killer yarn to hit the action genre, but it’s worth taking a closer look at what Joe Carnahan is attempting beyond the survivalist thrills and chills. In the age of the metrosexual, and in an industry inundated with juvenile comedies and mind-numbing blockbusters, what does this Liam Neeson vs. the wolves pics have to say about modern masculinity?
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Joe Carnahan’s thriller The Grey, currently receiving kudos for its blend of red-blooded action and considered existentialism, tells the fictional tale of a group of oilrig workers who survive a plane crash only to be hunted by wolves in the wild. Among the ragtag band of comrades facing off against nature under Liam Neeson’s steady leadership is Dermot Mulroney’s Talget, who, like the others, learns to shed his protective layers and confront his own fears when forced to face off directly with Mother Nature.
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Some adaptations of great literature become so beloved and important in their own right that it can be hard to separate where the book ends and the movie begins. To Kill a Mockingbird is one of those cases. Released in 1962, two years after Harper Lee’s novel was published, the movie propelled the nationwide discussion on racial inequality and introduced characters that went against the norm yet were easy to relate and aspire to. Scout and Atticus Finch are finding their footing in a challenging environment, not an alien concept for generations of junior high and high school kids who are assigned to read the book.
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It says something about how far Ice-T has come since his gangsta rap days that his directorial debut, the hip-hop documentary Something from Nothing: The Art of Rap, premiered at Sundance to a house packed with hip-hop heads and white older moviegoers who likely know Ice better from Law & Order: SVU than “New Jack Hustler.” And it says something about the film itself, which explores the historical landscape of hip-hop in intimate detail with over 40 of Ice-T’s fellow rappers, that even the L&O-watching grandmas in the audience were bopping their heads the whole way through.
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Movieline caught up with Will Forte this week in Park City, where he was at Sundance to support Tim Heidecker and Eric Wareheim’s absurdist midnight offering Tim & Eric’s Billion Dollar Movie. In the film, Forte plays the uptight, moustachioed owner of a sword store in a mall that bumbling filmmakers Tim and Eric have taken over following the epic failure of their brush with Hollywood. Forte compared the more restricted sensibilities of his gig on Saturday Night Live to working within the madcap, surrealist stylings of the cult duo.
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