SXSW 2012 marked the starring screen debut of model-turned-actress Dree Hemingway – daughter of Mariel, great-granddaughter of Ernest, and at 24, a veteran of the fashion world -- as an airy Los Angeleno named Jane who befriends a cranky senior citizen (85-year-old newcomer Besedka Johnson) in Sean Baker’s Starlet, a surprisingly sweet tale comprised of a series of moving, naturalistic episodes … and one infamous hardcore sex scene. But as much as Starlet is a fantastically observed introduction to Hemingway, who possesses Evan Rachel Wood’s preternatural poise and Daryl Hannah’s leggy looks, sitting down with her in Austin – and indulging in a post-interview round of karaoke together -- offered greater insights into one of the more talked-about but hard-to-talk-about films of the fest.
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Susan Sarandon is a woman at her wit’s end in Jay and Mark Duplass’ comedy Jeff, Who Lives at Home; stuck in mind-numbing office job and still dealing with the problems of her two grown but immature sons – Jeff (Jason Segal), an unemployed pothead, and Pat (Ed Helms), a douchey sales rep – her Sharon spends her days daydreaming about the life she once wanted for herself. As Sarandon confessed in a chat with Movieline, there was plenty in Jeff she related to as a single working mother in an often unforgiving industry – but, as she’s discovered, there’s always “a new dawn, a new day.”
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Preparing for a battle to the death in which the odds are most definitely not in her favor, Jennifer Lawrence’s Hunger Games heroine Katniss Everdeen feels utterly alone, trapped within the deceptively cushy confines of the Capitol. Thankfully, she has at least one key ally on her side: Her stylist Cinna, played gracefully by rock star-turned-actor Lenny Kravitz, who discovered only after being cast that he’d be sharing the screen with one of his daughter’s close friends. “I asked, ‘Who’s playing Katniss?’” Kravitz recalled to Movieline. “‘It’s Jennifer Lawrence.’ And I was like, ‘Wow, she was just in my house cooking breakfast!’”
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Despite nabbing an Academy Award last year with her self-financed and controversial “Consider” campaign, Melissa Leo says that neither life, nor the frequency of juicy Hollywood offers coming her way, is much different now that she's an Oscar-winner. “The projects you think have been offered to me have not, I guarantee you,” she told Movieline this week at SXSW in Austin, where she and directors Melanie Shatzky and Brian M. Cassidy screened their minimalist character study Francine to critical applause. Still, Leo perseveres. And as the intimate acting showcase demonstrates, there’s plenty of reward to be had in smaller and more daring projects.
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Taylor Kitsch is about to have a very big 2012. In addition to carrying Disney’s ambitious sci-fi adaptation John Carter as the titular Edgar Rice Burroughs hero, a Civil War veteran transported to Mars, he’s also fronting Peter Berg’s alien invasion actioner Battleship and starring in Oliver Stone’s Savages later this year. But as Kitsch revealed to Movieline, the John Carter job wasn’t easy to get — and the toll it took on him during production was a challenge in itself. So who better to offer pro tips on nabbing the spotlight and handling the pressure of becoming an action hero than Kitsch, on the eve of a new chapter in his career?
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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.
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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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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She can put “Bond girl extraordinaire” on her resume and describes her character in the forthcoming Dark Shadows as a “bawdy Barbie,” but between those two roles Eva Green is a woman holding on for dear life during a global pandemic in Perfect Sense. In David Mackenzie’s romantic drama, Green plays an epidemiologist struggling to track and contain a series of mass-scale maladies. Acute emotional states like unexplained sadness cause the human race to gradually lose the ability to taste, smell, hear and see, leading to more than a few mood swings.
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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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W.E. wasn't just an undertaking for Madonna, who directed her Wallis Simpson/Edward VIII biopic with all the lavish heft of a gigantic watercolor landscape. It was also a labor of love for Andrea Riseborough, the 30-year-old actress playing Simpson, the American socialite whose romance with Edward led to his abdication of the throne in 1936. The film's most enjoyable asset, Riseborough was saddled with making the polarizing Simpson a wholly charismatic figure -- an Evita without the benefit of torch songs. She succeeds, and with her thoroughly photogenic Edward (James D'Arcy) in tow, she softens W.E.'s melodrama with fantastic ease. We caught up with Riseborough to discuss her fascinating director, her feelings about the subject matter, and the zaniness of the Venice Film Festival.
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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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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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Ben Lewin’s The Surrogate emerged as the undisputed hit of Sundance 2012, landing the biggest sale thus far (a $6 million sale to Fox Searchlight) with the unlikeliest of subjects: A paralyzed man’s quest to lose his virginity, based on the life and writings of Bay Area poet Mark O’Brien. Thanks to Lewin’s sensitive and honest script and an impressive turn by indie favorite John Hawkes -- who shines with wit and grace in a physically demanding performance as O’Brien, who has no use of his limbs due to polio but begins to explore his sexuality with the help of a hands-on sex therapist (Helen Hunt) – The Surrogate earned consecutive standing ovations and got critics buzzing with the possibilities for next year’s Academy Awards.
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In his new Brooklyn-set drama Red Hook Summer, director/co-writer Spike Lee tackles the complex topics of religion and redemption within the modern African American experience, as filtered through the eyes of a spoiled Atlanta teenager (Jules Brown) forced to spend one hot, explosive summer with his preacher grandfather in the projects of Red Hook, Brooklyn. It’s a richly conceived portrait of the Brooklyn neighborhood as microcosm for the black community at large, very much a Lee joint through and through. But, as the filmmaker reminded audiences this week at Sundance, where he railed against the Hollywood system, “it’s not a sequel to Do the Right Thing!”
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