Anyway be prepared to.....
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HEMLOCK GROVE: BSG Alum Kandyse McClure Teases Netflix’s Upcoming Horror Serial
by Roco on November 21, 2012
Kandyse McClure has teased the upcoming Netflix original series Hemlock Grove from Eli Roth.Battlestar Galactica alum McClure plays Dr. Clementine Chausser on Hemlock, an animal expert brought in to help with the strange spat of murders at the heart of the show’s mythology . She spoke to Huff Post TV about her character and the series.
On Dr. Chausser:
Clementine has trouble in her life, and a chaotic past. She struggles with that. The way that she manages her inner demons is by throwing herself into her work. She’s very flawed and imperfect, but that’s what we love about her.On how she fits into the larger mythology:
She’s brought in as the resident animal expert to aid law enforcement in finding what kind of animal did this. The path that she follows unravels secrets of the town, and who’s really in control. She goes there to hunt an animal but finds a town of monsters.McClure reiterated the Twin Peaks vibe of the series, with some other ingredients thrown in:
Think of “True Blood” with “Twin Peaks,” with a lot of gore. That would be Eli Roth’s contribution. A little “Hostel” thrown in there! [Laughs]Hemlock Grove is slated for a spring 2013 release on Netflix.
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Soho House Shorts Crowns 2012 Contest Winner
With The Hollywood Reporter as a partner, the contest crowned James Kibbey's film "House Cocktail" the winner of a contest judged by Paul Haggis, Harvey Weinstein, Janice Min and other big industry names.
A glass was raised to James Kibbey's "House Cocktail" in New York City on Tuesday night, a cheers led by Oscar-nominee Jessica Chastain.
The two-minute short film was crowned the winner of the 2012 Soho House Shorts competition, which invited filmmakers to submit scripts to a panel of industry experts; the group selected nine scripts from over 1,000 entered, and gave £5000 (or $7935) to each finalist and set them free to produce their film.
Kibbey's, which featured the story of a hapless man sitting at a bar and using his imagination to impress a beautiful woman (Laura Haddock, of The Inbetweeners).
Kibbey's win comes with high praise from some of the film industry's biggest names.
“It’s a fantastic, entertaining short that separates itself from the others by showing the theme of imagination in its simplest form," said celebrated producer-distributor Harvey Weinstein, who served as a judge on the panel. "It shows what is possible by just being yourself and that it only takes a little bit of imagination for our guy to be charming and win the girl of his dreams."
The winning video is below; the rest can be viewed by clicking here. More details can be found at House Shorts' Website.
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I am Lizzy Caplan. Ask me things. About things.
Hello, Reddit.. My name is Lizzy Caplan, you may know me from many a cancelled television show like Party Down and some movies too. I'm in a new movie with Alison Brie, Martin Starr, Mark Webber, and Geoffrey Arend called SAVE THE DATE available today on VOD everywhere... or through ITUNES right here: http://bit.ly/savethedatemovieHere's the new trailer: https://www.youtube.com/watch?v=WSTCHrF7OGEHere's verification that it's me: https://sphotos-b.xx.fbcdn.net/hphotos-ash3/78386_10151244565907720_1032398720_o.jpgAsk me things. You don't scare me.
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Exclusive Script From 'Focus' Reveals Steamy Scenes – Ben Affleck and Kristen Stewart In Talks To Play Leading Lovers
The film tells the story of a veteran grifter (the part Ben would play) who takes a young, attractive woman (the part Kristen would play) under his wing. But things get complicated when they become romantically involved.
And the script reveals that there’s no shortage of steamy moments between the two characters. The role Kristen would play has a nude scene, and the lead characters have makeup sex after a huge fight.
In another racy scene, the script reads: “Looking up at the man in front of her, the young woman whispers, 'Just kiss me.' He lowers his lips to hers, her back pressed against the hotel room door. After fumbling for the lock, the pair stumble through the hallway to the bedroom, never breaking their embrace. They fall onto the bed in a tangle of limbs.”
“I’m hesitant to get into casting stuff because I don’t know what’s finished or isn’t because people come in and out of things all the time,” Ben recently said when asked about the possibility of working with Kristen on Focus. “But she’s terrific, and hopefully it will work out.”
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Emma Roberts channeling her Pretty Woman in Tyler Shields Photoshoot
Actress Emma Roberts shared a new Tyler Shields' photoshoot image through her Instagram yesterday.
http://instagram.com/p/SPWSjnC_I4/
The famous celebrity photographer is no stranger to controversy: he destroyed a $100,000 Hermes Birkin bag, he shot Heather Morris playing a glee-ful (pardon the pun) victim of domestic abuse, and Mischa Barton/raw meat photoshoot that got everyone PETA really pissed?
This shoot with Emma isn't quite as controversial but you get the idea...
In other Emma news, the 21-year-old is reportedly begging producers consider a remake of her aunt Julia's star-making film, Pretty Woman. Radar Online reports that Emma thinks an updated version of the 1990s film could be huge and is keen to play Julia's role in it.
A source reports, "Emma's dream is to re-create Pretty Woman, it's her ideal role. She's been in talks with producers about the possibility of revisiting the character Julia made famous in a reboot of the original film. Emma grew up loving Pretty Woman. It had sentimental meaning for her because her aunt was in it, and she can quote chunks of the movie off by heart. Critically and commercially it was a big success too, Julia was up for awards, and Emma wants to be just as successful."
The film is the most commercially successful romantic comedy of all-time with a $463 million worldwide gross.
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'Last Night' Director Massy Tadjedin To Helm 'The Adults.
Electric City cohorts Jamie Patricof and Lynette Howell have optioned the rights to Alison Esbach's novel, “The Adults,” with Massy Tadjedin (“Last Night”) attached to write and direct. Revolving around a suburban teenager whose relationship with an older man slowly comes unraveled, the coming-of-age adaptation is bolstered by a great creative team, so expect this one to be fast-tracked to production soon.
* Esbach's The Adults contains matter-of-fact sex scenes. It's supposed to be a fiction but you get the feeling Alison is writing partly from experience. The casting of lead character Emily Vidal is obviously important but the director is an Iranian and while it will be R-rated (for the dialogues) I wouldn't put much stock the film-maker will go for blatant sex/nude scenes. Hopefully I'm wrong.
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Katrina Bowden Speaks on Being on Set with Tracy Morgan and Tina Fey on #SwayInTheMorning
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The Revenge of 'Carrie' - What We Want from the 2013 Horror Remake
by Tyler Wantuch
Re-envisioning this powerful story may be near impossible due to the emotional experience most viewers received, but when has that ever stopped Hollywood? The studio is trying to protect the film by making it clear that they are not remaking the 1976 film, but rather creating a new adaptation of the original work. Trying not to compare such an iconic film may be a futile task when the remake (watch the trailer here) hits theaters on March 13th, 2013. In order to give the remake a chance to live up to the ridiculous standards from the predecessor, a few things will need to be in place.
Beware of spoilers ahead for anyone who has not seen the original 1976 film or read King's novel.
First and foremost, the heart of this coming of age tale is guilt. De Palma painted a claustrophobic nightmare that buries nearly every character with this burden. From the sweet Sue Snell (Amy Irving) to the obvious Carrie White (Spacek) each character is fighting a losing battle with the emotion. The guilt guides all of our characters throughout the film moving the plot under different guises of anger, pity or fear. For our troubled main characters the guilt will mount and unleash in horrific manners; a paranormal psychic ability and a desire to kill your own child. De Palma gives full court press to the idea forcing even minor characters to carry small moments of guilt.
For instance, Sue's mother feels guilty for her daughter's actions and donates ten dollars to Margaret White (Piper Laurie) and the uncaring principal feels a pang of guilt for calling her Cassie repeatedly. The do-good gym teacher, Miss Collins (Betty Buckley) feels so responsible for the shower incident she tries desperately throughout the film to make things right. Her method, perfectly enough, is to spread more guilt onto the gym class through punishment. The only character able to escape De Palma's nightmare is the angel Tommy Rose (William Katt). A reprieve only rewarded with death. Even our two villains Chris Hargensen and Billy Nolan (Nancy Allen And John Travolta) -whose guilt may not be as apparent- is repressed by their selfish teenager mindsets. If the remake misses the importance of this theme, the film will be set up for failure before it can even get rolling.
With this, the internal setting of Carrie herself has been set up through the use of a powerful imagery; a male's fantasy of what happens in the locker room; a glossy, steamy vision of innocence and sexuality that will be soon tainted by the following events. This three minute sequence encases the film completely. Innocence, repression and misunderstanding play out in a haunting fashion. For plot reasons, the remake must include this scene and the nudity, but it must be handled in balance. Too much sexuality and the film moves into the land of bad gratuitous boob land. Too much innocence and Carrie's sexuality could be undermined. Puberty is the reason her abilities come to fruition and for this reason the subject must be handled carefully.
Next on the list the slaughtering of the pig by Chris and Billy, which is crucial to the story. This scene, although important to the plot for what kind of blood will be dropped on them, holds a special meaning to our villainous duo. The vicious prank is masterminded by Chris but once her plan is unfolding she discovers she cannot bear to kill an innocent pig. This small moment depicts Chris's feelings towards Carrie, she is able to publicly embarrass a classmate, but when it comes to killing the pig she's too squeamish to do it.
Aside from adding a gruesome moment to the film, the scene encompasses a wrinkle to Chris's viewpoint. Her anger towards Carrie can drive her to do devilish things, but not murder. It underscores the viciousness of the prank. Chris wants to embarrass her for revenges sake, but doesn't want to hurt her physically. A feeling that Carrie will not reciprocate later in the film. This scene has always struck me as a true horror moment. It will be interesting to see whether or not the remake includes the slaying or if it will find its way on the cutting room floor.
The unexpected demise was needed to conclude the very existence of Carrie. If her destruction becomes larger than life, sucking in neighboring houses or even affecting outside characters it will be a complete miss on what the ending stands for. The guilt caused from the destructive relationship between mother and child is so heavy to bear, that it collapses in on itself. This demise will need to be scrapped because it is original and not connected to the novel in any way. So instead we must look further towards the end, as to what sort of tricks could be up the remakes sleeve.
De Palma again broke away from the novel to end his masterpiece. In lieu of a real meeting between Sue and Carrie post prom night we have a dream sequence; one in which Sue returns to the hole that was once Carrie's house only to have a zombie Carrie grab her leg. Then she awakes and we are left to wonder if it was only in Sue's nightmare. This ending resurrects Carrie into a monster that could lurk inside our dreams well after the incident. Giving her an immortality of sorts. While King's original ending instead offers a letter from another teenager experiencing similar telekinetic powers, De Palma's ending fit into the realm of thinking of horror at the time which could give rise to the likes of Freddie Krueger. King's ending is that of the classic monsters, hinting towards a possible epidemic of super powered teenagers.
MGM and Screen Gems have re-opened a holy grail of the horror genre and are seemingly willing to give it the full treatment. A powerful Julianne Moore plays Margaret White while director Kimberly Peirce (Boys Don't Cry) is at the helm with phenomenal young actress Chloe Moretz taking on the title role. The screenwriter Robert Aguirre-Sacasa has mainly done television work ("Glee" and "Big Love") and hopefully brings some fresh blood to the dated ways of thinking about horror. The documentary feel of the book and the destruction of the city, which are missing in De Palma's adaptation, are a couple of ideas from the original novel that could be used again. However a strong focus on destruction, nudity and violence could wash out the subtlety of the original film's legacy, turning this into yet another ho-hum horror film that happens to have a famous title. We'll have to wait and see how it turns out next March.
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Ashley Rickards : Annex Mag
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Cassandra Jane wins the Nude Miss World 2013 Contest
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The thrills of ‘Boss’ will be missed (the nudity, not so much)
by LORI RACKL TV Critic/lrackl@suntimes.com
Make no mistake, I loved this series starring Kelsey Grammer as Chicago Mayor Tom Kane, a ruthless leader clutching to power while dying from a degenerative brain disorder. Deftly acted and smartly written (most of the time), “Boss” was a thrilling blend of Shakespeare and soap opera, set — and filmed — in Chicago. Not only did it employ a deep bench of local actors and production crew, it portrayed a gritty, raw side of the city seldom seen on TV.
For these reasons and more, I proudly count myself among the show’s small but devoted fan base, which got the bad news this week that “Boss” has been canceled. I’m disappointed but not surprised. Ratings were up sophomore season but still nowhere near great, or even good. That, combined with a lack of Emmy love, didn’t help its staying power.
“Boss” made some major changes heading into its second season, bringing on a new co-showrunner and adding several new characters, the best of whom turned out to be Ian Todd (Jonathan Groff), Mayor Kane’s ambitious young advisor and son — a fact that viewers discovered but Kane did not by the time season two wrapped in October. That reveal was one of the many things I was looking forward to in the now scuttled third season.
But “Boss” also lost a key character: Kane’s pragmatic right-hand man Ezra Stone (those weird hallucinations of him don’t count). Stone, wonderfully played by Martin Donovan, brought a gravitas that was sorely missing without him. His absence was a big reason season two wasn’t as strong as the show’s freshman run.
Some returning characters were more problematic this season, too. It became increasingly hard to buy crusading journalist Sam Miller’s (Troy Garity) actions. Driving up to Toronto and posing as an insurance investigator to get Kane’s medical records? (A journalism no-no.) Paying a guy $10,000 for a story tip? (Another no-no.)
More important, the biggest “Boss” flaws weren’t fixed the second time around. The show continued to be a bit too smart for its own good. The incredibly dense plot and political wheelings and dealings were exhausting to watch, not to mention difficult to keep track of. I’m not advocating that it should have been dumbed down, just spaced out so viewers would have had a chance to breathe.
Perhaps my biggest gripe was when it forgot it was a sophisticated drama and thought it was soft porn. The gratuitous sex and salacious camera shots only served to disrupt momentum and lend an air of silliness. You could build a drinking game around how many times Kitty (Kathleen Robertson) and others hiked up their skirts or dropped trou.
Flaws aside, “Boss” was among the best shows on TV. Its end is premature, both for fans and its creator, Farhad Safinia, who talked about the series at a gathering of television reporters shortly before season two premiered in August.
“We made an initial promise to the audience in the very opening scene of the first episode,” he said. “We sort of told you that we’re looking at this end run. We’re looking at a timeline that is going to be studied until [Kane’s] ultimate demise. I hope that we get to tell the entire story.”
That won’t happen now, but we might get some resolution. Starz says a two-hour series finale may get made, although there’s no deal yet. Let’s hope Mayor Kane can get it done.
* This is Lori Rackl:
'Rigodon' Movie Reviews : New Sexpot Yam Concepcion Delivers
Filed under Featured Articles:
The most daring is actually the first one, done on the stairway in her apartment. John James Uy asks her if she’s still a virgin. Instead of answering, she takes John’s hand and puts it inside her panties. This is a wild scene and it’s shown uncut. John removes her undies and we see her totally naked backside while John licks her. In fairness to Yam, it’s not only the seductive scenes that she does convincingly but even the dramatic scenes, considering this is just her first film.
The cinematography is excellent, even the scenes shot with a handheld camera that can sometimes be jarring. Director Erik Matti has come up with a very dark movie about losers and you can never guess where the story will take you, up to final scene where you think an assassin on a motorcycle would kill one of the characters.
John has a disconcerting accent in delivering his Tagalog lines but he does fine as the philandering husband who turns out to be involved with not just two but three women.
Max Eigenmann as the wife definitely delivers. She’s fat here but her being overweight suits the wife role persuasively. She definitely has a flair for finely nuanced acting as the frustrated pastry chef whose cupcake business is not prospering. Her sexy scenes are very tame compared to those of Yam, which is for the best since she has to shed off all those unwanted pounds first before she faces the camera again.
by the director himself ERIK MATTI
Tomorrow this movie, Rigodon, will be showing in theaters with two cuts R-16 for SM and a Director's cut of R-18 in all other cinemas.
This is a movie that we did on and off for 8 months.
I know the first question that pops in everyone's mind: In these times, is an adult movie still relevant?
It surely is. Rigodon, once titled Punto De Bista, was a script we already had for 4 years now. From a director who has done several adult movies, Scorpio Nights 2, Ekis, Dos Ekis and Prosti, it would be easy to dismiss this new film of mine as somewhat predictable. So how then can I claim Rigodon to be relevant?
As someone who loves the industry I'm in and who adores all sorts of movies, we all wish that we could get to see other kinds of movies in our theaters other than Twilight: Breaking Dawn. You wish that there would be movies that would cater to any mood, topic and flavor without judgment on its moralistic stance.
I have been fighting to get this movie made not because I only want to see nudity in our movies but also because I want a variety of movies to thrive in our industry and nurture a movie audience that will be open to anything and everything cinema can offer.
The past years we saw a surge of local rom-coms and low budget horror movies with the occasional indie offering that has become predictably formulaic. Other than that, we turn to Hollywood and foreign movies to get a different serving in our movie-watching appetite.
Rigodon is relevant as a movie that dares to challenge what can be shown in Philippine cinema nowadays. it is relevant to give the audience a different kind of experience other than what we're used to.
It may not be a film for everyone, but it certainly deserves a space in our movie houses.
Rigodon: Racy, Provocative
Love triangles are almost always a great catalyst for tension and conflict in storytelling. Someone is bound to get hurt and emotionally fucked-up in the process, allowing for interesting plotlines to unfold. Local cinema has seen its fair share of titular characters torn between two lovers (the bulk of which being pre-packaged box office brouhaha, like this one), but director Erik Matti’s latest dramatic thriller, Rigodon, injects darkness and paranoia into the mix of love and lust.
Sarah Dilag (Yam Concepcion) is a jaded office-worker who meets the manipulative Riki (John James Uy) at a club, and immediately, licentious heat takes over. They form a relationship, but Sarah is unaware that he is married to Regine (Maxene Eigenmann) and that they have a daughter. As the three of them maneuver around each other in a dance fueled by jealousy, passion, and dishonesty, their lives spiral down into an immoral hole, leading to a cathartic and tragic climax.
The ladies bring their A-game in this one. Yam is scintillating in her debut; her portrayal of Sarah is raw and bold (and we mean B-O-L-D!), her fresh face beauty beguiling her character’s deeper intentions. Maxene is also kind of scary as the jealous and suspecting wife, an homage to her family’s well-known talent. The women’s toxic mix of seduction and danger adds a layer of salaciousness that blurs the line between sanity and madness. The lengths they’re willing to go get the man (or get rid of him) are shocking and violent.
The play on each character’s intentions is akin to any of director Woody Allen’s latest tragedies. There’s a precision to the control and masking of each motivation, like how the simple use of computers or cupcakes hides deeper turmoil. They make choices, choices they can’t undo but soon regret. And just as in real life, the lies catch up with them and once they’ve reached the tipping point, there’s no turning back. The psychosexual angle the film explores touches on the misguided consequences of obsession, themes that aren’t really new, but nice to see on a mainstream platform.
Rigodon is exciting. No scratch that, it’s provocative without being in-your-face. It’s unafraid and unapologetic and in the end, leaves audiences with an unsettling feeling. In a film culture filled to the brim with commercial exploits, love teams, and matinee-idol fanfare, it’s a spin and allusion to the sexy films of yesteryear. And we, the male-going public who has had to endure the likes of A Secret Affair and The Mistress, can’t help but blush in excitement.
* can't wait for a DVD release (if there is one). Please e-mail me the review or the details of the sex scenes if my Philippines blog visitors managed to catch the movie on the big-screen.
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Michelle Jenneke Doing The Dougie; Hurdler Invades U.S.
Your favorite hip shaking Australian hurdler, Michelle Jenneke, has landed on U.S. soil for a press tour and it took her around 24 hours to do the Dougie on camera. That action starts at 3:20. The rest of the video, uploaded yesterday, is worthless.
No track athlete not participating at the Olympics had a bigger 2012 thanks to a race routine than Jenneke.
She arrived in L.A. on November 16 and seems to be making her way from Internet company to Internet company looking to create some new buzz.
The problem: How do you duplicate or out-buzz the race routine GIF? Date one of the Lakers? One of the Clippers?
Wait, speaking of the Lakers, Jenneke in October dropped some intentions on this U.S. trip.
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Married Weatherman Fired After Explicit Facebook Sexting Exposed
Fox Connecticut fired its in-house weatherman Geoff Fox (pictured above), after a frisky conversation he had with photographer Zoel Kennedy (below) on Facebook went viral, according to the UK Daily Mail.
Fox, who is married with a daughter, had a marathon-long conversation with Kennedy that would have been a better fit for a porn site rather than social media site Facebook.
In the conversation, Kennedy is detailed about what he’d like to do with Kennedy, making even the most bold among us blush. The conversation was picked up in an article entitled, “Married Weatherman Caught Sexting With a Photographer,” and not surprisingly, went viral thereafter.
Serebro : Gun Russo
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Judy Greer on Dead Accounts, Arrested Development and Almost Getting Kicked Out of Acting School
by Marc Snetiker
Current Role: Steely ex-wife Jenny, who has unfinished business with her husband (played by Norbert Leo Butz) in Theresa Rebeck’s new comedy Dead Accounts.
"Aren’t You That Actress?" That’s the question frequently asked to Judy Greer, the film and TV veteran who has spent the past decade stealing scenes in everything from Californication and Two and a Half Men to the Oscar-winning The Descendants and 27 Dresses. Greer has earned her place in pop culture with her “goofy, funny and wallflower-y” characters, causing audiences to recognize her—even if they don’t know from where. “For the first couple years I was acting, there was familiarity, but most people didn’t know why they know me,” Greer says with a laugh. “Eventually, they get there.” Lately, it’s been her role in the “full-on cult sensation” Arrested Development that has fans buzzing, especially since Greer will reprise her role as oddball secretary Kitty Sanchez on the show’s comeback season. “It came back very easily for me,” she says. “I had no problems tapping into that crazy, crazy bitch!” Thankfully, Greer will be decidedly less crazy when she appears in the forthcoming rom-com Playing for Keeps and as Miss Desjardin in the bloody remake of Carrie.
Try, Try Again: “I don’t have an awesome story for people starting out in the business,” Greer says of her career. “It all happened really organically for me.” As a kid, she studied ballet, although “it became clear to me, the older I got, that the cream rises to the top and I was not rising!” In high school, she found renewed self-confidence in musicals. “I wasn’t super popular, I didn’t have a ton of friends, but theater was very welcoming,” she says. When college auditions came around, a frenemy challenged Greer to try out for an exclusive program—and she got in. “I felt like I could live like a movie—reinvent myself and become the kind of person I could have been in high school,” she says of DePaul University’s theater department, where she was criticized for her accent. “They never liked my voice. I almost got kicked out. And it’s funny, because when I did move to L.A., that part of me was so me. They try to strip away everything that makes you you, but being myself was something that actually made me successful in Hollywood.”
A Dead Debut: Since acting school, Greer’s dream was to be in plays. But as her L.A.-based screen career took off, a Broadway debut became difficult to imagine—until an offer for Dead Accounts fell into her lap. “At first I thought it was a joke,” she says. “It’s such a huge honor.” Greer was thrilled to discover that the Broadway rehearsal process—with Tony-winning director Jack O'Brien and co-stars Norbert Leo Butz and Katie Holmes—felt less stressful than a movie set. "The discipline it takes to be in a play is something you don't often find in television and film,” she notes. "If I never did another show, I would [already] be such a better actor on whatever project I have next." So what is next? Greer hopes to continue down the Broadway path, doing “as many more plays as I possibly can,” including shows of the musical variety. “I have this fantasy of being in a musical, but I would have to sing, and I might be a terrible singer,” she says. “The best advice I ever got was from my high school chorus teacher, who said, ‘When in doubt, sing loud.’ So I would sing loud—real loud.”
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