Check Out Ashton Kutcher?s Clean New Look
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Adrianne Curry Adrianne Palicki Aisha Tyler Aki Ross Alecia Elliott Alessandra Ambrosio Alexis Bledel Ali Campoverdi
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Adrianne Curry Adrianne Palicki Aisha Tyler Aki Ross Alecia Elliott Alessandra Ambrosio Alexis Bledel Ali Campoverdi
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It?s hard to say whether Patric Chiha?s unabashedly out-there drama Domain is actually good or whether it simply nuzzles very cozily against the shoulder of so-bad-it?s-good. After seeing the movie twice, I?m inclined to say Domain splits the difference -- Chiha knows when the story is wobbling off the rails of credibility and leans into the turn, embracing the narrative?s full-on nuttiness. And face it: You don?t cast Béatrice Dalle as a middle-aged (but sensuous as heck) alcoholic mathematician unless you mean business. No wonder John Waters named Domain his number-one movie of 2010.
Now viewers Stateside can bask in the picture?s bonkers glory, but be forewarned: The demented pleasures of Domain are slow-burning ones. As Waters aptly put it in Art Forum, this is a movie where the two main characters form a ?perversely close? relationship by taking walks ? ?Lots of walks! So many walks you?ll be left breathless by the sheer elegance of this astonishing little workout.? You may also wobble out feeling more than a little pickled: Dalle plays Nadia, a brilliant but sozzled thinker who?s idolized by her teenaged nephew, Pierre (Isaïe Sultan). It seems Pierre is still trying to figure out his sexuality (though when he decisively chooses the dress Nadia should wear to dinner one evening, it?s pretty clear which team he?s leaning toward). Mostly, though, he?s captivated by his aunt, sneaking away from his disapproving mother, Nadia?s sister, to spend time with her. And why wouldn?t he? When the two step into a café for a glass of wine, Nadia gulps most of hers before loudly berating the waiter, the corners of her mouth turned down in a task-mistress? pout. ?This white wine is undrinkable. How dare you serve it,? she observes dryly as she spills the…
Busy Philipps Cameron Diaz Cameron Richardson Camilla Belle Carla Campbell Carla Gugino Carmen Electra Carol Grow
Cameron Diaz Cameron Richardson Camilla Belle Carla Campbell Carla Gugino Carmen Electra Carol Grow Carrie Underwood
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Paul Thomas Anderson diehards have gossiped for months over reports that the filmmaker is shooting an undisclosed portion of his next film, known as The Master, on 65mm -- the IMAX film format used recently, and to great effect, by the likes of Christopher Nolan and DP Wally Pfister on The Dark Knight and Brad Bird and DP Robert Elswit on Mission: Impossible - Ghost Protocol. In a Twitter exchange yesterday, Pixar veterans Bird, Andrew Stanton and Lee Unkrich geeked out over the joys of 70mm film, dropping a bit of confirmation that Anderson is indeed shooting in the format.
In a conversation about 70mm exhibition and 65mm film shooting, Stanton -- who just finished his first live-action foray, John Carter, for Disney -- Tweeted: "The Master is indeed in 65. They nearly lost a camera shooting in the Bay." You'd think Bird would've known seeing as Ghost Protocol DP Elswit is Anderson's longtime cinematographer, but... there you have it.
Assuming Stanton is indeed in the know, this would confirm a report earlier this year by the Anderson-watchers at Cigarettes and Red Vines that Anderson was shooting The Master in 65mm with DP Mihai Malaimare Jr., who lensed Youth Without Youth, Tetro, and the forthcoming Twixt for Francis Ford Coppola.
Though many speculate that the plot of The Master has ties to Scientology, all that is known officially is that it's a post-WWII set drama revolving around a charismatic leader of a faith-based organization (Philip Seymour Hoffman) and a drifter who becomes his right-hand man (Joaquin Phoenix). In any case, it promises to be an unusual use of 65mm/70mm than what modern audiences are used to since the scope and visual detail that the format can achieve hasn't really yet…
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The enduring saga of Margaret -- three years in the making, six years in the editing, one week in the theatrical showing, and finally rescued from oblivion by a cabal of devotees best known by their #TeamMargaret brand -- presses on this week with news that Kenneth Lonergan's embattled epic is finally returning to theaters in Los Angeles. Great! But perhaps just as interesting as how this complements the film's ongoing revival in New York City is how it shores up a better-late-than-never awards campaign by distributor Fox Searchlight.
Karina Longworth, who chose Margaret as her favorite film of 2011 (a distinction not too far from critic Alison Willmore's own here at Movieline), reports via LA Weekly that Cinefamily will launch a new engagement of the film starting Friday. The run starts at one week but could be extended based on demand -- an option exercised three times now by the proprietors of New York's Cinema Village, where tomorrow Margaret enters its fourth week on the comeback trail.
The grassroots effort to get Margaret not only seen but outwardly acclaimed represents one of the season's more inspired awards crusades, and one with which Searchlight is now playing along. Well, sort of, anyway: Speaking with Longworth, a studio publicist confirmed previous reports that Margaret screeners have been distributed Academy-wide -- for what that's worth, particularly with Oscar nomination ballots due Friday by 5 p.m. and the publicist denying that Searchlight's "strategy" for the film had changed.
But really, does the awards noise even matter in light of fans willfully prying a troubled mainstream film out from under a stubborn distributor's heavy haunches? This is something to celebrate! Do them and their efforts proud and go see this thing, already.
Elisabeth Röhm Elisha Cuthbert Eliza Dushku Emilie de Ravin Emma Heming Emma Stone Emma Watson Emmanuelle Chriqui