Like so many retirees, director Steven Soderbergh is spending his twilight years exploring new hobbies. Some people take up golf. Some people play the stock market. And Soderbergh has edited together Alfred Hitchcock’s horror classic Psycho with Gus Van Sant’s somewhat-less-classic shot-for-shot remake of Psycho. The mash-up mixes scenes from the original with the remake — at the 19:20 mark, Janet Leigh opens a door from the outside and then Anne Heche closes it from the inside. READ FULL STORY
Category: Movies (51-60 of 6921)
Jon Negroni is about to expand your Toy Story-lovin’ minds with one simple question: Is Andy’s mom Emily?
For a little background, Emily was Jessie’s previous owner that we only briefly saw in flashbacks. When she grew up, Emily gave the toy away, which is when Jessie went to storage. But thanks to a few specific clues, it seems highly possible that Jessie magically found her way into the hands of Emily’s son years later.
The first clue is Andy’s hat. It doesn’t quite match Woody’s, and when you watch the flashback with Jessie and Emily, you see a nearly identical hat on Emily’s bed. And thanks to the size of Emily’s donation box, it’s clear that the young Emily didn’t give away the hat when she got rid of Jessie. Therefore, did Emily keep the hat and eventually pass it on to her son? READ FULL STORY
Name: 12 Years a Slave
Release date: Oct. 18, 2003 (limited); Nov. 8, 2013 (wide)
DVD release date: March 4, 2014
Run time: 134 minutes
Box office: Opening weekend, wide release: $6.675 million; domestic total: $49.133 million; international total: $78.9 million (as of Monday, Feb. 24)
Rotten Tomatoes score: 96 percent READ FULL STORY
Not every movie adapted from a popular Young Adult novel is necessarily a guaranteed hit. For every Twilight or Hunger Games, there are plenty of others that didn’t manage to reach the same heights. (Think: Beautiful Creatures, Mortal Instruments: City of Bones, and Vampire Academy, for example.)
This week’s cover story takes a close look at Divergent — based on the best-selling series by Veronica Roth and in theaters March 21 — starring Shailene Woodley and Theo James and directed by Neil Burger (Limitless). The pressure is on for this film to soothe the jangled nerves of a jittery industry that is watching the film closely, in hopes that it will be the one to continue the wave of YA hits. EW’s Sara Vilkomerson spoke to the filmmakers and actors about what it’s like to have such high expectations on their shoulders, and, for the stars, how they answer the constant question about whether they are ready for fame. “It’s completely impossible to answer,” Theo James says. “If you say anything, you sound like a douche bag because who knows what the f— is going to happen?” (His co-star agrees. ”It’s something that hasn’t happened yet,” says Woodley. “Anyway, change is inevitable. It happens every day. I’m not going to change my life at all — I love the way I live. I’m not going to worry about it.”) READ FULL STORY
It only took two episodes of Star-Crossed for someone to utter the line we’d all been waiting for (and secretly hoping would kick off the pilot): “We’re from two different worlds.” To be fair, in Star-Crossed‘s case, that is an accurate statement. Emery is from Earth and Roman is from Atria, a planet we know little about other than that it’s dying and yet somehow superior to Mars. Intergalactic drama, amirite?
But in watching Roman pull the “different worlds” card, I couldn’t help but be transported back to the second episode of The O.C. Fans of the show will remember the moment well. It was the first time Ryan and Marissa confessed that they had any sort of feelings for each other. She showed up at the model home on his last night asking to stay, and he told her, “We’re from different worlds.” She tried to deny it, but he followed it up with, “I’m not like you.” Basically, he was comparing her privileged, party-filled upbringing to his grainy, misdemeanor-filled life in Chino.
Long story short, this got me thinking: How many times have I heard some version of this “different worlds” crap, and what does it even mean?! This is what I came up with: READ FULL STORY
Name: American Hustle
Release date: Dec. 13, 2013 (limited), Dec. 20 (wide)
DVD release date: Unknown
Run time: 138 minutes
Box office: Opening weekend: $740,455 (USA); Domestic: $144.13 million; International: $72.28 million (as of Monday, Feb. 24)
Rotten Tomatoes score: 93 percent READ FULL STORY
When you need a fitting tribute to Harold Ramis, who you gonna call? Try the Hook & Ladder 8 Firehouse in New York City.
After word broke yesterday that Ramis had passed away at the age of 69, the firehouse — home base of the Ghostbusters themselves — hung up a replica of the film’s iconic sign. In addition to co-starring as Dr. Egon Spengler, Ramis also co-wrote the 1984 classic and its 1989 sequel.
But it wasn’t just the sign that paid tribute to Ramis’s work. Elsewhere, many on Twitter documented a growing memorial outside the building that contained flowers, candles, and — of course — packages of Twinkies.
While comedy legend Harold Ramis died Monday at age 69, he leaves behind an astonishingly successful (and hilarious) body of work that will be enjoyed for years to come. Below, watch some of his biggest moments as an actor, writer, and director:
EW was on the scene Sunday night as the Beverly Hills Hotel played host to an intimate Q&A session with Academy Award-winning composer Alexandre Desplat. The famed French composer touched on some of his more notable bodies of work, and also discussed his inspiration for his work on this year’s Best Original Score nominee Philomena.
One of the most surprising things Desplat revealed about his latest Oscar-nominated score is that it took him merely two days to compose what would end up being the theme for Philomena. Despite the short turnaround, the composer also revealed to moderator and president of the Society of Composers & Lyricists, Ashley Irwin, that he struggled to come up with a score that would do Philomena the film and Philomena the person justice. READ FULL STORY
This year’s Best Actor race is shaping up to be one of the greatest of all time. And by greatest, I mean both the most competitive and also the most outstanding, in the sense that each nominee is excellent — hypothetical winners in almost any other year. They also reflect the depth of superb male performances in 2013. Consider: Tom Hanks (Captain Phillips), Robert Redford (All Is Lost), Joaquin Phoneix (Her), Oscar Isaac (Inside Llewyn Davis), and Michael B. Jordan (Fruitvale Station) all missed the cut.
EW’s Owen Gleiberman recently analyzed this year’s Best Actor race, calling it the most “fiercely, thrillingly white-hot competitive” race in memory. Matthew McConaughey is the presumed front-runner for his transformative performance as an HIV patient in Dallas Buyers Club. He’s won most of the pre-Oscar prizes, and the media is still enamored with the McConaissance that has him tackling challenging projects after more than a decade of playing shirtless dudes. Chiwetel Ejiofor breaks your heart as Solomon Northup in the epic 12 Years a Slave, an unforgettable movie experience that depends almost entirely on his graceful performance. Leonardo DiCaprio — who’s never won an Oscar despite being Hollywood’s most famous face for 15 years — is making a strong late push for his performance as a crooked financier on The Wolf of Wall Street. Bruce Dern would become the oldest Best Actor winner if he takes home the prize for his stoic role in Nebraska as an aging man who sets out to collect his dubious sweepstakes winnings. And Christian Bale, an Oscar winner who is likely on the short list of greatest working actors in their prime, is the so-called long-shot for his amazing performance as a 1970s scam artist who gets in over his head with crooked pols and the FBI. It truly is a murderer’s row: three glamorous Hollywood leading man in the prime of their careers, one old-timer conjuring up screen magic to remind audiences of his greatness, and one completely mesmerizing performance from an English actor who finally received the leading role that was equal to his obvious talents.
So is this the greatest “class” of Best Actor nominees in history? And if not, where does it rank? Today, on Sirius radio, EW’s Darren Franich, Lanford Beard, and I nominated the best Best Actor races in Oscar history. Darren selected 1968, the year Rod Steiger took home the trophy for In the Heat of the Night, edging Warren Beatty (Bonnie & Clyde), Dustin Hoffman (The Graduate), Paul Newman (Cool Hand Luke), and Spencer Tracy (Guess Who’s Coming to Dinner). Lanford chose 2006, the year Philip Seymour Hoffman won for Capote, with Terrence Howard (Hustle & Flow), Heath Ledger (Brokeback Mountain), Joaquin Phoenix (Walk the Line), and David Strathairn (Good Night, and Good Luck) in the mix.
Click below for one guy’s top 10 all-time Best Actor races, with the main criteria being iconic performances and legendary actors. Feel free to disagree in the comments. READ FULL STORY
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