Garbage

Trailer de Blue Valentine: http://movies.yahoo.com/movie/1809945752/video/22346938

Off Topic Por favor, alguém também diga que viu que o ator que fez o curta do Fecamargo está naquele reality show extremamente trash da record (qualquer programa que tenha esse cunho de reality show para mim já vem com um trash embutido).

Acaba de sair o trailer de The Fighter : http://trailers.apple.com/trailers/paramount/thefighter/ Incrível a mudança corporal do Bale, a cada filme é um corpo diferente, não falo de emagrecimento ou musculos e sim a postura, tonus e etc.

Hereafter By JUSTIN CHANG Bryce Dallas Howard and Matt Damon star in 'Hereafter,' produced and directed by Clint Eastwood from a screenplay by Peter Morgan. A Warner Bros. release of a Malpaso, Kennedy/Marshall production. Produced by Clint Eastwood, Kathleen Kennedy, Robert Lorenz. Executive producers, Steven Spielberg, Frank Marshall, Peter Morgan, Tim Moore. Directed by Clint Eastwood. Screenplay, Peter Morgan. George Lonegan - Matt Damon Marie LeLay - Cecile de France Billy - Jay Mohr Melanie - Bryce Dallas Howard Marcus/Jason - George McLaren, Frankie McLaren Didier - Thierry Neuvic Dr. Rousseau - Marthe Keller Himself - Derek Jacobi Clint Eastwood moves into risky new territory with old-fashioned grace and sturdy classical filmmaking in "Hereafter." An uneven but absorbing triptych of stories concerning the bonds between the living and the dead, the 80-year-old filmmaker's latest feature is a beguiling blend of the audacious and the familiar; it dances right on the edge of the ridiculous and at times even crosses over, but is armored against risibility by its deep pockets of emotion, sly humor and matter-of-fact approach to the fantastical. Oct. 22 release may divide even Eastwood partisans, but should generate sufficient intrigue to portend positive B.O. readings. The screenplay by Peter Morgan (taking a break from dramatizing the lives of British celebrities) quickly establishes three parallel narratives, the first of which kicks off in disaster-movie mode: French TV journalist Marie LeLay (Cecile de France) is vacationing in the tropics with b.f. Didier (Thierry Neuvic) when the 2004 Indian Ocean tsunami hits. Borne along by the rapidly moving tides, rendered with inexpert visual effects but a vivid sense of peril, Marie hits her head, blacks out and has an otherworldly vision -- all blindingwhite light and ghostly silhouettes -- before regaining consciousness. Meanwhile, in San Francisco, George Lonegan (Matt Damon), a construction worker trying to repress his apparently genuine psychic gift, fends off requests from acquaintances and strangers hoping to communicate with their lost loved ones. Finally, in London, young twin brothers Marcus and Jason (played interchangeably by George and Frankie McLaren) try to ward off social services by covering up for their alcoholic mother, yielding unexpectedly tragic consequences. Eastwood allows each of these stories to develop in unhurried fashion, always keeping the specter of death hovering in the background. Marie returns to Paris but has trouble readjusting to her job after her traumatic experience, while one of the boys, Marcus, becomes eerily obsessed with psychic phenomena. And George, in an unusually charming development, joins an Italian cooking class (taught by Steven R. Schirripa, boisterously channeling Emeril Lagasse), where he's paired with a beautiful stranger, Melanie (Bryce Dallas Howard). The question that propels "Hereafter" is how these three yarns will eventually converge (the answer: creakily), and on the face of it, this fractured, globe-trotting tale of fate and mortality bears a strong resemblance to the work of scribe Guillermo Arriaga, specifically "Babel." But while the film trades in too many coincidences -- suffice it to say the tsunami is not the only real-world disaster the film invokes -- the mitigating charm of Eastwood's approach is how subdued, unportentous and laid-back it is. He seems in no hurry to establish the missing links, trusting us to engage with the characters before we know exactly how they fit together. As though aware of the raised eyebrows that may greet his borderline-schlocky choice of material, Eastwood pauses midway through to register a healthy measure of skepticism; a montage shows one character consulting a series of psychics, every one of them a charlatan. Even still, we're meant to take it on faith that Damon's George is the real deal (his gifts are even given a biological explanation), and the film presents his frequent glimpses of the netherworld -- similar to Marie's near-death visions -- in an unquestioning manner that viewers will have to either accept or reject. As unabashedly suffused with emotion as any of Eastwood's films, "Hereafter" is finally less interested in addressing life's great mysteries than in offering viewers the soothing balm of catharsis; the portal to the beyond, as conceived here, serves merely as a practical gateway into inner peace, romantic renewal and, most consolingly, the reassurance that our loved ones never leave us. This sentiment is conveyed when George reluctantly performs a reading for Melanie, all the more powerful for its apparent disconnection from the rest of the story. The fact that much of the film is set in Europe lends it a unique look and texture in the helmer's oeuvre; Tom Stern's camera at times pulls back to take in the varied landscapes, but bathes many of the interiors in his customary inky blacks, the intense chiaroscuro serving to up the hushed, spiritual quality of the film's most intimate moments. As usual, Eastwood's score is a tad overinsistent if melodically spare, its few notes reiterated on various instruments (including piano, guitar and harmonica), and supplemented here by snippets of Rachmaninoff. Damon and de France (toplining her first major studio picture) are sympathetic enough as characters who are more or less at the mercy of the cosmos, while the brothers McLaren eventually cast off their Dickensian-moppet shackles, particularly in the final reel. But it's Howard whose relatively brief presence really lingers, her performance starting off goofy and ingratiating before taking on an almost otherworldly intensity. Read more: http://www.variety.com/review/VE1117943529.html?categoryid=2863&cs=1#ixzz0zNYW7VaI Visit Variety.com to become a Variety subscriber.

Sobre "Never let me go", não saiu nada ?? Quase certeza que foi exibido em Telluride nesse fim de semana.

A mulher do Cassady é a Mary Lou.

Algumas news - Carey Mulling não está em Brighton Rock, ela preferiu rodar Wall Street 2. Andrea Riseborough entrou no seu lugar. - Black Swan abrirá o Festival de Veneza e The Tempest fechará.

Pelo diretor e elenco, eu esperava que esse tópico fosse bem mais movimentado do que está, mas ok. Achei essa montagem bem legal e acredito que não seja spoilers.

Box office: 'Inception' breaks through with $60 million; 'Sorcerer's Apprentice' has no magic by Nicole Sperling Categories: Box Office, News Image Credit: Stephen Vaughan The weekend’s two wide releases Inception and The Sorcerer’s Apprentice both scored a B+ with audiences but still ended the weekend with markedly different results. The mind-bendy heist film from director Christopher Nolan generated an estimated $60.4 million for its opening frame, a great success considering the complicated plot line and the vague marketing campaign. In contrast, The Sorcerer’s Apprentice, which earned the same score from exit pollster CinemaScore, couldn’t catch a break from audiences, grossing only $17.3 million and a third spot for the three-day period. The Nicolas Cage, Jay Baruchel starrer has now earned a lackluster $24 million after five days of release. This will be one of those movies where Disney will be counting on the international audiences to save the movie from being a total disappointment. Despicable Me scared up spot two for the weekend with an estimated $32.7 million. The animated film’s strong hold of 42 percent puts its brief ten-day stint at $118 million. Inception and Despicable Me’s impressive numbers, which are an encouraging sign of audiences embracing original ideas, helped lead the box office to a 10 percent gain over last year at this time when Harry Potter and the Half-Blood Prince bowed to $78 million. It didn’t hurt that The Twilight Saga: Eclipse earned another $13.5 million to put its total cume at $265 million while Toy Story 3 fell a scant 44 percent to gross close to $12 million. Pixar’s highest-grossing film’s total now stands at $363 million. Adam Sandler’s Grown Ups landed in the sixth slot. The film continues to hold in well, dropping only 37 percent its fourth weekend in theaters for an additional $10 million in ticket sales. The film’s total take stands at $129 million. Spot seven went to The Last Airbender. The film from director M. Night Shyamalan grossed an estimated $7.4 million its third weekend for a total cume of $115 million. Predators sank like bloated, forgettable sequel it is, dropping 73 percent its second weekend in theaters to earn $6.8 million. The film’s two-week total has reached $40 million. Spot nine and ten are being filled by Knight & Day and The Karate Kid. The films earned $3.7 million and $2.2 million respectively, putting total grosses for the two movies at $69 million and $169 million. In limited release, Cyrus, starring John C. Reilly and Jonah Hill, and Lisa Cholodenko’s The Kids Are All Right continues to do terrific business in a limited number of theaters. Cyrus grossed $1 million in 446 theaters for a total cume of $5 million. While the Annette Bening and Julianne Moore-starrer earned $1 million on only 38 theaters for a screen average of $27,000. It’s total two-week limited cume stands at $1.7 million.

Faz tanto tempo que eu não entro aqui que nem lembro quais eram os usuários que eu odiava, se é que eu cheguei a odiar alguém. Só lembro de um que me irritava e muito, o RiKe, obsecado pela Keira Pau-Seco e pelo filme Atonement.

Resumo das principais criticas até agora lançadas: http://www.slashfilm.com/2010/07/05/early-buzz-christopher-nolans-inception/

Pela milésima vez; o do Almodovar não foi indicado pela Espanha como seu canditado.

O Meirelles acabou de negar que vá realizar o filme da janis, ele só leu o roteiro e passou a vez. Sábia decisão.

O filme da Drew estreiou ano passado.

Assistiu, Vicking ? To curioso pra saber o que o pessoal vai achar desse aqui. Eu particularmente não gostei. Vi não, é preconceito pré-assistida mesmo. Quase vomitei ao assistir o trailer...

Boicote já!

Roger Ebert's Review of Nine - 2 Stars My problem may be that I know Fellini's "8½" (1963) too well. Your problem may be that you don't know it well enough. Both of us may be asking, who exactly was "Nine" made for? This is a big-scale version of the 1982 Broadway production, which won the Tony Award as best musical. It's likely that most who saw it had either seen the Fellini film, or made that their business. I didn't see it, but I'm sure it greatly benefitted from being live and right there onstage, where the energy in performance compensated for its lack of a single great song. All the songs sound exactly like standard boilerplate Broadway show tunes, except for composer Maury Yestin's "Finale," which evokes the original Nino Rota soundtrack for Fellini, which is the problem. Fellini's great films are essentially musicals. Like most Italian directors of his generation, he didn't record live dialogue and sound. He depended on dubbing. On a set, he usually had an orchestra playing, and asked his actors to move, not in time with the music, but "in sympathy." Everyone in a Fellini film evokes an inner body rhythm. Then there's Rota's music itself, my favorite soundtracks. I could watch a Fellini film on the radio. The story, recycled by Rob Marshall for "Nine," involves aspects of Fellini's own life: his vagueness about screenplays and deadlines, his indifference to budgets, his womanizing, the guilt about sex instilled by his Catholic upbringing, his guilt about cheating on his wife and about bankrupting his producers. It was said that "8½" wasn't so much a confessional as an acting-out of the very problems he was having while making the film, including how to use a gigantic outdoor set he'd constructed for no clear purpose. It's a great film, some say his best. "Nine" the musical "adapts" it, true enough, but doesn't feel it. Consider Fellini's most famous scene. The many women in the life of the hero Marcello (played by Marcello Mastroianni) assemble in a fantasy harem and greet him: the Swedish stewardess, his wife, his mistress, his mother, Saraghina the local whore of his childhood and, above all, his muse (Claudia Cardinale), a reassuringly perfect woman, encouraging, never critical. In the harem they caress him, bathe him, soothe him -- and then reveal complaints and criticisms, so that he has to take up a whip and threaten them like a lion tamer. In "Nine" this scene is of course reprised, but with an unclear focus. It's less like a vengeful dream, more like a reunion. There's no urgency, no passion, most of all, no guilt. In fact, the subtext of Catholic guilt, which is central to Fellini, is only hinted at in "Nine." But then "Nine" pays homage to a Broadway musical, and not Fellini at all. In this connection, consider the odd casting of Daniel Day-Lewis in the Fellini/ Mastroianni role, played onstage by Raul Julia. Of course he isn't Marcello; who could be? But he also isn't romantic, musical, comic, baffled, exasperated -- and not (even though he apprenticed under a Florentine shoemaker) in the slightest degree Italian. What current movie star could play the role? I think Javier Bardem (Marshall's original choice) could. Gael Garcia Bernal? Maybe Alec Baldwin? You need a man who is handsome and never seems to have given it a thought. I'm crazy? Then you tell me. "Nine" is just plain adrift in its own lack of necessity. It is filled wall to wall with stars (Marion Cotillard as the wife figure, Penelope Cruz as the mistress, Judi Dench as the worrying assistant, Nicole Kidman as the muse, the sublime Sophia Loren as the mother). But that's what they are, stars, because the movie doesn't make them characters. My closing advice is very sincere: In the life of anyone who loves movies, there must be time to see "8½." You can watch it instantly right now on Netflix or Amazon. What are you waiting for? source

Foi removido Beckin :/

Eles já tem duas filhas.

Não nós levará, uma das condições que o Lula impôs aos produtores do filme para que se houvesse permissão de realiza-lo foi de que a pelicula não fosse inscrita em nenhuma lista para concorrer ao Oscar.

Maya está realmente muito bem no filme' date=' que bom que está sendo lembrada em algumas premiações. [/quote'] Uma curiosidade sobre a Maya: ela é casada com o PTA