Deckard

Nicole é uma estrela, isso é inegável. Talentosa, carismática e bonita! Na fase Tom Cruise ela participou de projetos ótimos: Um Sonho Distante (Ron Howard! ), Um Sonho sem Limites (em que merecia uma indicação ao Oscar), Retrato de Uma Mulher e De Olhos Bem Fechados. Sempre uma atriz interessante e talentosa! Eu ja critiquei o excesso de botox da Nicole, mas na capa da revista Glamour ela está bonita. E também o rosto é dela, o dinheiro também... ela pode fazer o que quiser com eles!!! Kidman na capa da revista Parade (nunca vi essa revista mais rosa! ) Imagem: justjared.com Deckard2008-11-09 16:32:26

A maior musa do cinema desde Catherine Deneuve... Deckard2008-11-06 11:21:14

Stallone está longe de ser bom ator mas é carismático, um ícone da minha infância. Os três primeiros filmes da série Rambo dão surra em muitos filmes de ação lançados atualmente. TOP 5 1. Rocky - Um Lutador 2. Rambo 2 - A Missão 3. Rocky Balboa 4. Rambo - Programado para Matar 5. Risco Total Piores trabalhos: São muitos, mas o fundo do poço foi com Pare senão Mamãe atira! e O Especialista. Jason Statham é uma boa escolha, gosto de seus filmes meio toscos. Deckard2008-11-06 11:13:53

Sim Ksy, Hackers é um filme que a Jolie fez em início de carreira, em 1995. http://www.imdb.com/title/tt0113243/ Deckard2008-11-04 17:26:05

O grande problema de Lara Croft: Tomb Raider e sua seqüência foi a falta de talento dos diretores Simon West e Jan De Bont, profissionais fracos. Jolie foi e é perfeita para o papel (Lara), mas infelizmente não era madura o suficiente para perceber o barco que estava se metendo. Ela em entrevista a Premiere em 2001 enquanto divulgava o primeiro Tomb Raider, revelou que após assinar o contrato e com o início das filmagens pensou que tinha acabado com sua carreira, depois ela relaxou e curtiu a experiência que num saldo final foi positiva. Hoje é ela a atriz mais importante de Hollywood e Tomb Raider foi um passo para ela chegar a essa posição.

Falta dois meses para a estréia de Changeling também, somos dois ansiosos esperando...

Apenas saberemos da qualidade de Austrália quando saírem as primeiras críticas. Redundante o que eu falei, mas é a verdade. Porém é sempre mau sinal quando o diretor e o estúdio escondem um filme, ainda mais este com orçamento milionário e com uma das maiores estrelas de Hollywood (Nic Kidman, lógico) como protagonista. O tempo dirá... Imagens do longa Outras imagens: http://www.omelete.com.br/cine/100016178.aspx?paginaImg=2&paginaVideo=1#GaleriaImagem

Angelina Jolie é capa da edição de dezembro da revista Harper's Bazaar UK. Fonte: http://justjared.buzznet.com/2008/11/02/angelina-jolie-halloween-costumes/ Deckard2008-11-03 18:30:01

Panta, Jolie tem apenas um filme confirmado para o ano que vem Salt produção de ação/espionagem com direção do Phillip Noyce (O Colecionador de Ossos). As filmagens começam em fevereiro. Dizem os responsáveis que o longa será sério e semelhante a trilogia Bourne. Outro projeto da Jolie é Atlas Shrugged, produção independente da Lionsgate. Mas no momento está parado sem diretor ou roteiristas envolvidos. Dizem que Angelina levou a primeira versão do roteiro feita por Randall Wallace (Coração Valente) para Clint Eastwood ler. Deckard2008-11-02 15:40:37

Angelina Jolie em Uma Vida em Sete Dias, senti pena dela pelo filme. Ela deixou de atuar em O Quarto do Pânico com direção do Fincher para fazer essa comédiaromânticadramática boboca. Ai Jolie...

Estou calmo Panta, foi um comentário sem segundas intenções... . Jolie volta aos filmes de ação em fevereiro quando começa a rodar Salt do Phillip Noyce, porém desta vez será um filme de ação mais sério. Seguindo a cartilha da série Bourne. Deckard2008-11-02 15:23:01

Wanted foi sucesso de crítica e público, inclusive Jolie foi muito elogiada por sua Fox. É, praticamente, impossível o filme receber alguma indicação.

Fiquei com vergonha alheia pela Cate Blanchett e sua participação em Indiana Jones e o Reino da Caveira de Cristal. Como a melhor atriz da atualidade foi pagar um mico daqueles.

Os 11+, sem ordem de preferência. Robert De Niro (Touro Indomável) Al Pacino (Scarface) Marlon Brandon (Apocalypse Now) Jack Nicholson (Um Estranho no Ninho) Dustin Hoffman (Tootise) Daniel Day-Lewis (Sangue Negro) Mickey Rourke (Coração Satânico) Mark Wahlberg (Os Infiltrados) Edward Norton (Clube da Luta) Kiefer Sutherland (24 Horas) Harrison Ford (Blade Runner) Deckard2008-10-30 17:56:33

Não sei se são as melhores atrizes, mas sempre fico na espectativa por seus trabalhos! 1. Angelina Jolie - Gia 2. Jennifer Connelly - Réquiem para Um Sonho 3. Michelle Pfeiffer - Batman - Retorno 4. Jodie Foster - O Silêncio dos Inocentes 5. Cate Blanchett - Notas sobre Um Escândalo 6. Nicole Kidman - Moulin Rouge! 7. Claudia Abreu - O Caminho das Nuvens 8. Kim Basinger - 9 1/2 Semanas de Amor 9. Meryl Streep - A Escolha de Sofia 10. Hilary Swank - Meninos não Choram A minha lista também não é definitiva!!!Deckard2008-10-30 12:36:31

Luana Piovani e Dado Dolabella, dois dos piores lixos do mundo das pretensas "celebridades" nacionais. Juntos só poderia terminar nisso: barracão! Chama a Márcia Goldschmidt!

Também torço pela Nicole e pelo filme, mas acho difícil Austrália arrecadar mais do que uma "comédia natalina" (Four Christmases) com Vince Vaugh e Reese Witherpoon. E ainda tem Carga Explosiva 3. Se bem que, os três filmes são para públicos diferentes! 20 milhões de abertura para Austrália, essa é a média que os filmes comerciais da Nicole faturam em suas estréias.Deckard2008-10-28 12:09:58

A minha acabou no primeiro!

Changeling com Angelina Jolie estreou bem no circuito limitado. Em nove cidades (15 salas) o filme rendeu $502,000. Wholesome Beats Gore At Box Office 27 October 2008 10:34 AM, PDT | From Studio Briefing | See recent Studio Briefing news There was no sign of economic hardship at the box office over the weekend, as Disney's High School Musical 3: Senior Year, a film that reportedly cost less than $15 million to make, raked in $42 million -- the most any musical has earned in its opening weekend ever. Moreover, another low-cost film, Lionsgate's R-rated horror flick Saw V, debuted with $30.5 million in ticket sales. Together the two films helped the box rise 41.3 percent over last year to $120.8 million, according to box-office trackers Media by Numbers. In an interview with today's (Monday) Los Angeles Times, Media by Numbers President Paul Dergarabedian observed, "Ultimately, there was something for everyone in the marketplace. ... It shows that if you put the right movies in the market, people will turn out." All was not rosy, however, as Warner Bros.' Pride and Glory, which had taken years to reach the starting gate, came up lame with just $6.3 million. Last week's winner, Fox's Max Payne fell 57 percent to $7.5 million, while Lionsgate's W. dropped 49 percent to $5.3 million. In limited release, Clint Eastwood's Changeling, starring Angelina Jolie, got off to an impressive start in nine cities with $502,000, representing a per-screen gross of $33,441, three times the per-screen average of High School Musical. And Sony Pictures Classics' Synecdoche, New York also performed strongly with $172,926 in nine theaters, or $19,214 per theater. The top ten films for the weekend, according to studio estimates compiled by Media by Numbers: 1. High School Musical 3, $42 million; 2. Saw V, $30.5 million; 3. Max Payne, $7.6 million; 4. Beverly Hills Chihuahua, $6.9 million; 5. Pride and Glory, $6.3 million; 6. The Secret Life of Bees, $5.9 million; 7. W., $5.3 million; 8. Eagle Eye, $5.1 million; 9. Body of Lies, $4.1 million; 10. Quarantine, $2.6 million. Fonte: imdb.com Deckard2008-10-27 23:59:21

O mais bizarro no caso da Nicole Kidman é que ela é uma mulher jovem, 41 anos, e está muito estranha com tanto Botox (será apenas isso??). Quando chegar aos 50 estará assim (espero que não!): Melanie Griffith 50tonas ou tiazonas deliciosas : Kim Basinger Michelle Pfeiffer No Brasil a Christiane Torloni é uma "tia" belíssima!! Deckard2008-10-26 12:03:42

Salt, próximo filme de "ação" de Jolie, não será semelhante a O Procurado, Sr. & Sra. Smith e Tomb Raider. Segundo declarações do diretor Phillip Noyce e do produtor Lorenzo Di Bonaventura, o "filme de espionagem" será levado a sério, semelhante a série Bourne. Bom sinal, Jolie é uma grande atriz e merece filmes com conteúdo e qualidade e não apenas pastéis de vento como Sr. & Sra. Smith, um filme divertido. Porém passageiro e esquecível. _____________________________________________________ Angelina Jolie - NY Times Interview The Mommy Track A few weeks ago, when she arrived for the New York Film Festival premiere of “Changeling,” the new Clint Eastwood drama in which she stars, she brought along her partner of three years, Brad Pitt, and their sons, Maddox, 7, and Pax, 4, daughters Zahara, 3, and Shiloh, 2, and 3-month-old twins Knox and Vivienne. The eight of them had flown in from Germany, where the family has settled while Mr. Pitt shoots Quentin Tarantino’s World War II adventure “Inglorious Bastards.” “We’re all a little jet-lagged,” she said, not looking jet-lagged in the least as she settled in for a brief stay at the Waldorf-Astoria before moving the clan on to New Orleans. Carrying a lot of baggage is something Ms. Jolie seems to greet with serenity — as a mother. As an actress, however, she knows it poses a potential problem. At 33 she occupies a rare place within Hollywood’s uppermost tier of female stars. Wherever she goes, whatever she does, she cannot escape her several identities. The serious actress who won an Oscar for 1999’s “Girl, Interrupted” and much acclaim for playing Mariane Pearl, widow of the murdered journalist Daniel Pearl, in last year’s “Mighty Heart” is also the dominatrix-ish action dynamo who can open slam-bang guy movies, like this summer’s “Wanted.” There’s also the humanitarian activist who has served as a United Nations good-will ambassador and is now a member of the Council on Foreign Relations. And there’s her role as half of Brangelina, an unincorporated business that remains the celebrity magazine industry’s best bet for surviving the economic crisis. Ms. Jolie, who is disarmingly easygoing and more delicately beautiful and finely featured than red-carpet photographs suggest, said she mostly manages to ignore her alternate plane of existence as a tabloid sensation. She lives “in a bit of a bubble when it comes to people’s perceptions of me, which I’m sure is a very good thing,” she said, laughing, “because I’m sure it’s not always very nice.” If Ms. Jolie finds the attention irritating, she’s too smart to complain about it. But she admits that the wealth of available information about her could create a self-defeating conundrum. Her ever-growing fame could endanger her ability to do the very job that made her famous in the first place — to make audiences believe she’s somebody else. In short, to vanish. “Can I do that?” she asked. “I certainly hope so. I wouldn’t put myself forward to do a film like ‘Changeling’ if I thought I couldn’t pull people into a story because of all the other ways people see me.” In “Changeling” Ms. Jolie plays Christine Collins, a switchboard supervisor and single mother in 1928 Los Angeles whose 9-year-old son is kidnapped. (The story has its roots in a series of gruesome killings known as the Wineville Chicken Coop Murders.) Five months after the child’s disappearance, the Los Angeles Police Department hands her a boy it insists is her son, and department officials attempt to destroy her life when she says they’re wrong. The role, in which Ms. Jolie must embody the agony of not knowing if her only child has been murdered, puts her, in some ways, back in the wrenching territory of her last drama, “A Mighty Heart.” When Ms. Jolie first read the “Changeling” script, “I said, this is absolutely great, and I never want to do it,” she recalled. “I don’t want to put my consciousness on children being kidnapped. But I couldn’t forget about her. I found myself telling Brad and friends of mine the story.” “Changeling” arrived at an especially painful moment for Ms. Jolie. In January 2007 her mother, Marcheline Bertrand, died of ovarian cancer at 56. “My mom, she was a very, very soft woman,” she said. “It was hard for her to yell, or even curse. But when it came to fighting for her kids, she found a strength she didn’t always know she had. And there’s a part of Christine that I connected to her. I kept pictures of my mom in the little purses” that her character carries in the movie. Grief hit Ms. Jolie hard — and led, oddly, not to “Changeling” but to “Wanted,” a blood-splashed, R-rated comic-book adaptation in which she gives what she wryly called “my Clint Eastwood performance” as a ruthless, almost superhuman gunslinger who utters barely two dozen lines. “I knew instinctively that I needed something before ‘Changeling,’ ” she said. “I was depleted. I was in a state of just wanting to pull the covers over my head and cry about my mom. It was just too much. For me, there have been times when an action movie, even a ‘Tomb Raider,’ has helped me get out of myself and be physical again. It’s like therapy.” Ms. Jolie, who says she doesn’t particularly like to watch her own work, hasn’t seen “Wanted.” The film has grossed more than $300 million worldwide. “I’m glad it worked out,” she said with a smile. She has, however, seen “Changeling.” “Clint asked me to,” she said. “What are you going to do, say no to Clint?” Except for a brief hello years ago backstage at CNN’s “Larry King Live,” Ms. Jolie said she had never met Mr. Eastwood until she arrived on the “Changeling” set. But she knew of his reputation for running a tight ship and for finishing even complicated scenes in just a couple of takes. “I can sometimes roll without even saying a word,” Mr. Eastwood said of his filming process. “I’ll just motion to the cameraman, and he turns it on, and there we go. But she understood what things are like, and she was ready.” Ms. Jolie described it in other terms. “It made me terribly nervous,” she said. “The first day it moved so quickly. There are big, emotional, heavy things in that movie where it was, maximum, two takes. So I woke up in the morning not feeling relaxed. I would make sure I understood where my character was coming from, I was prepared emotionally, my lines were crisp. I was more ready than I’d ever been on a film because that’s what he demands.” By the end, Ms Jolie — who learned she was pregnant just before she was to shoot her harrowing scenes set in a mental institution — said she felt “this is how I should always work: I should always be this professional and prepared.” Since winning her Oscar almost 10 years ago Ms. Jolie has carved out a distinctive identity; unlike most other actresses of her age she is interchangeable with no one. Growing up, she said, she found her on-screen role models weren’t actresses but rather “Al Pacino in ‘Dog Day Afternoon,’ Brando in ‘Streetcar,’ Nicholson — I just always liked the men.” That may be part of the reason she has become virtually the only current A-list actress to achieve her status while completely bypassing romantic comedies. Nobody is ever likely to call her “America’s Sweetheart.” A dark period, when Ms. Jolie was cast as the man eater who broke up Mr. Pitt’s marriage to Jennifer Aniston during the production of the 2005 caper “Mr. and Mrs. Smith,” is behind her. And although in her 20s she was prone to provocative statements about blood, tattoos and bisexuality, in her early 30s she has learned how to feed the beast while making it serve her purposes. Recently she and Mr. Pitt auctioned off pictures of themselves with their newborn twins to People and Hello! magazines, raising an astonishing $14 million for their charity, the Jolie-Pitt Foundation. Today her career strategy seems more akin to, say, George Clooney’s than to Cameron Diaz’s. She has amassed an impressive record in action-driven hits like the “Tomb Raider” movies and “Gone in 60 Seconds” while making regular (and generally less successful) forays into more serious work, most recently in ensemble pieces like the 2006 drama “The Good Shepherd” or lower-budgeted movies like “A Mighty Heart,” in which several critics suggested that her fine performance was undermined by the fact of her celebrity. “Changeling,” a big-studio drama that she must carry on her shoulders while submerging the tensile, sexually charged physicality with which she has often defined herself, is another step outside of her comfort zone. And while Ms. Jolie discussed the film with enthusiasm, it was evident that her mind isn’t mainly on movies now. She has taken all of 2008 off from filmmaking and has only one movie lined up — the spy thriller “Edwin A. Salt,” which will begin production in February and which, in an indication of her box office clout in action films, was reconceived for her after Tom Cruise dropped out. In addition she will reprise her vocal performance as Tigress in the sequel to this summer’s “Kung Fu Panda” — the only one of her roughly three dozen movies that any of her children have seen. “It’s a big hit in the house,” she said. “Jack Black is like De Niro to the kids.” After that, she said, she’ll stay home for another full year, and she expects acting to play a diminishing role in her life as time goes by. For the past several months, since the twins were born, the older kids have been home-schooled, “and they’ve had Mommy and Daddy every day for every meal, and they’ve been very close to us.” It’s not a routine she’s eager to disrupt. Deciding to take a job is “really hard,” she said. “Who’s in school at that time? How can I be sure I don’t do too many long hours? Can the three youngest be on the set every day?” “As long as I can still be with my family, it’s fun,” she added. “But I only want to do that, and I’m not looking for anything else.” About that family, she and Mr. Pitt aren’t planning to stop at six. “Oh, no,” she said happily. “I mean, I know we seem crazy, just bringing them in one after the other, but we do plan. We make sure one is absorbed completely into the family before we add another. There are moments when we look at everyone around the dinner table, and it’s just crazy, but our family is the greatest thing we’ve done in our lives.” It’s hardly surprising that the children are Ms. Jolie’s focus right now. (“Just come tell me if you need me to pump,” she said to an assistant before starting the interview.) She worries about the day that Maddox, who is now old enough to use the Internet, will “look up my name and see some kind of sexy pictures or read a story about himself that isn’t true. There’s a lot we’re going to have to explain to them about how public their family is.” Nonetheless, she said, she looks forward to the day when she can put “Mr. and Mrs. Smith” in the DVD player for the children; “not a lot of people get to see a movie where their parents fell in love.” “What’s going to be funny is when they think Mom and Dad are a little bit cool,” she added. “Because right now, we’re not cool Mom and Dad.” “Even video games, you know, it’s: ‘Mom, you can’t play this. You won’t know how.’ Oh, they all think I can’t do anything, that I’m just there to snuggle with. But the other day Madd said, ‘Can you do a cartwheel?’ And I said, ‘Yeah, I can.’ And he was like, ‘Wow, Mom.’ And I thought: ‘Oh, yeah. I can do some things. You wait. You’ll find out. I’m capable.’ ” Fonte: angelinajolie.com/forum Deckard2008-10-26 11:45:13

Algumas críticas de A Troca (Changeling). O filme estréia no Brasil em 06 de fevereiro. Changeling ® Pete Hammond Trailer| Photos| Movie Info Showtimes & Tickets Recommend (0) | Comments (0) Hollywood.com Says Changeling is another Oscar-worthy masterpiece from director Clint Eastwood -- a harrowing, emotionally gripping movie you won’t be able to get out of your head for days. Story Not to be confused with the 1979 ghost story The Changeling, this Changeling is a horror story of a very different stripe. Based on a long forgotten case buried deep in the L.A. crime files, this true tale revolves around the mysterious 1928 disappearance of 9-year-old Walter Collins. Set in an election year and with heavy political pressure on city officials and a corrupt LAPD, they find a child five months later, who they claim is Walter, and arrange to reunite him with his mother, Christine (Angelina Jolie). Only problem is she says this is not her kid. When she asks the police to continue trying to find her son, she finds herself victimized and accused of being insane and unfit for not going along with the PR campaign informing the public that the police have solved the case. With the help of a community activist Reverend Briegleb (John Malkovich), she begins to fight the city and the police who try in every way to silence her, even committing her to a mental institution. The film details not only her valiant quest to right a wrong and find her real son but serves as a probing indictment of the police state 1920’s Los Angeles had become. Acting As in her searing portrayal of the pregnant Marianne Pearl in last year’s A Mighty Heart, Angelina Jolie once again connects with her maternal side. In another challenging role, she must exhibit a wide emotional range, going from fear to anguish to anger to pure resolve in an effort to uncover the mystery of her son’s abduction. Splendidly outfitted in ‘20s garb, Jolie delves deep into the soul of a woman who dared to go against the grain and challenge a corrupt police department in Prohibition-era L.A. She’s simply remarkable in the most intense, determined and heartbreaking role of her career. As the man who helps out in her cause, Malkovich is perfectly matched to Jolie. As the merciless Captain Jones, who heads the investigation to find Walter, Jeffrey Donovan (TV’s Burn Notice) is properly frustrating and imposing, while Colm Feore gets the evil side of his LAPD police chief down pat. Nailing her few scenes, Amy Ryan (Gone Baby Gone) plays a fellow psycho-ward inmate, who helps Christine when she is institutionalized. Particularly impressive is Eddie Alderson as the 15-year-old nephew of the serial killer, who leads police to a grisly crime scene and his uncle, played a bit over the top by Jason Butler Harner. And filling out their juvenile roles nicely are Gattlin Griffith as Walter and eerie Devon Conti as the young man impersonating him. Direction Clint Eastwood knows his way around ominous, foreboding material, so it’s no wonder he was instantly attracted to J. Michael Stracynski’s immaculately researched script. After Million Dollar Baby and Mystic River, Eastwood exhibits a strong understanding of the dark side of human nature. Changeling fits right in with his oeuvre, and he delivers yet another superbly crafted and acted film -- one that exists on two separate levels as a look at the corruption that crept into the LAPD of the era and as an impassioned journey of a woman trying to find a happy ending for herself and her son. Shot with the director’s usual ease, Eastwood seems comfortable letting the almost unbelievable facts of the story speak for themselves and remarkably didn’t change a word of Stracynski’s fascinating screenplay. He doesn’t have to. The fact that it’s a true story, that all really happened, is simply incredible by itself. This is an unforgettable triumph for everyone involved. Fonte: http://www.hollywood.com/review/Changeling/5333045 MOM AND SWAP STORY "Changeling," set in 1928, features Angelina Jolie as a mother whose son (Gattlin Griffith) disappears. Rating: Last updated: 11:01 am October 24, 2008 Posted: 1:53 am October 24, 2008 ANGELINA Jolie is in Oscar-caliber form - and looks great in flapper-style clothes - as a woman who takes on corrupt cops in 1928 Los Angeles in Clint Eastwood's very dark, fact-based and beautifully crafted "Changeling." This melodrama would have made a great movie for Bette Davis or Joan Crawford - if the Hollywood studios weren't in bed with the LAPD and the story wasn't too disturbing for the 1930s women's movie crowd. Jolie is Christine Collins, a single mom whose 9-year-old son, Walter, disappears one Saturday while she's working an extra shift as a telephone company supervisor. Five months later, the scandal-ridden LAPD stages a photo op reuniting Christine with Walter at a train station. Only it isn't Walter, but a young imposter the cops pressure her to take home. Christine protests the scam repeatedly to Captain Jones (Jeffrey Donovan), the head of the juvenile investigations unit. When she takes her complaint to the press, Jones finally has Christine thrown in the psychiatric ward. Fortunately she's found an ally in the Rev. Briegleb (John Malkovich, effectively cast against type), a radio evangelist who has been protesting the LAPD's policy of executing and incarcerating criminals and others it considers embarrassing without such niceties as trials. At the same time, Captain Jones is trying to quash an investigation at a chicken ranch, where a 15-year-old illegal immigrant from Canada is telling a chilling tale. The teenager (Eddie Alderson, very good) says he was forced to help his adult cousin murder around 20 kidnapped youngsters - and identifies Walter as one of the possible victims. The excellent script by J. Michael Straczynski comes hurtling down twin tracks - Jones and his superiors face hearings by the Los Angeles City Council just as the apprehended serial killer, Gordon Northcott (scary standout Jason Butler Harner) stands trial across the street. Northcott taunts Christine about Walter's fate, and she physically confronts him on the eve of his hanging in a scene that's as credulity-straining as it is dramatically satisfying. Sort of a companion piece to "Chinatown" and "L.A. Confidential," as well as Eastwood's underrated "A Perfect World," this gripping film takes great pains to re-create the City of Angels during the early part of the 20th century. Eastwood has peopled it with a terrific cast, including Amy Ryan ("Gone Baby Gone") as a prostitute Christine meets while incarcerated, Michael Kelly as an honest detective who defies Jones to investigate the serial killings, and a trio of remarkable juvenile performances. There's Gattlin Griffith as Walter Collins; Devon Conti as his defiant impersonator, Arthur Hutchins; and Asher Axe, who relates a hard-to-watch flashback in a twisty epilogue set in 1935. Jolie's attention-grabbing work here will inevitably be compared with "A Mighty Heart," in which she disappeared into the role of Mariane Pearl, widow of Wall Street Journal reporter Daniel Pearl. Neither woman is a victim, but Christine more openly suffers than the stoic Mariane. And Jolie gives a big, movie star performance that rivets your attention for nearly 2½ hours. "Changeling" is another remarkable addition to Eastwood's directorial canon. CHANGELING Haunting real-life horror. Fonte: http://www.nypost.com RT: 50 % Reviews Counted: 78 Fresh: 39 Rotten:39 Average Rating: 5.9/10 Deckard2008-11-15 15:27:26