Emma Watson has made so much money over the last ten years after playing Hermione Granger in the Harry Potter series that she never has to work another day in her life, but that isn’t stopping her because she has just been cast in the new ‘Beauty and the Beast’ movie.
ComingSoon.net are reporting that Emma has been cast to star in Guillermo Del Toro‘s adaptation of Beauty and the Beast, but that’s all the information that is available about the movie for now although if it’s anything like his movie Pan’s Labyrinth then it should be a pretty dark adaption of the Disney classic.
Emma also has two under movies on the way out first up is ‘My Week With Marilyn’ that co-stars Michelle Williams and is due out in the fall and then there is next years ‘Perks of Being a Wall Flower’.
As well as these movies she has her modeling campaigns going on so she is the perfect choice to Belle in the new movie, who do you think should play the Beast though?
From Annette Bening sitting on Jeff Bridges‘ lap, to Hans Zimmer and Hailee Steinfeld really hitting it off, to Michelle Williams sneaking in onto the side but looking adorable as always, to a mysterious lack of David Fincher.
It’s like a huge Oscar Where’s Waldo!
Nearly one hundred and fifty Oscar nominees gathered at The Beverly Hilton in Beverly Hills, California, Monday, February 7, 2011 for the Academy of Motion Picture Arts and Sciences’ Oscar Nominees Luncheon.
The Huffington Post have come up with a list of the 10 most embarrassing projects that some of the nominees from the 2011 Oscars have been in. Take a look and see if you have seen any of them…
Christian Bale in ‘Captain Corelli’s Mandolin’
I bet you didn’t know Christian Bale was in ‘Captain Corelli’s Mandolin.’ Maybe that’s why he’s so angry all the time.
Michelle Williams on ‘Dawson’s Creek’
I get it, it’s where she got her start. But did anyone think Jen Lindley would end up becoming one of her generation’s most nuanced actors? Unfortunately we can’t say the same for James Van Der Beek.
Jeff Bridges in ‘Tron: Legacy’
It’s embarrassing enough that ‘True Grit’s Jeff Bridges was in the first ‘Tron’ 20 years ago, but he had to go and do it again?
Natalie Portman in ‘No Strings Attached’
If Natalie Portman loses the Best Actress Oscar, fingers will start pointing to this rom-com with Ashton Kutcher. There’s a reason why A.O. Scott calls her “the only Golden Globe-winning actress to simulate sex on screen with two former members of the cast of ‘That 70s Show.’”
James Franco on ‘General Hospital’
It’s really hard to fault James Franco for this since it’s all part of his larger performance art master plan.
Nicole Kidman in ‘Batman Forever’
It would have been fine if she played opposite Christian Bale’s Batman, but she got stuck with Val Kilmer.
Mark Ruffalo in ‘Rumor Has It…’
Before he was seducing Julianne Moore away from Annette Bening, Mark Ruffalo was playing opposite Jennifer Aniston in this movie that irresponsibly associates itself with The Graduate.
Amy Adams in ‘The Wedding Date’
In this movie that apparently came out in 2005, Amy Adams was billed under Debra Messing.
Javier Bardem in ‘Eat Pray Love’
Somehow I don’t think Javier Bardem’s immense acting skills landed him this role in Eat Pray Love.
Helena Bonham Carter in ‘Planet of the Apes’
When your husband is Tim Burton and you star in all of this movies, some of them are bound to be terrible.
Have you noticed that when celebrities, especially female celebrities, make it big their whole persona and looks change as time goes on? Well here is a list of the 10 biggest celebrity transformations of recent years.
Angelina Jolie
Back in 2000 (left), Angelina Jolie walked on the wild side with Morticia Addams extensions, vampire-pale foundation and edgy winged eyeliner. 10 years (and six kids) later, she’s all about a enhancing her natural assets with dewy makeup.
Katie Holmes
With her girly ringlets and shimmery shadow, Holmes (left) was an adorable up-and-comer. 10 years later and Mrs. Tom Cruise is the picture of sophistication.
Nicole Richie
Remember when Nicole Richie was best known for being pals with Paris Hilton? Back in those days (left), the mouthy TV star favored bleached-out tips and glittery makeup. Now the Winter Kate designer channels her boho taste with sweeping bangs and shimmery makeup.
Michelle Williams
As the resident bad girl on Dawson’s Creek, Williams rocked sweet curls and sheer red lipstick. Fast-forward to 2010 and she’s the ultimate trendsetter with a platinum pixie and understated makeup.
Tina Fey
SNL writer Tina Fey made her debut behind the Weekend Update desk sporting a neat shag and brick-red lipstick. Now in the 30 Rock spotlight, the funnylady favors retro hairstyles and lush lashes.
Rihanna
Rihanna came on the scene as a Barbadian songbird with standard-issue waves. She’s since dropped one adventurous look after the next, landing (for the moment) on a cherry red crop and matching lips.
Lady Gaga
High schooler Stefani Germanotta (left) topped off her long, light brown hair with hardly a hint of Bonne Belle. Lady Gaga, on the other hand, has a veritable arsenal of wigs, makeups, hats, veils, and er, meat, to finish her look.
Katy Perry
Katy Perry was a blonde? Believe it! As a Santa Barbara teen, she had a light, layered bob. Now a platinum-selling songstress, Perry’s the consummate pinup girl with liquid liner, matte lips and structured curls.
Anna Paquin
Anna Paquin went from precocious young Oscar winner to True Blood’s reigning bombshell. She contrasts her buttery blond with tawny skin to play the sexy, psychic Sookie Stackhouse.
Ashlee Simpson-Wentz
Pre-Pete Wentz, the young singer dyed her hair in her bathroom sink and sported edgy razor cuts. Now Simpson-Wentz has fully embraced her rock ‘n roll side with ombre hair and smudgy liner.
A pretty accurate list in my opinion, who do you think is missing?
source: The 10 Best Transformations of the Decade [InStyle]
In a new interview for “W” magazine, Michelle Williams discusses the nudity that was required for her role in new movie, “Blue Valentine”.
She spoke of the required fiery sex scenes, but said that she hoped the nude photos wouldn’t end up online. She said, “It would be really nice if the pictures did not get posted online. But then maybe that’s a reason to do it: Just get naked, and who cares if it ends up on the internet.”
I bet you guys are all chomping at the bit to get the first snaps of those pics online. Hold onto your hats, I’m sure they’ll be on the internet before you can say “Michelle Williams nudity”.
She also discussed her “toxic” sex scene with co-star Ryan Gosling. She said, “Ryan and I had stopped relating to each other as Ryan and Michelle. Those scenes took forever. I had a long drive from set to home each night, and I would roll down all the windows and turn up the music as loud as I could and hang my head out the window like a dog and scream. It was my escape.”
These days most actors are only in the business to make a quick dollar and get famous, but there are some who actually still care and enjoy acting. Cinema Blend have come up with a list of 20 actors who do care and deserve your support.
Ricky Gervais
In 2004, The Office became the first British sitcom ever to win a Golden Globe for Best Comedy. They never filmed another episode. Three years later, despite reported requests to guest star from Madonna, Brad Pitt and Will Ferrell, Ricky Gervais decided not to film another season of Extras. Walking away from a starring role on a major sitcom just as it becomes most profitable is almost unheard of, doing the same thing twice is either a sign of lunacy, a testament to just how much he really cares or an almost superhuman belief in his own abilities as a comedian. Decades ago, people said the same thing about Bob Newhart, more recently, they’ve said it about Dave Chappelle. I haven’t the slightest idea what the truth is, but that’s pretty damn good company to be in. Ricky Gervais deserves your support because he left two brilliant, critically-adored television shows of his own creation to do a movie lampooning God. Then he followed it up with a sentimental dreamedy about growing up in England. It’s as if he’s deliberately killed all momentum he had, cocksure he could rebuild again at any time of his choosing. We’ve yet to see the best out of Ricky Gervais, and when it comes, Cinema Blend will be the first in line to say I told you so. We’ll probably end up sharing credit with Barry from EastEnders.
Viggo Mortensen
Viggo Mortensen is a smolderer. He opens those intense, I-know-how-to-build-my-own-kitchen eyes, and he wins my girlfriend over every time. Obviously, I want to hate him because anyone that ruggedly handsome has to be despised on principal alone, but like Paul Newman and his absurdly delicious salad dressing, there comes a day when you just have to admit a dude’s alright. Viggo Mortensen could have gone the way of Eric Bana, it certainly would have been expected by this writer, but since The Lord Of The Rings climaxed, he’s done nothing but take intense borderline indies and one movie about horses. Turns out that’s excused because he’s reportedly just real into horses. I would write a movie about polish sausage if someone paid me, a man can’t change who he is. Viggo Mortensen is a character actor at heart, he’s a method, no-restraint genius who looks like a mechanic, crossed with zoo keeper, crossed with a brooding former model turned emotionally-tortured bad boy. I need to stop holding that against him. If not for my own credibility, so he won’t steal my girlfriend and kill me with his bare hands in my sleep on his way to winning at least three Oscars before he’s done.
Bill Murray
Bill Murray doesn’t have an agent. He has an answering machine. Leave him a message and if he likes your movie, he might call you back. Most likely he won’t. I suspect Bill Murray cares about life more than he cares about movies. He spends his days on drunken golf outings or eating lunch with Anthony Bourdain. When he chooses a movie it’s only because he thinks it’ll enrich his life to do it. Maybe it’ll enrich yours too. He’ll show up on set when he feels like it and when he arrives, he’ll be everything you could ever hope Bill Murray would be. He’ll hang out at crack jokes, he’ll entertain the crew between takes. When someone turns the camera on, he’ll give it his dead pan all, he’ll elevate every scene he’s in, he’ll make your movie better than it ever could have been if you’d cast anyone else. Then he’ll wander off back to his life, randomly tending bar in Austin and doing whatever it is that Bill Murray does with his endless weekends. He’d like to win an Oscar, he probably should have gotten one for Lost in Translation. But he doesn’t care about pleasing his fans, he won’t do anything just because you want him to. He’ll only do it if he wants to. Bill Murray mostly he cares about life and while you’re cashing paychecks for doing movies about giant robots, he’ll be out there living his.
Kate Winslet
I think Kate Winslet would be better off if she made more movies like The Holiday. That opinion, along with many others, is why I’m not necessarily a writer you should support. For all the laurels I’ve rested on, all the middle-of-the-road, audience-pleasing editorials I’ve delivered, I could never be Kate Winslet. Conventional wisdom dictates one should take roles which further her career, monetarily or critically, Kate Winslet has spent the last decade and a half taking movies like Little Children and The Reader which have merely reinforced her reputation as a woman more interested in achieving than pleasing. There’s nobility in that aim. Only the virtuous would sacrifice manufactured emotion for brutal honesty. That’s why I’m willing to sacrifice Michael Caine, who was originally going to be on this list. 20 actors is more search friendly than 21. Kate Winslet is better than that. That’s why she gets her own paragraph.
Crispin Glover
I’m pretty sure I get Crispin Glover about thirty percent of the time. That’s about twenty percent higher than most people and twenty percent less than Crispin Glover gets himself. Maybe. The how’s-and-why’s of the most honestly, happily eccentric man in show business are too confounding for a single paragraph. There was his Letterman appearance where he fired a roundhouse kick at Dave’s head, his republishing of a book about rats with CIA-style blackouts, his asking the director to remove all of his lines in Charlie’s Angels. The outlandish idiosyncrasies are enough to make OCD-patients look benign. He’s either accidentally stumbled upon that genius level of insane a few people have every generation or he’s carefully calculated an intentionally eerie public persona, the likes of which haven’t been topped since Nero. Lou Reed, on his most desperately anti-social day, skewers toward mass appeal projects twenty percent more than Crispin Glover. It’s like he carefully measures out just enough rope to almost hang himself and then climbs further up the tree. Peeping Toms, one-armed bellhops, Andy Warhol, these are the men Crispin Glover puts life into. He’s a personification of the mystery box, a creepy, off-putting Knave of Hearts lurking behind door number three. I can support that, at least thirty percent of the time.
Morgan Freeman
Wanna know what Morgan Freeman is up to right now? He’s narrating Through The Wormhole on the Discovery Channel. Let’s take a second to think about that. Morgan Freeman, a beloved actor with his handprints at the Chinese Theater, is doing the voice work for a little-seen basic cable documentary series. It’s certainly not because he can’t get work or because he’s somehow now incapable of acting, Morgan Freeman is still at the height of his cinematic power and influence, which is why he’s narrating one of the most fascinating programs on the origins of life I have ever seen. Maybe Through The Wormhole shows up without Freeman’s involvement, in fact, it likely does, but would Discovery be running highly-rated marathons of it? I seriously doubt it. Morgan Freeman invokes an aura of legitimacy. Even when he does absolute shit like Evan Almighty, it never really tarnishes his ability, probably because he never stoops or panders, grovels or lowers himself to embarrassment. All the greats, Joe Dimaggio, Ted Williams, they struck out too, but they did so with class, with a confident, I’ll-get-you-next-time grin. Don’t believe me? Then go ahead and stamp your forms, sonny. I doubt Morgan Freeman gives a shit.
Michelle Williams
Michelle Williams made a movie about walking around town looking for your dog, and it was one of the best movies of 2008. If there’s a great movie you’ve never heard of, odds are she’s in it. She could do blockbusters, where she’d invariably be cast as some superhero’s girlfriend. She’s pretty enough, she’s talented enough, and she’s well known enough. I’m sure Marvel wishes they could get her in The Avengers. They can’t. I doubt they’d even ask. Michelle Williams isn’t in it for the glory, or the money, or even accolades. She’d have to be in movies people are likely to see, to get any of those. I’m left to assume that she works because she genuinely likes acting, and chooses her roles accordingly. She’s quietly perfect in everything she does. When she’s in an ensemble you may not even notice her, because she’s so good she’s simply that character. She’s famous, but when you see her you’ll almost never think “hey that’s Michelle Williams”. Even though you’ll never notice, everything is better with her in it, and if it wasn’t already good she wouldn’t be in it anyway. Got a lost dog? A midget in need of a friend? A gay husband in need of a confidant? Got a quiet, incredibly smart movie which probably won’t sell tickets but really should be seen anyway? Give Michelle Williams a call.
Tom Hanks
More than anything else, this list is a celebration of risks. It’s an ode to the men and women who try new things, carve their own paths and make us alter the way we see movies; why is why, at first glance, Tom Hanks seems a bizarre fixture amongst the Viggos and Kate Winslet’s. There’s something intuitively safe about Tom Hanks. One big budget film a year in which he plays a loveable good guy tearing at the audience’s sympathies. But like a wise father who knows when its time for discipline and when it’s time for ice cream, Tom Hanks is only safe because he’s consistently proven for two decades that he knows what he’s doing. Ask people what their favorite Hanks movies are and not only will you get different answers, you’ll get different genres. Philadelphia is a legal drama about AIDS. Saving Private Ryan is a horrifying World War II picture. That Thing You Do, my personal favorite, is a disposable piece of early 60s nostalgia. Cast Away, The Green Mile, Catch Me If You Can, Bachelor Party, hell even You’ve Got Mail has its ardent supporters, me included. Tom Hanks may not stray us too far from our comfort zones, but right now, at this moment, he is the only actor in Hollywood who still carries a legitimate seal of quality. This paragraph was written in the USA and is Hanks-approved.
Edward Norton
I’ve never played Clue with Edward Norton, but I’m almost positive he takes notes on the questions other players ask, just like I’m positive he buries players for cutting across the middle, argues like a woman scorned and consistently orders the best thing on the menu. Edward Norton is the type of guy who despises second place performances and phoned in efforts with every ounce of his will power. One could argue he simply fights for the sake of fighting, obsesses for the sake of obsessing, his difficult-to-work-with reputation would probably speak to that, but I honestly believe he’s just life-or-death invested in everything he does. You can’t partially commit to paying a skinhead, nor can you obscure your own identity behind a mask for an entire movie because it somehow selfishly helps you. Edward Norton cares, probably too much. He’s the guy who corrects the teacher when he’s misinformed, even when he knows it’ll get him kicked out of class. What’s worse being a tedious failure or a disliked genius? I don’t know. Let me rewatch Primal Fear before I answer that.
Daniel Day-Lewis
Lewis spent eight months learning and training for his character in The Last Of The Mohicans. This is not unusual in itself—the training—even the guys in The A Team went to Army Boot camp. But the performances of Daniel Day-Lewis are different from that of Bradley Cooper not simply because of Day-Lewis’ clearly superior acting or his ability to mold dialogue (which are obviously not part of Bradley Coopers will-be-handsomer-than-thou schtick), but in the choosing of characters and the projects he picks. This becomes obvious with only one glance at Day-Lewis’ Filmography. While the man has been on the radar since the mid eighties and has been given leads since ’88, when he played in Philip Kaufman’s The Unbearable Lightness of Being, in the last twenty years, he has acted in nine films. Nine, yes the same number, yes, there’s a joke in there somewhere, but we’re not finding it so let’s move on. Suffice to say, we should support Daniel Day-Lewis, because if we don’t, he might actually have to take his first role for a paycheck in decades. I hear Phil’s character needs a father in The Hangover 2.
Julianne Moore
Do you remember Julianne Moore in The Fugitive? I do, and I saw that movie once, probably five years ago, played on cable with commercials. And it’s not just her hair (that would clearly cause members of South Park to riot), it’s not her height, her lissom lack of curves, or even her charming smile. It’s not the role she plays in the film—she’s a doctor who helps Harrison Ford’s character in a modestly important part. There’s something more important than a striking appearance in Moore’s portrayal of Doctor Anne Eastman. She’s memorable, and whether her convincing acting was the entire culprit or whether her body language and facial features played a part is an entirely beside-the-point argument, because on the merit of this role in The Fugitive, Spielberg cast her as a lead in The Lost World without an audition. Then, P.T. Anderson had to actually court her repeatedly for his film Boogie Nights. I’d like to present a few more points of evidence. Ms. Moore has often and repeatedly taken roles that would offer her more interesting parts over more money, although she has had successful box office hits. Her recent foray The Kids Are All Right exemplifies this. She once said, “I don’t understand fame without content.” And if there is anything a movie watcher should support, it’s content over fluff. Julianne Moore has taken the acting world into two hands and triumphed. And maybe, just maybe, Julianne Moore could be the one ginger South Park residents could love.
Joseph Gordon-Levitt
Joseph Gordon-Levitt is 29 years old. In acting years, this is the equivalent to Julianne Moore appearing in the made for tv-movie Money, Power, Murder. It’s Pacino before The Godfather, Spacey before Glengarry Glen Ross… it’s Costner while his scenes were being deleted from the Big Chill. I know, I know, the opposite argument could be applied to this paragraph—that many actors begin youngish careers and are successful. What separates Joseph Gordon-Levitt from these other young career seekers is his choice of roles. He’s not picking roles blindly, he’s not an “if you find a fork in the road, take it” kind of guy, but he’s also not simply an obscure-indie-loving, “I took the road less traveled by,” kind of guy. By straddling two worlds, Joseph Gordon-Levitt is able to have his cake and eat it too. Which means we get to see him play fresh characters across the board, from Brick to The Lookout, from (500) Days of Summer to Inception. Even when he chooses big budget films like G.I. Joe, he still feels Downey fresh. Pretty clean for a kid who began his career doing peanut butter commercials.
Jet Li
Jet Li is on this list because he isn’t Jackie Chan. Both once had an unmatched talent for brilliant action sequences. Earlier in his career and right up through the 90s, Jackie Chan made better movies than Jet Li. He just did. Jackie had better stunts, Jackie has a sense of humor. Jet Li simply has the ability to kick ass. But in the new millennium, as they both got older and the stunts got harder to do, Jackie Chan sold out. He stopped doing his own stunts and lied about it. He started doing horrible, Hollywood babysitting movies, just for the paycheck. And while early in his career Jet Li was never as good as Jackie Chan, later in their careers he’s the one who didn’t sell out. Instead of using his fame to get big paychecks doing terrible movies, Li used it to fund passion projects like Hero and the beautiful martial arts history movie Fearless. When he does do a big Hollywood movie, he tries to pick something interesting. His movies aren’t perfect and neither are his choices. But even though he’s older and the stunts that made him famous are getting harder to do, Jet Li hasn’t sold out. Jet Li will never be as fun to watch as Jackie Chan, he’d never be able to pull of a real acting role like Jackie’s in The Karate Kid. Jet Li’s idea of slumming it is doing a ridiculously fun movie like The Expendables or being the best thing about a bad Mummy movie. Jet Li will never be a babysitter and his work, while far from perfect, is almost always worth the price of admission.
James Franco
James Franco is not a good actor. But it’s not a lack of effort which makes him mediocre at best, merely a lack of talent. Franco compensates by making it a point to be interesting. He picks roles he has no business doing, seeks out projects that better actors might be afraid to touch, and damn his ability he’s doing them anyway. James Franco should probably try to get by solely on his James Dean good looks, he should probably go wherever that crooked smile takes him, but he’s not interested. Talented or not he’s out there doing the insane and the ridiculous. He shows up when you least expect him, playing the weirdos, the stoners, pulling off the crazed hillbilly cameo in a movie for an audience which will ultimately forget he was ever in it. James Franco does soap operas, just because it seems like fun. He finds his way into movies which, if his role were played by someone else, might have won them an Oscar. James Franco’s only real asset is that he’s pretty, but he refuses to use it. James Franco is not a good actor and many of the movies he’s been in might have been better if his role were given to someone else. But that’s not his fault, that’s not his problem. Some of those movies wouldn’t have been made at all without him. James Franco is not a good actor, but that hasn’t stopped him from giving it his all. He’s too small to play running back, too slow to hit a fast ball, too short to dunk on an NBA regulation hoop. Sure he could give it up, move to China, and have a successful career in men’s table tennis instead; but he’s out there, giving it everything he’s got anyway. James Franco should probably be Ashton Kutcher, but he’d rather be Dustin Hoffman. He’ll never get there, and I suspect he knows it, but you have to love the guy for trying.
Jeff Bridges
Jeff Bridges didn’t really like making movies at first. He did it because everyone else in his family did it, and they sort of talked him into it. But Jeff wasn’t going to stick with it, unless he really fell in love. At some point, he did. These days Bridges doesn’t do it unless he loves it. Jeff is Hollywood legacy, he doesn’t have to make movies, he chooses to make them. When he chooses one, he chooses it only because it’s something he believes in, only because it’s something he thinks you’ll believe in. Sometimes he’s wrong (The Door in the Floor) but most of the time he’s right. Every time Jeff Bridges shows up on screen there’s always reason to think and hope that this could be the next Big Lebowski, the next Fisher King, the next Tucker, the next Starman. Jeff Bridges cares about what he’s doing. He cares about the characters he’s playing. He cares about his audience. Maybe he’ll make the occasional wrong move, every once in awhile he’ll do The Men Who Stare At Goats. It doesn’t matter, the movie may be bad, but odds are he’ll still be the best thing about it. He’ll probably even make it watchable. The day Jeff Bridges stops caring is the day he stops doing it and holes up somewhere to focus entirely on his photography. It doesn’t matter what Jeff Bridges is in, rest assured that he’s only doing it because he believes it’s worth your time.
Meryl Streep
Meryl Streep is so good that she’s become a cliché. She’s good in everything and everyone knows it. She’s a character actor, when you need someone to play a culinary Big Bird or the bitch from hell boss. She’s a leading lady, whenever you need someone to make out with Alec Baldwin. She has two Oscars, but she’d probably have more, except these days everyone just expects Oscar-worthy performances from her. Lately, she delivers at least one of those, almost every year. She’s done it by being good and making it a point to work with good people. These days she really doesn’t have to go through the effort. She’s Meryl Streep and if she’s attached to a project other good talent will surely follow. So she could phone it in, and let the Steve Martin carry the load. But she won’t. She’s the consummate professional. Meryl’s name on a movie poster is a symbol of quality, it means something, the way Ford used to back when Henry was still alive and the company gave a damn. The way Disney used to, before everyone found out Walt was probably a secret Nazi. The way GE used to be, back when they were all about making great toasters. Most of the names we’ve come to rely on have long since had their reputations tarnished. But not Meryl Streep. She’s still going strong.
Adrien Brody
After winning an Oscar for his work in The Pianist Adrien Brody had the hardware he needed to chart his own course. He could have carved out a career doing period dramas and kissing girls in corsets. That’s what respectable Oscar winners do. Or he could have thrown it all away for a series of big paychecks lending credibility to horrible films, let’s call that the Cuba Gooding Jr. method. Instead he decided to make movies about things he liked and Adrien Brody, it seems, loves smart quirky, genre movies. He likes brain-benders about science run-amok. He likes detective stories, and time travel and fantasies about strange other worlds. Maybe his choices haven’t always worked out, I don’t think anyone would argue in favor of The Jacket, but they’ve all come from the right place. Brody picks movies because he thinks they’re interesting, or because they’re about things he’s interested in. Whether or not that results in something good every time around, it always seems to result in something that tries. The thing is, Adrien Brody is out there trying. He’s not cashing paychecks or chasing more awards attention, he’s just doing movies he thinks he’d like to see on screen and in the process hopes that it’s something you’d like to see too. Everything Adrien Brody does at least attempts to be something bigger than the sum of its parts. It’s not the usual shlock. He could do Transformers 3, and maybe he’d make more money. He could do a Jane Austen movie, and he’d almost certainly get more respect from the cinematic snobs. But instead Adrien Brody does Splice and Adrien Brody does Predators, because Adrien Brody is doing what he loves.
Leonardo DiCaprio
As I write this, Leonardo DiCaprio has 22 film projects in development. He’s not starving for an audience; in fact, he may be one of four individuals whose films I will see regardless of whether I am interested in their content (the others being Day-Lewis, Spacey, and Cruise). I’m not choosing to write about him because I feel an urgent need for readers as individuals to support DiCaprio—he is such a prevalent icon at this point regardless of whether you liked his accent in Blood Diamond or the authenticity of his knife throwing skills in Gangs of New York. In the last decade, nearly every movie he’s made is watchable, in the sense it has some interesting shit going on, often because of DiCaprio himself (and most often because these films are good). Did you read the Richard Yates book Revolutionary Road is based on? It’s like F. Scott Fitzgerald’s Tender is the Night, only it gets more aplomb in critical circles. The reason I bring up Revolutionary Road, is because the narrative closely follows my feelings on DiCaprio. The first thirty pages are classic, filled with new and interesting narrative styles and ideas, the ideas. If you reread again there is always something new, something you missed the first time that you wouldn’t have even known how to look for. After that, the book sort of takes on its own vibe, goes in directions that aren’t reassuring or familiar, and are sometimes even unlikeable. Yet for some reason, it is still compelling, and you find yourself sucked in to the very end. This is DiCaprio’s talent, to try new things, to sometimes steer off course, to go out to sea, but to know that when he’s going, to paraphrase Chris Rock, he’s going out fucking.
Ellen Page
Ellen Page has no business being on this list. She’s only 23. She hasn’t been around long enough to earn a place on it. We didn’t want to put her on it, but her work demands it. The thing is, Ellen Page may be only 23 but she’s already been in more good movies than more famous, more well-traveled, better respected Hollywood actors twice her age. That just can’t be an accident. Sure she had a role in the mostly terrible X-Men 3, but the brilliant part of that decision is that the entire movie was so shallow and empty odds are you’ve already forgotten it. But starting with Hard Candy in 2005 she’s made it a point to show up in some of the best and most interesting movies released every year and worked with some of the best writers and directors the movie industry has to offer. Maybe it’s her unconventional look or her even more unconventional style of acting that keeps them casting her, but a lot of it, you have to think, has been up to her. It’s not just that she keeps picking good movies, but she keeps picking different movies. Movies that no one else is doing. She’s been a molested child out for revenge, a pregnant hipster, a genius prodigy, a roller girl, and a dream designer. All of that in a space of less than five years. Ellen Page is too young to be on this list, too new to have a reliable track record. But here she is anyway.
Russell Crowe
It feels like Russell Crowe has made about thirty bad movies in a row. I looked it up. In actuality, he’s made nine movies in a row worse than A Beautiful Mind. That’s ten movies in a row worse than Proof Of Life, eleven movies in a row worse than Gladiator, and twelve movies in a row worse than The Insider. That’s not to say everything he’s done since The Insider has successively debilitated like the reflexes of Mohammed Ali after Joe Frazier beat the living hell out of him in Manilla, but it has been a slow, yet steady chug down from the untouchable good graces of the American public. Twelve movies in a row worse than The Insider, yet Russell Crowe is on this list largely at my behest. I can’t fully explain it away, or excuse his choices, but I can say I still believe in Russell Crowe. I believe in him because he narrates documentaries about Robin Hood on the History Channel, because he did a fucking Western. His recent choices may not have proven fruitful but it wasn’t because they were back-up plans. This is a man who truly cares about getting other men right, getting the nuances down, getting stories he believes in made. Cinderella Man is a good movie; so too are American Gangster and 3:10 To Yuma; they can’t all be better than The Insider. But if you keep watching long enough, another one of ‘em will be.
source: 20 Actors Who Deserve Your Support [Cinema Blend]
Sometimes in Hollywood a script calls for actresses to tone down their makeup or gain a bit of weight, which leads us to this list. Now I don’t think any of these actresses are that ugly in the roles they play, some of them are just wearing barely any makeup but some of them do look a bit like death.
20. Katherine Heigl
Katherine toned down her stunning looks to play the plain Jane in ’27 Dresses.’ Are we really supposed to believe that a dishwater-blond dye job is supposed to make Hiegl “ugly”?
19. Drew Barrymore
Drew played the dorky Josie Geller in ‘Never Been Kissed’ but ugly clothes, no make-up and a dorky hairdo couldn’t hide the fact she was a stunning woman.
18. Linda Cardellini
Linda is stunning but she often plays homely characters. She tried her best to convince us that she was an ugly nerd as Velma in 2002′s ‘Scooby-Doo.’ Unfortunately for Linda, we can see past those hideous wedges and wig to know she is actually gorgeous in real life.
17. Christina Ricci
Christina is so cute that the only way to make her homely is to stick on a disgusting pig nose onto her face. Ricci played the unfortunately-nosed title character of the film ‘Penelope.’
16. America Ferrera
Perhaps the most common example of a pretty actress who plays ugly is America in her role as Betty in ‘Ugly Betty.’ Again, dowdy clothes and nerdy accessories are brought in to turn the stunning America into a (sort of believable) nerd, but we all know that America is gorgeous in real life.
15. Cameron Diaz
Cameron played the homely Lotte in ‘Being John Malkovich’ with the aid of a frizzy wig and brown eye contacts. Because we all know how brown eyes/curly hair equals homely!
14. Anne Hathaway
If there is ever a “makeover” scene in a film you can guarantee that the pre-makeover character will be wearing glasses and ugly clothes. So it is no surprise that Anne had to get ugly for her breakout role in ‘The Princess Diaries.’
13. Scarlett Johansson
Scarlett is lusted after by almost every man in America but men weren’t exactly clamoring for her attention in her breakout role as am awkward, snarky teenager in ‘Ghost World.’
12. Tina Fey
Every Thursday Tina tries to convince us that she is the unattractive Liz Lemon on NBC’s ’30 Rock.’ Sure, trying to pass off Fey as ugly is pretty unbelievable but the show is funny enough for us to ignore this ridiculous element.
11. Michelle Williams
Michelle typically plays “pretty girl” roles but in the indie film ‘Wendy and Lucy’ she tried her best to look homely. We guess all it takes to look ugly is to have an unfortunate short haircut and an unflattering pair of jorts.
10. Nicole Kidman
Nicole popped on a fake nose to get “ugly” to play Virginia Woolf in ‘The Hours.’ Despite how the film portrayed her, Woolf was actually a celebrated beauty during her time. But “pretty” doesn’t translate to “Oscar” for Hollywood actresses.
9. Chloe Sevigny
Chloe is known for her good looks and fashionable taste off-camera but she dialed up the dowdiness for Nikki Grant in HBO’s ‘Big Love.’ It is hard to make a pompadour and a French braid look cute, but Chloe somehow finds a way to make it work.
8. Jenna Fisher
Jenna scrunched her hair with a full can of mousse to make us believe she was the plain Pam in NBC’s ‘The Office.’ That hairstyle and boring office clothing could make even the most gorgeous woman look plain.
7. Elisabeth Moss
Pretty Elisabeth got the world’s worst bangs to play the unattractive but ambitious Peggy Olson in AMC’s ‘Mad Men.’ Again, Hollywood’s answer to make pretty actresses unattractive is a horrible haircut.
6. Kaitlin Olson
Kaitlin tries her best to come off as unattractive as Dee Reynolds in ‘It’s Always Sunny In Philadelphia’ but we can all tell she is stunning when not dressed up to look like a white trash slob. Why are so many leading women in comedy shows forced to play ugly?
5. Hilary Swank
Hilary is a stunning woman but she made us believe she was a dowdy transgendered man for her Oscar-winning role in ‘Boys Don’t Cry.’
4. Mariah Carey
Mariah shocked the world when she stripped off her diva glamor and played a plain-looking social worker in ‘Precious.’
3. Felicity Huffman
One of Hollywood’s favorite way to ugly-up actresses is to make them play a transgendered person. Felicity played male-to-female transsexual Bree for 2005′s ‘Transamerica.’
2. Charlize Theron
Charlize surprised audiences everywhere when she portrayed a homeless, murdering hooker in 2003′s ‘Monster,’ which earned her an Oscar. Looking at the picture of the two, it is still hard to believe that they are even the same person.
1. Amy Sedaris
Perhaps one of the greatest examples of “getting ugly for a role” is Amy playing Jerri Blank in the brilliant TV show (and later, movie) ‘Strangers With Candy.’ Sedaris played up Jerri’s ugliness so much that it almost became an art form.
Do you agree with this list? I would take out Katherine Heigl and add in Renee Zellweger for playing Bridget Jones.
source: 20 Pretty Actresses Who Aren’t Afraid To Play Ugly (PHOTOS) [Celebuzz]
It’s sometimes easy to forget that the world’s biggest stars are people just like us, and they aren’t beyond making mistakes. The one difference is that millions of fans watch their every move, as opposed to the three or so spectators that just happened to saw you trip on the sidewalk.
Over the weekend, country singer Brad Paisley took a tumble on stage that left us wondering who else has fallen onstage?
Brad Paisley stumbles in Charleston, South Carolina, but makes a quick recovery.
The following fall is nothing for Madonna, who has survived falling off a horse, years of public backlash for her risque image and apparently that outfit. Just saying!
Jennifer Lopez had a memorable moment at last year’s American Music Awards, unfortunately it wasn’t for her singing or dancing.
In a true testament of her showmanship, Beyonce falls down a flight of stairs but quickly gets right on up. That one definitely looked like it hurt.
There must be something in the water. A few years back, Destiny’s Child songstress Michelle Williams tripped during a live televised performance at BET — but the show must go on!
The following fall left Aerosmith’s Steven Tyler out of commission during a recent tour — he suffered head, neck and shoulder injuries. Ouch.
We’ll leave you with Latin superstar Juan Gabriel, who took an EPIC tumble into his orchestra pit in concert. Definitely not for the faint of heart.
Watching someone fall… it never gets old, does it?
source: Celebrities Falling On Stage … Live! [popeater]
With Sorrority Row being the latest slasher movie out now and because it is a cast full of women, Rotten Tomatoes have decided to throw together a list of the top 25 women from slasher films.
Janet Leigh — Psycho (1960)
Alfred Hitchcock’s seminal slasher took Janet Leigh, already a star, and made her an immortal — by killing her off early in the indelible shower scene. Leigh got an Oscar nomination for her work, remained a big star through the 1960s and, importantly for the genre, gave birth to Jamie Lee Curtis, with whom she’d co-star in 1998′s Halloween: H20. Meanwhile, Psycho’s Vera Miles, who played “final girl” Marion, worked only sporadically in B-grade flicks until she took a role in 1983′s Psycho II. A lesson here: sometimes it pays to die big.
Margot Kidder — Black Christmas (1974)
Bob Clark’s hugely influential slasher flick, which anticipated Halloween’s seasonal title and stalker-cam, as well the he’s-calling-from-inside-the-house of When a Stranger Calls, offered two lead scream queens. Olivia Hussey, already a star for Franco Zeffirelli’s 1968 Romeo and Juliet, played “final girl” Jess. But it was up-and-comer Margot Kidder, as the boozy, foul-mouthed and soon-to-die Barb that audiences remembered. While Hussey’s star waned, Kidder’s soared, thanks to the Superman movies and The Amityville Horror. Her career derailed in the mid-1990s due to her bipolar disorder, but she returned to acting and popped up recently as Laurie Strode’s headshrinker in Rob Zombie’s Halloween II. Another lesson: old scream queens never die, they just do cameos.
Jamie Lee Curtis — Halloween (1978)
Arguably the most enduring and liked scream queen in cinematic history, Jamie took a leaf from her mom’s book by making her name with her debut in John Carpenter’s terrifying Halloween. While Laurie was in danger of being overshadowed by her more sexed-up co-stars, particularly P.J. Soles, her nice-gal virgin status meant she lived to see the end credits. And Curtis wasn’t above making more genre flicks — and for the next five years she did nothing else, with The Fog, Prom Night, Terror Train, Halloween II (pictured) and Road Games. Realizing she needed to move on, Curtis successfully branched into comedy with hits Trading Places, A Fish Called Wanda and Freaky Friday, and also showed us how good she could look in True Lies. Not forgetting her roots, the actress also returned to the Laurie Strode role in Halloween: H20 and Halloween Resurrection.
Carol Kane — When A Stranger Calls (1979)
By the time Carol Kane made this film, she was a very respected actress who’d starred in The Last Detail, Dog Day Afternoon and Annie Hall, and who’d been Oscar-nominated for 1975′s Hester Street. It was an unusual choice, but the film was a minor box-office hit, largely on the strength of its opening 22 minutes. But after that Kane’s career trajectory saw her take more supporting roles, and not always in successful films, with Transylvania 6-5000 and Joe Versus the Volcano stinking up her resume. Things weren’t helped by Kane reprising the Jill Johnson role in 1993′s TV movie When A Stranger Calls Back. Possible lesson: if you’ve worked with Woody Allen, Sidney Lumet and Hal Ashby, you probably don’t need to do a slasher film.
Adrienne King — Friday the 13th (1980)
Having seen what Halloween did for Jamie Lee, no doubt Adrienne King had her sights set on stardom when she landed the “final girl” role of Alice in Friday the 13th. She survived the film — memorably chopping off mama Vorhees’ head — and starred in 1981′s Friday the 13th: Part 2. Problem was, her screen presence inspired a deranged stalker, who tried to break down the door of her apartment. The life imitating art angle of this impressed Adrienne not at all, and she instead carved out a career as a voice actress and artist. Her role in this year’s horror Walking Distance marks her first screen appearance in 28 years.
Melissa Sue Anderson — Happy Birthday To Me (1981)
What’s a 1970s TV star to do when falling ratings finally mean you get evicted from The Little House On The Prairie? In Melissa Sue Anderson’s case she took the lead in this Canadian slasher, whose poster memorably promised death by shish kebab. Tastier is that Melissa played both Ginny, the “final girl”, and her doppelganger, the birthday-obsessed wack job. Look for a new generation of fans when it’s re-released on DVD this year, with the original artwork intact. But Happy Birthday To Me didn’t break Melissa Sue Anderson into the big-screen business, with her subsequent acting in either TV movies (10.5 Apocalypse) or obscure indies (1990′s Dead Men Don’t Die).
Holly Hunter — The Burning (1981)
Just as Halloween aped Black Christmas and Friday the 13th aped Halloween, The Burning was a close fit for Friday the 13th, being the story of kids at a camp where bad stuff once went down. Enter a killer named Cropsy. He has a molten face, a big pair of scissors and a very bad attitude. The Burning’s trailer, with its repeated voiceover warning “Don’t!”, was one of the inspirations for Edgar Wright’s hilarious fake trailer in Grindhouse. This is most notable for being the debut for Holly Hunter who, perhaps anticipating her Oscar-winning turn in 1993′s The Piano, was given no dialogue. Other fun facts — Jason Alexander, future George in Seinfeld, was in this, and it was the first flick produced by Bob and Harvey Weinstein under their Miramax banner. [Note: Holly's... not pictured.]
Heather Langenkamp — A Nightmare On Elm Street (1984)
Wes Craven’s slasher revitalized the ailing, hacky genre with the introduction of a new supernatural villain who was even freakier than Halloween’s The Shape, Friday’s Jason or The Burning’s Cropsy. But Freddy Krueger’s charisma was a problem for Heather Langenkamp, who played “final girl” Nancy Thompson. While popular in the original and two sequels, she wasn’t able to translate that success into mainstream success, with the nearest thing she got to fame again being a five-episode arc in 1980s sitcom Growing Pains. Not to worry, though, she found a niche running the environmentally friendly Malibu Gum Company.
Rose McGowan (scream)
After Elm Street, slasher-horror entered a decline until Wes Craven and scriptwriter Kevin Williamson turned the genre on its severed ear by sending up its conventions in the hyper-self-aware Scream. The Weinsteins put up the $14m budget — a fortune for such fare — and that meant it needed names, which it got in Drew Barrymore, Courtney Cox and Neve Campbell. But it was also the launch-pad for little known Rose McGowan, who’d until then been relegated to bit parts in Pauly Shore flicks and was the praised lead in underseen indie The Doom Generation. While her character Tatum’s mission to get brewskis from the garage would lead to Ghostface arranging her head-squashing with the roller door, McGowan’s career fared a bit better, with Charmed and Planet Terror earning her a devoted fanbase, if not yet a breakout mainstream hit.
Sarah Michelle Gellar — I Know What You Did last Summer (1997)
The success of Scream helped this straighter, duller slasher, also from the pen of Kevin Williamson, get into cinemas. Jennifer Love Hewitt was the “final girl” but before long her similarly tripled-barreled co-star Sarah Michelle Gellar would be the bigger star. That year saw her take on TV’s Buffy and the megahit Scream 2. A smart gal, she opted for a more serious route with Cruel Intentions and went for rom-com in Simply Irresistible. Thing is, audiences really want to see her spooked, whether for laughs in the massive-grossing Scooby-Doo flicks or in the likes of The Grudge, which raked in $110m. With her last few flicks (Suburban Girl, The Air I Breathe) tanking, it might be time for Sarah to face off once again against a creep in a yellow slicker, a creep in a ghost mask… or maybe just Edward Cullen.
Tara Reid — Urban Legend (1998)
Following the Psycho formula re-established by Scream’s early kill of Drew Barrymore, this one offed Natasha Gregson-Wagner in the opener. That left Rebecca Gayheart, Alicia Witt and new cutie Tara Reid in the picture to be killed off. Playing a college sex therapist helped audiences remember Tara, and she was soon on her way to the A-list with American Pie and Cruel Intentions. Even flops like Josie and the Pussycats and Dr. T and the Women weren’t career killers, and she was back at the top of the box office with American Pie’s sequel and early Ryan Reynolds’ hit Van Wilder. But then the Tara Reid car crash began, with her party-girl shenanigans making people forget how they’d warmed to her raspy comic appeal. The slide translated to the big screen, with her thereafter languishing in F-grade horror such as Uwe Boll’s Alone in the Dark and Incubus.
Michelle Williams — Halloween: H20 (1998)
Between Brokeback Mountain, I’m Not There and Wendy and Lucy, Oscar nominee Michelle Williams is shaping up as one of the finest actresses of her generation. But her first big box-office hit was this belated resurrection of the franchise. In it, she stars as Molly, a horny student at the exclusive school run by Jamie Lee Curtis’ Laurie Strode. Of course, Michael, aka, The Shape comes a-calling. Getting chased by him did Michelle’s career no harm but, that said, it’s unlikely she’ll be back ducking psycho blades at any time in the future. Unless, of course, you count Scorsese’s Shutter Island.
Brittany Murphy — Cherry Falls (2000)
In this under-rated and sly comic take on the slasher genre, the kids scramble to lose their virginity because the maniac only kills the pure, hence the title. Having then-rising star Brittany Murphy, fresh off Girl, Interrupted, didn’t help Cherry Falls’ prospects and this $14m production, which had to go to the MPAA five times before they approved a cut, didn’t even make it to theaters. Brittany’s climb would continue for a while — with 8 Mile, Just Married and Sin City — but the misses soon outnumbered the hits. As her pay packet has shrunk, she’s returned to horror-tinged thrills with Deadline, Abandoned and Something Wicked.
Katherine Heigl — Valentine (2001)
No-one can accuse Ms. Heigl of being an overnight success, and she’s been working solidly since 1992. During the ’90s she played daughter roles to Gerard Depardieu and Steven Segal, and in 1999 signed on to this, director Jamie Blanks’ follow up to Urban Legend. In it, Heigl, who supposedly later claimed she wouldn’t have done it if she’d read the script properly, plays Shelley, a med student who has her throat slit early in proceedings. Fun fact: Tara Reid and Jennifer Love Hewitt were originally cast in the roles that went to Jessica Capshaw and Denise Richards. As for Heigl, despite being dead, she passed her med school exams and graduated to mega-stardom in Grey’s Anatomy and then Knocked Up, 27 Dresses and this year’s The Ugly Truth.
Jessica Biel — The Texas Chainsaw Massacre (2003)
Like any number of slasher starlets before her, Jessica Biel jumped from a successful TV series — in this case, 7th Heaven — to “final girl” in Marcus Nispel’s forceful remake of Tobe Hooper’s ferocious original. Dudes who wouldn’t be caught dead watching 7th Heaven became overnight Biel fans. But it has been a rocky-ish road since then for the actress. After Blade: Trinity, Biel broadened her horizons but hasn’t often found the right material to suit her talents. She was good in The Illusionist, but seemed out of place in I Now Pronounce You Chuck And Larry and Stealth. Horror’s not on her immediate horizon, but her next flick Nailed sounds like it could be on offcut from an offal-spiller. In it, she plays a girl who gets a nail stuck in her head, which causes her to act erratically but leads her into the arms of Jake Gyllenhaal.
Shawnee Smith — Saw (2004)
This $1.2m indie, which generated a franchise worth half-a-billion, added “torture porn” to the psychotic killer mix, with controversial results. A considerable degree of Saw’s impact was thanks to a cunning viral campaign which featured Shawnee Smith with her mouth about to be ripped off by an explosive face trap. Despite having done a lot of movies in the 1980s and 1990s, including Summer School and The Desperate Hours, Smith was at the time of Saw’s production best known as “the dumb girl from Becker”. This movie changed all of that, and she’s appeared in each of the sequels (see Saw II, pictured). As for whether she’ll break from horror, well, if she’s getting back-end each time a Saw is released in time for Halloween, she’ll probably never need to work again.
Paris Hilton — House of Wax (2005)
The loose remake of the 1933 early-Technicolor experiment Mystery of the Wax Museum and 1953 3-D hit House of Wax had one special effect: Paris Hilton’s ability to generate publicity. Producer Joel Silver admitted the heiress had been cast for just that reason. In fairness, she wasn’t terrible in the film, but the death scene, which mocked her infamous home video, was just, well, weird. Happily, this one’s box-office failure just as effectively killed off Paris’ serious big-screen hopes. But if you really want to be frightened by a film she’s in, just try to sit through The Hillz or The Hottie and the Nottie.
Mary Elizabeth Winstead — Final Destination 3 (2006)
This franchise cast Death his bad self as a serial killer, whose favorite method is inescapable fate, directed mostly at teens via insanely complicated series of events that culminate in spectacular terminations. Mary Elizabeth Winstead — who’d been noticed in kiddie comedy Sky High — landed the role of the final girl, the one who lives long enough to see her pals suntanned to death, impaled and nail gunned. She wasn’t so lucky in 2006′s Black Christmas remake (above), which saw her blood spray all over a car, but she at least avoided such a fate in 2007′s Death Proof. Winstead’s next role — as love interest Ramona V. Flowers in Edgar Wright’s comic fantasy Scott Pilgrim Vs. the World — sounds just the change of pace.
Scout-Taylor Compton — Halloween (2007)
Once Mr. Zombie had established the whys-and-whats of Michael Myers’ “backstory” in his reimagining of Halloween, he switched over to more familiar ground — The Shape stalking Laurie Strode on Halloween. Compton held her ground well enough against her big, bad brother well enough that she was brought back for Halloween II. The daughter of a mortician, she’s a true believer in the genre and happy to tell fans about her love for Chucky, Jason and, of course, The Shape. She has another teen thriller in the can — Triple Dog, which looks a cross between Sorority Row and Dead Man’s Curve — but after that, Scout’s smartly diversifying as Lita Ford, opposite Kristen Stewart and Dakota Fanning, in The Runaways.
Jaime King — My Bloody Valentine 3D (2009)
This blonde beauty’s career started with a bang — her third film was Pearl Harbor — but there’s been a lot of whimper since and she has struggled to nail leading lady status on the big screen. Her turn as Goldie in Sin City helped keep her in fanboy hearts but critically panned flicks like White Chicks, Bulletproof Monk and The Spirit did her few favors. Redemption, perhaps, has been found in the slasher genre. As Sarah in this year’s 3-D My Bloody Valentine remake, she was the last girl standing, with the film clocking up an impressive $51m at the box office. Realizing she’s on a good thing, King has signed on for Saw sequel director Darren Lynn Bousman’s remake of Mother’s Day.
Danielle Panabaker — Friday the 13th (2009)
Like Mary Elizabeth Winstead, Danielle got her start in Sky High. She then gravitated toward the killer-thriller with a supporting role as Kevin Costner’s daughter in the nutty but enjoyable Mr. Brooks. She embraced the role of Jenna in Friday the 13th but didn’t quite make it out of that one alive. She did however impress enough that her next two flicks are horrors. Panabaker co-stars opposite Timothy Olyphant in next year’s remake of George A. Romero’s viral horror The Crazies and she’s now shooting The Ward, Halloween director John Carpenter’s long-awaited return to fright features.
Rumer Willis — Sorority Row (2009)
We won’t spoil it for you by revealing when/if/how the daughter of Bruce and Demi buys the farm in this week’s Sorority Row. But we’re thinking that after playing support roles in her parents’ movies — 1996′s Striptease; 2005′s Hostage — this is Ms. Willis’ way of announcing herself to the world. But we can’t really foresee a scream queen future for her, with her next film supposedly a quirky comedy called Slightly Single in L.A. As for her star prospects, we’d rate them as pretty good. It’s in the genes, you know. And in the address book.
Briana Evigan — Sorority Row (2009)
For our money, Briana Evigan is the one to watch out of the current crop of slasher starlets. Like Rumer, her dad was an actor, most famous as B.J. McKay in B.J. and the Bear (where, one asks, is the big-screen version of that?). Briana made her debut in 1997, aged just 10, opposite him in horror flick Spectre, but really impressed with both her dancing and acting in last year’s Step Up 2 the Streets. As moral center Cassidy in Sorority Row, she’s a knockout, and it helps that the movie is shaping up to be one of the more enjoyable slashers in years. But it’s the one-woman film she already has in the can that really could prove her breakthrough. Burning Bright (above) has her as a teenage girl who has to protect her autistic brother from a tiger loose in their house in the chaos after a hurricane. “Briana is authentically Briana,” Bright’s director Carlos Brooks told RT. “That’s why both the fanboys and the girls love her. She’s got huge crossover appeal — she’ll be a star because she’s got the guts to be herself.”
Rooney Mara — A Nightmare On Elm Street (2010)
Rooney’s the wild card because so little is known about her work. She did make her debut in 2005′s straight-to-disc Urban Legends: Bloody Mary and has a part in the upcoming Michael Cera comedy Youth in Revolt. What we do know is that she’ll take on the Nancy Thompson role and that she has apparently signed on for a sequel. Lesson: learn from the Langenkamp.
Here are some screencaps of Michelle Williams topless during a sex scene from a straight-to-dvd movie she did called Incendiary.
I’ve never seen or heard of the movie, but it’s described to be about “an adulterous woman’s life is torn apart when her husband and infant son are killed in a suicide bombing at a soccer match.”
You can see a video of the screencaps here, which shows Ewan McGregor and Michelle Williams doing it doggy style.
