Brian Grazer - Photographs from the TIME 100 Gala which honors TIME's 100 Most Influential People In The World. The even was held at Jazz at the Lincoln Center in New York City, New York, United States - Wednesday 22nd April 2015
Brian Grazer and model Liberty Ross - A host of stars were photographed as they attended the Vanity Fair Oscar Party which was held at the Wallis Annenberg Center for the Performing Arts and The Beverly Hills City Hall in Los Angeles, California, United States - Monday 23rd February 2015
With an appropriately jarring sense of energy, this James Brown biopic acutely captures the Godfather of Soul's iconic musical talents, although the fragmented script undermines any emotional kick in his story. The film also struggles to build up momentum, because it continually leaps between various chapters in Brown's life. Which means that it never quite connects these disparate episodes into one coherent narrative. Even so, Chadwick Boseman delivers an electrically charged central performance.
Boseman plays James from the time he was 16, thrown into prison for stealing a suit in 1949, until his comeback in the 1990s. Raised in a brothel run by his Aunt Honey (Octavia Spencer) after his parents (Viola Davis and Lennie James) abandoned him, James is in prison when he meets visiting gospel singer Bobby Byrd (Nelsan Ellis), who takes him in on his release. Together they form The Famous Flames, gaining small-time success as James catches the eye of a manager (Dan Aykroyd), a record executive (Fred Melamed) and the public. A string of major hits followed in the 1950s and 60s, then James went solo in the 70s before the usual issues of fame caught up with him: money, drugs and guns. But he returned to the stage in the 1990s.
The film completely skips over his Hollywood years in the 80s, which wouldn't be a problem if the decade was so notably missing from the film. As the story skips back and forth through the years, the audience is forced to make sense of the disparate scenes, filling in several holes along the way. Aside from one rather surreal scene in a Southern Gospel church, there's never much of a sense of how Brown found his voice or developed his inimitable style. It also never quite captures his impact on the music industry as a whole.
Continue reading: Get On Up Review
The cast and crew were spotted among the many arrivals on the red carpet at the New York premiere for James Brown biopic 'Get On Up'; among them included stars Tika Sumpter and Brandon Mychal Smith, co-screenwriter John-Henry Butterworth, co-producers Erica Huggins and Brian Grazer and director Tate Taylor.
The stars of James Brown biopic 'Get On Up' including leading man Chadwick Boseman arrive for the New York premiere of the movie which was held at the city's Apollo Theater. The movie is scheduled to hit cinemas in September 2014.
Exhilarating racing action punctuates this true story, which sharply traces the rivalry between two Formula One champs. It's superbly well-shot and edited, with engaging performances from the entire cast. And with only one moment of calculated sentimentality, it's director Ron Howard's most honest movie in years.
The story begins in the early 1970s, when two rising-star F1 drivers clash over their very different styles. Britain's James Hunt (Hemsworth) is a swaggering womaniser, revelling in the rock-star lifestyle. By contrast, Austria's Niki Lauda (Bruhl) is a fiercely detailed technician who loves pushing barriers. They clearly see things they like in each other, so their different approaches on the track develop into a competitive relationship that spurs them to the front of the pack. Over the years, both meet their wives (Wilde and Lara, respectively) and move from team to team as they rise to the top of their sport. And their rivalry comes to a head at the 1976 German Grand Prix when world champion Lauda is involved in a horrific, fiery accident.
Morgan's script is essentially two biopics cleverly woven together to let us see the push and pull between these two iconic figures. Unexpectedly, Bruhl's Lauda emerges as the stronger character, with his grounded approach and sardonic wit allowing Bruhl to play effectively with submerged emotions. By contrast, Hemsworth's Hunt is little more than a gifted good-time boy who isn't worried about his lack of substance. It's a likeable, loose performance (we barely notice the wobbly British accent). Opposite them Lara and Wilde provide solid, subtle support, as do the fine actors who fill out the pit crews.
Continue reading: Rush Review
Get ready to be reminded about some absolutely appalling films as we try to ease Disney's Lone Ranger-shaped worries with an overview of some of the biggest box office bombs of all time
Jerry Bruckheimer and Johnny Depp back together in another swashbuckling adventure, what could possibly go wrong? Unfortunately for Disney, a lot did go wrong with The Lone Ranger; no one was interested in a big screen version of a 1930s radio series. Johnny Depp is starting to lose his box office appeal and, ultimately, it was terrible. But hey, at least there's worse film right?
The Lone Ranger probably wont make it into the top five
The film isn't out of cinemas yet, so we can't really say how much it will lose (who knows, it might have the best week three in cinema history), but we can assume it will sit nicely next to Disney's last big box office flop: 2012's John Carter. Speaking of John Carter, when it comes to the top box office flops, the confused martian adventure doesn't even break into the top ten. Here's the five worst performing films of all time.
John Edgar Hoover (DiCaprio) was only 29 when he became director of the Bureau of Investigation (later the FBI), and he ruled supreme until his death in 1972, holding eight US presidents in the palm of his hand with his notorious files of personal secrets. But he also had loyal friends, including his secretary Helen (Watts) and his right-hand man Clyde (Hammer). As a young man, his mother (Dench) instilled in him a hatred of liberalism and homosexuality, so his enemies included Martin Luther King, Robert Kennedy (Donovan) and himself.
Continue reading: J. Edgar Review
After billionaire Arthur Shaw (Alda) is sent to prison for fraud, the manager of his insanely posh Manhattan apartment building, Josh (Stiller), is furious that his staff's pensions have been lost. So he teams up with his employees (concierge Affleck, chef Sidibe and lift operator Pena), a disgruntled ex-tenant (Broderick) and a local crook (Murphy) to steal back what they're owed. But they have to be careful, because an FBI agent (Leoni) is poking around Arthur's penthouse. And then there's the question of where all of those stolen millions are hidden.
Continue reading: Tower Heist Review
After his parents are killed in a car crash, the thoughtful young Enoch (Hopper) becomes obsessed with death, attending random funerals and chatting to Hiroshi (Kase), the ghost of a young kamikaze pilot. The at one memorial service, Enoch is rumbled by Annabel (Wasikowska), who pursues a friendship with him. As they become closer, Enoch learns that the sparky Annabel has a fatal illness, which means he can no longer put off dealing with the fact that death is actually part of life.
Continue reading: Restless Review
Jake (Craig) wakes up in the desert with no memory of who he is or why he has a strange metal bracelet clamped onto his arm. He staggers into a dusty town, where the sheriff (Carradine) helps him until he clashes with local bully Percy (Dano), the son of power-mad landowner Dolarhyde (Ford), who has a history with Jake. But when strange airborne "demons" attack the town, Jake discovers that his bracelet is a weapon that can fight them. So Dolarhyde drafts him into a posse to hunt them down.
Continue reading: Cowboys & Aliens Review