Kim Basinger (born 08.12.1953) is an American, Academy-Award winning actress.
Childhood: Kim Basinger was born and raised in Athens, Georgia. Don Basinger, Kim's father, was a musician in a big band, as well as a loan manager. Ann, her mother, was also an actress and a model. Kim is the third of five children. She has two brothers, Mick and Skip and two sisters, Ashley and Barbara. The Basinger family are Methodists.
At the age of 16, Kim Basinger began her modelling career and won the Athens Junior Miss Contest. She went on to win the Junior Miss Georgia contest. At that point, she was offered a contract by the Ford Model Agency. Although she initially rejected the offer, saying that she wanted to concentrate on singing and acting, she later changed her mind and moved to New York to join the agency.
Career: Kim Basinger's modelling career soon took off and she was promptly commanding fees of $1,000 a day, which at the time, was a top salary for a model in the 1970s. Whilst she was working as a model, Basinger also attended acting classes at the Neighbourhood Playhouse.
In 1976, Basinger decided to pursue her acting career more seriously and moved to Los Angeles. She landed a few small roles, in TV shows, including Charlie's Angels and McMillan & Wife.
Kim Basinger's debut starring role was in Katie: Portrait of a Centerfold. The film was made for television in 1978. In 1983, Kim was Sean Connery's Bond girl in Never Say Never Again. The same year, she also took part in a notorious Playboy magazine shoot.
In 1984, Basinger starred alongside Robert Redford in The Natural and earned herself a Golden Globe for Best Supporting Actress. She soon became a favourite for directors such as Robert Altman, who cast her in Fool For Love (1985) and Prêt-à-Porter (1994). Similarly, Blake Edwards directed her in both The Man Who Loved Women (1983) and Blind Date (1987).
Among Kim Basinger's most notorious film performances are her appearances in 9 1/2 Weeks, and the 1989 production of Batman. Perhaps the highlight of her career, Kim Basinger won an Oscar for Best Supporting Actress for her role in Curtis Hanson's L.A. Confidential. In 2002, Basinger played Eminem's mother in his semi-autobiographical film 8-Mile. When the Abba musical Mamma Mia! was in its early stages, Kim Basinger was considered for the role of Donna, but lost out to Meryl Streep.
In 1993, Basinger featured in the music video for Tom Petty's song 'Mary Jane's Last Dance.' In the video, Basinger plays a corpse that Petty has chosen from the morgue for a dinner date. At the end of the video, he throws her into the sea and is shown floating in the ocean with her eyes open.
Personal Life: Kim Basinger was married to Ron Snyder-Britton, a make-up artist, from 1980 - 1988, when they divorced. Snyder-Britton wrote a book, Longer than Forever, which detailed their life together and also discussed Kim's alleged affair with Richard Gere. She had worked with Gere on 1986's No Mercy and later worked with him in 1992, in Final Analysis.
In 1993, Kim Basinger married the actor Alec Baldwin. They had met on the set of The Marrying Man and later worked together on a remake of The Getaway. The couple have a daughter together named Ireland Eliesse Baldwin. Basinger and Baldwin separated in 2000 and have been embroiled in a lengthy custody battle over their daughter. Alec Baldwin has also written a book about his relationship with Kim Basinger, detailing the lengths to which she will go to prevent him from seeing his daughter.
Kim Basinger suffers from agoraphobia.
Basinger was originally involved in the film Boxing Helena. When she pulled out of the project, the studio successfully sued her and she was forced to file for bankruptcy. She later appealed against the decision and the studio settled for a lesser amount.
When Ana and Christian had their first fateful meeting, neither party knew much about the real person they were meeting. Christian didn't know just how naive Ana really was and Ana didn't quite understand just how dark Christian's thoughts ran. Though from completely different backgrounds and living entirely different lives, the pair were attracted to one another and they began a relationship - one mainly brought about after Christian seducing Ana, his latest younger woman. As dark secrets were uncovered, it became known to Ana that Christian was into BDSM. Still wishing to go ahead with the relationship, Ana finds out just how far Christian is willing to go to get his thrills but realises that she can't be with a man who inflicts that level of pain on someone they care about.
Time passes, Christian continues with his business lifestyle and Ana starts a new job at a publishing house and the former lovers reunite whilst at an exhibition of photography put on by one of Ana's friends. Christian begins to realise that his feelings for Ana run deeper than the usual dominant / submissive roles that usually define his relationships. With Ana now setting the rules, the pair begin a true relationship but as stories about Christian's past are revealed and Ana is introduced to some of the women that involve his past, neither party know exactly how they'll make their relationship work without sacrificing certain aspects.
Jamie Dornan and Dakota Johnson reprise their roles as Christian and Ana respectively. Kim Basinger is introduced to the plot as Elena Lincoln a lady Ana nicknames Mrs. Robinson after learning that she seduced Christian whilst still of a young age. Whilst Rookie Blue actor Eric Johnson is cast as Jack Hyde and Bella Heathcote as Leila Williams.
Writer-director Shane Black returns to the comedy-noir vibe of his 2005 hit Kiss Kiss Bang Bang with this riotously funny thriller set in late-1970s Los Angeles. It's an entertaining mix of hilarious action mayhem, slapstick and violence anchored by Ryan Gosling and Russell Crowe, who unexpectedly prove to be a superb comedy double-act.
It's 1977, and private detective Holland (Gosling) is searching for a porn star who was spotted alive after dying in a car crash. His investigation leads him to Amelia (Margaret Qualley), who has hired the thug Jackson (Crowe) to keep people off her tail. After beating up Holland, Jackson realises that maybe they should be working together, as other cases seem to be dovetailing around Amelia's politically powerful mother (Kim Basinger). But now Holland and Jackson are being chased by the legendary assassin John Boy (Matt Bomer). And Holland is having a terrible time keeping his bright 13-year-old daughter Holly (Angourie Rice) from getting involved in this dangerous case.
Gosling and Crowe play Holland and Jackson as a classic comedy duo along the lines of Abbott and Costello or Hope and Crosby: bumbling idiots who somehow manage to save the day due to dumb luck and someone smart looking out for them. In this case, their guardian angel is Holly, and young Aussie actress Rice more than holds her own against these A-list stars. Holly is the only person on-screen who has a clue what's actually going on, and Rice effortlessly walks off with the film, giving a knowing performance that's hugely engaging. The other scene-stealer is Bomer, whose slick, overconfident killer is simply screaming to be taken down a peg or two.
Continue reading: The Nice Guys Review
Nigerian filmmaker Jeta Amata clearly feels passionate about the problems in his country, but despite the presence of Hollywood stars the movie is made in a style that will feel amateurish to Western audiences. Obvious screenwriting is the main problem, ramping up melodrama when political intensity is needed. Essentially, a more organic approach to storytelling, with attention to the characters instead of the themes, would have made this a much more powerful thriller.
After studying in America, 21-year-old Ebiere (Mbong Amata) returns home to her Niger Delta community just in time to witness a horrific oil-company accident in which most of her family perishes. As the most educated person in her village, she rises to a position of leadership among the rebels fighting for fairer treatment from petrol executive Tom (Mickey Rourke) and the corrupt military, which responds with relentless violence, betraying and brutalising the villagers. As she falls for rebel commander Dede (Hakeem Kae-Kazim), Ebiere becomes even more important. And things take a further turn when she's charged with murder after a protest turns fatal. Meanwhile in Los Angeles, desperate Nigerians (including Wyclef Jean and Akon) take Tom hostage along with a local reporter (Kim Basinger) to demand justice for Ebiere's plight.
Writer-director Amata made this film three years ago, then reworked it to add the L.A. sequences in an effort to make Nigeria's struggle feel more current in the context of global activism. This works to an extent, as it stirs the hot topic of terrorism into the mix. But the big action set pieces are directed and edited in a choppy way that feels undercooked. The story of desperate political activism amid heavy-handed corruption is compelling, but it's watered down by some rather soapy interpersonal plot points. Still, the film remains involving, a powerful tale of little guys standing up to forces much bigger than themselves simply in the name of what's right.
Continue reading: Black November Review
There are moments when this three-strand drama almost ascends to the emotional resonance of writer-director Paul Haggis' Oscar-winning 2004 movie Crash. Perhaps even more ambitious, this film is exploring issues of creativity, attraction and grief, but Haggis puts so much effort into the literary trickery that he fails to create characters the audience can connect with. So the drama ends up being interesting but never moving.
The central plot-thread is in Paris, where blocked writer Michael (Liam Neeson) is holed up in a hotel after leaving his wife (Kim Basinger) and arranging to meet his whip-smart mistress Anna (Olivia Wilde). But their witty romance seems to get entangled with his struggle to write a new novel. Meanwhile in Rome, dodgy American businessman Scott (Adrien Brody) meets Monika (Moran Atias), a sexy Roma woman trying to rescue her kidnapped daughter from local gangsters. With his own haunting back-story involving a lost child, Scott offers to help. And in New York, fallen soap-star Julia (Mila Kunis) has hired a lawyer (Maria Bello) in an effort to get custody of her son from her wealthy-painter ex (James Franco). But her life has gone so far off the rails that it's unlikely any judge will see things her way.
There's a clear sense that these storylines are swirling around in Michael's head as he tries to write. Each character has parent-child issues, including the event that sent Michael's career into a downward spiral. But Haggis never quite defines all of this, leaving ideas and themes dangling everywhere without connecting them to authentic people or experiences. So it's very difficult to get involved in any of the story strands, even though the actors deliver open, raw performances. Kunis has the film's strongest role, a complex journey into the aching soul of a mother, and she plays it beautifully. And Bello finds some moments of consuming emotion in her smaller part. Everything else feels rather cliched, from Neeson and Wilde's cute-prickly romantic games to Brody's journey to the dark side of Italy.
Continue reading: Third Person Review
Love is never uncomplicated and when a third person gets involved, it can make things even more difficult. Michael is an award-winning novelist who has left his wife for a much younger lover. He is in Paris finishing his latest book which eerily seems to reflect his own personal problems which get more intense by the day. Meanwhile, a dodgy businessman named Scott travels to Rome to get involved in a fashion design scam only to meet an attractive young woman named Monika. She reveals that she has finally been given the chance to see her daughter again but when the money she needs to see her is apparently stolen, Scott finds himself embroiled in a much deeper con. Then there's Julia, a former actress who has been refused contact with her child and is going through a serious legal battle to be able to hold her son again.
Continue: Third Person Trailer
It's a little annoying that this high-concept marketing project (Rocky vs Raging Bull!) is as entertaining as it is: we want to hate it, as tired actors are sending up their own faded images. But while the script never even tries to be something interesting, it at least gives the stars some engaging scenes to work with. And we can't help but cheer for them in the end.
The film stars with a bit of history (and digital trickery), as young bucks Henry "Razor" Sharp and Billy "The Kid" McDonnen (Stallone and De Niro) battle it out back in 1982. Local fans in Pittsburgh are divided between them and are hugely disappointed when, at the peak of their fame, Razor suddenly retires before a climactic rematch. Now some 30 years later, a young promoter (Hart) decides to finally get them back together in the ring. But this stirs up an old feud involving Kid's affair with Razor's wife Sally (Basinger), which resulted in a son BJ (Bernthal), who's now a father himself. Can these two men possibly work together to promote their epic grudge match?
Silly question. Of course they start off gruffly snarling at each other but eventually find the expected mutual respect. And that's about the extent of the acting required of these two iconic stars. Add some fast-talking comedy from Hart, veteran battiness from Arkin, steely femininity from Basinger and soulfulness from Bernthal and the film at least has a veneer of complexity. But aside from wondering whether the filmmakers will fudge the final match so no one loses (they don't), there isn't much to worry about.
Continue reading: Grudge Match Review
Kim Basinger is a hot 60 years old, and is proving age is nothing but a number by signing her newest modeling contract.
Kim Basinger still has it. The 60-year-old actress has signed an exclusive deal with IMG Models.
Kim Basinger at the 'Black November' premiere
The deal will allow the company to help Basinger land sponsorship and spokesperson deals, according to Variety. The move comes in a year where all ages are proving the spokesperson business is no longer just for 20-somethings. Many other stars have signed on for similar deals. Fifty-nine-year-old Jerry Seinfeld works with Acura, 60-year-old Michael Bolton works for Honda and 68-year-old Helen Mirren is acting as a spokesperson for Marks and Spencer, a British retailer.
Continue reading: Kim Basinger Joins Daughter Ireland Baldwin At IMG Models
In 1983 L.A., studio exec William (Thornton) wants to reconcile with his heavily medicated wife Laura (Basinger) while continuing to see his self-doubting TV newscaster mistress (Ryder). Their son Graham (Foster) is indulging in drugs and sex with his girlfriend (Heard) and best pal (Nichols), who's also sleeping with Laura for cash. Meanwhile, Graham's doorman (Renfro) is trying to please his criminal father figure (Rourke), but Graham's friend Tim (Pucci) has no interest in connecting with his dad (Isaak).
Continue reading: The Informers Review
Jeff Bridges and Kim Basinger give a pair of extraordinary performances in "The Door in the Floor" as a couple whose souls and whose marriage have never recovered from the deaths of their teenage sons six years before.
Their lives are like broken teacups glued back together -- they may look undamaged from a distance, but up close it's clear they're now made up of psychological shatters and shards that can never be the same again.
Not that they haven't tried to move forward. Hoping to retard their overwhelming sense of loss, they even had a daughter -- played by 6-year-old Elle Fanning, the not-quite-as-natural little sister of uber-talented 8-year-old Dakota ("Man On Fire") -- who seems to subconsciously understand her function in the family.
Continue reading: The Door In The Floor Review
"Cellular" has all the earmarks of a genuinely smart thriller rewritten by a studio-lapdog script doctor who was told it didn't have enough car chases and comic relief.
As originally conceived by Larry Cohen ("Phone Booth"), the film makes cunning use of the titular technology in its plot that follows an aimless beach dude (utterly bland buff-boy Chris Evans) whose cell phone is on the receiving end of a desperate call for help from a kidnapped woman (Kim Basinger). By tap-tap-tapping together the wires of a smashed old rotary phone, she's managed to dial his number at random from the attic where she's being held.
Disbelieving at first, Evans ("Not Another Teen Movie") is soon robbing a cell phone store for a charger (his battery is low) and stealing cars to drive like Andretti through downtown Los Angeles, trying to beat the bad guys to Basinger's son and husband (it's him they're really after) so he can save the day.
Continue reading: Cellular Review
Date of birth
8th December, 1953
When Ana and Christian had their first fateful meeting, neither party knew much about the...
Writer-director Shane Black returns to the comedy-noir vibe of his 2005 hit Kiss Kiss Bang...
If you're on the wrong side of the law and looking for someone to send...
Nigerian filmmaker Jeta Amata clearly feels passionate about the problems in his country, but despite...
There are moments when this three-strand drama almost ascends to the emotional resonance of writer-director...
Love is never uncomplicated and when a third person gets involved, it can make things...
It's a little annoying that this high-concept marketing project (Rocky vs Raging Bull!) is as...
In years gone by, Henry 'Razor' Sharp and Billy 'The Kid' McDonnen were at the...
Another solid performance by Zac Efron is flattened by bombastic filmmaking; this weepy drama couldn't...