Rooney Mara accessories detail - Snaps of a variety of stars as they arrived at the Maison Cartier 100th anniversary celebration of their Emblem La Panthere De Cartier! The event was held at the Skylight Clarkson Studios in Brooklyn, New York, United States - Wednesday 12th November 2014
WBO Light Welterweight Champion Chris Algieri who is known as the Real Rocky in his final public workout at the Palazzo Hotel, Casino in Las Vegas, Nevada. Team Algieri departs this Wednesday Nov 12, 2014 for the Venetian Macau. Lt to Rt, Natalie Delfice, Kevin Rooney Jr, Time Lane, WBO Lght Welterweight Champion Chris " The Real Rocky" Algieri and Arlene Semeco - 'The Real Rocky' WBO Light Welterweight Champion Chris Algieri's final workout - Las Vegas, Nevada, United States - Saturday 8th November 2014
Joe Don Rooney - American country pop/rock group Rascal Flatts performed live with American singer Sheryl Crow at the Cruzan Amphitheatre as part of the Rewind Tour - West Palm Beach, Florida, United States - Sunday 14th September 2014
The Emmys is an awards show that critics love to scorn, and this year was no exception. Although some had hoped that the presence of Neil Patrick Harris, who enlivened this year's Tony Awards, would bring the same sort of energy to the Emmys, nearly all expressed disappointment. Although still hostier than most mere mortals, Harris seemed off his game Sunday night, wrote Mary McNamara, the TV critic for the Los Angeles Times. Several critics (including McNamara) complained about the decision to devote so much of the telecast to tributes to TV performers who had died during the past year. Commented David Rooney in the Hollywood Reporter: Every moment of genuine levity had to contend with another deep plunge into self-important sobriety. Spreading the 'In Memoriam' salutes throughout the show was a large part of that problem, laying such a thick carpet of gloom that it made much of Harris's material seem smug. At Dateline.com, Nikki Finke concluded her live snarking of the telecast by remarking, I'd call this Emmys 'Breaking Sad.' Live blogging the affair for The New York Times, Jon Caramanica observed, It's stunning that no one looked at a show rundown and did the math to realize that 10-15 percent of the show touched on death, directly or indirectly. And this, with TV as vital as it's ever been. On the other hand, Michael Starr in the New York Post commented that he was relieved that the telecast shunned controversy and reverted to a traditional show that was a throwback to earlier awards ceremonies, unsullied by overt, obnoxious political statements, wardrobe malfunctions, twerking or some idiot jumping on stage for some reason.
Steven Soderbergh's Side Effects was greeted with cheers when it was screened Tuesday at the Berlin Film Festival, where it is entered in this year's competition for the festival's prestigious Golden Bear. Soderbergh, whose films have been entered in four previous Berlinales, has said that after Side Effects, he wants to retire from filmmaking to devote time to painting and other pursuits. At a news conference, he said, Honestly, however long this break ends up being, I wanted this thing [Side Effects] to be fun to make and to watch. At which point, Rooney Mara, who costars with Jude Law, Channing Tatum and Catherine Zeta-Jones in the movie, interjected, Did you just call it a 'break' and not your 'retirement?' Said Soderbergh, Whatever. Soderbergh last made the film festival route in 2008 with his four-hour-plus, Spanish-language feature Che, about Cuban revolutionary hero Che Guevarra. He said that following that laborious production, he just wanted to have more fun making films -- thus, his current caper flick, Side Effects.
Arguably the most powerful film presented at this year's Cannes Film Festival was screened with virtually no promotion and out of competition Thursday night. The film, The Central Park Five, by Ken Burns, America's leading documentary filmmaker ( The Civil War, Baseball, The War ) and his daughter Sara and son-in-law David McMahon, tells the story of the five teenagers who were arrested following the Central Park jogger attack in 1989 and how New York police and prosecutors employed manipulative interrogation to crack them, coerce their confessions, and send them to prison. Their convictions were overturned only after they had served their lengthy sentences, when the actual attacker, Matias Reyes, already serving time for multiple rapes, confessed and DNA evidence established his guilt. "I hope you will find this film unsettling," Burns told the audience before the screening. And there can be little doubt that it must have raised disturbing questions about America's criminal Justice system among the international audience in attendance. It is Burns's first feature-length documentary dealing with a contemporary controversy, and perhaps his most affecting -- especially as it shines a glaring spotlight on the often racial politics of American justice and the lynch mentality of some right-wing extremists that fuels it. Reviewer David Rooney concluded in the Hollywood Reporter "As a dense procedural, this is fascinating stuff; its miscarriage of justice stokes righteous anger and its account of lost youth and irreparably damaged lives is conveyed with moving solemnity." The film ends on a particularly rankling note. A decade after they were exonerated, it alleges, the five have received no apology -- indeed police and prosecutors continue to contend that they were guilty -- and no restitution.
Continue reading: Ken Burns Film Stuns Cannes Film Festival
The most pertinent footage in director John Hillcoat's Lawless , which screened in competition at the Cannes Film Festival on Saturdy, may have ended up on the proverbial cutting-room floor. The film, starring Shia LaBeouf, Tom Hardy, Jessica Chastain, and Guy Pearce, tells the purportedly true story of the Bondurant brothers, who ran a moonshine operation in Virginia during Prohibition and were forced to take on Chicago gangsters on the one hand and corrupt police and feds on the other in order to keep their operation going. It all makes for a sentimental film about macho brotherly love punctuated at short intervals with violent scenes that would make most classic gangster movies seem sterile by comparison. At a news conference following a press screening where the movie was greeted with both boos and applause, Hillcoat said that he had originally planned to put the violence in perspective by opening the movie with a retrospective montage, beginning with the current wave of Mexican drug-cartel killings, then back through the cocaine and heroin wars in New York in the '80s, and finally landing in the era of Prohibition in the 1920s and early '30s. "That was the birth of serious organized crime, and it's been going ever since. So it feeds into all of those things that are going on today," the Australian director said. But for a reason that he did not explain, he decided to remove the opening montage, presumably in the belief that the audience would put two and two together on their own. But without that footage, some critics have suggested that the movie amounts to a pointless war exercise. "The violence is gruesome, and perpetual, with a particularly horrible tar-and-feather scene and yet nothing somehow seems to be at stake for anyone, and the brutality seems to be there simply to underline how tough and real it all is," wrote Peter Bradshaw in Britain's Guardian newspaper. On the other hand, David Rooney commented in the Hollywood Reporter "If Lawless doesn't achieve the mythic dimensions of the truly great outlaw and gangster movies, it is a highly entertaining tale set in a vivid milieu, told with great style and populated by a terrific ensemble. For those of us who are suckers for blood-soaked American crime sagas from that era, those merits will be plenty." Other critics suggest that it's likely to find a lot of such "suckers." If it does, it will amount to a kind of vindication for Hillcoat, who told today's news conference in Cannes that "the state of things is pretty tough" for directors like himself to make films like Lawless . He said he prefers "to work in a world of medium budgets to make films about character and drama, and those are words you cannot use in the United States at this time, and that I find quite distressing."
Continue reading: Lawless Mixes Blood And Brotherly Love
Another Hollywood movie has been recreated on Broadway as a musical, producing widely disparate reviews from critics. Charles Isherwood of The New York Times calls the music that was added to the movie's plot "rudimentary" and "bland." He does have a few words of praise for the "nifty special effects" but remarks, "These high-tech flourishes lend the show the feel of one of those sensory-bath, movie-inspired rides at the Universal Studios and Disney theme parks. But the thrill is fairly minimal, since the seats in the Lunt-Fontanne can't make like a roller coaster and jolt us around, addling our brains to the point of forgetting the plodding apparatus of the story." Moreover, at the premiere, a malfunctioning effect forced a 20-minute delay of the performance. A disaster, suggests Joe Dziemianowicz in the New York Daily News , who writes, "Without eye-popping tricks, the show offers zip in the way of wonder." Indeed, Elisabeth Vincentelli in the New York Post , who also calls some of the effects "nifty," has no use for anything else about the musical. "This distended, hyperactive tornado of a Broadway extravaganza picks up characters, objects and plot lines and flings them about willy-nilly, leaving the audience dazed and confused," she writes. On the other hand, Mark Kennedy of the Associated Press regards some of the scenes as "eye-poppingly brilliant," and concludes, "Overall, it's an ambitious, carefully orchestrated work that raises the bar on technological innovation." Out-of-town critics also heap praise on the show. Howard Shapiro in the Philadelphia Inquirer calls it "an astounding marriage of live theater and high-tech." And while David Rooney of the Hollywood Reporter calls the musical "soulless," he Nevertheless adds, "The show's saving grace is its dazzling technology."
Continue reading: Mixed Reception For Ghost On Broadway
Rooney Mara was ''pushed'' to the limit filming 'The Girl with the Dragon Tattoo' and she was ''shocked'' by the physical challenges required to shoot the movie.
was "pushed" to the limit filming 'The Girl with the Dragon Tattoo'.
The 26-year-old actress - who portrays main character Lisbeth Salander in the English language adaptation of the Swedish film series - was "shocked" by the physical and emotional challenges required to shoot the movie, which was filmed in Sweden during the winter.
In an interview with the Daily Telegraph newspaper, she said: "I had prepared myself and I knew how emotionally and physically challenging making 'The Girl with the Dragon Tattoo' would be, but the whole project really pushed me. The physical challenge was probably even more shocking than the emotional, because there were lots of days that we were doing stunts, with many takes, over and over.
Continue reading: Rooney Mara Tested By Dragon Tattoo
H&M have joined forces with the costume designer from 'The Girl With the Dragon Tattoo' on a new collection.
H&M have collaborated with the costume designer from 'The Girl With the Dragon Tattoo' to create a capsule collection inspired by protagonist Lisbeth Salander.
Trish Summerville has created all the outfits for Lisbeth (played by Rooney Mara) in the US adaptation of the Swedish film and she revealed she jumped at the chance to give the troubled heroine's clothes a more "realistic fashion feel" for the Swedish retailer.
She told WWD: "We put a lot of aged-in washes and finishes, which goes along The Lines of the Salander character. In the film, her clothes are quite extreme. They're really worn down, they're dirty. So for us, it was taking that kind of concept and giving it more of a realistic fashion feel."
Continue reading: H&m Create Dragon Tattoo Collection
The actors who provide the voices of The Simpsons and the athletes who compete in the NBA are clashing with the powers who write their paychecks -- and it now appears that they're losing and that both the next season of The Simpsons and at least the first weeks of the basketball season will be canceled as a result. Both Fox TV, which airs The Simpsons, and the NBA owners maintain that they cannot justify paying the sky-high salaries of their talent. On Tuesday, the NBA canceled its preseason games and warned that it was on the verge of canceling the first weeks of the regular season unless the players agreed to take a sizable cut in pay. At the same time, TheDailyBeast.com reported that Fox was demanding that the voice actors of The Simpsons take a cut of 45 percent or face cancellation after 23 seasons. "We believe this brilliant series can and should continue, but we cannot produce future seasons under its current financial model," the network said. Television ratings in recent years have been lackluster for both The Simpsons and the NBA (except during the playoffs -- which do not affect most teams), and their respective owners would likely have much to gain from cancellation. Or at any rate, less to lose. In a much-quoted note to clients on Tuesday, analyst David Bank of RBC Capital Markets noted that the original syndication agreement for The Simpsons allowed Fox to sell the shows only to local broadcast stations. Cancellation would allow it to sell them to cable networks, potentially opening up additional revenue of around $750. But in reporting on the stand-off, Los Angeles Times media writer Joe Flint noted, "A Sunday night without The Simpsons , would be like 60 Minutes without Andy Rooney." He then added, "Oh, wait a minute."
Continue reading: Bart And Kobe Have Something In Common
Andy Rooney delivered his 1,097th essay on CBS's 60 Minutes Sunday night, remarking "This is a moment I have dreaded. I wish I could do this forever. But I can't." He did not specify the reasons for his decision to relinquish his post as what colleague Morley Safer called "America's favorite grouch-in-chief." However, he acknowledged that at age 92 he often thought about death. "I hate it," he remarked. "I mean, I'm gonna die, and that doesn't appeal to me at all." Rooney has been invited to return to 60 Minutes whenever the fancy strikes him. He made no reference to that invitation in his parting essay, although he did say. "I'm not retiring. Writers don't retire, and I'll always be a writer."
Continue reading: Andy Rooney Bows Out
Andy Rooney's farewell appearance on 60 Minutes Sunday night was delayed 23 minutes in the Eastern and Central time zones by an overrun of NFL football. Nielsen estimated that 17.43 million viewers tuned in to the combined NFL/ 60 Minutes telecast at 7 00 p.m. -- but it was not clear how many tuned in for football and how many for Rooney. More accurate figures are expected to be released later today (Monday) or tomorrow. NBC's turn at football during primetime dominated the rest of the evening -- and even though the Baltimore Ravens blew out the New York Jets, an average of 17.89 million viewers tuned in. Among the also-rans, the performance of ABC's Pan Am in its second week was particularly disappointing. Preliminary figures indicate that the new drama lost 19 percent of its audience in Wk. 2. Fox also saw steep falls in the audience for its animated comedies.
Continue reading: Andy Rooney And Nfl Vie For Ratings
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