The singer has topped GQ magazine's list of the Ten Most Stylish Men in America for his impact on fashion and his ''knack for targeting trends.''
Justin – who has his own clothing line William Rust – topped the list because of his willingness to take style risks with his use of hats, three-piece suits, skinny ties and facial hair.
The list also includes T.I. - who features on Justin's song "My Love" - Kanye West, Jason Schwartzman, hotelier Andre Balazs and photographer Alexi Lubomirski.
Despite his grand title, Justin believes British supermodel Kate Moss is the ultimate fashion icon because she "could put a barrel on and it would be some sort of statement."
Justin - who has been dating actress Jessica Biel since early 2007 – was recently thrown a surprise party by Jessica to celebrate turning 28.
A source said: "Justin was totally blown away when he walked in. He had no idea."
Source: BANG Showbiz
Feb 17, 2009
Justin Timberlake is America's most stylish man
Salma Hayek has married French businessman Francois-Henri Pinault
The "Ugly Betty" actress - who has a 16-month-old daughter, Valentina, with Francois-Henri - reportedly tied the knot in France on Valentine's Day (Feb 14, 2009).
The ceremony took place at the city hall of the Sixth Arrondissement in St. Germaine, Paris.
It has been claimed the couple - who called off their engagement last July - decided to give their romance a second try by taking two romantic breaks to the French capital late last year.
In December, Salma and Francois-Henri sparked reunion rumors after they were seen being "very affectionate" at the Dubai Fim Festival.
Salma, 43, recently confirmed she is still romancing the 46-year-old businessman - who is CEO of luxury brand giant PPR - after revealing she thinks of him when she films love scenes with her "30 Rock" co-star Alec Baldwin.
She said: "I keep telling Francois, 'I imagine I was kissing you.'"
Francois-Henri - who began dating Salma in May 2006 - is one of France's richest men and has an estimated fortune of $16.9 billion.
Source: BANG Showbiz
Maxim Magazine March 2009
Eliza Dushku - Maxim Magazine (March 2009)
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Feb 12, 2009
Chris Brown Rejected by Radio; Rihanna Cancels on Jakarta
Chris Brown has been canceled, while Rihanna has canceled once again.
Brown, who's under investigation for allegedly beating his "Umbrella" singer girlfriend, has been completely nixed by a Cleveland radio station. WAKS "Kiss" FM 96.5 has dropped "Forever," "Kiss Kiss" and all other tracks by the 19-year-old R&B star from its onair playlist.
"After the alleged incident, the phones exploded," evening host Java Joel said on the channel's website. "It's all that people wanted to talk about. They were outraged at his alleged behavior and wondered why we were continuing to support his music. I agreed and immediately pulled all Chris Brown songs from my show until this thing shakes out in the legal system."
The station's program director Bo Williams adds, "I then made the decision to rid the whole station of Chris Brown songs while this plays out. We are fans of Chris Brown's music, and this is not something that will last forever. But it appears that Chris has made some poor choices, we are following the lead of our listeners, and we will not be supporting Chris Brown on 96.5 Kiss FM in Cleveland until the alleged situation gets resolved."
In the meantime, Rihanna has scuttled yet another appearance of her own.
The stunning singer will not be performing in the Indonesian capital, Jakarta, on Thursday, as originally planned.
This is the second time this particular show has been delayed and it won't likely be rescheduled.
"We spoke to Tony Goldring of William Morris Agency and he said the concert had to be canceled because of an assault case involving Rihanna's boyfriend," local promoter Troy Reza Warokka told Agence France Presse.
"He offered to reschedule but we don't think we'll take it up, not this year at least. This is her second postponement. Her fans are traumatized and we've spent so much money on production and promotional materials."
The "Disturbia" singer postponed her sold-out Friday performance in Kuala Lumpur, Malaysia, earlier this week.
··· THEY SAID WHAT? Get today's most commented stories now at www.eonline.comRihanna to Cops: Chris Brown Threatened to Kill MeRihanna Leaves the Hospital, Postpones ConcertChris Brown Lowdown: Cops Continue Probe, Wrigley's Halts AdsChris Brown Bounces NBA All-Star AppearanceChris Brown Doesn't "Got Milk"; CoverGirl Stands by RihannaChris Brown Investigated for Domestic Assault; He and Rihanna Sitting Out GrammysRihanna's New York City Birthday Party CanceledChris Brown Grew Up "Terrified" In a Violent HomeD.A. Wants Further Investigation in Chris Brown-Rihanna CaseT.I. & Kanye West Rap on Chris Brown-Rihanna Sitch.
source: movies.yahoo.com
Rewriting Hollywood History in Julie Dash’s Illusions
“Now I am an illusion, just like the films. They see me but they can’t recognize me.” So states the protagonist of Julie Dash’s 1982 film, Illusions. The film is a critique of Hollywood history and an attempt to subvert that very history by calling attention to the lack of an African-American presence in Hollywood during the era of World War II and even today, for that matter.
Illusions
The film begins with a rotating Oscar with a voice-over that states:
“To direct an attack upon Hollywood would indeed be to confuse portrayal with action, image with reality. In the beginning was not the shadow, but the act, and the province of Hollywood is not action, but illusion.”
These illusions that Dash discusses in her short film attempt to call attention to the illusion that African-Americans were not a part of Hollywood history and seek to end the illusion, to finally make things right, by re-writing history. This illusory element is at its peak in the dubbing sequence of Illusions.
The scene begins with a pan across a sound booth that Mignon (Lonetta McKee) and her boss (Ned Bellamy) enter while two sound engineers attempt to finish the dubbing and post-synchronous sound for their Christmas holiday-season release, but there is a problem: the dubbing does not match and their star is away helping with the war effort. To fix the problem, they have hired Esther (Rosanne Katon), a young African-American girl, to replace the voice of Leila Grant, the star. We then see a musical scene from the film.
Leila Grant is the object of desire: ‘the true woman of the discourse of feminity,’ an object of the gaze and the editor’s cut. She does not have desire; she is desire. She does not have voice; she embodies it. Stranded on the Dark Continent, Esther looks at Leila and desires to be desired. (1)
Illusions
Throughout this scene, the film clips we see of Leila Grant all position her as the object of desire through several close-ups of her various body parts - her face, legs, etc. - which objectify this idealized woman of the screen.
As the group in the sound booth watches the debacle, on the back wall we can see a Mae West poster. This image is important on many levels. First, West seems to be the real world counterpart to the Leila Grant character. Both are white, beautiful, blonde screen queens who are objectified by the male gaze. On the other hand, this poster of Mae West can be seen as doing something different. In her heyday, West was famous for her on screen bawdy double entendres, her most famous being the quip: “Is that a gun in your pocket, or are you just happy to see me?”
Illusions
During the 1930s, when the Production Code was taking over the morality of Hollywood, West, who co-wrote many of the screenplays for which she was to star, was forced to edit out the “racy” content. It seems that Dash is making a statement with the West poster on the wall for the fact that not only were African-American women subjected to the white patriarchal Hollywood system, but white women were as well. If they were seen to be strong, independent, sexual beings, they were forced by either the studio heads or the Production Code to tone down their acts, in essence erasing many of their dreams and talents from history and forcing them to be mere illusions of what they desired to be.
Like West, Esther, the young African-American girl who is selected to replace the voice of Leila Grant, is also a mere illusion, forced into non-existence by the studio system.
Like the seamless continuity style that conceals its work (e.g., editing, processing, discontinuity), Hollywood cinema has concealed or erased and prohibited the work of people of color, on and off screen. (2)
Esther begins to sing and, at this point, Dash has done something very interesting with the composition of the frame. In the upper-left-hand corner, Esther is singing; in the upper-right-hand corner is a screen with the Leila Grant film playing; and in the bottom part of the frame is a doubled image of one of the sound engineers watching this take place. Esther’s voice literally “looming in dark space asserts the power of cinema to produce images and illusions” (3).
What is interesting about this shot is the way in which it utilizes the multiple gazes found in the cinema. First, we have Esther, the object of the gaze of the sound engineer. Second, we have Esther looking at Leila Grant on the screen trying to lip-synch her words to her mouth movements. Then, we have the literal “doubling” of the sound engineer to which the audience is sutured with, as we are placed inside of the sound booth with him watching all of this happen inside the studio.
Illusions
Dash’s Illusions calls attention to the ways in which the Hollywood studio system created the illusions that forced African-American women to the wayside of film history only to be forgotten. In her films, Dash makes these illusions visible by critiquing that very system and showing how the Leila Grants of the world in effect were not the real star of the picture, but the Esthers who had the real talent à la Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952).
Yet, Illusions’ own operation remains transparent. Ironically, in the projection scene, the diegetic and extradiegetic levels collapse; all the female voices in this sequence are post-dubbed. Both Ester and Leila lip-sync Ella Fitzgerald. The narrative’s focus on synchronization- the corporealization of the female voice- shifts attention away from the film’s orchestration of image and sound so that Leila’s voice, in fact, is no more or less true than Esther’s. (4)
According to Mellencamp, “Dash reverses the blond standard of the star system that defined conventions of female beauty within a regimented, standardized uniformity.” (5)
Illusions
To put it briefly, Dash’s film, namely the dubbing sequence, attempts to subvert the history of Hollywood that all but disintegrated the presence of African-American women. She revises this
by synching their off-screen voices to onscreen white women. Women of color were heard, but not recognized. When women of color were on the soundtrack or passing on screen, they were not remembered or recognized. Illusions inscribes the point of view missing from U.S. film history: African-American women (both onscreen and in the audience) granting visibility and audibility by synching image to off-screen voice. Illusions also charges Hollywood, which did not make films about people of color even during World War II, and the nation with hypocrisy and racism. (6)
Illusions calls attention to this travesty and tries to rewrite history and reclaim what was lost: “Illusions explores questions of race, representation, and gender in Hollywood cinema-in particular, the absence of ‘meaningful’ and ‘realistic’ images of our lives.” [source]
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Feb 11, 2009
Salma Hayek Kisses Alec Baldwin
What does Salma Hayek use for inspiration when locking lips with Alec Baldwin on 30 Rock? Her ex-fiancé and current boyfriend, Francois-Henri Pinault.
"I keep telling Francois, 'I Imagine I was kissing you,' " Hayek, who is doing a guest stint on 30 Rock as Baldwin's girlfriend, said on The Rachael Ray Show for a segment that airs Wednesday.
Hayek, 42, otherwise kept mum about Pinault – they called off their engagement in July though still remain a couple – but had plenty to say about her onscreen love interest.
"I have so much fun with him," Hayek says of Baldwin. "He is just so precious, I love him."
Daughter Sees Ghost
The actress also has her hands full with Valentina, her daughter with Pinault. At 16 months, the girl already is trilingual – she speaks English, Spanish and French – and seems to have developed a sixth sense.
"Last night she saw a ghost. I'm convinced," says Hayek, "Last night she woke up and her eyes were open. And she's looking at one specific point and she's going, 'No no no no, au revoir,' which means goodbye in French ... And she's looking at someone, but there's no one there.
I was so scared, and I'm like, 'Yes, au revoir, whoever you are, get out!' And then she started saying it in English: 'Bye bye, bye bye!' I guess she was trying in different languages to see what nationality this ghost was to go away. It was terrifying!" [people.com]
Alain Cavalier - Thérèse (1986)
Alain Cavalier - Thérèse (1986)
French | Subtitle: English (Hard Sub) | 1:26:54 | 720x394 | 29 fps | DivX 5 | DVDRip | Audio: 192 Kbps | 865 MB
Drama | Biography
Stark, stylistically directed, fact-based story of a dreamy, intense 15-year-old girl (Mouchet) and her desire to become a Carmelite nun, to be wedded to Christ. Winner of six Cesar Awards, including Best Picture. Remake of the 1938 film THERESE MARTIN.
Performer-----------------Character
Catherine Mouchet-----Therese Martin
Aurore Prieto------------Celine
Sylvie Habault-----------Pauline
Ghislane Mona----------Marie
Clemence Massart------Prioress
Nathalie Bernart--------Aimee
Beatrice DeVigan-------The Singer
Noele Chantre----------The Old Woman
Anna Bernelat----------The Cripple
Sylvaine Massart-------The Nurse
M.L. Eberschweiler-----The Painter
Josette LefevreGilberte-Laurain The Nuns
Jean Pelegri-------------Father
Michel Rivelin------------Pranzini
Jean Pieuchot-----------The Bishop
Armand Meppiel--------The Pope
Lucien Folet-------------Old Man with Flowers
Pierre Maintigneux-----Convent Doctor
Guy Faucon--------------Aimee's Fiance
Joel Le Francois---------The Young Doctor
Jacqueline Lagrain------Violinist
Simone Dubocq----------Embroideress
Helene Alexandridis-----Lucie
Producer-----------------Maurice Bernart
Director------------------Alain Cavalier
Screenwriter------------Alain Cavalier
----------------------------Camille De Casabianca
Editor---------------------Isabelle Dedieu
Cinematographer------Philippe Rousselot
Art design---------------Bernard Evein
Costumes---------------Yvette Bonnay
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Playboy Present Dian Parkinson (1993)
Playboy Present Dian Parkinson (1993)PDF | English | 7.49 Mb
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DVD Review: Frozen River
Here's the double Oscar nominee you haven't seen yet. We hope it takes home a gold statue or two come Oscar night.
Ray Eddy (Melissa Leo) is a mom who only wants to do right by her two sons, teenager T.J. (Charlie McDermott) and five-year-old Ricky. But a week before Christmas her husband robbed them of the little cash they had in their "tin crapper" house trailer and lit out for ... well, Ray and the boys have no idea. The only certain thing is that he abandoned his car at a bus stop and hopped a Greyhound for God knows where. Now Ray is trapped in the December wasteland of rural upstate New York with kids who need a pantry that holds more than popcorn and Tang. All she has are a dead-end part-time job at the dollar store, an impossible balloon payment on a relatively palatial double-wide (no more frozen pipes) her family dreams of, and a desire to let her kids "have Santa Claus" when Christmas finally comes.
When opportunity and desperation meet, Ray turns to crime just to get by. That opportunity arrives in the form of Lila Littlejohn (Misty Upham), a young woman on the nearby Mohawk reservation. Marginalized by family and tribe alike, Lila has her own quiet desperation to unfold through the story. Their uneasy relationship begins when Lila recruits Ray into a scheme smuggling illegal aliens (of various nationalities) from Canada to the U.S. in the trunk of Ray's car. The job pays well, and Ray absolutely needs the money, but the clandestine trips back and forth involve evading both the state troopers and the tribal hierarchy that already know what Lila's up to. And then there's that little matter of driving a fully packed car across a temporarily frozen river at night. Lila's husband is somewhere under that ice, "lost on a run" the previous winter.
A tense, emotionally gripping tale of the heroically struggling poor, Frozen River (official site) is now the reason for Melissa Leo's Best Actress nomination at the Academy Awards. Its first-time writer-director, Courtney Hunt, is also an Oscar hopeful for best original screenplay. And that's after Frozen River's five Independent Spirit Award nominations -- including Best Film, Best Director, and Best Actress -- and the big win of the Grand Jury Prize for Best Drama at Sundance. The American Film Institute dubbed it one of 2008's top movies, as did a list of professional press critics as long as your arm.
So how come Frozen River is the Oscar contender that has so many people asking, "What the hell is that? I've never even heard of it."
Like sausages and laws, motion picture PR and distribution deals are things you don't want to see actually being made, the process is that ugly and sometimes bloody a grind. Frozen River's limited initial distribution did it no favors, and the advertising imagery fails at hooking us into the film's beautifully written and played substance. But that's being corrected now by a new theatrical run and a timely release this week on DVD and Blu-ray disc. That's a smart move, as Frozen River absolutely deserves our attention as indeed one of the best films of 2008. Its center of gravity is Melissa Leo's finely tuned performance as Ray. In her close orbit are most notably Charlie McDermott, who chose to not play T.J. as an easy Angry Teen, and first-timer Upham, who, even while maintaining a deadened flat affect, holds her own with Leo in every one of their many shared scenes.
Having finally caught the film on Blu-ray, I couldn't be more pleased if the film takes away both its potential Oscars. My only regret is that there's no Oscar for Most Impressive First-Time Director Who Could Teach Studio Hacks With Vaster Resources and Budgets a Thing or Two.
As both a writer and a director, Tennessee-born Hunt displays a flair for a good story well told. She understands the power of subtlety in hard realism, and exhibits a feel for the revealing details that speak volumes -- a bra strap so old its elastic is dead; a lower back tattoo on the young blonde co-worker that tells us in one glance everything we need to know about why Ray isn't getting ahead at the dollar store; Ray's reasoning while abandoning on the ice a Pakistani family's duffel bag -- maybe it holds a nuclear bomb or poison gas, "and I don't want to be responsible for that," when in fact what it holds becomes a key connection between Ray, Lila, and the immigrants who are also just trying to do right for their families as best they can. Looking at Melissa Leo's worn-through, terribly authentic face, you see that Ray knows hardship down to her marrow. Ray's ease with a handgun clues us in to a life's worth of understanding that even the most determined resolve sometimes requires its own backup plan.
Assisted by Reed Morano's cinematography and the supportive musical scoring by Peter Golub and Shahzad Ismaily, Hunt is a filmmaker of such restraint, and she avoided so many moments that could have careened into studio-imposed clichés we've been conditioned to expect, that Frozen River let me forget I was watching a movie, something that didn't happen often in 2008.
Yes, Frozen River is a knowing, naturalistic, bone-and-blood story of racial inequities and women on the verge of having their lives crack beneath their feet to swallow them down. But remember this, because the PR here is missing the opportunity to hook us in -- it's also a tightly wound, albeit low-key, crime thriller. And emerging from the shady dealings and gunshots and suspense are moments of unforced humor (how do you mask the smell of smoke after you almost burn your trailer down?) and lovely little revelations (what is T.J. building with that blow-torch?). Think a low-humming Fargo vibe without the Coens' exaggerations, or Sam Raimi's A Simple Plan minus the conventional plot theatrics.
What the publicity campaign is completely missing is Hunt's subtly conveyed mainspring piercing through Frozen River. It winds itself on the unifying, universal importance of family, that hard, irreducible, driving force that joins our common humanity no matter where we come from or where we're going or what we're willing to sacrifice in between.
Now on DVD and Blu-ray from Sony, Frozen River presents as well as you'd expect a new film shot in digital HD to look on home video. A few dark scenes tend to get unusually murky to my eyes, but that's the worst I could say about it. The only significant extra is the commentary track with Hunt and producer Heather Rae. It's a disappointing track for anyone taking notes on Hunt's production techniques or how she worked toward her sudden rise as a filmmaker to watch. She and Rae remark on production points here and there, give us some background on Frozen River's origins as a short film shown at the New York Film Festival, and of course they rightly praise everyone on screen and behind the scenes for their good work. It's not a bad track, for sure, but there's too much dead air and not enough prepared information on how it was all done and what they can teach us about the latest wave of filmmaking and "the industry" today.
Besides that, the only extras here are the theatrical trailer and a half-dozen trailers for other recommended indies such as The Wackness and Rachel Getting Married.
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This review written by Mark Bourne, published at film.com
Nov 15, 2008
Carlsberg web-tv
Carlsberg web-tv is a place where football lover meet. They have 5 channels showing all aspects about football from the classic football matches to life as a fan. Do not miss the video clips about football funnies and rituals from the Football Magic channel or the bizarre story about fans in the stand and how fan culture sometimes go beyond reason. You can also upload your own favorite football and fan moments. Check out this fantastic web tv football lover at Partofthegame.tv
www.partofthegame.tv
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