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There's Bob DeNiro's Tribeca Film Festival in NYC.
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jennifer lawrence infuenceThere's Bob DeNiro's Tribeca Film Festival in NYC.
jennifer lawrence infuenceThere's Bob DeNiro's Tribeca Film Festival in NYC.
Did anyone enjoy Coriolanus?
Did anyone enjoy Coriolanus?
The dialogue wasnt good. Visually it al worked, and I liked what they were trying to do, but that dialogue didnt work. They had to make it more theatrical so it could work in a film and modern, so that itd make sense in this film.
Chastain and Fiennes were really good, but it felt like they just read straight Shakespeare, whether it tonally worked with the scenes abd flow of the film or not.
Chris Pine's new trek: 'Jack Ryan'
Alec Baldwin, Harrison Ford and Ben Affleck have taken a turn at Tom Clancy's CIA analyst Jack Ryan. Now Chris Pine takes the character from the beginning in 'Jack Ryan.'
Chris Pine knows a thing or two about taking on iconic screen roles, though he still finds playing the hero somewhat daunting.
The actor is starring for the second time as Enterprise captain James Kirk in Star Trek Into Darkness due out May 17. And on Christmas Day, he'll step into the title role for the action thriller Jack Ryan, based on the character who frequents many of Tom Clancy's novels.
The CIA analyst role has been played by a who's-who of Hollywood leading men, from Alec Baldwin (1990's The Hunt for Red October) to Harrison Ford (1992's Patriot Games, 1994's Clear and Present Danger) and Ben Affleck (2002's The Sum of All Fears).
"It's always a bit overwhelming," admits Pine, 32. "What I do know is my job is to do my best to bring whatever new colors I have to these franchises."
In Jack Ryan, directed by Kenneth Branagh, Pine takes the character to its beginning, where the injured Marine is recruited by CIA vet Kevin Costner to work as a high-level analyst. The two are pitted against a Russian oligarch (played by Branagh) who is pulling the strings of the financial market and delving into international terrorism with potential global catastrophic results.
The Russian angle might sound like classic Clancy, who set his novels during and in the shadow of the Cold War. But this original story has been brought to the present.
"We cheated a little," says Branagh. "Mr. Clancy is very aware of and very behind the concept, but we put Jack Ryan in the here and now."
"We take the fundamentals of the myth of Jack Ryan and do an original film that was never a book," says Pine. "We're making our own story in a modern-day 2013."
Of vital importance for Pine was keeping Ryan very much the everyman, with his greatest asset being his analytical brain.
"He doesn't drive great cars, he doesn't know five different martial arts," says Pine. "He works in the CIA, but he's a normal guy with a normal wife (fiancée, actually) thrown into these extraordinary circumstances."
Costner's character "shows him right away that it's not physical prowess or shooting a gun that's Jack's weapon, but it's how smart he is," adds Pine.
It's this everyman quality that Branagh believes has made Ryan such an enduring film and literary hero.
"We're probably not going to be James Bond or Jason Bourne or Ethan Hunt," says Branagh. "The audience feels they could just be Jack Ryan and they like him for that. If you ever wanted to be involved in global conspiracies and espionage, then Jack Ryan is the way in. And it puts us in the center of the story."
Branagh, as Viktor Cherevin, was eager to take on the villain role even if it meant juggling his directing duties while tangling with the difficult Russian language and its Cyrillic alphabet.
"That was certainly challenging. I'm not a man who is good with languages," says Branagh. "But I enjoyed going up against the Cyrillic alphabet. I think the alphabet probably won. But I had fun trying to hold my own."
The film also stars Keira Knightley as Ryan's fiancée, Cathy, who does take away, slightly, from the everyman concept
"That part is about aspirations," says Branagh about casting her. "I was thinking if Jack Ryan can get Keira Knightley, maybe we all have a chance."
For nearly all of its run, 30 Rock practiced what's best called the comedy of Teflon topicality. It had story arcs, but no matter how serious the offense, the show would usually manage to reset itself by the start of the next episode. But it refused to evade race, gender, and their discontents the way dozens of its predecessors had.
At the moment, network TV is relatively rich with farce — How I Met Your Mother, Happy Endings, The Big Bang Theory, Suburgatory. But 30 Rock operates at several orders of magnitude higher, much like the The Simpsons and Seinfeld before it. It sidesteps protecting the safe and peaceable and celebrates the mean, pathetic, and ridiculous
In one of the all-time best half-hours of television, Liz assumes that Tracy can't read. But he's actually just exploiting her white liberal guilt to get time off work. When she tells Pete (Scott Adsit) that Tracy's either illiterate or slacking, he calls her a racist. But she knows Tracy is working her white guilt, which is only to be used for "tipping and voting for Barack Obama." Part of the show's innovation was the way whiteness was as much up for discussion as blackness. Jack Donaghy doesn't see the color of his skin as a race so much as a class.
To get Tracy to obey authority, Jack acted out members of Tracy's family as if Tracy's family were characters from Sanford and Son andGood Times. Nearly everything Alec Baldwin did on 30 Rock was ingenious, but I remember watching him transform himself from one imaginary member of the Jordan family to another and my mind being blown. Baldwin surpassed caricature and wound up somewhere deeper. This porky white executive was a raunchy black codger. He wasn't impersonating Redd Foxx. He became him.
But 30 Rock's characters' ability to live alongside each other is an acceptance that institutional and incidental racism and sexism and homophobia are part of how we live. We can survive by laughing at them.
A half-hour like that — and there were at least a couple dozen — suggested that 30 Rockat its best could filter the outspoken liberalism of Norman Lear through the pungent randomness of Mel Brooks or Monty Python
A better explanation is Liz's cop-out when Rosemary says she wants to make TGS more political: "You can't do race stuff on TV. It's too sensitive." The glory of 30 Rock was its awareness that one of the best ways to deal with the problem of race on television is to blithely undermine it.
New images and official fun synopsis for Fast and Furious 6 revealed - new trailer coming at Super Bowl - http://wp.me/p2CCWq-2AP
Seriously, someday we need to sit down, and go thru the entire series, and figure out how this is even possible that we are giddy for Fast SIX!?!?!