Drive ****

You'll have to go to PopMatters and read my review though.

Sheet-y Saturday

Where we take a look at posters for upcoming features.

Whoever is behind the marketing campaign for Shame most certainly knows what he's doing. Each of the film's posters have been more brilliant than the previous and they all sum up the film's concept without recurring to using Michael Fassbender's face. Take this Hungarian poster for example, the way the title is spelled gives it an instantly erotic level, that's mostly marked because it feels so revolting at the same time. It's sensual and exhibitionist, but it also puts into perspective the character of whoever spewed the title out. Can you help but feel deep empathy for his sorrow? The poster was banned upon its release.

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

You mean Madge means serious business when her name isn't mentioned in huge, glittery letters anywhere in the poster for W.E. Gotta love the tasteful Tiffany blue and the beautiful still of Andrea and James (who knew the king was so buff?). However the tagline sounds so forced and almost catastrophic, gotta give kudos of sorts to the designer who decided that people would be too stupid to get the title and highlighted the W and E in the characters' names. Really people, most of the ad campaign for this movie has worried about the title and what it means. Wouldn't it have been easier to change it?

The look on Fassy's face! The hand going to his Fassboner! The other hand showing the emptiness next to him! This poster fulfills on the promise made by every other wonderful piece of advertising done for this movie. It's truly breathtaking!

Sheet-y Saturday.

Japanese people have a strange sense of humor and very different aesthetics from us Westerners but I really can't guess what they were trying to go for with this poster for Young Adult. Between the Hello Kitty shirt and the disheveled hair there's really no big contrast. Were they trying to show that Char is up to no good but has potential? Because so far look like lazy Sunday outfits.

The looks on CaMu and Fassy in this poster say it all. They didn't even need to bother saying the name of the movie. What a superb work this is. I am dying to see this one...

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

Oh the French, while silly Americans worry about the notion of sex onscreen and Michael Fassbender's cock, the French not only dare to put a male figure on the suggestive poster, but the moving hand implies it's heading to somewhere a bit more risqué. Despite the weird proportions of the body (the too smooth sides make it look like a woman in serious need of Nair) applause to the European distributor for reminding us that we all want to see this movie for the same kinky reasons.

More and more, this movie reminds me of a reverse Mrs. Doubtfire. Also, the drastic change from the original, perfect teaser, to this more common one-sheet makes it seem like the studio is worried it'll only attract nerdy arthousers (which it will...). With that said, Aaron Johnson should be in much more movies. Still wonder what they see in Wasikowska though...

What's your own take on all the knobs in this week's posters?

Get the Lowdown on the BFI Film Festival!

London plays host to the British Film Institute (BFI) Film Festival every year. And every year the pick of the so-called ‘best’ new films to come out recently get special screenings as the biggest names in Hollywood descend on the English capital for a two-week movies extravaganza, which is currently in full flow. 

Week one saw the likes of Jade Law, Seth Rogen, Ralph Fiennes and Joseph Gordon-Levitt turn out to tread the red carpet. The premiere of Law’s new movie 360 got proceedings off and running, but of all the new films 2011 has yielded so far, this is not one that is likely to live long in the memory. That’s because the plot – a romantic drama involving 10 intertwined love stories – has, quite frankly, been done to death in recent years, although Anthony Hopkins does at least do his best to bring a touch of class to the film. 

Law may have stolen the limelight on the opening night, but it’s the combination of Rogen and Gordon-Levitt in 50/50 that has so far impressed most. The duo have been receiving gushing praise for their roles in the story of one man’s struggle to come to terms and stay alive after being diagnosed with a rare form of cancer. It’s poignant yet funny and fantastically uplifting. There are some who even think it could do well when the Golden Globes and Oscars are dished out. 

 And so we arrive at week two of the BFI Film Festival and all eyes are now on George Clooney and Tilda Swinton over the coming days when The Ides of March and We Need to Talk About Kevin respectively get an airing.
Clooney directs and stars in The Ides of March, a political thriller packed with intrigue lies and backstabbing. Clooney may be relatively new to this directing lark, but he seems to have got the hang of it already, while his acting skills remain as sharp as ever.
As for Swinton, her performance in We Need to Talk About Kevin, Lionel Shriver's award-winning novel, is so compelling that many are tipping it to be crowned best film at the BFI London Film Festival Awards on October 26, which is the climax of the cinematic festival. John C Reilly also shows his versatility as he and Swinton play parents with a troublesome relationship with their son, who embarks on a killing spree in a high school.

Battling it out with We Need to Talk About Kevin in the best film category is 360, The Deep Blue Sea, The Kid With A Bike and the much-anticipated Shame, the story of a 30-year-old addicted to sex from British director Steve McQueen. It’ll be a close call between Shame and We Need to Talk About Kevin for the coveted title, but the latter shades it for us.
Two people who already know they’ll walk away with silverware at the BFI Film Festival are David Cronenberg and Fiennes as the duo will both receive the BFI Fellowship for their sterling service to the film industry down the years. Cronenberg directed films such as the The Fly and History Of Violence, while Fiennes has appeared in a host of successful movies, including Schindler’s List and several of the Harry Potter franchise.

- This has been a special guest post by Vue.

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

This teaser might be the best poster I've seen all year long. Simple but interesting, with a superb use of color (blue takes the eroticism out of the unmade bed) and a spectacularly subdued font, it encompasses everything that makes Shame such a fascinating project. You want to dive into this bed, in the same way you're repulsed by its filthiness. I am dying to see how the larger American audiences, who are historically conservative, receive this movie about sex addiction! 

Ready to get in bed with Fassy and CaMu?

Style Sunday.

The lovely Carey Mulligan showed the geeks of the world how it's done when she attended Comic Con in this stunning color block Roksanda Ilincic. For the nerdy convention she went with low key sandals that probably made her look like the girlfriend they all wished they had but attending the premiere of Drive she opted for perfect red pumps which not only added height to her slender figure but made the dress suddenly obtain a regal appearance.

Gotta love how she pulls off colors and nude bits (yes, look closer, it's an open dress on the abs) oh Carey you are such a goddess of effortlessness.

Never Let Me Go ***½

Director: Mark Romanek

Cast: Carey Mulligan, Andrew Garfield, Keira Knightley

Andrea Riseborough, Sally Hawkins, Charlotte Rampling

Never Let Me Go begins with a title card that reveals we're about to take a trip to a past that never existed. One where human beings had finally found a way to cure disease and life expectancy had grown to 100 years.

This past also meant a different route had been taken and some had obviously suffered; however, we almost immediately understand that this isn't an exploration of the ethical rules and alternate history that shaped this events but merely a snapshot of a few lives trapped in it.

The scene then changes to Hailsham school, a seemingly idyllic boarding school where quite simply, clones were raised to donate organs during their adulthood.

Twenty-nine year old Kathy (Mulligan) narrates her own story, first within the confines of Hailsham and later in the "outer world". We see how as a child (played seamlessly by Isobel Meikle-Small) she develops a crush on the introverted Tommy (Charlie Rowe) and how, after they learn about the nature of their existence (in a perfect scene with a devastating Hawkes), their lives only seem to take a minor twist, as Kathy's friend Ruth (Knightley) begins a romantic relationship with Tommy.

Why the plot focuses more on the friends and not the secret they've just learned about their fates is one of the many things that make this such an enigmatically, beautiful piece.
Director Mark Romanek shoots Alex Garland's screenplay (based on Kazuo Ishiguro's novel) with the utmost trust in that there is an entire universe contained in what we are not seeing.
The matter of fact-ness with which these young people embrace the source of their existence is so unromantic that we are forced to wonder if we shouldn't in fact envy them, for they have already solved dilemmas that have plagued human kind since its start?
Where are we going? Where do we come from? Why are we here? Because of Romanek's precise hand and elegant formalism we see the characters' reactions as something that just couldn't have been any other way. These people have not been raised in the same way the rest of society was.

This makes it absolutely fascinating to watch as they try to fit in the world they only know through horror stories and eventually through duty. The cast does a terrific job in creating all these subtleties that don't entirely give them away but help establish the fact that they aren't as the others.
Knightley for example, seems to always hesitate before she does something. This hesitation is minimal and the actress disguises it beautifully giving us just enough. The plot may sometimes try to turn her into a villainous creature, or an antagonist to be more precise but because of the actress' committal to the role we see that this is just her nature.

Same with Garfield, whose contained performance doesn't really scream "romantic lead" but his quiet grace makes for something irresistible in the context.

In one of their best scenes together we see Tommy and Ruth have sex, as she acts like someone she must've seen on a movie, he covers his face unsure as to how he should be acting.
It's strange and somewhat off-putting that the filmmakers never really try to make us "understand" what's going on. We get a grasp that there's an entire hierarchy at work and that there must be harrowing stories to be told about these clones, yet by choosing to concentrate on these three characters we are being made part of the society that's beyond Hailsham.

As Ruth, Kathy and Tommy begin to get entangled in their very own way of love and survival, and the mood becomes more quietly moving and not macabre, we realize that this isn't a film about clones, it's a metaphor about existence itself.

Therefore Ishiguro, Garland and Romanek have gotten away with telling us the story about our own existences and making us believe we're watching something completely external. Once we begin to think about this, we are moved to explore if there is anything really natural about the things around us.
Is love, for example, a game we invent just to keep ourselves entertained while we await our demise? Do we not too sometimes stop fighting against a fate we have determined has been written in stone for us?

The movie's themes are embodied beautifully by Carey Mulligan's performance. Through her simple performance we realize that the fact she accepts her fate with such resignation makes the film's events all the more heartbreaking.

And it's ironic that the film should even result moving when everything about it is so sterile and distant.

Then it clicks on us, nothing in the movie is heartfelt because how could it be? When a heart is something that can be so easily extracted from us at any time.

Style Sunday: Best of 2010.

What better way to start the year and the awards season than with a look back at the best celebrity looks of 2010?
The last year was an especially adventurous time for movie and television stars to try on runway looks on the red carpet. Some were gigantic failures (I'm still wondering what were Carey Mulligan's shoes at the Oscars all about) and some paid off in astonishing ways.
Without further ado.


10. January Jones in Atelier Versace at the 2010 Emmys
People made fun of her disheveled hair, her Madonna-like chest and the overall 80's prom feel of the weird midlength cut (midlength was actually huge in 2010!).
The truth is that this look doesn't work because of the dress itself, although it's a real work of art (notice the pleads which I'm sure were adhered individually and must've taken weeks of work!) the look works because January carries it with such confidence.
You can tell that beneath her beach blond bob she knew people would talk about her for months to come and her proud smile ended up being her best accessory.


9. Sarah Jessica Parker in Halston at the Met Costume Ball
Having recently taken control as creative consultant and designer of the iconic American fashion house, SJP gave us a preview of what was to come under her reign.
A simple disco dress that would've been just as appropriate for Jane Fonda in the 70's, Cher in the 80's and Sharon Stone in the 90's, SJP is the life of the party.


8. Anne Hathaway in Valentino at the Met Costume Ball
Ms. Hathaway epitomizes what it's like to look like a princess in almost anything you wear.
(I still love that you can barely tell it's Kate Bosworth next to her in this picture. Annie truly outshines everyone around her!)


7. Sarah Jessica Parker in Alexander McQueen at the CMDA Awards
The late McQueen would've never been able to find a better exponent of his last collection than the amazing SJP (sorry Lady Gaga!).
She dons this psychedelic dress with the class and poise needed for it not to overshadow whoever's wearing McQueen.


6. Gwyneth Paltrow in Atelier Versace at the Country Music Awards
Before making her live singing debut at the CMA's, Paltrow walked the red carpet in this stunning creation by Versace.
Part of the dress screams Maya Rudolph as Donatella (maybe it's the sparkle! Or the fact that Maya and Gwyn are close friends?) but she's able to overcome the potentially tacky Faith Hill-ness of it all and owns the look in a way that's impossible to deny.
Also extra points for pulling off all the risque cuts and cleavages throughout the year.


5. Sarah Jessica Parker in Chanel Couture at the Academy Awards
Once more reminding us of the rich history in fashion, SJP owns this 60's look, complete with the humongous Julie Christie/Jackie O. bun and the impressive metallic ornament.
She's a towering vision of class despite her actual height.


4. Diane Kruger in Chanel at the Academy Awards
Kruger proved that she's more than a pretty face and red carpet icon (she was absolutely fantastic in Inglourious Basterds) and wherever there was a red carpet event for the movie she represented them with utmost style.
Her best look was at the Oscars, where she literally grabbed this dress from the runway and wore it like a legend. I like to call this the "scratch and sniff" dress given how you instantly know it's Chanel from the color, the roses and the flapper-ish touches.
Whenever I saw this picture the smell of Chanel No. 5 filled my mind instantly.



3. Carey Mulligan in Lanvin at the SAG Awards
Poor Carey Mulligan spent the first half of 2010 attending awards ceremonies where she sat like a nominee and was beaten almost every time by an inferior performance.
However she showed all her colleagues how it was done on the style department. She was absolutely breathtaking each and every time (again, except at the Oscars...)
In this deep red Lanvin, she overcame her childish look and for once looked absolutely, almost stunningly sexy. The brooch, the draping, the color! Everything screams femme fatale!


2. Cate Blanchett in Christian Lacroix in Shanghai
I recently mentioned how much I need, crave almost, for Cate Blanchett to appear in red carpets. This astonishing look explains why.


1. Carey Mulligan in Vionett at the BAFTA Awards
The one time Ms. Mulligan won an actual award for her performance in An Education she fortunately happened to wear the most breathtaking gown I saw in 2010.
Once again recurring to the midlength strategy, she is a vision of something that can only be called pure fashion joy.
She looks absolutely at home in this dress and the risky pattern reminds us of her youthfulness (the flowers) while making a statement about her imposing gracefulness (the colors).

If you saw a better look all year long I'd love to hear about it!

Style Sunday.

I here by declare Carey Mulligan the official poster child of this series.
She's wearing Lanvin.
Amen.

Style Sunday.

I swear it's not my intention to have Carey Mulligan in every edition of this series but the girl sure can dress. She's the epitome of effortlessness cool in this Vionett tunic with a risky pattern that might've made other women look like a hippie art teacher from New Mexico.
The hair and makeup are flawless.


Keira Knightley is a complete vision in this simple Chanel dress. At first glance nothing seems entirely interesting about this look and some might say the creamy color washes Keira's pale complexion but look closer and you will notice hundreds of little pears holding the whole thing together.
For those who think pearls work better until you're an older lady this look kicks that conception right in the butt. The heavy black shoes to anchor the entire look are a stroke of genius!

What do you guys think about these two?

Wall Street: Money Never Sleeps *1/2

Director: Oliver Stone
Cast: Michael Douglas, Shia LaBeouf, Josh Brolin, Carey Mulligan
Eli Wallach, Frank Langella, John Buffalo Mailer, Susan Sarandon

Regardless of how many times you may have seen Splendor in the Grass, the moment when Bud Stamper (Warren Beatty) learns about the Great Depression never fails to turn your heart upside down.
Such a moment was supposed to occur in the fractured Wall Street: Money Never Sleeps, as it deals with recent economic disasters that have affected the world in unexpected ways. We expect it to come when we see Gordon Gekko (Douglas) being released from prison in late 2001 and we expect it to occur again when the movie jumps forward in time to the chaotic 2008.
However nothing really happens and we are left wondering exactly what was the point in making this film.
On the surface it's basically a remake of Wall Street. Gordon Gekko's time in jail nothing but a MacGuffin so that he can regain the prominence he had during his 80's peak.
He writes a book called Is Greed Good? and the masses flock to him like a messiah. Among the crowds is idealistic Jacob Moore (LaBeouf) a wide-eyed proprietary trader who admires Gekko and wishes to be like him. Essentially LaBeouf is playing Charlie Sheen.
Of course, this being the aughts and all, besides being one greedy little bastard he also has a thing for the environment and for his girlfriend Winnie (Mulligan), Gekko's estranged daughter who has gone all Elektra on him by becoming a leftist, money-hating, journalist.
To say that nothing much happens in this sequel would be an understatement given how most of the film consists of scenes where the young Jake and the old sharks (which besides Douglas include Brolin, Langella and a scene stealing Eli Wallach) discuss vengeance, power and money like characters straight out of Clash of the Titans.
Other than the awkwardness of the plot, we often wonder what drew Oliver Stone back to this themes. Throughout the movie his direction seems to be trying to find itself.
Part of him is so in love with Wall Street that he seems to think he invented the 80's. Winnie tells Jake "you're so Wall Street it makes me sick" referring to both the actual stock market and the movie which isn't as iconic as Stone wants to think.
Another part of him seems to feel proud about having predicted back in 1987 that the world's economy would just continue collapsing until we all approached doomsday; however, this part of him also feels guilty and like Jake tries to atone through innumerable mentions of what alternative energy can do for the planet.
Wall Street: Money Never Sleeps doesn't know whether to condemn or to glorify and its overlong running time makes us sit through what ultimately is an unnecessary debate.
The one thing that rarely fails is Douglas. Even if Stone tries hard to humanize him (Gekko says "I'm human" more than once) the actor tries his best to remind us that first and foremost Gordon Gekko was so effective because he wasn't human.
Precisely because of his larger-than-life greed it was that he became who he was and not for one minute should we expect him to be turned into a politically correct version of materialism.
This is best embodied in a pathetic end during which Stone once again puts Gekko in the wrong kind of spotlight and we're left wondering if he's making some sort of comment about how easily human beings give "bailouts" to those who have wronged us (which would've turned the film into a twisted, great satire) or if he's just turning Gordon into the Grinch.
It's safe to say that the idea of Gekko getting the last laugh is something 80's Stone would've made, what we end up with right now is a reminder that he doesn't make them like he used to.

Crush of the Week.

Besides Carey Mulligan I'm talking about that dress.
It's mind blowing!
Does anyone know who made it? It's completely the Versace Sarah Jessica wore in the second to last ep of Sex and the City. And with that tiny cardigan it's just oh divine!

Style Sunday.

Carey Mulligan came out of nowhere to fill film screens with delight and red carpets with the kind of sartorial magic, actresses twice her age only wish they would achieve.
She's simply stunning in this simple Nina Ricci ensemble. She's classy, sexy and timeless without looking old. It's unbelievable to think she's my age! I'm filled with joy thinking all the future fashiongasms I'll get from her.


From the newbie to the master, only Sarah Jessica Parker could pair leather, lace and pink and make it look utterly fabulous.
Her leather jacket and ruffly lace skirt from Burberry are incredible but what gives this ensemble the killer touch is its use of Alexander McQueen accessories. This is how you do clothes people!


Kate Winslet is one hot momma! Her Gucci minidress proves not only that the black little dress is essential and timeless but that Winslet has found the secret to looking better as she gets older.
Her Louboutin peep toe pumps are perfect!


Remember how I was complaining about my beloved Julia last week?
She did me good this time around by dressing like a mature lady without looking ancient. This simple pantsuit does wonders for her.
Notice the light pink shirt and how it lights up her gorgeous face. She doesn't even need to smile to look like a princess!

Who's your fave of these beautiful ladies?

Sheet-y Saturday.

Where we take a look at posters for upcoming features.


The teaser was already a bit disappointing (with the whole I want to be Shrek vibe) and now is it just me or does the poster for Tangled seem completely icky?
All that hair! That conspicuous opening! It would've been a more appropriate poster for something like Teeth maybe...


Thanks to this magnificent new poster for Never Let Me Go I am now desperate to read the novel (best of the decade! according to the elegant quote from Time magazine)
Movie posters usually go one of two ways lately: creating specific concepts or terrible Photoshopping.
Rarely do we get movie stills as part of the campaign (I'm assuming this is a movie still by the way) and this one in particular has so much to say!
The beauty of the moment captured is that we don't know whether the characters are running to something or from something.
When to that you add the refreshingly odd sense of nostalgia brought by the peer and that genius stroke of typography genius in the "go" and we have something that promises more than I'd expected.
Will it deliver?

Seen anything good at your theater lobbies lately?

Birthday Girl.

The lovely Carey Mulligan turns 25 today.
Here she is in all her idiosyncratic glory wearing a stunning Azzaro creation at the Cannes Film Festival (her look is straight out of a 1930's movie! I love it!).
Carey has two big profile movies coming later this year, do you think her star making turn in An Education was a one hit wonder or will she prove her worth in years to come?

When Maggie MET Louis.

I know the Met Costume Gala this year was held more than two weeks ago, but bear with me, I've rarely had time to blog this month and this being my second favorite fashion event of the year and all, I thought you all could indulge me and help me pretend as if the looks from the ball were completely fresh in your eyes.


Maggie Gyllenhaal, bless her soul, isn't the smartest dresser out there.
Sure she's not quite common as an actress and she might want to bring her quirk to her looks but she rarely makes it work.
This Gothic Louis Vuitton gown was probably great in theory but her lack of makeup and lazy hairdo steal the dramatic edge the dress needed to stun.


Kirsten Dunst looks fabulous from the head all the way up to the hideous country boots she's wearing.
The lacey Rodarte dress looks beautiful with her fresh face but ugh the shoes...why does she always try so hard to boycott herself in red carpets?


The lovely Carey Mulligan is straight out of the 60's in a lavender Miu Miu minidress.
The pockets are adorable but notice the delicate work in the embroidery and you'll understand why she pulls off this look like no one else could.


Demi Moore is a vision in all her Jessica Rabbit glory. I loved the dramatic effect the silver gave her femme fatale look.
My surprise was to realize that this wasn't Versace but Lanvin!


Anne Hathaway looks like a 50's princess in a flesh toned Valentino.
She reminded me of Grace Kelly and Judy Garland and to think that she got the simple hair and makeup so damn right by keeping it so simple is a wonder.
Her smile is as usual her best accessory oh yes and that's Kate Bosworth next to her...


Always the icon, Sarah Jessica Parker pulled off a stunner in her Halston Heritage gown.
This year the Costume Institute celebrated the American woman and she's straight out of the disco era (the flower!) in a subdued design by one of the country's most brilliant couturiers.


If Marion Cotillard is suggesting she'll become a legend she couldn't have done better than in this sparkly Dior inspired by Marlene Dietrich.
I'm not sure if I like the altogether look (it's a bit too matronly for the young actress) but the intention is delicious and in such a night reminds us that glamor came from the old continent.


Another who's never afraid to experiment, January Jones pulled all the runway tricks and wears this YSL minidress like a pro. The makeup and opera gloves might be a bit too much and perhaps would've been more appropriate for last year's gala.


I love Charlotte Gainsbourg and I adore Nicolas Ghesquiere and I love that they love each other.
But sometimes I think a little time apart wouldn't harm them as she keeps inspiring the same ideas in him and he keeps providing her with print minis and strange shoes.
They look amazing but seeing other people might not harm them.


Quite the Greek vision Christina Hendricks is straight out of a theater B.C. the L'Wrenn Scott dress is a beauty but her makeup is a bit too kabuki.


J. Lo is gorgeous but a bit safe in this Zuhair Murad gown.
Is it me or did Marchesa make something just like it a few years ago and Beyoncé wore it?


If I had Blake Lively's legs I probably would prance around in short dresses showing them off as well.
But I'd love to see her in something with more fabric for once. Can you imagine the effect of this Marchesa if it had a huge, puffy skirt to go with it?


Melissa George evokes film noir in this simple J Mendel.
The color is magnificent and the draping is to die for but the real beauty is how her hair and makeup go so perfect with the whole thing.
Times like these make me wish she was a huge movie star.


Renee Zellweger is wearing a gorgeous Carolina Herrera, as usual.
But what the hell is going on with her Kathy Geiss hairdo?

Did you pay any attention to the Met gala?
If so, did I miss any of your favorite looks?