Movie Reviews

Just when you thought the Internet couldn't get any better, Arnold Schwarzengger goes and tweets a photo of himself and Sylvester Stallone at the hospital getting shoulder surgeries.

"After all the action, stunts & physical abuse shooting 'The Expendables 2' and 'The Last Stand,' it was time for a little tune up on my shoulder," Schwarzengger wrote on Twitter. "Look who was coincidentally waiting in line behind me for his shoulder surgery. Now we're ready for another round of great times and action when we shoot 'The Tomb.'" The former California governor ended his tweet with the hashtag "#greattobeback."

Arnold (who turns 65 in July) and Stallone (who turns 66 during the same month), will next team for the aforementioned film "The Tomb," an action thriller about a master prison architect (Stallone), who must escape from one of his creations with the help of a wily inmate (Schwarzenegger). That's great and all, but OMG WILL YOU JUST LOOK AT THIS PICTURE ALREADY!

Also on HuffPost:

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(Photo: Nicholas La)

The following is a cross-post from our�Football Freakonomics project�at NFL.com. Check out the�interactive graphic�and, at the end of this post, the video.

In his first six NBA starts, Jeremy Lin averaged 24.3 points and 9.5 assists while leading the Knicks to six straight wins.

If those numbers were attached to someone like Kobe Bryant or LeBron James, you wouldn?t bat an eye. But until a couple weeks ago, Lin was little more than roster fodder, an undrafted player already cut by two teams and about to be cut by his third. That?s when a desperate coach who had run out of able-bodied point guards threw him into the fire. The rest ? for the moment, at least ? is history.

Let?s be honest: the reason we?re hearing so much about Lin is because he was overlooked. This might lead you to think he?s a true anomaly, a great game-time athlete who somehow slipped through a pro sports league?s finely-tuned talent-scouting machine.

But if you look closely at the NFL, you?ll find Jeremy Lins all over the place. And with the NFL Draft coming up in April, you have to wonder just how scientific the science of drafting football players really is. Is Andrew Luck really the golden goose that Indianapolis is banking on, or might he turn out to be yet another top-tier bust?

Our latest Football Freakonomics episode ? the last one this season ? argues that the draft is much more of a crapshoot than most of its practitioners would have us think. The evidence is everywhere. Consider the research of Cade Massey and Richard Thaler, who find top draft picks to be seriously overvalued. Consider the data presented in the interactive graphic here, which reveals the average draft position for the top five players this season in key categories. For instance:

2011 Passing Yards� (Avg. Draft Position for Top 5 Performers = 51.4)

	Player
	Drew Brees	32
	Tom Brady	199
	Matthew Stafford	1
	Eli Manning	1
	Aaron Rodgers	24

2011 Rushing Yards (Avg. Draft Position for Top 5 Performers = 115.8)

	Player
	Maurice Jones Drew	60
	Ray Rice*	55
	Michael Turner	154
	LeSean McCoy	53
	Arian Foster**	Undrafted (257)

* Rice was the MVB (Most Valuable Bargain) in our inaugural Dough Bowl.

** We generously counted each undrafted players as if he was the first player chosen after ?Mr. Irrelevant,? the last player chosen in that year?s draft. In Foster?s case, that would make him pick No. 257.

2011 Tackles (Avg. Draft Position for Top 5 Performers = 78.6)

	Player
	London Fletcher�	Undrafted (242)
	D?Qwell Jackson	34
	Chad Greenway	17
	Pat Angerer�	63
	Curtis Lofton	37

2011 Receiving Yards Leaders�(Avg. Draft Position for Top 5 Performers = 118.2)

	Player
	Calvin Johnson	2
	Wes Welker	Undrafted (256)
	Victor Cruz	Undrafted (256)
	Larry Fitzgerald	3
	Steve Smith (CAR)�	74

This year?s sack leaders represented the highest average overall draft position:�

2011 Sacks (Avg. Draft Position for Top 5 Performers = 32.7)�

	Player
	Jared Allen	126
	DeMarcus Ware	11
	Jason Babin	27
	Jason Pierre-Paul	15
	(T5) Aldon Smith	7
	(T5) Terrell Suggs�	10

Keep in mind that an average draft position of 100 is equivalent to a top pick in the fourth round. What?s most interesting is that in several major categories, the top five performers included at least one undrafted free agent. Or, put another way: One of the top five performers in these categories includes a player who wasn?t even thought to be among the top 250 players of his rookie class!

Granted, these numbers aren?t exactly encyclopedic. But they do a good job of showing just how much luck is involved in the draft ? to say nothing of how much Luck ? and how hard it is to forecast the future.

That?s why more and more teams, in all sports, are doing a deep statistical dive to try to identify undervalued players before spending too much money on the overvalued ones. So if you?re an NFL team looking to optimize your draft picks this year, maybe you?ll consider hiring a young guy to crunch the numbers for you. Maybe some economics major from Harvard who happens to know his way around the gym? Maybe someone like ? Jeremy Lin?

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February 23, 2012 Comments

To see the above image of Danny DeVito standing in a small clearing amidst the Truffula trees, you might not realize that what you're looking at is a campaign poster for extremist liberalism, meant to shape our two to three-year-olds into "occu-toddlers" (now a term), whose playtime in the park will be not for hide-and-seek but for occupation meant to spread a dangerous message of communist wealth distribution and senseless ecological mindfulness. Oh, but it is, warns Fox Business Network host Lou Dobbs.

As anyone who's read The Lorax already knows, the Dr. Seuss book makes little attempt in veiling its message to not destroy entire biomes in the singular interest of industrial greed. At its time of publication, it seemed like an obvious, safe-enough message of ecological consciousness that pretty much anyone non-evil could get behind, but now that the story is being turned into a motion picture--and, more so, now that "not completely fucking up the Earth" is considered a divisive political stance--The Lorax is being called "insidious nonsense from Hollywood" meant to "indoctrinate our children." So said Lou Dobbs, speaking on his Tuesday night program on Fox Business Network.

Similarly, Dobbs also feels Studio Ghibli's The Secret World of Arrietty--based on Mary Norton's 1952 novel The Borrowers--is a part of Hollywood's clandestine plot to program children with a liberal agenda. Though the film is Japanese, and thus not really a product of Hollywood, Dobbs can see right through that ruse, recognizing the film's mouse-sized people stealing things around a house as Hollywood agents, meant to encourage wealth redistribution to the weakest and neediest, which is a concept he means for you to be opposed to.

Here's the video from the segment, in which Dobbs compares the animated movies' themes to Obama's dangerous philosophy "everyone gets a fair shot, and everyone does their fair share." Because our children will see small people living below the floorboards of a house, and then they will stupidly believe in fairness, and next thing you know, they'll think a woman's reproductive system is her own business. Nice try, Hollywood (and Japan). This is almost as shameful as when the Muppets tried to sneak in the socialist message that you shouldn't want an oil tycoon to tear down your beloved theater.

Good idea, crazy person: Buy a ticket to the show, then eat a bunch of popcorn and leave a mess you refuse to clean up. Sure, the film studios may get your money, but at least the theaters will be left with the clear message that you will not be told not to be a revolting American caricature.

(via!)

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To some of you, this ^ lady may look familiar.

To fill the others in, her name is Kylie Bisutti.
And she is known for being the 21-year old woman who won the Victoria's Secret Model Search, competing against 10,000 other women in 2009.

{To any gentlemen reading this article, please be cautious of clicking on the source links.� I tried to find ones that had as-appropriate-as-possible photos of her, but some of them may not.}

While being a model for such a well-known company can offer fame and fortune, Kylie says that she is quitting because she 'has been convicted of honoring the LORD and my body and wanting to be a good role model for other women out there who look up to me'.

�Bisutti adds that a conversation with her 8-year-old cousin helped motivate her to make this decision.

"I was doing my makeup in the mirror one day and she was watching me," Bisutti says. "She looked at me and was like, 'You know, I think I want to stop eating so I can look like you.'"

"It just broke my heart because she looks up to me and I didn't want to be that type of person that she thought she had to do that to be beautiful," she says. "Thousands of girls that think that being beautiful is an outer issue and really it's a heart issue."
{source: here}

?Victoria?s Secret was my absolutely biggest goal in life, and it was all I ever wanted career-wise,? Bisutti is quoted as saying by IBT. ?But the more I was modeling lingerie, and lingerie isn?t clothing, I just started becoming more uncomfortable with it because of my faith. I?m Christian, and reading the Bible more, I was becoming more conflicted about it.?

Kylie, who married shortly before she won the model search in 2009, also admits her role as a wife and someone that was looked up to in her church body played a large part in her choice to quit.

?My body should only be for my husband and it?s just a sacred thing,? she said. ?I didn?t really want to be that kind of role model for younger girls because I had a lot of younger Christian girls that were looking up to me and then thinking that it was okay for them to walk around and show their bodies in lingerie to guys.?

{Read more at http://www.inquisitr.com/192809/kylie-bisutti-christian-victorias-secret-model-quits/#jFLtb8lwzV7LIGC4.99}

---

What are you thoughts on Kylie Bisutti and her recent conviction in not modeling for Victoria's Secret?��

Do you agree that following God whole-heartedly should mean to even give up the career you have been dreaming of?

---

Fun little trivia fact:
Kylie is the younger sister to Danielle Bisutti - the actress who played the lead lady's role in the 2009 Christian movie 'No Greater Love'.

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"My Cactus Heart" just feels fresh and new overall - quite a feat considering its the only genre our local mainstream film industry knows to make 90% of the time. It's not only that the pairing of Matteo Guidicelli and Maja Salvador actually works (a true blue couple in real-life) but it also brings in a narrative style unique in its own way. While at times the movie lacks polish and consistency to be considered an instant classic, the narrative style and the lead actors carry "My Cactus Heart" into something worth a look. Read on for our full written analysis of "My Cactus Heart".

Sandy (Maja Salvador) while at work narrates to her co-worker how she met her soul mate. The story starts when she was still in high school. She and her best friend decide to play a game. Each one of them will draw an illustration for their "soul mates". They will leave the illustrations randomly - knowing one day that these will be returned by the man meant for them. Through the years though, Sandy grows hatred towards men and commitments due to her dad leaving their family with another woman. Sandy decides that she does not want to be a fool for love and be single for life like her mom. Every boy who courts her gets busted so much so that people call her a "cactus heart". Not until she meets Carlo (Matteo Guidicelli) that is who is not only her complete opposite when it comes to love but teaches her cactus heart how to love in return.

There are two big things that make "My Cactus Heart" better than your average local romcom. First, the narrative style made the movie more interesting than it should be. To be quite honest, the story was predictable but the flashback system was a breath of fresh air (the style is more or less akin to the television show "How I Met Your Mother") as it actually made the characters have depth not usually seen on local romcoms. This was so effective that the characters' back stories define how the lead characters react to the world around them. For example, you do not only understand why Maja's character hates commitments or why Matteo's character is a hopeless romantic but you actually feel their emotions and what they are going through. Second, the pairing of Matteo and Maja just simply works flawlessly. They make a beautiful pair on-screen and everything feels natural. On the acting department, the biggest surprise was Matteo. He just showed versatility that we didn't expect from him (not even accounting for how he has improved his Tagalog greatly). Where the film fails to make an impact is in its polish and consistency (actually a common problem on local films). The first half in particular has a lot of confusing moments especially when it came to how the timeline was presented. The film also had several scenes being cut abruptly or having video quality dip significantly even on the same scenes. The cheesy lines and jokes were just average too. At times it will make you smile even laugh but on other times the lines just feel stale. We won't lie, "My Cactus Heart" wasn't on our anticipated list but after seeing it, we have to admit that our assumptions were completely wrong.

Rating: 3 and a half reels

Why you should watch it:
- Matteo and Maja make a good pair on the big screen
- Matteo shows how much he has grown as an actor
- the narrative style used adds more depth to the story and characters

Why you shouldn't watch it:
- the film lacks polish and consistency
- it's filled with cheesy and corny one liners

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"Chronicle" at its core is a wasted film - a huge potential of greatness completely lost with a mind-boggling decision to go the found footage route. It is an unconventional film with elements that make it darker and deeper than your average superhero/scifi film. And yet it is presented in a very mainstream format and a very middling one at that. "Chronicle" is good enough for anyone to enjoy it but you just know this could have been better and greater than its current state and that is truly the most frustrating thing about it.

Matt (Alex Russell), Andrew (Dane DeHaan) and Steve (Michael B. Jordan) gain superpowers after making an incredible discovery. They also find out that if they practice hard enough, their powers also grow stronger in time. First, they gain telekinesis and soon after that, flying. As expected, the three high school seniors use their powers for fun but soon they find their lives spinning out of control as one of them decides to use his power for his own selfish and devious purposes.

"Chronicle" has a great story (and an even better twist and message) and great acting that you would think it's one of those films that are bound to be a classic. And yet, it all boils down to it choosing the found-footage format that adversely affects how
the film feels and eventually develops. It's not all bad though as the director actually did a pretty good job using the found-footage format. Our favorite is the final scene were Andrew goes amok in Seattle and Matt tries to stop him. It was surely creative using other people's gadgets, CCTV cameras, police cameras and more to make the sequences move. It felt natural and most importantly, real. This is one of the best (if not the best) use of found footage we have seen. But there are also instances were things are forced as there needs to be a camera all the time. Additionally, a majority of the first half of the film is spent on the teens "experimenting" with their powers. The videos felt like current YouTube clips of fake stunts with CGI that is quite noticeable. These are the instances that you just know that the found footage format does more damage to the whole movie than aid it.

What "Chronicle" really excels at is its story and the characters within it. The three lead actors all felt natural as their fictional counterparts and surely makes the film more believable. Amazingly, the film had great story and character development even with a bunch of separate clips joined together. You can just sympathize with the characters and you can totally see the changes in each one. One may find the power as a simple add-on to his life, the other as a serious thing to think and be careful about and the last one who decides to use his power to vent out his frustrations and anger in life. Even with their different takes on what to do with their new-found abilities, you can fully understand why each one thought that way - good or bad. While the first half was all fun and games, the second half takes a darker, grittier and more sinister tone that makes this film a worthy watch. This is how we imagine humans would react if they suddenly get God-like powers - not the way we usually see from comic books. In the end, "Chronicle" did not need to be a found-footage film. Choosing a regular format or even a combination of both would have made this an instant scifi classic.

Rating: 3 and a half reels

Why you should watch it:
- a great story with a darker and more natural take on humans getting superpowers
- the acting was superb, natural and believable
- the last sequence in Seattle is worth the ticket price (the best use of found-footage we have seen yet)

Why you shouldn't watch it:
- the found-footage format does more damage than good
- the movie's first half was dull due to the YouTube-like videos that compose most of it

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Very exciting news?but what about�The Muppets???

We?re pleased to announce that�Cirque du Soleil�will be featured on the Feb. 26�Oscars�telecast, where they?ll be doing a three minute performance featuring more than 50 artists! Wow!

Here?s what Cirque du Soleil special events director�Yasmine Khalilhad to say about it:

?The theme is very much in line with paying tribute to the movie-theater experience.?

Khalil also mentioned that their show would be ?unique for this one evening,? and that they wouldn?t be taking anything from their cinema-themed show�Iris�(aside from the fact that�Danny Elfman�will once again compose the music).

Again, this sounds great ? but if there?s time in the telecast for a�Cirque show, then why can?t�THE MUPPETS�also perform???? WTF?!?!?!?!?!

http://perezhilton.com

Posted by The Admin on February 17, 2012 in Awardz, Events, Film Flickers, Oscars, The Muppets and tagged cirque du soleil, danny elfman, iris, oscars, performance, the muppets, yasmine khalil.

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The Bottom Line

The film is an important step toward repairing the broken links and resurrecting almost a century of music and the women who made it.

Venue

Palm Springs International Film Festival

Director

Judy Chaikin

Cast

Marian McPartland, Dr. Billy Taylor, Herbie Hancock, Roz Cron, Billie Rogers, Viola Smith

The phrase ?the women of jazz? might conjure images of singers, but as the upbeat documentary The Girls in the Band amply demonstrates, from the get-go women have been deeply involved in all aspects of America?s great musical genre ? as professional instrumentalists, composers, arrangers and conductors. Director Judy Chaikin?s bright elucidation of unexplored pop-culture history received the Audience Award for Best Documentary Feature at the recent Palm Springs festival. It should be warmly received elsewhere on the fest circuit, and will be right in tune with arts-oriented small-screen programmers worldwide.

PHOTOS: Top Ten: Palm Springs Film Fest

Chaikin bookends the film with an affectionate, and ultimately poignant, challenge to Art Kane?s famous 1958 photo A Great Day in Harlem, which brought together dozens of the leading jazz musicians of the day. Among them were only three women,not quite an accurate representation. But if jazz was an unconventional pursuit for men, it was even more so for women. In the early decades of big-band jazz and swing, female musicians were treated as novelties, often forced to wear ridiculous starlet getups and, most ludicrous, expected to smile, always smile, even while blowing a horn.

The archival footage and stills that Chaikin has assembled are fascinating, and attest to the vibrancy and depth of unsung musical talents. Especially engaging are her interviews with many of the women themselves ? among them drummer Viola Smith, saxophonists Roz Cron and Peggy Gilbert and trumpeter Billie Rogers, who acknowledges band leader Woody Herman?s role in opening doors to women.

The doc lends a fresh perspective to well-traveled chapters of history like the heyday of New York?s 52nd Street and the women?s movement of the 1970s. Having toured the States and Europe for the USO during World War II ? one trumpeter has fond memories of an encounter with the Tuskegee Airmen ? the women found that the war?s end wasn?t entirely good news. As one interviewee notes, it meant that ?a lot of girls had to go back to the kitchen? to make room for male musicians returning from military service.

It?s disappointing when the film moves beyond these pioneers and their firsthand memories of Ina Ray Hutton and Her Melodears, the Fayettes and the International Sweethearts of Rhythm. It?s all too easy to want more time with each of them, whether they?re recalling the dangers integrated bands faced in the Jim Crow South or mentioning a disappointing one-night stand with Tommy Dorsey.

But Chaikin is more interested in establishing a lineage of female jazz musicians, bringing her narrative up to date with contemporary artists such as Terri Lyne Carrington, Maria Schneider, Anat Cohen and Esperanza Spalding. However illuminating the chronology, The Girls in the Band loses its rhythm as it turns into a somewhat choppy and diffuse compendium.

Along the way, though, are extraordinary insights and performances. Two standouts, with their singular smoky tones, are saxophonist Vi Redd and trombonist/composer Melba Liston, one of Dizzy Gillespie?s preferred arrangers.

Like most of us, a number of the latter-day women of jazz knew nothing about such forebears until well into their careers; the film is an important step toward repairing the broken links and resurrecting almost a century of music and the women who made it.

Venue: Palm Springs International Film Festival
An Artist Tribe/One Step production
With: Marian McPartland, Dr. Billy Taylor, Herbie Hancock, Roz Cron, Billie Rogers, Viola Smith, Clora Bryant, Anat Cohen, Terri Lyne Carrington, Esperanza Spalding, Maria Schneider, Ingrid Jensen
Director: Judy Chaikin
Writers: Judy Chaikin, Edward Osei- Gyimah
Producers: Judy Chaikin, Michael Greene, Nancy Kissock
Executive producer: Michael Greene
Cinematography: Joey Forsyte, Tom Kaufman, Tom Hurwitz, Eddie Marritz, Nancy Schreiber, Mark Allensworth, Jason Nabb, Mark Lewis
Co-producer: Hugh M. Hefner
Editor: Edward Osei-Gyimah
No MPAA rating, 86 minutes

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Meet John McClane's Son... Jai

Seen above in a screen test in which Bruce Willis bounces a "What's the deal with the gun, anyway?" routine off him, Australian actor Jai Courtney has been cast as John McClane's estranged son, John McClane Jr., in A...

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No Country for Young Kids would be just as suitable a title for The Woman in Black, a hoot of an old-fashioned British horror film in which being under 10 years old is not a good thing. This first production to bear the venerable Hammer imprint since 1979 so enjoyably revives the old dark house trappings of deep shadows, creepy noises, haunted attics, unwelcoming villagers, now-you-see-them-now-you-don't apparitions and shrieking music cues pegged to startling cuts that it makes them seem new again, or at least so they'll seem to the gaggle of young Daniel Radcliffe�fans who have rarely, if ever, experienced them before. Curiosity about the actor's first adult screen role and first part since leaving Hogwarts behind should ensure healthy returns for the CBS Films release. And the good news is that the former Harry Potter carries the film quite capably.

Based on Susan Hill's 1982 novel, the film version has been some time in coming, in light of the fact that the London stage adaptation, which employs only two actors, has been running continuously since 1989, making it the second-longest-running play in the history of the West End, after The Mousetrap.

The first children to go are three sisters who, in the prologue, abruptly cease playing teatime with their dolls and, as if possessed, walk right out their upper-floor windows to their doom. When we then see widower Arthur Kipps (Radcliffe) bidding farewell to his young son Joseph (Misha Handley) before leaving on a business trip, it's hard not to feel uneasy about the boy's life expectancy.

So stricken remains young Mr. Kipps over the death in childbirth of his wife that he hasn't performed well at his law office, and his new assignment represents his last chance to save his position: He is to resolve all the remaining affairs of a widow who has recently died at a remote country estate, including trying to sell the old pile.

Easier said than done, once he gets a look at it. Located at the end of a long causeway off the mainland, Eel Marsh House can be reached only at particular times of day, as the tides wash over the road at certain hours. Initially, he's meant to stay at the little inn at the village of Crythin Gifford, where the residents have all the charm of the rural fellows in Straw Dogs. But even a haunted house seems preferable to the inn's attic, the very room from which the girls had tumbled in the prologue.

Only one local seems nice, Daily (Ciaran Hinds, who appeared opposite Radcliffe in the final Potter installment), a landed gent whose deranged wife (Janet McTeer) dines with dogs at the table since the accidental death (is there any other kind?) of their son some years back.

Common sense might dictate that Kipps board with the Dailys from now on. But, no, he's got to be where the action is, at the mansion, a place with lots of doors that needs to be dimly lit by candles to look right. Once ensconced, Kipps reads old correspondence revealing the unfortunate fate of the child of the lady of the house, although his absorption in past horrors is interrupted by contemporary ones in the village, where it's a wonder any inhabitants remain at all, given the youth mortality rate.

Working from Jane Goldman's compact, well-judged adaptation, director James Watkins�(Eden Lake) shows he well knows what he's doing: The genre has certain requirements and he honors them, with sincerity and style. The hooded spectral title character keeps appearing ? in windows, at a distance, present in a room and then not, always elusive ? and the director is not ashamed to go all the way in having Kipps poke his nose in rooms and dark places where most rational people, or any who had seen haunted house movies, would not tread.

Happily, Watkins steers clear of indulging in modern horror tropes, especially where gore and vulgarity are concerned. In most respects other than technical expertise, this is a film that essentially could have been made in Hammer's heyday back in the 1950s, as well as one that Radcliffe's Potter fans can enjoy.

The actor, it must be said, is perfectly good, credible as a young father and capable of holding the screen by himself for a long period, as required by his character's isolation. The only issue one might raise is his persistent facial stubble, something quite out of step with the early 20th century period.

Hinds and McTeer add weighty support as the area's most eminent residents. The locations, particularly the marshland area of the house, and production design are memorable, with both evoked attentively by Tim Maurice-Jones' cinematography. Marco Beltrami's score effectively augments the tension and atmosphere.

And the ending is wonderful ? perfect, in fact.

Opens: Feb. 3 (CBS Films)
Production: Cross Creek Pictures, Hammer, Alliance Films, Talisman
Cast: Daniel Radcliffe, Ciaran Hinds, Janet McTeer, Liz White, Shaun Dooley, Misha Handley
Director: James Watkins
Screenwriter: Jane Goldman, based on the novel by Susan Hill
Producers: Richard Jackson, Simon Oaks, Brian Oliver
Executive producers: Guy East, Nigel Sinclair, Tobin Armbrust, Neil Dunn, Marc Schipper, Xavier Marchand, Tyler Thompson, Roy Lee
Director of photography: Tim Maurice-Jones
Production designer: Kave Quinn
Editor: Jon Harris
Music: Marco Beltrami
Rated PG-13, 95 minutes

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A certified ensemble of hit filmmakers takes the romantic-action genre a notch higher in ?This Means War? starring Reese Witherspoon, Chris Pine and Tom Hardy. The movie is about two of the CIA's best agents and best buddies on a personal note, Tuck (Tom Hardy) and FDR (Chris Pine) discover that they are dating the same woman, Lauren (Reese Witherspoon), which ultimately affects both their professional and personal lives. The movie is directed by McG whose hits include ?Charlie?s Angels?, ?Charlie?s Angels: Full Throttle? and ?Terminator Salvation?. Catch the trailer of "This Means War" after the break.

?This Means War? opens February 22, 2012 in local theaters from 20th Century Fox.

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