Jennifer Lawrence


For real. No Katniss, though.

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Jennifer Lawrence

This time for David O. Russell’s new movie (aka Valerie Perrine and Roy Scheider).  And Amy Adams and Christian Bale too.  Some photos come from JustJared.  Jennifer Lawrence is shown in these pics reading what looks like a script, though she famously does not look at the script, or her lines, until the day of shooting.  She says it’s worked well for her so far, helping her to react more honestly to the situation.

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Tipped by Linda at, we’re wondering what’s up with the US distribution rights for Serena, with Jennifer Lawrence and Bradley Cooper. Pic is set to make its festival launch somewhere, maybe Cannes?

The plot synopsis comes from the book listing at Good Reads:

The year is 1929, and newlyweds George and Serena Pemberton travel from Boston to the North Carolina mountains where they plan to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains–but she soon shows herself to be the equal of any man, overseeing crews, hunting rattle-snakes, even saving her husband’s life in the wilderness. Together this lord and lady of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she sets out to murder the son George fathered without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pembertons’ intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning.

Rash’s masterful balance of violence and beauty yields a riveting novel that, at its core, tells of love both honored and betrayed

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Jennifer Lawrence’s honesty is refreshing in Hollywood.  Shame on Dior for photoshopping anything on Lawrence – she doesn’t need it.   The ads are lovely, of course, but it’s to be noted and advertised that they always “enhance” already thin and flawless women to make them look even more thin and even more flawless.

“That doesn’t look like me at all! I love Photoshop more than anything in the world,” she told Access Hollywood‘s Billy Bush, who showed her the pictures for the first time on the Oscar red carpet. In the black-and-white shots, the Oscar winner’s skin looks impossibly smooth, her neck preternaturally long, her arms Angelina Jolie-skinny.

Bush tried to insist that he was looking at the real, J. Law deal, but Lawrence dug in her stilettos: “Of course it’s Photoshop. People don’t look like that.”

Meanwhile, a fan on Tumblr made a better Dior ad:



If you click this photo you can see the Oscar audience.  Some of these faces are so telling. Some are smiling. Some are not. Like, who’s Joseph Gordon-Levitt looking at? It doesn’t look like much fun to me but probably for Ms. Lawrence, the moment of a lifetime, what with the standing ovation and all.

Remember when Nightline was Nightline? Well, with this interesting interview with Jennifer Lawrence they seem like they want to entertain their lonely male viewers laying in bed at night in the best way they know how.



When Emmanuelle Riva won the BAFTA for Best Actress it underscored what we’ve been saying for years — that you have to go all the way to France to find storytellers who are willing to contemplate the idea of women as whole human beings with their own arcs. It’s astonishing to me that we’re headed for yet another Oscar Best Picture win where American women are almost invisible onscreen. It’s no worse than last year, but things sure ain’t getting much better. In Europe they don’t retire women after the age of 40. In Europe, they don’t have to appeal to 13- 18-year-old boys. In Europe, they don’t hide age, or run from it, or sell their citizens endless anti-aging products. But in America, if you’re Meryl Streep and you’re working still you are one of the very few, a rare orchid in the hottie hothouse.

Now Best Actress is down to three. And each role represents a very distinct type of actress and a very distinct type of character. Riva defies everything Hollywood represents and yet has the best chance to win, it seems. Jessica Chastain plays the only part that isn’t defined by a male character. Jennifer Lawrence is the more traditionally accepted female — the love interest, the hottie with a heart of gold. All three actresses do great work. But Riva stands out for reasons that go even beyond the performances.

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It was quite the event last night at the Arlington theater up State Street in Santa Barbara to fete Best Actress frontrunner, and Silver Linings Playbook star, Jennifer Lawrence.  The street was lined with young fans of Lawrence, pink cheeked young girls their pupils the shape of hearts, pictures of Lawrence held carefully in their hands as they waited to get a look at the real live Katniss.  My third year at the SBIFF I’ve never seen anything like this, it was a mob scene of tweens and teens girls madly, passionately in love with Ms. Lawrence. But they weren’t the only people there to get a look at her – plenty of men, young and old, plenty of women, young and old, and the heavy weights from the Weinstein Co. like producer Bruce Cohen, and director David O. Russell.

The Santa Barbara film fest is a success, I think, because of its director Roger Durling’s passion for film. He knows everything about film history and has a great appreciation for it in all ways. I’ll never forget being up at Telluride and seeing Roger waiting in line to see movies, not calling in his VIP card.   Durling clearly loved Silver Linings Playbook and one of the reasons for that was Lawrence.

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Pretty damned cute.

Tommy Lee Jones meme still good for a few laughs. Jennifer Lawrence jokes about the “I beat Meryl” thing.

JL on SNL opening monologue by simonaka

And Lawrence’s SNL promo after the jump.

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At tomorrow night’s Golden Globe ceremony you will see two competing Best Actress contenders likely win: Jessica Chastain and Jennifer Lawrence, who are in two different categories.  These award shows can sometimes build momentum in one actress’ favor propelled by how well they do in front of a crowd accepting the award.  Speeches can sometimes make a difference, though not always.  Both are beautiful young women with very bright futures ahead of them. But we will likely end the night still not knowing who will win Best Actress and that’s because the state of the Best Actress race has suddenly shifted.

When Amour and Beasts of the Southern Wild were nominated in the Best Director and Best Screenplays categories, the chances for Emmanuelle Riva and Quvenzhane Wallis to win skyrocketed. The frontrunners are still the two bigger stars, Jessica Chastain for Zero Dark Thirty and Jennifer Lawrence for Silver Linings Playbook. The fifth contender is another potential dark horse, Naomi Watts for the Impossible.

My first instinct when I heard the nominations was to say that Emmanuelle Riva, the oldest ever Oscar nominee, is the biggest threat. But Wallis and Beasts is hard to resist. If you loved that movie you will love her in it. And if she won she would also make history as only the second African American actress to win Lead. In 85 years.

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Vanity Fair has dubbed Jennifer Lawrence Most Desirable Woman, ironic since in the movie Silver Linings Playbook she has to do everything but perform a lap dance to get Bradley Cooper to dump his fickle wife and fall for her. More pics after the cut.

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1. Daniel Day-Lewis, Lincoln. There might not be another actor alive who would devote many months just to find Lincoln’s voice. Fewer still who could take what history told us about him, subtract the multitude of falsely deep Lincoln voices because they sounded “more important” and give us the real Lincoln via his unusual and less familiar voice. He was going to take some shit for this choice, as no one was ready to accept a Lincoln with that voice. Take on its own in isolated clips it might at first have sounded  a little strange, but when you witness Day-Lewis immersed in Lincoln’s totality, the actor vanishes. The voice comes alive with thoughtfulness, and that unmistakable color of sadness that Lincoln carried around with him since he was young, when his mother and then his sister died. Somehow Day-Lewis knew how to capture that sadness. He knew that Lincoln was weary — from the war, from the burden of doing what was a right at a time when there opposing forces seemed insurmountable — and weary from his wife’s mercurial disposition, crying or raging, depending on the day or the haunting.

Day-Lewis has captured so much in one breathtaking turn that this becomes, maybe, a bar to which all others might aspire. His head hung to one side, his tall person’s slouch, his lopsided walk. That any group would award someone else for the prize of best performance only illuminates, in many ways, Day-Lewis’ unequivocal work. They can’t say he wasn’t good enough. They can only say they’d like someone else to have a chance to share the spotlight with him. If Oscars are meant to be given out as career achievements, Day-Lewis would easily and handily win his third Oscar. We all know that the Oscars, despite their intentions, do not always award the best. But history should remember Day-Lewis, whether they give him a gold statue for it or not.

The supporting players: Sally Field – for her astonishing work as Mary Todd Lincoln Field gained some weight and reseacrhed the extensive first-hand historical record, as any great actress would, to find out that Mary Lincoln possessed a fiery intelligence, shared a love for reading with her husband, and didn’t have much else to do back then but stand by her man. Field captures Mary Lincoln’s craziness, unending grief and inner battle with depression so well it makes you long for the days when you had to be this good to get into movies. Tommy Lee Jones brings with him the great memory of Thaddeus Stevens, and perhaps the best moment of his role is the conflicted scene when he has to support the notion of freeing slaves but knows he must withhold his feelings in agreeing that they’re equal in all terms. He does this through his teeth, against everything he believes in — but he does it because he knows that tearing down an old sturdy wall is done brick by brick. Other wonderful turns in Lincoln include James Spader, Joseph Gordon-Levitt, and the great Gloria Reuben as Elizabeth Keckley, self-freed slave who became an author.

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Jennifer Lawrence tells a funny story to Ellen (via JustJared):

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By most estimations, Jennifer Lawrence has the Oscar race for Best Actress sewn up. The one-two punch of her work in Silver Linings Playbook, currently receiving very good reviews, and the $400 million she generated for the Hunger Games franchise, gives her the edge heading into the race.

But there are a few competing factors at play. The first, Jessica Chastain is about to hit with Kathryn Bigelow’s Zero Dark Thirty. Chastain carries the film. Unlike Lawrence, she isn’t “the girlfriend” but is the CIA agent obsessed with the capture of Osama Bin Laden. Imagine that, after all is said and done a woman gets to take credit for that? It is arguably among the best characters of the year.

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Women’s rights made a major impact on Hollywood in the 1970s. Feminism, now a dirty word, was such a force to be reckoned with that you didn’t dare depict a woman in a film who didn’t have, at the very least, her own identity. It was a hard fought war. But like most things go in Hollywood, economy drives the movement. Thus, once Julia Roberts became the $100 million dollar baby in the 1980s with Pretty Woman, the strong female characters began to slowly disappear. At the same time, the rise of the blockbuster drove the cost of movies higher. Roberts was one of the few women who could command the same salary as Tom Hanks or Tom Cruise. That’s what made her so powerful back then. But those high salaries demanded high box office returns and sadly, at least according to Hollywood, those would shrink because what sells at the box office are films starring men, made by men.

If you’d like to see how dramatically things shifted away from films featuring strong female characters, I already researched it once, trying to track Best Picture nominees and to see how many were in the top twenty at the box office that year.  But a curious detail emerged and that was after movies started making upwards of $100 million, strong female characters all but vanished in the highest grossing films of the year. That leads us to today, to ask why so few of the Best Picture contenders feature strong female leads.

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Two pieces of important information have come to light recently that may impact the Best Actress race: Anne Hathaway will be campaigned for lead as Catwoman in The Dark Knight Rises and Jessica Chastain will also go lead for Zero Dark Thirty. Whether either of them will break through in a crowded race is a different story. Much will likely depend on the nominations at the Globes, then the SAGs and the Critics Choice Awards. By then, a consensus will have emerged. Those early awards are great for pruning the crowd. Once the nominees are named, voters get to sit on judgement about whether those are deserving nominations or not, whether there are more deserving names that got left off the list, and how each nominations or win would make them feel.

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The Social Network


David Fincher, The Social Network

Colin Firth, The King’s Speech

Jennifer Lawrence, Winter’s Bone

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Some films have different release dates in Ireland than they do here in the US. Here is more information on the Dublin Film Critics.

1. A Prophet
2. Winter’s Bone
3. Toy Story 3
4. The Social Network
5. Dogtooth
6. Inception
7. Uncle Boonmee Who Can Remember His Past Lives
8. The Road/ Bad Lieutenant
9. Mother
10. The Illusionist/A Room and a Half/Of Gods and Men

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