Watch Katherine Heigl Turn Her Husband Into a Killer in Exclusive Trailer for ‘Home Sweet Hell’
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HOME SWEET HELL MOVIE COMING SOON |In Home Sweet Hell, Don Champagne is a furniture salesman who finds himself in a tough spot.
Played by Patrick Wilson (The Conjuring, Insidious), Don finds himself forced into the role of a pawn for the revenge fantasies of his borderline-personality/Stepford wife Mona (Katherine Heigl) after she uncovers he has been having an affair. Also starring in the red-band trailer — seen here first on Yahoo Movies — is Fast & Furious star Jordana Brewster, who plays Don’s mistress.
Keep an eye out for a Heigl’s former Grey’s Anatomy co-star, Kevin McKidd, appearing as a fairly convincing meth head. (Lest we forget, he played a junkie in Trainspotting.)
Jim Belushi also stars in Home Sweet Hell, coming soon.
Starring: Lily Collins, Sam Claflin, Tamsin Egerton
LOVE ROSIE WORLD MOVIE TRAILOR |The film, which is an upcoming British-American romance drama film directed by Christian Ditter and written by Juliette Towhidi, is based on the 2004 novel Where Rainbows End by Cecelia Ahern.
We’ve seen it. We loved it. Scroll down to watch the trailer.
As you can see, the poster shows a beautiful Lily Collins looking at the camera, while her costar, the gorgeous Sam Claflin gazes at her. It’s a beautiful film poster, and it sums up the film perfectly.
Exciting stuff! Are you excited to watch Sam Claflin and Lily Collins in Love, Rosie? Of course you are. Well, before you scroll down to watch the trailer, first take a look at the Love, Rosie film poster. It’s a WORLD EXCLUSIVE for GLAMOUR.
Who wants to watch Sam Claflin and Lily Collins in this FULL-LENGTH trailer for their new film, Love, Rosie?!
Based on the novel Where Rainbows End from Cecelia Ahern, Love, Rosie will star Sam Claflin, Lily Collins, Suki Waterhouse, Tamsin Egerton, Christian Cooke, Jaime Winstone & Art Parkinson and will hit cinemas 24 October 2014.
Excited? So are we!
So what’s it about? Love, Rosie concentrates on Rosie (Lily Collins) and her best friend Alex ( GLAMOUR‘s Man of the Year!) who both take a leap of faith, on life and on each other, when they decide to go to the US together to attend university. But fate has other plans for Rosie. Over the next 12 years their lives change dramatically but the connection remains.
It is the origin of Dracula, weaving vampire mythology with the true history of Prince Vlad the Impaler, depicting Dracula as a flawed hero in a tragic love story set in a dark age of magic and war.
Initial release: August 7, 2014 (Netherlands)
Director: Gary Shore
Running time: 92 minutes
Adapted from: Dracula
Music composed by: Ramin Djawadi
DRACULA UNTOLD MOVIE TRAILOR |Dracula Movie is an upcoming 2014 American dark fantasy action horror film directed by Gary Shore in his feature film debut and written by Matt Sazama and Burk Sharpless. Rather than focus on Irish novelist Bram Stoker’s 1897 novel Dracula, the film creates an origin story for its title character, Count Dracula, by portraying the story of Vlad the Impaler, who uses dark powers to protect his family and kingdom.
Principal photography began on August 5, 2013 in Northern Ireland. Universal Pictures will release the film on October 10, 2014 in theatres and IMAX. Universal intends the film to be a reboot of the Universal Monsters franchises.
On April 25, 2013, Universal announced that the film would be released in theaters on August 8, 2014. It was announced four months later that the film would be postponed until October 3, 2014. The release date was pushed a third time to October 17, 2014. The release date was changed for a fourth and final time to October 10, 2014, to give the film three weeks of play before Halloween. The film will be released in all formats including IMAX.
Starring: Tony Hadley, John Keeble, Gary Kemp, Mark Kemp, Steve Normann
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SOUL BOYGS OF THE WESTERN WORLD The first film directed by documentary producer George Hencken, Soul Boys of the Western World is a detailed account of that rollercoaster ride for the band led by Tony Hadley and Gary Kemp, which fizzled with an acrimonious split but found a consolatory ending almost 20 years later in 2009, when Spandau Ballet reformed for a successful series of British concerts.
That narrative trajectory is mapped out via a banquet of choice footage, particularly from the early years. But Hencken’s archive-only approach is too depersonalized to get close to its subjects; even the conflict and resolution are related like bullet points in a Wikipedia entry. And while the film carries no writer credit, the accompanying voiceover commentary from all five band-members feels canned, short on off-the-cuff spontaneity and hindsight perspective.
Still, even if it has not much more depth than a VH1 Behind the Music special, the doc holds ample pleasures for ’80s cultists. Among them is watching the boys groove through “To Cut a Long Story Short” in their 1980 showcase gig aboard the HMS Belfast; sunbathe on the beach in St. Tropez or by the pool in the Bahamas; flounce around the snowy Lake District like Bedouin warlords (with dwarfs) in the 1981 “Musclebound” music video; arrive at Wembley Stadium by chopper for Live Aid; or face off against Duran Duran (and lose) in a battle of the haircut bands on the BBC’s Pop Quiz.
The film sets the scene for the birth of Spandau, with 1960s footage and home movies from their North London childhoods during an era when postwar Brits had big dreams for their kids. Drummer John Keeble narrows his own goals to three options: “Keep wicket for England, play for Arsenal or play drums in a rock band.” He joined schoolmates Steve Norman, Kemp and Hadley in early incarnations of the group. Their friend Steve Dagger took on management duties while Kemp’s younger brother Martin Kemp eventually stepped in as bass player to complete the lineup.
Hencken supplies plenty of late ’70s context: Margaret Thatcher came into power and clashed with trade unions, prompting nationwide strikes in that “Winter of Discontent.” But unlike punk, no case is made here that the fledgling New Romantic wave was in any way political. It was shaped less by social concerns than by the poseur costume-ball spirit that pervaded Blitz, the legendary Covent Garden club run by Steve Strange and Rusty Egan (whose own group, Visage, was on the synthpop New Romantic vanguard), A collision of glamrock, punk and soul, the sound drew from acts like David Bowie and Roxy Music as building blocks, while mixing in European electronica like Kraftwerk.
The film leaves no doubt that Spandau Ballet (a name music journalist Robert Elms reportedly saw scrawled on a Berlin bathroom wall) were at the center of this pop-cultural ferment, particularly in their connection to the Blitz crowd. Early television exposure helped them secure a lucrative record deal, and the members say their first hits opened the door to intense competition from bands like Soft Cell, Culture Club, Human League, and their biggest rivals, Duran Duran.
However, the sweeping nature of these claims is a weak point in Hencken’s documentary, given that unmentioned artists like Gary Numan and groups like Orchestral Manoeuvres in the Dark, Ultravox, ABC and Heaven 17 were no less influential than Spandau in defining signature early-’80s post-punk sounds. Appointing the band as sole spokesmen skews the assessment, with selective memory perhaps encouraging them to take more single-handed credit than is due for a collective music/fashion/video explosion. A key point the doc ignores is that their success, like Duran Duran’s, probably had less to do with being individualistic pioneers than with having a finger on the mainstream pulse.
The friction and fatigue that led to the band dissolving in 1990 also are covered only in vague terms. There’s passing talk of “living on champagne, cocaine and adrenaline” at the height of their popularity; of anxiety that Hadley’s wedding would hurt their image; of friendships eroded by too much hard partying together on the road; and of a loss of focus when the Kemps began exploring acting roles, notably playing the eponymous twin London underworld figures in the 1990 film The Krays. But Hencken and editor Chris Duveen only partly succeed in shaping this decline into a sturdy narrative. That lessens the impact both of the bitter 1999 lawsuit over royalties and of the reunion that followed a decade later.
If footage of the reformed Spandau tearing through “Gold” as the encore to their set at the 2010 Isle of Wight Festival lacks the punch of a real emotional climax, that might partly be because Hadley in his dapper suit looks disconcertingly like Alec Baldwin as Jack Donaghy. More importantly, Hencken glosses over the healing of the divided band’s royalty dispute, taking her cue from Gary Kemp (“A private matter, I think”), who had solo songwriting credit on their hits.
Too many music docs overload on talking heads instead of providing immersion into the time and the sounds being chronicled. Soul Boys of the Western World can’t be accused of that. But instead of endless scripted voiceovers reiterating generic points like, “This was it. I really felt like a rock star,” some candid face time on camera might have allowed more intimate access to Spandau Ballet’s history.
Venue: South By Southwest Film Festival (24 Beats Per Second)
With: Tony Hadley, Gary Kemp, Steve Norman, John Keeble, Martin Kemp, Steve Dagger
JUPITER ASCENDING MOVIE TRAILOR |The complex space mythology of next year’s sci-fi epic Jupiter Ascending has so far required multiple trailers to fully explain the plot. The latest clip does the best job so far, only glancingly focusing on Channing Tatum’s wolfman alien bodyguard who arrives on earth to protect cosmic-queen-in-waiting Jupiter (Mila Kunis).
The new trailer lays out the basics: The Earth was seeded by an extraterrestrial dynasty tens of thousands of years before, and the overlords, led by Eddie Redmayne’s operatically evil Balem, are about to come a-harvesting. The one holdup to their plans is Kunis’ modest earthling, who is really a genetic heir to the planet. The spot also features a more active and assertive Kunis, facing off against Balem and comically romancing Tatum’s hybrid warrior. “Your majesty, I have more in common with a dog than I have with you,” he warns. “I love dogs, I’ve always loved dogs,” she sighs.
Jupiter Ascending is the latest from TheMatrix masterminds Lana and Andy Wachowski, and is based on their original screenplay. It was shadowed by bad buzz earlier in the year, when it was moved from its prime July release date to Feb. 6, 2015, with the studio, Warner Bros. saying the Wachowskis needed more time to complete the heavy special effects. The movie seemed to get a positivereaction at Comic-Con in July, when Tatum was on hand to show off what looks from the trailers to be eye-popping intergalactic footage. “[The Wachowskis are] absolutely out of their minds,” he said according to Slashfilm. “We tried to do something different, something you’ve never seen before.”
Richard Gere stars in Oren Moverman’s TIME OUT…by redcarpetdiary TIME OUT OF MIND MOVIE TRAILOR The next time you pass a panhandler on the street that looks like Richard Gere, pause and take a closer look because it may actually be Richard Gere. Earlier this year, the 65-year-old actor spent several weeks on the New York streets shooting Time Out of Mind, in which he plays an elderly alcoholic who becomes part of the city’s homeless population. Wearing a black-knit winter hat and clutching an empty coffee cup, Gere approached actual passers-by and asked for spare change while director Oren Moverman (Rampart, The Messenger) filmed the interactions, often from a block away. And, amazingly enough, nobody recognized him. Well…almost nobody. “There were two or three times where someone talked to me on the street,” Gere remarked at a press conference following a New York Film Festival screening of Time Out of Mind on Thursday. “One was a French tourist, a woman, who totally thought I was a homeless guy and gave me some food. The other two times were African-Americans and they just passed me and went, ‘Hey Rich, how you doin’ man?’ No question about what I was doing there or ‘Have you fallen on hard times?’ and ‘What happened to your career?’ Just “Hey Rich, how you doin’ man,” and they just continued on.”
For the most part, though, people barely looked at Gere, and that was precisely the non-reaction he needed to get into character. “I think we all have a yearning to be known and be seen,” he explains. “I come here and you want to hear what I want to say. But I’m the same guy that I was on the street and no one wanted to hear his story. I could see how quickly we can all descend into [scary] territory when we’re totally cut loose from all of our connections to people.” Here are five other things we learned about Time Out of Mind — which is currently without a distributor — from Gere and Moverman’s press conference.
The movie has been almost 30 years in the making
Gere remembers receiving the script for what became Time Out of Mind a decade ago, but it apparently had been kicking around Hollywood a long while before that. “It was written in the late ’80s, but a lot of it was still relevant ten years ago,” says the actor, who has been a longtime supporter of the New York organization, Coalition For the Homeless. “I couldn’t get it out of my mind and I bought it.” After befriending Moverman on the set of Todd Haynes’s 2007 Bob Dylan non-biopic, I’m Not There (which Moverman cowrote), Gere decided he had found the right collaborator to finally make the project a reality. “There was a book [Land of Lost Souls] by a guy named the Cadillac Man, a homeless man. It was a very unschooled autobiography, but it was by someone who was able to communicate his world. I knew this was the way it should feel, so Oren and I started talking about this film with that point-of-view…. What wasn’t clocking with me until I read Oren’s first draft is the sense of process being the movie. The process of [this character] going through the bureaucracy is enough plot — you don’t need to pump it up. Life itself, without any dramaturgy, is enough.”
There was no plan B
Because the entire production hinged on its star being able to panhandle on the street without attracting a crowd, he and Moverman did a test shoot before production began, with Gere wandering around the Astor Place section of Manhattan while his director filmed him from inside a Starbucks. “I’m out there and I was a little scared and anxious,” Gere recalled. “And nobody saw me! I started approaching people and asking, ‘Can you help me out, spare some change.’ There was no eye contact, even when someone gave me a dollar bill. That was the first time I really felt what that [experience] is.” As nerve-wracking as that trial run was, it gave both the director and his lead actor the confidence to proceed. “The whole thing was predicated on the idea that, for a lot of this, I would be on the streets and New York would be passing me by. If that didn’t work, I don’t know what we would have done.”