Moving On is a stop-motion video from BAFTA-nominated animator, writer, and director Ainslie Henderson. The clip was created as a music video for British rock band James and tells a story of life and death through characters depicted with yellow yarn. Sad, but wonderfully done.
(via Jason Sondhi)
Watch Video Here
Unexpectedly, the Jurassic World trailer that was due to be released on Thanksgiving Thursday, has suddenly been released, as tweeted by director Colin Trevorrow and producer Frank Marshall! Watch it 100 times below!
I have waited 13 years for this moment and I couldn’t be happier. That was breathtaking, gorgeous and scary! It’s everything Jurassic Park 4 needs to be, and more! I think the world is going to be surprised by this sequel!
As well as the trailer releasing early, the official website – www.jurassicworldmovie.com – has launched, revealing some information about the film, the full cast list, and a good number of HD pictures from the trailer.
Be sure to check out the site, like and share the trailer and let us know what you think in the comments section
Culled From Jurassic World, Read More Here
Here is the first trailer for Pan. No, it’s not a Pixar short about an anthropomorphized pan who grows up an outsider in his pan community but eventually leaves the kitchen to save the house, only to return back to the kitchen a changed pan. It’s Peter Pan’s origin story. If he only knew that one day the actress from Girls would play him on TV so the internet could have something to tweet about for a night.
Article Culled from Vulture , Read Original Articule Here
The Profit, which airs on CNBC, stars investor Marcus Lemonis, as he travels around offering to buy up pieces of struggling businesses — if the owners agree to do things his way. Spoiler: After hemming and hawing, they mostly agree. Lemonis puts up his own money — dude’s a billionaire, so … he can — and then becomes a part owner of the company, sometimes buying 25 percent, sometimes 50, sometimes somewhere in between. I won’t say that The Profit is realer than its brethren, but Lemonis does seem more, invested. He repeats, often a few times per episode, that he believes in “people, process, and product,” and then, throughout the course of the episode, we see him put it into practice: If he thinks the people from the company are crummy, he sometimes straight-up fires them, but he also sometimes brings in a team psychologist to help people work through some issues. If the processes is broken, he buys new warehouses or machinery and inventory systems. And if a product is bad, he insists on revamping the recipe or upgrading the fabric or whatever. So simple, so straightforward.
Many, many of the businesses he invests in are run by “personalities,” but Lemonis is weirdly calm during most of the proceedings. He tells the head of sales of an ecofriendly cleaning-products company that she’s terrible at sales; she shouts back that she’s great at it, and he just stands there, steadily repeating, “No, you’re not.” (He’s right. She is extremely bad at sales, or at least extremely bad at sales on TV.) He stares blankly while people explain the weird love-triangles that have ruined their businesses partnerships, and then tells them he doesn’t actually want to know their personal drama, he just needs to know if they can work together. (I want to know their personal dramas. People are so weird, all the time!) He has no problem telling people they’ve invested poorly thus far, but he’s not scolding or punitive. He’s sort of chill and patient and lets the weirdos tire themselves out, until they return to their senses and agree to his terms. People get into it, for sure, but there’s less of the pervasive nastiness and acrimony than you’d expect.
It’s not that he’s unemotional, though. He gets choked up when a clothing-franchise owner talks about watching his father die, and wanting to make sure this business survives so he can take care of his mother and sister. He writes a check to a pregnant employee at a pie company whose skills he admires because he wants to make sure she stays with the company, and the woman is so moved, she immediately starts weeping and hugging him. (I cried.) He gets giddy watching fancy machinery spit out newly designed bottles of shampoo, though he’s a very awkward high-fiver. He stands up for lower-level employees, particularly when he thinks they’re being undervalued. He also, almost gleefully, explained to an evil small-time investor in a candy company that he’d pour as much money as necessary into the company until the villain’s shares were such an insignificant percentage, he’d be better off walking away. Again, Lemonis is a billionaire, and this other guy was some chump from central Pennsylvania who had put up two grand to get a candy company started. Suck it, Pennsylvania guy! You should have been a more loyal and hardworking member of the team.
Maybe it’s because the show is only in its second season, and no one’s tired quite yet, but the biggest draw is that Lemonis seems to enjoy the work. He’s a business-y dude who genuinely likes business, whether it’s trailer equipment or fitness centers or green-tea ice cream. There’s something joyful about watching a demonstration of legitimate skill, and removing the typical degradation and humiliation that’s usually a big part of these kinds of shows makes it almost peaceful. In general, discussions of profit margins and phrases like “it’s not personal, it’s just business” make me want to die a thousand deaths until I am reborn on a commune that values love, support, and mutual regard over all else, particularly the corrupting influence of commerce, and yet I am drawn to this show. I wish there was more follow-up with the rescued businesses, and I wish the series delved a little more into Lemonis’s personal experiences. But overall, The Profit’s squarely in the black.
Article culled from :Vulture ,Read Orginal Article Here
Hugh Jackman, Garrett Hedlund, and Rooney Mara join newcomer Levi Miller in a re-imagining of the classic story, which files into theaters on Jul. 17, 2015.
Warner Bros.
Warner Bros.
Warner Bros.
Warner Bros.
Warner Bros.
Warner Bros.
Warner Bros.
Warner Bros.
Warner Bros.
Warner. Bros.
Watch Full Trailer Here:
Culled from BuzzFeed
Cluelessis one of the best (and most classic) movies of all time, it is a 1995 American comedy film loosely based on Jane Austen‘s 1815 novel Emma.[1][2] It stars Alicia Silverstone in the lead role, Stacey Dash, Paul Rudd and Brittany Murphy. The film is set in Beverly Hills and was written and directed by Amy Heckerling and produced by Scott Rudin, it was released in the United States on July 19, 1995.CluelessClueless
Clueless is one of those movies that you own on DVD, you have on your Netflix watch list at all times and still, any time it’s on TV, you can’t resist sitting down and re-watching all the amazing Cher and Dionne moments. The 1995 movie is almost 20 years old ,and we enjoy any chance we get to talk about Cher, Dionne, Ty and of course, our love for Paul Rudd in the 90s. Next time you watch the movie you can look out for clear signs that Christian is gay, you can look for spelling mistakes on Cher’s report card, and you can even look for the real Mr. Hall.
Culled from : Your Tango
The first trailer for Disney’s “Cinderella” has arrived at the ball. Starring Lily James (“Downton Abbey”) as Cinderella and Cate Blanchett as her wicked stepmother, the new version of this classic fairytale keeps things old school: there’s a fairy godmother (played by Helena Bonham Carter), a pumpkin carriage, a blue dress and the handsome Prince Charming (played by “Game of Thrones” vet Richard Madden). Kenneth Branagh directs. “Cinderella” is out on March 13, 2015.
Watch The Trailer Below:
Youtube/HuffPost
James Franco taking a selfie.
Photo: Paper Magazine
Paper Magazine must be really, really desperate for sales and internet traffic. The folks who recently brought you Kim Kardashian’s bare, greased-up backside in attempt to #BreakTheInternet have another celebrity surprise in store—it’s like they have gone down a ‘most searched names’ list on the internet and come up with well… the most obvious names. In the very same December issue, which hits newsstands today, you’ll find a 2015 calendar comprised of James Franco’s selfies, along with a note from the actor-turned-art-enthusiast, and a fast-fact sheet (Franco likes cats, spaghetti).
You may recall Franco’s other recent narcissistic foray, his universally derided show (for those who cared to weigh in), “New Film Stills,” at Pace Gallery in London inspired by Cindy Sherman’s seminal series “Untitled Film Stills,” and for which the actor comically and somewhat disrespectfully posed in the pictures à la Sherman (see “Why James Franco’s Cindy Sherman Homage at Pace is Not Just Bad But Offensive.”)
Each month of the calendar also features a unique “Instagram prompt” from Franco to readers, which means this thing has the potential to be clogging up your feed for a whole year to come. It is devious, diabolical, designed to basically trick search engine robots and trap viewers not clicking into the stories and images. Celebrity-link baiting is pretty common these days but an arty magazine engaging in this kind of desperate ploy feels, well, cheap.
On a scale of 1 to annoying, we would say this ranks high above the other two 2015 calendars we’ve profiled: naked artist pandas are not annoying at all (see “Artists Dress as Nude Pandas for Art F City Calendar”), and rubber-clad models are only slightly annoying (see “Steven Meisel Shoots Arty Nudes for Pirelli’s Provocative Annual Calendar”), but still far less terrible than Kim Kardashian’s Selfish book. But then, if the best thing that can be said about James Franco is that he’s less annoying than Kim Kardashian, that’s still not great.
If you can’t make it to a newsstand to pick up the new issue, Paper has made the whole 32-page Franco calendar available for download here.
If the Force hasn’t already awoken, it will come Friday. That’s when the first trailer for the series’ seventh installment is set to premiere.
Disney and Lucasfilm have been touting “big plans” for the trailer’s reveal. Instead of dumping it on our online doorstep, America will have to leave Black Friday sales and enter an actual movie theater to see the first glimpses of “The Force Awakens.” The trailer will premiere at select Regal Cinema locations across the country. It will play ahead of every movie, so whether you take the kids to see “Penguins of Madagascar” or catch an Oscar contender like “The Theory of Everything” or “Foxcatcher,” rest assured the new “Star Wars” trailer will be there too.
The Force has had its morning cup of coffee, and it’s starting to wake up. By Friday, the Force will be half-alert as the new trailer for “Star Wars: The Force Awakens” debuts in theaters across the US.
Disney has partnered with Regal, AMC, Cinemark and a few other cinemas to show the trailer to moviegoers this Friday. The trailer will run for a limited time only, between November 28 and November 30, but it will play before all movies at select locations. You can view the complete list of locations on the Star Wars website.
If you don’t live in one of those areas, you’ll be out of luck until the official first trailer hits the Internet or a theater near you. No additional plans to show the trailer to moviegoers have been announced.
“Star Wars: The Force Awakens” is set to land in theaters in the US, UK and Australia on December 18, 2015. We hope the Force will fully be awake by then.
Culled from: cnet
Jennifer Lawrence in The Hunger Games: Mockingjay – Part 1. Murray Close / Lionsgate
The film’s $123 million domestic opening weekend is also, however, the best of the year. Hollywood is weird sometimes.
Only in Hollywood could making $123 million in three days ever be seen as a disappointment.
That is the unusual fate befalling The Hunger Games: Mockingjay – Part 1, which opened to that lofty estimated figure at the domestic box office this weekend. While $123 million is good enough to give the movie the biggest U.S. debut of 2014 — besting the June opening of Transformers: Age of Extinction — it is also the lowest debut for the Hunger Games franchise by a hefty margin. The Hunger Gamesopened at $152 million in March 2012, and its sequel, Catching Fire, debuted with $158.1 million this time last year, one of the biggest opening weekends ever at the box office.
But Mockingjay – Part 1’s debut represents a 22% drop from Catching Fire’s record-breaking high. Frigid weather in much of the U.S. and a lack of IMAX screens (currently booked for Interstellar) could account for a portion of the drop-off. Some audiences could have been wary of the film’s darker tone, while others could have been turned off by Lionsgate’s decision to follow in the footsteps of big franchises that came before it, by splitting Suzanne Collins’ novel into two parts, extending the franchise — and the box office receipts — for another year.
Whatever the reasons for Mockingjay – Part 1’s relative drop in box office returns, however, it’s another representation of 2014’s domestic box office slump: Returns in the U.S. are down 4.9% from this time a year ago, and 6.4% from 2012.
Internationally, however, the box office picture for Mockingjay – Part 1 is far rosier: The film took in an estimated $152 million in 85 overseas markets this weekend. Not only is that the first time a Hunger Games movie has grossed more in its opening weekend overseas than in the U.S., but Mockingjay – Part 1’s foreign box office earnings actually improved on Catching Fire’s international debut by roughly 4%.
The overseas market has been a wildly potent area for growth for the Hunger Games franchise in general. Catching Fire’s $440.2 million foreign total improved a whopping 55% over the first film’s $283.2 million international gross. WhileMockingjay – Part 1’s overseas box office almost certainly won’t improve at that same magnitude, the movie is on a far more welcome trajectory for its international distributors.
As for Lionsgate — which distributes the Hunger Games films in the U.S. as well as bankrolling the productions — there is always hope for Mockingjay – Part 2, opening Nov. 20, 2015.
Here are the estimated top 10 box office figures for Friday to Sunday, courtesy of Box Office Mojo:
1. The Hunger Games: Mockingjay – Part 1* — $123 million
2. Big Hero 6 — $20.1 million
3. Interstellar — $15.1 million
4. Dumb and Dumber To — $13.8 million
5. Gone Girl — $2.8 million
6. Beyond the Lights — $2.6 million
7. St. Vincent — $2.4 million
8. Fury — $1.9 million
9. Birdman — $1.85 million
10. The Theory of Everything — $1.5 million
*Opening weekend
ArtRubic 