quarta-feira, 15 de janeiro de 2014

Johnny Depp pode estrelar o filme do Doutor Estranho

O ator viver Johnny Depp (“O Cavaleiro Solitário”) está em negociação para estrelar a adaptação dos quadrinhos “Doutor Estranho”. A informação partiu do site Latino Review, que cita uma fonte (anônima, é claro) bastante envolvida com a produção. Mas o site Variety apurou que, enquanto a Marvel nutre o sonho de ter um filme estrelado por Depp, nenhuma reunião ainda foi marcada entre o astro e o estúdio.
Johnny Depp sempre foi um favorito dos fãs para o papel do Doutor Estranho, e o fato do ator nutrir bom relacionamento com a Disney, dona da Marvel, graças aos filmes dos “Piratas do Caribe” pode facilitar um acordo.
O Doutor Estranho foi criado em 1963 por Stan Lee e Steve Ditko como um cirurgião arrogante que, depois de perder a habilidade das mãos num acidente de carro, parte em busca de uma cura e acaba por encontrar mais do que queria entre monges das montanhas do Himalaia, conquistando redenção e poder, como o maior mago do universo da Marvel.
A adaptação está sendo roteirizada por Thomas Dean Donnelly e Joshua Oppenheimer, que até agora só escreveram filmes péssimos, como “Conan, o Bárbaro” (2011), “Dylan Dog e as Criaturas da Noite” (2010), “O Som do Trovão” (2005) e “Sahara” (2005).
O filme integrará a “Fase Três” do Marvel Studios, que se iniciará após a estreia de “Os Vingadores 2″, marcada para 2015. “Homem Formiga”, “Doutor Estranho” e “Pantera Negra” são os projetos em desenvolvimento para a terceira etapa de transposição dos quadrinhos Marvel para o cinema, com estreias previstas para 2015, 2016 e 2017, respectivamente.
Já Johnny Depp será visto em breve na sci-fi “Transcendence”, que chega aos cinemas brasileiros em 18 de abril, no musical “Into the Woods”, com estreia marcada para o dia do Natal, nos EUA, e nos thrillers “Mortdecai” e “London Fields”, ambos ainda sem previsão de estreia.

segunda-feira, 13 de janeiro de 2014

Globo de Ouro 2014

Confira quem são os vencedores do Globo de Ouro 2014

Direto de Los Angeles, a 71ª edição do GLOBO DE OURO® premia o melhor do cinema e da TV e é uma das premiações mais assistidas do mundo, desde a chegada das estrelas pelo tradicional tapete vermelho até o anúncio final de todas as emoções das 25 categorias em disputa.
Confira abaixo a lista dos vencedores de 2014:
Cinema
Melhor filme – Drama
“12 years a slave”
“Capitão Phillips”
“Gravidade”
“Philomena”
“Rush”
Melhor filme – Comédia ou musical
“Trapaça”
“Her”
“Inside Llewyn Davis”
“Nebraska”
“Wolf of Wall Street”
Melhor ator – Drama
Chiwetel Ejiofor, de “12 years a slave”
Idris Elba, de “Mandela”
Tom Hanks, de “Capitão Phillips”
Matthew McConaughey, de “Dallas Buyers Club”
Robert Redford, de “All is Lost”
Melhor atriz – Drama
Cate Blanchett, de “Blue Jasmine”
Sandra Bullock, de “Gravidade”
Judy Dench, de “Philomena”
Emma Thompson, de “Walt nos bastidores de Mary Poppins”
Kate Winslet, de “Labour Day”
Melhor atriz – Comédia ou musical
Amy Adams, de “Trapaça”
Julie Delpy, de “Antes da meia-noite”
Greta Gerwig, de “Frances Ha”
Julia Louis-Dreyfus, de “À procura do amor”
Meryl Streep, de “August: Osage County”
Melhor ator – Comédia ou musical
Christian Bale, de “Trapaça”
Bruce Dern, de “Nebraska”
Oscar Isaac, de “Inside Llewyn Davis”
Joaquin Phoenix, de “Her”
Leonardo DiCaprio, de “Wolf of Wall Street”
Melhor ator coadjuvante
Barkhad Abdi, de “Capitão Phillips”
Daniel Bruhl, de “Rush”
Bradley Cooper, de “Trapaça”
Michael Fassbender, de “12 years a slave”
Jared Leto, de “Dallas Buyers Club”
Melhor atriz coadjuvante
Sally Hawkins, de “Blue Jasmine”
Jennifer Lawrence, de “Trapaça”
Lupita Nyong’o, de “12 years a slave”
Julia Roberts, de “August: Osage County”
June Squibb, de “Nebraska”
Melhor diretor
Alfonso Cuaron, de “Gravidade”
Paul Greengrass, de “Capitão Phillips”
Steve McQueen, de “12 years a slave”
Alexander Payne, de “Nebraska”
David O. Russell, de “Trapaça”
Melhor roteiro
Spike Jonze, de “Her”
Bob Nelson, de “Nebraska”
Jeff Pope Steve, de “Philomena”
John Ridley, de “12 years a slave”
David O. Russell, de “Trapaça”
Melhor filme estrangeiro
“Azul é a cor mais quente”, da França
“A grande beleza”, da Itália
“A caça”, da Dinamarca
“O passado”, do Irã
“Vidas ao vento”, do Japão
Melhor canção original
“Atlas”, de Chris Martin (“Jogos vorazes: Em chamas”)
“Let it go”, de Kristen Anderson Lopez e Robert Lopez (“Frozen: Uma aventura congelante”)
“Ordinary love”, do U2 (“Mandela: Long walk to freedom”)
“Please Mr. Kennedy”, de Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel Coen, e Ethan Coen (“Inside Llewyn Davis”)
“Sweeter Than Fiction”, de Taylor Swift (“One chance”)
Melhor trilha original
“All is lost”
“Mandela: Long walk to freedom”
“Gravidade”
“The book thief”
“12 years a slave”
Melhor animação
“Os Croods”
“Frozen: Uma aventura congelante”
“Meu malvado favorito 2”
TV
Melhor série de TV – Drama
“Breaking Bad”
“Downton Abbey”
“The Good Wife”
“House of Cards”
“Masters of Sex”
Melhor ator em série de TV – Drama
Bryan Cranston, de “Breaking Bad”
Liev Schreiber, de “Ray Donovan”
Michael Sheen, de “Masters of sex”
Kevin Spacey, de “House of cards”
James Spader, de “The Blacklist”
Melhor atriz em série de TV – Drama
Julianna Margulies, de “The good wife”
Tatiana Maslany, de “Orphan black”
Taylor Schilling, de “Orange is the new black”
Kerry Washington, de “Scandal”
Robin Wright, de “House of cards”
Melhor série de TV – Musical ou comédia
“The Big Bang Theory”
“Brooklyn Nine-Nine”
“Girls”
“Modern family”
“Parks and recreation”
Melhor ator em série TV – Comédia ou musical
Jason Bateman, de “Arrested development”
Don Cheadle, de “House of lies”
Michael J. Fox, de “The Michael J. Fox Show”
Jim Parsons, de “The Big Bang Theory”
Andy Samberg, de “Brooklyn Nine-Nine”
Melhor atriz em série de TV – Comédia ou musical
Zooey Deschanel, de “New girl”
Edie Falco, de “Nurse Jackie”
Lena Dunham, de “Girls”
Julia Louis Dreyfus, de “Veep”
Amy Poehler, de “Parks and recreation”
Melhor minissérie ou filme para TV
“American horror story: Coven”
“Behind the candelabra”
“Dancing on the edge”
“Top of the lake”
“White queen”
Melhor ator em minissérie ou filme para a TV
Matt Damon, de “Behind the candelabra”
Michael Douglas, de “Behind the candelabra”
Chiwetel Ejiofor, de “Dancing on the edge”
Idris Elba, de “Luther”
Al Pacino, de “Phil Spector”
Melhor atriz em minissérie ou filme para a TVHelena Bonham Carter, “Burton and Taylor”
Rebecca Ferguson, “The White Queen”
Jessica Lange, “American Horror Story: Coven”
Helen Mirren, “Phil Spector”
Elisabeth Moss, “Top of the Lake”
Melhor atriz coadjuvante em série, minissérie ou filme para TV
Jacqueline Bisset, de “Dancing on the Edge”
Janet McTeer, de “The White Queen”
Hayden Panattiere, de “Nashville”
Monica Potter, de “Parenthood”
Sofia Vergara, de “Modern Family”
Melhor ator coadjuvante em série, minissérie ou filme para a TV
Josh Charles, de “The Good Wife”
Rob Lowe, de “Behind the Candelabra”
Aaron Paul, de “Breaking Bad”
Corey Stoll, de “House of Cards”
Jon Voight, de “Ray Donovan”

Oscar 2014


Ellen DeGeneres no pôster oficial da 86ª edição do Oscar (Foto: Divulgação)Ellen DeGeneres no pôster oficial da 86ª edição
do Oscar (Foto: Divulgação)
Ellen DeGeneres ilustra o pôster oficial da 86ª edição do Oscar, divulgado nesta quarta-feira (8) pela Academia de Artes e Ciências Cinematográficas de Hollywood.

A apresentadora de TV, que será a anfitriã da cerimônia pela segunda vez, após uma participação em 2007, aparece vestindo um smoking, sentada no chão e segurando uma estatueta. De acordo com o site oficial da Academia, a imagem “dá uma mostra de sua personalidade ímpar que veremos no domingo do Oscar, relaxada e alegre”.

A premiação do Oscar deste ano será realizada no dia 2 de março, no Dolby Theatre, em Los Angeles, na Califórnia. A lista com os candidatos de todas as categorias será anunciada no próximo dia 16.

A votação secreta dos membros da Academia teve início no último dia 27 e se encerra nesta quarta. De acordo com a instituição, 289 longas-metragens foram elegíveis para a categoria de melhor filme.


sexta-feira, 10 de janeiro de 2014

When Greed Was Good (and Fun)

DiCaprio Stars in Scorsese’s ‘The Wolf of Wall Street’

NYT Critics' Pick
Mary Cybulski/Paramount Pictures
Movie Review: 'The Wolf of Wall Street': The Times critic A. O. Scott reviews "The Wolf of Wall Street."

More About This Movie
Future archaeologists, digging through the digital and physical rubble of our long-gone civilization in search of reasons for its collapse, will be greatly helped if they unearth a file containing “The Wolf of Wall Street,” Martin Scorsese’s three-hour bacchanal of sex, drugs and conspicuous consumption. Then as now, the movie is likely to be the subject of intense scholarly debate: Does it offer a sustained and compelling diagnosis of the terminal pathology that afflicts us, or is it an especially florid symptom of the disease?


From its opening sequence — a quick, nasty, unapologetic tour through its main character’s vices and compulsions, during which he crash-lands a helicopter on the grounds of his Long Island estate and (not simultaneously) shares cocaine with a call girl in an anatomically creative manner — to its raw, chaotic finish, “The Wolf of Wall Street” hums with vulgar, voyeuristic energy. It has been a while since Mr. Scorsese has thrown himself into filmmaking with this kind of exuberance. “Goodfellas,” a sprawling inquiry into how some men do business, is an obvious precedent, and so is “Mean Streets,” an intensive study of how some men get into trouble. Even the occasional lapses of filmmaking technique (scenes that drag on too long, shots that don’t match, noticeable continuity glitches) feel like signs of life. This movie may tire you out with its hammering, swaggering excess, but it is never less than wide-awake.
At the center of the whirlwind is Jordan Belfort, a crooked stock trader played by Leonardo DiCaprio, who has recently become the handsome cinematic face of extreme capitalism. “The Great Gatsby“ (this year’s other major motion picture about a rich criminal with a mansion on Long Island) gave Mr. DiCaprio a chance to explore the romantic side of wealth. Playing a plantation owner in “Django Unchained,” he savored the sulfurous corruption of an older ruling class. As Jordan (a real person whose memoir is the source of Terence Winter’s screenplay), he achieves a kind of superhuman shallowness. Jordan is forthright about the ecstasies of money — the pills, women, cars and other toys it allows him to buy, and above all the pure dopamine rush of acquiring more — and indifferent to anything else. Gordon Gekko, the lizard of “Wall Street,” proclaimed that greed is good. That sentiment is far too lofty for Jordan. What matters to him is that greed is fun.
Mr. Belfort’s book is more boast than confession, and Mr. Winter (whose television credits include “The Sopranos” and “Boardwalk Empire”) declines to treat his rise and fall as a fable of redemption. As portrayed in the movie, Jordan Belfort is a thoroughly despicable human being, but one whose charm — the ineradicable trace of melancholy furrowing Mr. DiCaprio’s brow, the still-boyish openness of his smile — makes actively despising him almost impossible.
After meeting Jordan at his saturnalian peak, we flash back to his beginnings as an eager newbie at a reputable firm, where he is introduced to the mysteries and pleasures of the trade by a gleefully Mephistophelean Matthew McConaughey. This is less a fall from grace than a rite of passage, and after the crash of 1987 flushes Jordan out of the real Wall Street, he finds a way to recreate its worst and most attractive aspects. Taking inspiration from a storefront penny-stock outfit, he conjures up a high-profile company with the fake blue-blood name of Stratton Oakmont.
As my colleague Joe Nocera has recently pointed out, the misdeeds of Stratton Oakmont — a relatively straightforward pump-and-dump scam built on the temporarily inflated value of often worthless stocks — have little in common with the elaborate, as yet mostly unpunished, schemes that wrecked the economy a decade after Jordan Belfort’s downfall. The sums that Jordan and his pals rake in may be huge, and their methods unsavory, but they are small-timers operating on the fringes of real power and attracting the attention of law enforcement (embodied by Kyle Chandler, playing a meager hand as well as he can). The big fish, still swimming freely, can be found in “Inside Job,” Charles Ferguson’s magnificent, indignant documentary on the origins of the financial crises, or in J. C. Chandor’s “Margin Call.”

Anyway, what makes “The Wolf of Wall Street” a vital and troubling document of the present is not so much Jordan’s business plan — he tells us repeatedly that it’s too complicated and boring to explain — as his approach to life. It’s a truism that every salesman sells himself, and as Stratton Oakmont grows, Jordan becomes an evangelist of easy money and unbridled pleasure. The ambitious brokers who flock to its trading floor are lured by the promise of huge bonuses and endless debauchery, but their enterprise is held together, above all, by the boss’s charisma.

More About This Movie

The Wolf of Wall Street
His first convert is Donnie Azoff (Jonah Hill, a manic, tubby Joe Pesci to Mr. DiCaprio’s Robert De Niro), a middle-class nebbish who gathers a bunch of like-minded losers into a recognizably Scorsesean crew. (Eventually Jordan’s dad, an accountant played by Rob Reiner, overcomes his initial reservations and joins the fun.) These guys are less violent than the mobsters of“Goodfellas,” and also less preoccupied with supposed codes and traditions, but they are nonetheless a familiar testosterone brotherhood, and Mr. Scorsese cannot help but revel in their profane, hormonal vitality.
What they do is consistently appalling and sometimes very funny. The comedy in “The Wolf of Wall Street” can be deliciously brutal — an extended sequence in which Jordan and Donnie are so blitzed on Quaaludes that they can barely move is sure to join Mr. Scorsese’s greatest-hits reel — but the movie laughs with Jordan as well as at him. And, intentionally or not, it makes a fetish of his selfish bad-boy lifestyle.
This brings me back to the question I started with, which perhaps should be posed another way: Is this movie satire or propaganda? Its treatment of women is the strongest evidence for the second option. On his way up, Jordan trades in his first wife, a sweet hometown girl named Teresa (Cristin Milioti), for a blonder, bustier new model named Naomi (Margot Robbie), whose nakedness is offered to the audience as a special bonus. (Mr. DiCaprio never shows as much as she does.) The movie’s misogyny is not the sole property of its characters, nor is the humiliation and objectification of women — an insistent, almost compulsive motif — something it merely depicts. Mr. Scorsese, never an especially objective sociologist, is at least a participant-observer.
His camera has always operated partly in the service of his id. This is a virtue and a failing, since his best films register a passionate fascination with the frequently ugly worlds they depict, a reluctance (or inability) to step back. “The Wolf of Wall Street” is no exception, and in this case it may be unfair to demand from the director a clarity of judgment that virtually nobody else — in business, politics, journalism or art — seems able or willing to articulate.
Does “The Wolf of Wall Street” condemn or celebrate? Is it meant to provoke disgust or envy? These may be, in the present phase of American civilization, distinctions without a meaningful difference behind them. If you walk away feeling empty and demoralized, worn down by the tackiness and aggression of the spectacle you have just witnessed, perhaps you truly appreciate the film’s critical ambitions. If, on the other hand, you ride out of the theater on a surge of adrenaline, intoxicated by its visual delights and visceral thrills, it’s possible you missed the point. The reverse could also be true. To quote another one of Mr. Scorsese’s magnetic, monstrous heroes, Jake LaMotta, that’s entertainment.
“The Wolf of Wall Street” is rated R (Under 17 requires accompanying parent or adult guardian). Naked women, naked greed.
The Wolf of Wall Street
Opens on Wednesday.
Directed by Martin Scorsese; written by Terence Winter, based on the book by Jordan Belfort; director of photography, Rodrigo Prieto; edited by Thelma Schoonmaker; production design by Bob Shaw; costumes by Sandy Powell; produced by Mr. Scorsese, Leonardo DiCaprio, Riza Aziz, Joey McFarland and Emma Tillinger Koskoff; released by Paramount Pictures. Running time: 3 hours.
WITH: Leonardo DiCaprio (Jordan Belfort), Jonah Hill (Donnie Azoff), Margot Robbie (Naomi), Matthew McConaughey (Mark Hanna), Kyle Chandler (Patrick Denham), Rob Reiner (Max Belfort), Jon Favreau (Manny Riskin), Cristin Milioti (Teresa) and Jean Dujardin (Jean-Jacques Saurel).

Promo da HBO mostra primeiras imagens (com spoilers) da 4ª temporada!


Imagens carregadas de spoilers das primeiras cenas do quarto ano da série poderão ser vistas no promo de fim de ano da HBO, que pode ir ao ar amanhã. Confira algumas delas!


Leia mais: http://www.gameofthronesbr.com/tag/4a-temporada#ixzz2q02pN0me
Under Creative Commons License: Attribution
Lançamento23 de maio de 2014
Dirigido por
ComJames McAvoyMichael FassbenderHugh Jackman mais
GêneroAção , Ficção científica
EUA









No futuro, os mutantes são caçados impiedosamente pelos Sentinelas, gigantescos robôs criados por Bolívar Trask (Peter Dinklage). Os poucos sobreviventes precisam viver escondidos, caso contrário serão também mortos. Entre eles estão o professor Charles Xavier (Patrick Stewart), Magneto (Ian McKellen), Tempestade (Halle Berry), Kitty Pryde (Ellen Page) e Wolverine (Hugh Jackman), que buscam um meio de evitar que os mutantes sejam aniquilados. O meio encontrado é enviar a consciência de Wolverine em uma viagem no tempo, rumo aos anos 1970. Lá ela ocupa o corpo do Wolverine da época, que procura os ainda jovens Xavier (James McAvoy) e Magneto (Michael Fassbender) para que, juntos, impeçam que este futuro trágico para os mutantes se torne realidade.Nacioonalidade

segunda-feira, 6 de janeiro de 2014

Musica

Joey Jordison diz que não saiu do Slipknot

O baterista declarou que ficou tão surpreso quanto os fãs quando essa notícia foi divulgada mês passado

    Apesar dos integrantes do Slipknot terem anunciado a saída de Joey Jordison, o baterista afirma ter sido pego de surpresa com a revelação, feita pelo site oficial da banda. 
  Em publicação feita pelas redes sociais, o músico disse que a sua saída do Slipknot é mera especulação. "Quero começar o ano falando sobre os rumores sobre minha saída do Slipknot. Eu gostaria de deixar claro que não saí da banda", afirmou. 

Jordison se definiu "tão chocado e surpreso quanto todo mundo. Gostaria de dizer mais sobre, mas ficarei em silêncio no momento. Agradeço pelo apreço e apoio e desejo um feliz ano novo, com muita saúde", disse.