OUT celebrated the most compelling lesbian, gay, bisexual and transgender people of the year with the OUT100 2015 Celebration Presented by Lexus, held at Guastavino's in New York. And one of those people happened to be Glee alum Alex Newell who made a splash on the dance charts with his collaboration with The Knocks on "Collect My Love."
The 2015 OUT100 portfolio represents the extraordinary contributions of the LGBT community to the cultural, social and political life of America.
Senior Advisor to President Barack Obama, Valerie Jarrett accepted the ‘Ally of the Year’ award on behalf of President Obama, one of the night's major honorees.
Photos: Sean T. Smith / Anton Martynov for Here Media
One could argue that holiday-themed films about families coming together, despite their bickering and differences, are a dime a dozen nowadays. They're those warm-and-fuzzy ensemble pieces that come with all the trimmings: Adorable dog who eats from the dining table! The miserable sister who'll never find love! The cute kid whose purpose is to run a recurring joke into the snow-covered ground (in between watching his parents fight, of course)!
Love The Coopers is no different (except for one thing, which I'll get to later).
Diane Keaton and John Goodman play Charlotte and Sam, the heads of the titular family. Sam's ready to announce to their brood that, after 40 years of marriage, he and Mama Cooper are planning to go their separate ways (the word "divorce" is never tossed around, so you know they ain't that serious). All Charlotte wants is to have one last picture-perfect Christmas with their grown children and grandkids before everything crumbles.
And let's talk about Ms. Keaton for a minute: At this point in her career, it appears she's gravitating towards roles that are as interchangeable as a wooden nutcrackers on a fireplace mantle. (Perhaps this requires a bigger discussion on what roles are available for someone of her caliber.) Maybe something about her just screams snow-globe-collecting-WASP-who-loves-Restoration-Hardware. Her Charlotte Cooper is no different from the frazzled-but-smartly-dressed sexagenerians she has portrayed ever since she nailed it in 2003's Something's Gotta Give. The typecasting, at this point, is so embarrassingly obvious. More proof can be found in forgettable titles like 2014's And So It Goes, 2013's The Big Wedding, and 2012's Darling Companion. But there's one movie on Keaton's IMDB page for which Coopers feels like direct carbon copy, and that's 2005's The Family Stone, which happens to share the same producer (Michael London, shocker).
But back to the Coopers: Charlotte and Sam's kids are not much better off. Son Hank (Ed Helms) is coping with single parenthood, and daughter Eleanor (Olivia Wilde) is coping with being a disappointment as an unemployed playwright who flirts with the Army soldier (Jake Lacy) she meets an airport bar. (Their bantery scenes are the most enjoyable.) Meanwhile, Charlotte's younger sister Emma (Marisa Tomei) wallows in self-pity with the stone-faced officer who catches her shoplifting (Anthony Mackie), and their dad Bucky (Alan Arkin) befriends a doe-eyed waitress (Amanda Seyfried) who has nowhere else to go on Christmas, despite Bucky's odd attraction to her. (This borderline creepy storyline falls flatter than one of Charlotte's decorative placemats.)
But despite the blatantly bland cookie-cutterness of the film, there's something charming in the way director Jessie Nelson and writer Steven Rogers weave in flashbacks for each character. And that's where Coopers slightly stands out from the rest of the holiday-family fodder. It goes ahead and reminds us why holiday gatherings are so tricky, and it's often provided by an omniscient narrator (Steven Martin) and punctuated by a moody holiday soundtrack full of eclectic tunes. Forget the cutesy poster tagline "You can't regift family." The real message behind this cliche-riddled production is a commentary on nostalgia and how easy it is to fall into that memory trap whenever you come home to festive lights, a good meal, and individuals who love you unconditionally.
It's a shame the rest of the movie couldn't take on a more winking, irreverent tone and eventually ends up being the longest saccharine-filled Hallmark greeting card ever created.
It's not even Thanksgiving yet, and Daniel Kim (pictured above), the mashup maestro known for his end-of-the-year "Pop Danthology" mixes, has given us not one but TWO epic pieces of pop perfection that are guaranteed to make your ears smile.
The subtitle for this gloriously overblown sequel might as well have been "America Fuck Yeah!"
For those of you who enjoyed Olympus Has Fallen, the 2013 action-thriller about shit blowing up at the White House, get ready for more iconic monuments - this time in Europe - to be obliterated.
Gerard Butler returns as Secret Service Agent Mike, the POTUS's BFF who needs to get back into fighting shape when a terrorist baddie named Barkawi (what?) threatens to ruin everyone's day during a very important gathering in the U.K.
Serious Actors Who Deliver Generic Lines With Serious Faces like Angela Bassett, Morgan Freeman, and Melissa Leo can be seen in a few scenes trying to bring on the gravitas, but let's face it America, we're here for the destruction of a capital city with loads of great architecture and greater accents.
June 26th, 2015 was one of the most momentous days in U.S history when Supreme Court made the ruling that same-sex marriage was legal in all 50 states.
Therefore, in collaboration withField Day, Yulin Kuang, a young/passionate director, captured 50 couples' joyful love after the ruling, and used Shakespeare’s beautiful sonnet 116, beginning with “Let me not to the marriage of true minds admit impediments,” to connect these couples from all 50 states she interviewed.
And here's the beautiful result of this countrywide project:
Field Day is a place to meet and see YouTube’s most inspired filmmakers, dynamic entertainers, and exciting personalities. Each week, one of these inspired creators tries something new and creates their own unique, imaginative, dream video. Whether they’re investigating far-off places, dancing with remote control cars, or stunt flying with Star Fox, you won’t want to miss these creators #HaveAFieldDay.
It's after midnight, and there now exists in the world a new Adele song.
And life. Is. Good.
It's everything we expected: Powerhouse vocals. Devastating lyrics. Haunting piano keys.
The video for "Hello," the British singer's lead single from the forthcoming 25, also debuted. It's a gorgeous, cinematic piece featuring one of the decade's biggest artists and...the guy from that 90210 reboot??? Looks like we have a candidate for Most Random Casting of 2015.
Yep, that's actor Tristan Wilds (DIxon Wilson from the CW reboot) playing the subject of the song, an ex to whom Adele apologizes for breaking his heart.
Let's see how many hits this thing gets. Just press play. And enjoy:
Just when you thought you've seen every horror-comedy imaginable, along comes Freaks of Nature, an unapologetically R-rated flick about a small town overrun by bloodsuckers and braineaters...that gets taken over by extraterrestrials. Proceed to comment with your standard "WTF?"
With a cast that includes Denis Leary, Patton Oswald, Bob Odenkirk, and Vanessa Hudgens, it looks like we're in for a bloody, over-the-top, fantastic ride. Check out the red band trailer:
Room starts out observing the mundane daily lives of Ma (emerging frontrunner Brie Larson) and 5-year-old Jack (Jacob Tremblay). They're being held prisoner in "Room," a confined shack in the middle of the woods with minimal contact. Jack, having been born in Room, has never set foot in the outside world - or "outer space,” as he puts it. You see, throughout his entire life, Ma has shielded Jack from anything real that exists beyond the four walls of the tiny garden shed where they're being held captive. And on top of that, their lives are in danger every day; their captor, "Old Nick" (Sean Bridgers), a mysterious man Ma only knows for his weekly visits, food drops, and the occasional new article of clothing. When she learns Old Nick has been laid off from his job, she fears the worst. Thus begins a plan for an escape.
What follows is one of the most tense scenes in recent movie history. Director Lenny Abrahamson manages to construct an edgy "car chase" that features no more than a single truck meandering its way through a sleepy neighborhood. By the end of the scene, Larson and Tremblay display a level of raw emotion and talent that only an intimate movie like this can produce.
We get to know the two of them as they know each other - insular, restricted, controlled. Their eventual reintegration into the real world is just as traumatic as their captivity. Jack has trouble speaking to anyone other than Ma, and she (Joy) has a hard time dealing with the fact that her loved ones have eventually moved on during her 7-year absence. The second half of the movie could have easily fallen into the melodramatic territory of a Lifetime movie-of-the-week, but the strength of Emma Donoghue’s script (based on her novel) is in what’s left unsaid. We know Jack is the product of Joy's captor, but she never once sees the face of Old Nick when she looks at her son.
Subtle performances from Joan Allen and William H. Macy, as Joy’s parents, round out the cast, but Larson and Tremblay are undoubtedly the centerpieces of this film. Both performances are Oscar-worthy, but it seems as if this is the type of acting that the Academy rarely rewards these days. (Hopefully we're proven wrong when ballots go out soon.) The bond they share through this horrific ordeal and eventual journey to gain independence from the memory of their past, as well as from each other, is at the heart of this gripping story.
Jack may be young enough for his memories of Room to fade, but Ma has a longer, more difficult journey ahead, one where Room no longer exists and “outer space” is home for both of them.
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