In celebration of the upcoming Avengers: Age of Ultron, Subway Restaurants took sandwich artistry to a whole new level with a larger-than-life street art display on Hollywood Blvd. Jared Fogle “The Subway Guy” was on hand this week to unveil the masterpiece, pose with fans, and dine #WhereSuperHeroesEat.
After all, superheroes need to eat, right? Which begs the question: What kind of speedy metabolism do Thor and Captain America have if they're chowing down on footlong clubs in between battles with nasty otherworldly enemies?
Photo by Matt Sayles/Invision for SUBWAY Restaurants/AP Images
Jared posed with #WhereSuperHeroesEat 3D street art in celebration of sandwich maker's partnership with the upcoming Marvel movie on Monday.
While some of you were sweating it out in the desert at Coachella this past weekend, we were chilling out at the Hollywood Roosevelt and sampling the goods at the MTV Movie Awards Gift Lounge (sponsored by LifeCell).
The fabulously hospitable GBK Productions hosted yet another swagfest full of treats and surprises for celeb guests and various members of the press covering the annual festivities.
Photo Credit - Getty Images for GBK Productions
During our visit we spied Teen Wolf hottie Ryan Kelley and Glee's Dot Marie Jones among the recipients who got to sample some refreshments, provided by event sponsor Bare Organic Mixers (our fave: the Pomegranate Cranberry Cosmo) and bring home some sweet gifts like...
Tops and pants from Savee Couture, T-shirts and hoodies from Bible LA, a cool V-neck tee from the eco-friendly, humanitarian designer M The Movement (as seen on the right with Castle's Nathan Fillion), a box of baked treats from Naughty Girls Donut Shop, handmade, natural stone jewelry from Dara Ettinger, and a goodie bag filled with artisan accessories and bath products from The Artisan Group.
After a glass of Nuvino Wine, we were ready to put down our bags and recline on a lounge chair before heading out to Hollywood Boulevard...
Brendan Robinson. Photo Credit - Getty Images for GBK Productions
...but little did we know playing a few rounds with the new Nerf Rebelle - a toy that would please any Katniss follower - would delay us.
For those suffering from Glee withdrawal, check out Boychoir, the indie starring Dustin Hoffman, Kathy Bates, and Kevin McHale (Hi Artie!) about the arrival of a rebellious 12-year-old at a private music academy for young boys.
Kind of like Pitch Perfect...eh, maybe not:
Then...there's Arnold Schwarzenegger'sMaggie, which sees the action hero in a more muted role as a father looking to save his daughter from what appears to be a zombie plague.
If you ask us, it looks like a feature-length flashback episode of The Walking Dead...and that ain't a bad thing:
How lucky (or very unlucky for some victims) that 2015 has three Friday the 13th's on the calendar!
February's has passed -- so good job, you survived! The last one lands at the end the of the year in November. But today, March 13th, is the day we have been screaming for!
Today EPIX is airing a Friday The 13th marathon. Rise and shine at 7am and start the day with Jason Lives! Friday The 13th Part VI. Not quite sure why they didn't start in chronological order, but this is an excellent starter. This is the sequel that winks at the audience, ten years before the blockbuster Scream hit pop culture over the head.
Then, at 8:40am watch the hockey-masked maniac take Manhattan! Friday The 13th Part VIII. Yes, 8! A very ambitious idea, no? But it really doesn't have the budget for a proper execution. Personally, I think the scene where Jason takes Times Square was ripped off by Tom Cruise in Vanilla Sky, having a crazy iconic figure running around an NYC landmark like that. (Yes, I know Jason did it 12 years before Tom!)
As for the rest of your day, take note...
10:25am - Friday The 13th, the 1980 original. This is the movie that delivers the best final scare in history and puts this series on the map.
12:05pm - During lunch, check out Friday The 13th Part 2, a slick and nasty film that is relentless with an amazing final-girl-and-Jason showdown.
1:35pm - Friday the 13th Part 3. My personal favorite, this film is like McDonalds, so bad for you, but so yummy.
3:10pm - Friday The 13th:The Final Chapter. The deaths are all brutal, but the ending is magical for gore lovers.
4:45pm - Jason Lives again! So go out and rent Part V: A New Beginning, by far the filthiest of the bunch (and oddly enough, the first film of the franchise to use a Roman numeral in its title). Some say masterpiece -- not me.
6:15pm - Jason Takes Manhattan is on again! So get your hands on a copy of Part VII: The New Blood, It is basically Carrie meets Jason!
8:00pm-2:35am - Go ahead and watch 1-4 again. So what, who cares! Make this educational and learn from these master thespians how to die on camera in a big Paramount movie!
If you've made it through this entire marathon, which ends after 6am on Saturday the 14th, you are a trooper and learned so much about Paramount's greed for the green stuff while throwing around the red stuff!
I love every minute of this national holiday, so expect me to party on and on and on and on…kill...kill…Ma…Ma….
Simply put, The Best Exotic Marigold Hotel was my favorite film of 2012. The sleeper hit was a wondrous journey, an enchanting look at a group of pensioners leaving their homes behind to settle into the "third act" of their lives on the other side of the world. Director John Madden's gorgeous travelogue was also a rarity, a film that beautifully spoke to a certain generation, tapping into the fears and insecurities of Baby Boomers as they try to discover ways to establish a new lease on life.
So, what else can be said and done with a follow-up to such a singularly magical story? Apparently, not much.
The sequel is faced with the difficult task of prolonging a story that feels like it had sufficiently ended with a satisfying, closing chapter three years ago. But no, it appears that someone (at Fox Searchlight perhaps?) thought there was more to tell.
And "more" means focusing more on Sonny Kapoor (Dev Patel), the earnest owner of the property who has dreams of branching out his brand -- and marrying his girlfriend in a hitch-free ceremony. However, throughout most of the film, I wasn't sure if I was watching the Indian version of Father of the Bride or an AARP-sponsored version of Melrose Place.
Yes, the original cast returns in fine form (truthfully, I'd watch Judi Dench and Maggie Smith in just about anything), and it's wonderful to see the old gang again, but like most reunions, the anticipation and build-up far outshines the actual event. A second visit to this Exotic Marigold Hotel is, unfortunately, an anticlimactic one.
Perhaps it's because most of the beloved characters from the first film have now been given storylines that feel more forced than inspired. Douglas (Bill Nighy) doesn't know what to do with his feelings for Evelyn (Dench). Norman (Ronald Pickup) thinks he has accidentally put a hit on the woman he thinks is his girlfriend (the exquisite Diana Hardcastle). And Madge (Celia Imrie) bounces back and forth between two rich suitors and spends most of the film sitting in the backseat of her personal limo service, staring pensively out the window.
Richard Gere and Tamsin Grieg (Episodes) are the new faces in the crowd; he's a writer looking for some inspiration, and she's feeling out the hotel for her aging mother. And while Gere does provide some much-needed sizzle for the Metamucil set -- at the screening I attended, several women of a certain age let out a collective, audible "Ooh" -- his storyline turns out the be the most uneventful rom-com ever.
The Second Best Exotic Marigold Hotel can feed the audience as many philosophical nuggets as it wants while wooing them with its exotic locale, but this time around, everything comes out a bit flat. The further the movie went, the more I realized how unnecessary the whole affair is.
But it sure knows how to tug at this writer's heartstrings. Even though much of it rang hollow, the film winds down packing a nice emotional punch as one character comes to terms with her fate. It's a shame the rest of the movie wasn't as graceful as its exit.
"Every great film should seem new every time you see it." - Roger Ebert
Pop Quiz: "Name the past ten Academy Award winners for Best Picture."
You may be able to name two or three at best without cheating. Venture over to Wikipedia and you will find yourself realizing just how forgettable the Best Picture winners of the past decade have been. Most are "one and done" watches by even the buffest of film buffs.
The film industry is in a flux, constantly trying to adapt to the market shares television and on-demand streaming services have cemented. They moan and groan about piracy all while recording record profits and exchanging movie screeners like baseball cards. The industry has always been about making money and I am not one to fault them on this fact. It is "show business" after all. It just seems like the model has changed drastically in an incredible short amount of time.
After doing a little digging, I have found some interesting data.
Budgets of Best Picture Winners 2007-2014
2014 - 12 Years A Slave: $20 million 2013 - Argo: $44 million 2012 - The Artist: $15 million 2011 - The King's Speech: $15 million 2010 - The Hurt Locker: $15 million 2009 - Slumdog Millionaire: $15 million 2008 - No Country For Old Men: $25 million 2007 - The Departed: $90 million
Average Budget of a Best Picture Winner 2007-2014: $29.88 million
Budgets of Best Picture Winners 1991-1998
1998 - Titanic: $200 million 1997 - The English Patient: $27 million 1996 - Braveheart: $72 million 1995 - Forrest Gump: $55 million 1994 - Schindler's List: $22 million 1993 - Unforgiven: $14.4 million 1992 - Silence of the Lambs: $19 million 1991 - Dances with Wolves: $22 million
Average Budget of a Best Picture Winner 1991-1998: $53.93 million
Right now you are probably saying, "Yeah, but Titanic skews all of the data just to make your point."
This is a fair criticsm. So let's take Titanic out of the equation.
Average Budget of a Best Picture Winner 1991-1998 (excluding Titanic): $33.05 million
This means that there is only a $3.17 million discrepancy. That is until you invite inflation to the party.
Average Budget of a Best Picture Winner 1991-1998 (Excluding Titanic but including inflation): $52.5 million. This nets to a $22.62 million discrepancy.
The truth is that there are two kinds of movies these days: $200 million budget films with a built-in audience and $15 million budget films that premiere at Sundance or Cannes that studios can scoop up to distribute during Oscar season.
I remember when Disney bought Marvel Studios for $4 billion in 2009. Having been working in Los Angeles for just a year, I did not have the foresight to really know the true nature of the deal. Someone who had worked in Hollywood for over thirty years said to me, "Disney is not in the movie business. They are in the theme park business." Disney bought Lucasfilm for $4 billion just three years later.
INT. DISNEY MERCHANDISE STORE - 2015
Mickey ears floods the shelves in the following varieties: Spiderman, Iron Man, Darth Vader, R2-D2, etc. A Yoda backpack hangs from an adjacent shelf while several patrons build their own light sabers.
CUT TO BLACK.
So what the hell is going on here? We laughed at Dr. Evil in 1999 when he held the world hostage for a mere $1 miiiiiiiiillion dollars. I cannot blame movie studios for not risking their bottom line on five $40 million films rather than investing $200 million on a sure thing. After all, we now know that a million dollars isn't cool. You know what's cool? A billion dollars.
This is the world as a present day moviegoer. We spend January-March staying at home because we are smart enough to know these months are the dumping ground for film releases. If the distributors do not believe in these films, why should we? Queue up House of Cards on Netflix please! During the five-month span between April and August, we pay to see sequels, prequels, remakes, and reboots. Finally, we end the year watching films that Hollywood deems to be the best of the year.
Please. Hollywood already made their billions off of the bread and butter Summer blockbusters. The Oscar race has become nothing more than another marketing ploy to get people out to the theaters in hopes of making these independent lower risk films profitable. The Academy even went so far as to expand the Best Picture category to include more nominees so more of these films could get the Oscar rub at the box office. Otherwise, Guardians of the Galaxy, Interstellar, or The Lego Movie would have deserved a Best Picture nod this year in my opinion.
The problem, however, is that just because Hollywood proclaims these films to be Best Picture quality, it does not make it necessarily so. I am referring to REWATCHABILITY. Yes, I am aware that this is not a real word, but take a look at a dictionary these days and you will that there are several non-words that are now officially a part of the English language for better or for worse.
Roger Ebert once said, "Every great film should seem new every time you see it." The problem with the past decade is that so many of these "Best Pictures" are not effective enough to warrant a second viewing.
The following data is extremely subjective. I imagined films I would rewatch and movie I felt others who aren't avid film watchers may rewatch as well. Some movies will be watched more than others, but I argue that the following films will likely be watched more than once. It may not be scientifically accurate, but I argue I am much closer to being right than I am to being wrong...
Rewatchable Best Picture Nominees 1990-2000:
Ghost, Goodfellas, Silence of the Lambs, JFK, Beauty and the Beast, A Few Good Men, Scent of a Woman, Schindler's List, The Fugitive, Pulp Fiction, Quiz Show, Forrest Gump, The Shawshank Redemption, Apollo 13, Braveheart, Jerry Maguire, Fargo, Titanic, As Good As It Gets, Good Will Hunting, LA Confidential, Saving Private Ryan, American Beauty, The Sixth Sense, The Insider, Gladiator, Traffic.
26 out of 55 Nominated Films: 47.27%
Rewatchable Best Picture Nominees 2005-2015:
The Departed, No Country For Old Men, Michael Clayton, There Will Be Bloodm Inglourious Basterds, Up, Inception, Toy Story 3, The Social Network, The Fighter, The Descendants, Hugo, Midnight In Paris, Moneyball, The Help, Django Unchained, Lincoln, Life of Pi, 12 Years A Slave, The Wolf of Wall Street, Whiplash, Birdman.
22 out of 74 Nominated Films: 29.7%
You may disagree with me, but this how I view the rewatchability of the past ten years of Best Picture nominees. Saw it. Liked it. Don't need to watch it again. Is it because these films are not granted the proper budgets like Best Picture nominees in the 90s? One can make this argument as the days of the $30-$50 million are dead.
2015 will break the record for release of film sequels, prequels, reboots, and remakes whether we like it or not. 2016 will break 2015's record. 2017 will break 2016's record. The horizon does not show change. This is our new reality.
Enjoy the Academy Awards. I will. I always have. I think the general public should see most, if not all, of this year's nominated films. I just do not expect too many people to add these films to their Blu-ray collections nor do I expect any of them to appear on a film studies syllabus in the near future.
Just remember that we will likely look at the "Best Pictures of of the Year" in the past decade as the most forgettable in history.
The Last Five Years is one of those films with cult-potential, the cinematic equivalent to an orgasm (or eargasm, if you will) for any musical theater geek who tends to obsess over original cast recording albums and the career trajectory of Broadway stars past and present. It's also the adaptation of Jason Robert Brown's Tony Award-winning 2001 production, an alt-musical that may not be everyone's cup of tea.
Current Mistress-of-the-Movie-Musical Anna Kendrick plays Cathy, a struggling actress who falls in love with Jamie (Jeremy Jordan of the short-lived Smash), an up-and-coming novelist who finds success with his first book. The thing is: this isn't some standard rom-com where the protagonists meet cute and go through the requisite ups and down. This is a wall-to-wall musical -- 95% of it just between the two of them (Dialogue is minimal). They're the only singers in the entire story because this is an intimate chronicle of their love affair and marriage.
Did I mention the story is told from different points of view -- from different periods of time?
The film's beautifully devastating "Still Hurting" kicks off the story, and it quickly puts us in Cathy's shoes while she pines for a lost love. It's staged with a contemplative purpose, and I never wanted to tear my eyes away from the screen.
Writer-director Richard LaGravenese is a self-proclaimed "die-hard musical theater fan," and it shows in some of the scenes that tease big choreographed numbers that don't really go anywhere. And that's fine, because this is like Richard Linklater's Before Trilogy rolled up in to one, showtunesy package, meticulously focused on every blissful step and damaging misstep that's applicable to any relationship. It's more along the lines of 2007's spectacular Once and less like the pomp and circumstance of Into the Woods.
One inspired number, "A Summer in Ohio," features Cathy and Jamie singing to each other over Skype while she's stuck at theater camp and he's toiling away in Manhattan with his soon-to-be-published novel.
However, the adaptation stumbles into some confusing territory when the two storylines appear to intertwine and reach their apex (a repeat viewing may clear things up), and LaGravenese's camera lingers a little too long on both lovers. Getting all up in their faces is nice and all -- every pleasure and pain is brilliantly expressed in both actors' faces -- but too much just makes certain scenes a little aimless and sloppy. But I get it: this isn't a large-scale musical with Disney backers.
Overall, the music is a fantastic mix of original yet familiar-sounding sets that pack an emotional wallop. Lyrics range from the clever to the compelling. Jordan is especially effective as Jamie, a reluctant playboy with a stellar set of pipes who's as quick with a pen as he is with his passion. He steals more than a few moments.
Could this be the perfect example of counterprogramming against this weekend's Fifty Shades of Grey? You bet your musical theater ass it is.
*This website and the ideas expressed therein are not endorsed by or are in any way affiliated with The Hollywood Company LLC or its HOT IN HOLLYWOOD television show or brand.
Hotter In Hollywood claims no credit for any images featured on this site unless otherwise noted. All visual content is copyright to it's respectful owners. Hotter In Hollywood is in no way responsible for, or has control of, the content of any external web site links. Information on this site may contain errors or inaccuracies; the site's proprietors do not make warranty as to the correctness or reliability of the site's content.
If you own rights to any of the images, and do not wish them to appear here, please contact us and they will be promptly removed.