Isla Fisher, who really deserves to be about 100% more famous,…
Isla Fisher, who really deserves to be about 100% more famous, looks pretty fierce in this Great Gatsby character poster.
Read MoreUpdates on ‘Drive’ and ‘Carnage’!
New TV Spot and Poster for Drive
Because there is more than a slight risk of over-hyping the Nicolas Winding Refn film Drive, I’ve resisted posting the regular green-band trailer for the film, which dropped a week or so back, because it is almost exactly the same as the red-band version that hit during Comic Con. The trailer shows just a bit too much, I think, because the film is fairly thin on plot, instead prioritizing character and atmosphere. Those priorities work quite well for the film, but not so much in trailers. (The first clip we posted from the movie is the best look at it so far, I think.)
But now there is a new US poster, and a TV spot that, by virtue of brevity, is also a pretty good way to see some footage from Drive. (Including a few new shots.) Both are below.
Here’s the TV spot, which is essentially a condensed version of the trailer, with a few new bits on offer:
Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac). After a heist intended to pay off Standard’s protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). But when he realizes that the gangsters are after more than the bag of cash in his trunk-that they’re coming straight for Irene and her son-Driver is forced to shift gears and go on offense.
FilmDistrict will release Drive on September 16.
New French Poster for Roman Polanski’s Carnage
It’s been a long time since Roman Polanski directed a comedy. In 1986 the French filmmaker helmed the adventure comedy Pirates, but every movie since, from Frantic to The Pianist to The Ghost Writer has been a straight drama. This year that streak is finally broken with the release of Carnage and looking at the cast, which includes John C. Reilly, Jodie Foster, Kate Winslet and Christoph Waltz, it should be fantastic. The movie isn’t scheduled to be released until November 18, but today we get a look at it in the form of a Andy Warhol-style French one-sheet.
Posted by IMP Awards, the artwork wonderfully shows off it’s four principal cast members in varying states of emotion and color. Based on the play "God Of Carnage" by Yasmina Reza and adapted by Polanski, the film is about two sets of parents who are brought together after their respective sons get in a fight at school. While their meeting stars out cordial, it soon devolves into chaos as the adults begin to act more and more child-like.
Read MoreFINALLY! After 5 Long MONTHS of Dating Carey Mulligan & That Dude That Sings That Song Are Engaged!
Childhood pen pals in London, actress Carey Mulligan and singer Marcus Mumford lost touch long ago, but a recent reunion renewed more than friendship.
After five months together, the Mumford & Sons singer, 24, popped the question to the Never Let Me Go star, 26. “They’re a great couple,” a pal tells the new issue of Us Weekly (out now). “Very sweet.”
Things first got serious when Mulligan and pal Jake Gyllenhaal caught a secret Mumford & Sons show in Nashville, Tenn. February 7, at the home of band members from The Apache Relay.
“At the end of the night there were just the musicians, Jake, Carey, and the Mumford boys,” an insider told Us at the time. “We had some pizza, and just played music. Jake picked up a guitar and Carey joined in on ‘Amazing Grace.’ Marcus and Carey seemed really friendly.”
A few days later, Mulligan and Mumford caught a secret Arcade Fire show in NYC before hitting up a private members only club, a second insider told Us.
Oscar-nominated Mulligan split with longtime beau Shia LaBeouf last October; Mumford broke up with singer Laura Marling in late 2010.
Read MoreFINALLY! After 5 Long MONTHS of Dating Carey Mulligan & That Dude That Sings That Song Are Engaged!
Childhood pen pals in London, actress Carey Mulligan and singer Marcus Mumford lost touch long ago, but a recent reunion renewed more than friendship.
After five months together, the Mumford & Sons singer, 24, popped the question to the Never Let Me Go star, 26. “They’re a great couple,” a pal tells the new issue of Us Weekly (out now). “Very sweet.”
Things first got serious when Mulligan and pal Jake Gyllenhaal caught a secret Mumford & Sons show in Nashville, Tenn. February 7, at the home of band members from The Apache Relay.
“At the end of the night there were just the musicians, Jake, Carey, and the Mumford boys,” an insider told Us at the time. “We had some pizza, and just played music. Jake picked up a guitar and Carey joined in on ‘Amazing Grace.’ Marcus and Carey seemed really friendly.”
A few days later, Mulligan and Mumford caught a secret Arcade Fire show in NYC before hitting up a private members only club, a second insider told Us.
Oscar-nominated Mulligan split with longtime beau Shia LaBeouf last October; Mumford broke up with singer Laura Marling in late 2010.
Read MoreDavid Schwimmer’s fury over Mulligan casting in An Education
DAVID SCHWIMMER has blasted "irresponsible" film bosses for casting CAREY MULLIGAN as a teenage schoolgirl in AN EDUCATION, insisting the lead role should have been given to a more age-appropriate actress.
The star was 23 when she filmed her scenes as 16-year-old Jenny, who is romanced by an older man, played by Peter Sarsgaard, and she won an Oscar nomination for her performance.
Schwimmer, whose new film Trust shows a teenager lured to a motel for sex by an online predator old enough to be her father, admits he was unsettled by Mulligan’s casting in An Education, and has taken aim at film chiefs for not hiring a younger actress.
He tells Time Out magazine, "I think she’s (Mulligan) a brilliant actress, but I think it’s irresponsible casting. If you’re telling a story about a minor, a 15-or-16-year-old girl who has a relationship with a 40-year-old man, I think to cast a young woman who is considerably older than that is… dangerous."
"The audience, unconsciously, becomes completely accepting. It’s not weird or strange or uncomfortable or immoral. There’s no grey area. Carey was in her early twenties when making that film, and even if she’s playing young or made to look young, she’s not 16. In my mind, there’s a huge difference between a 16-year-old actress and a 20-to-21-year-old actress, and if your story hinges on that age difference, then cast a young actress. "
"I guess I just feel it doesn’t hold up in court. In my court, anyway. Even if a 15-year-old is mature beyond her years, then cast a 15-year-old girl who’s mature beyond her years. I just think you need to be more responsible."
Read MoreCarey Mulligan remains freakishly talented, no one is surprised.
‘Through A Glass Darkly’ reviews and pictures
Under Pretty Skin, Madness Lurks
Even in this age of celebrity sex tapes and nude snapshots on Twitter, watching Carey Mulligan in “Through a Glass Darkly” feels like a major invasion of privacy. Portraying a young woman sliding into insanity in Jenny Worton’s stage adaptation of Ingmar Bergman’s 1961 film, which opened on Monday night at the New York Theater Workshop, Ms. Mulligan creates the illusion of someone who has no idea that she’s being observed.
There are moments when this extraordinary actress behaves with an ugliness and ungainliness that people reserve for those moments when they’re sure they’re alone. On other occasions she is lovely and ingratiating company, at least on the surface. Karin, Ms. Mulligan’s character, is on vacation with the members of her family, and she wants more than anything for all of them to get along.
But as hard as she tries, Karin can’t stop feeling the pull of the shadow world inside her, a world that starts to seem more real than any external existence. Ms. Mulligan makes sure that we, too, feel that gravitational force, and it is not an easy sensation. But if you want to experience the shock of illumination that acting, at its best, can achieve — and only occasionally does — you need to see Ms. Mulligan’s performance.
That nothing else in this Atlantic Theater Company production, directed by David Leveaux, achieves Ms. Mulligan’s level feels strangely appropriate. Karin, after all, inhabits another, increasingly remote planet. Like the members of Karin’s family — creditably portrayed by Chris Sarandon, Jason Butler Harner and Ben Rosenfield — we in the audience can only look on in helplessness, distress and the awe that comes with witnessing the pure, blazing conviction that is a part of both true madness and greatness in art. And the 26-year-old Ms. Mulligan, a stunner in the Broadway revival of “The Seagull” and the film “An Education,” more than confirms her promise as one of the finest actresses of her generation.
Though it won an Academy Award for best foreign film, “Through a Glass Darkly” is not Bergman at his most subtle. Watching it again recently, I was struck by the conventional and schematic nature of this four-character portrait of a family vacation in hell. But it makes arresting use of the bleak beauty of Faro island, where it was shot (as were many subsequent Bergman movies), and intense, soul-probing close-ups of a cast that includes Harriet Andersson and Max von Sydow.
In translating Bergman’s screenplay to the stage, Ms. Worton has stripped away much of what ambiguity it had. Parallels between different characters and their searches for faith have been heightened and tidied. (This process involves the elimination of the most quoted moment in the film, in which Karin perceives God as a spider.) When I saw an earlier version of Ms. Worton’s play last summer, at the Almeida Theater in London, with the estimable Ruth Wilson as Karin, it left me vaguely admiring but cold.
But Ms. Mulligan’s presence raises the temperature to the melting point, even amid the chilly grays of Takeshi Kata’s monochromatic set (which offers an effective substitute for Sven Nykvist’s merciless black-and-white cinematography). This colorless world is the island off Sweden where David (Mr. Sarandon), a novelist, and his family have long kept their summer home, a world suffused with memories of the time when Mother, who killed herself, was still alive.
It is here that the clan goes shortly after Karin has been released from a mental hospital, a hopeful, anxious crew that also includes Martin (Mr. Harner) — Karin’s husband, a doctor — and Max (Mr. Rosenfield), her 16-year-old brother. Obsessed with his work and his literary status, the solipsistic David has been a remote, emotionally guarded father. Karin sees it as her duty to mend all estrangements, to “make things right” during this trip, especially between David and Max, an aspiring writer himself, who is suffering from a bad case of adolescence.
“Glass” makes evocative use of the notion that while family vacations are “supposed to be relaxing,” as Karin observes, “in fact they’re just lumps of time without any distractions.” (It is typical of the overkill in the script that Karin goes on to say, “We spend our whole lives turning our faces away and then we have all this time and we … I find myself staring into the abyss.”) The play is savvy about the ways alliances and erotic affinities shift and bend when you throw a small group — especially a family group — into isolation.
Of course those tensions are magnified when you’re waiting for one of your little party to crash and shatter. The direction of Mr. Leveaux (who also staged the current Broadway revival of “Arcadia”) elucidates the blurring of lines within family hierarchy, and the constantly reversing roles of parent, child and lover. But despite earnest and sometimes biting performances by Mr. Sarandon, Mr. Harner and Mr. Rosenfield, the production as a whole never builds as strongly as it needs to its shattering climaxes.
The deep, gnawing tension that ripples through this “Glass” exists less between Karin and the others than between the two realities she inhabits (and between which she feels she must choose). Ms. Mulligan makes us believe equally and unconditionally in both those worlds. There’s an early moment in which Karin, lying outside with Max, hears the cry of a petrel and instinctively grabs her brother’s leg, as if otherwise she might be swept away.
Karin, you see, hears not only bird calls that no one else hears but also unheard melodies and words. We don’t even really need the whispering sound effects (by David Van Tieghem) that signal the arrival of Karin’s voices to be aware of the noises in her head. Every aspect of Ms. Mulligan’s body language vibrates with the tug of war within.
Watch her, if you dare, when Karin is alone in her bedroom, waiting for Martin, and transforms a series of simple stretches and jaw movements into a quiet but definitely high-stakes wrestling match with herself. Ms. Mulligan’s elfin beauty becomes a changeling’s grotesqueness at such moments.
And though she appears partly nude a couple of times, the nakedness that shocks here is of another, far more intimate kind.Ms. Mulligan convinces us that we are seeing through Karin’s very skin. Such vision is a rare and frightening privilege afforded only by acting of the highest order.
source
“It is great to have her return and deliver such a fragile, restless and emotionally raw performance.” – full review
” the performances are superb – especially Mulligan, who charms and snarls and screams as her character Karin falls into the abyss”, “She is riveting here and pours herself into the role; after a recent performance, she was left shaken and raw. Director David Leveaux has drawn out every ounce of pity from her.” – full review
“The most interesting aspect of this remarkable performance is its clarity. Mulligan doesn’t take Karin on a slow, graceful spiral into insanity. Rather, she splits herself into two distinct persona.” – full review
“Charged with the admittedly difficult task of embodying Karin — a child-woman whose mental state changes with the frequency of a light being turned on and off — Mulligan is simply stunning. Her face appears to register every single emotion and thought in Karin’s head; her body language is beautifully specific in each scene; and she consistently forges a separate, completely true connection with each of the men in her life. There’s also a fearlessness and confidence in her choices that is truly praiseworthy.” – full review
“the play belongs to Mulligan’s Karin. Rarely still for long, she goes from bursts of manic activity to violent mood swings to catatonic spells and moments of exalted serenity. The performance is volatile yet restrained, poignantly underscored by a hopeless yearning to recreate the perfect family that exists only in her head.”, “Mulligan’s haunting performance is riveting.” – full review
“Performances could not be better. Carey Mulligan captures Karin’s complexity and pain to the nth degree. ” – full review
The Atlantic Theater Company’s stage adaptation of Ingmar Bergman’s Through a Glass Darkly opened last night. The play stars An Education’s Carey Mulligan — no stranger to Broadway, having appeared in 2008′s very well-regarded production of Chekhov’s The Seagull — as a woman going mad. We caught up with Mulligan at the after-party at Chinatown Brasserie to discuss the play, her seagull tattoo, what’s going on with The Great Gatsby, and working with Ryan Gosling.
Hi.
Do you mind if I drink some water before we talk? I leave these performances and I need, like, tons and tons of water! It’s really weird.
Of course! Your head must be spinning after playing this character …
With all plays, it’s hard to immediately shut down. I wish I went home and fell right asleep, but I just can’t manage to sleep till 1:30 or 2 a.m. Like, last night I watched The Bourne Ultimatum until around two in the morning. And I don’t nap during the day because I’ll wake up thinking about the show, and there’s too much on my mind to sleep. Ordinarily I’m a really good sleeper, but we’re all so desperate to get it in the right place, in the right time …
Are you nervous about the reviews?
I wish that I could say I don’t read the reviews, but I know I’m going to have like four glasses of wine and then be like … “Google!” [Editor's note: She couldn't have been disappointed with what she found.]
Do you find yourself acting a little crazy after playing a woman losing her mind?
During rehearsals, yes. I would carry it around for an hour or so. I was acting slightly irrational around that time. Now it’s like we leave it all on the floor when the play is finished. It’s weird how it works that way. It was the same when I did The Seagull. In rehearsal, I was anguished. Then during the actual show, we’d leave it all there at the end of the night and go grab a drink, and feel sort of peaceful because you’d just … get everything out.
Obviously that play made a huge impact on you, as evidenced by your new seagull tattoo. Will you get another tattoo after this play?
Oh no! If I start doing that every time I finish a play, I’m going to be like up to here [points to shoulders] in tattoos. The Seagull just meant so much to me. I loved that character so much and I was so, so sad to finish. When I ended it, my friend Ann Dowd, who played Polina, wrote me this note that said, “Whenever the sadness begins to overwhelm, remember this is only one of the many times you’ll play Nina, because you two are entwined.” And it’s funny because, I don’t know if I’m just a one-trick pony, but I do always find something of her in the characters I’ve gone off to play. In the last scene, she had this speech, “I know now it’s not about fame or glory, or all the things I used to dream about; it’s about being able to endure, to bay across, and keep the faith. I do have faith and when I think about my vocation I am not afraid of life.” That’s why I have the tattoo, really. Because I love that story and that character, and the message that I do what I do not for any other kind of gain, because if I did that, it would all be empty. And then also, when I’m shitting myself and about to go onstage, I can look at the seagull and have a little mantra.
Speaking of powerful roles, The Great Gatsby is coming up.
Yeah, we’re all having secret meetings about it now! I’ve started hanging out with Baz, and we’ll all go to Australia in August and start rehearsing. I did a film with Steve McQueen in January, and now this play, so I’ve kind of known Gatsby was there and that it was going to take up half my year and be a big thing, but I haven’t really jumped into it yet. Now that I’ve made it to the play, I can start to think about playing Daisy more. I’ve had to focus on other jobs; I don’t want to get more confused!
You also squeezed in Drive with Ryan Gosling … how fun was that?
He is such a blast. He’s 100 percent up for anything. Nick, the director, and Ryan were like best friends the whole time. I mainly just stare at Ryan for like two hours in the film. Someone’s gotta do it. (iawtc).
source
tyfyt &hearts