Selena Gomez Web / Selena-Web.org
♥ Tina Fey
Faces of Kibera is a New York State nonprofit organization that is dedicated to helping the rising number of orphans in Kibera, Kenya. Kibera is the largest slum in East Africa. With an estimated one million people concentrated in one square mile, the living conditions in Kibera are desperate for all, and particularly difficult for the children. Our goal is to push back against this tide of poverty, illness and deprivation by creating and supporting a community-based facility outside of Kibera to provide care, education and services to the orphans of Kibera. For more information go to: www.facesofkibera.org
Maintained by: Angelic & Grace
Opened since: June 29, 2009
Rooney Mara Daily is just a non-profit making, unofficial fansite. I'm in no way affiliated with Rooney Mara nor her relative or managment. Please do not send any fanmail and hatemail to me. All graphics are made by me unless stated, please do not reprint, copy or steal without premission given.
Rooney Fans Online
Archive for the ‘Review’ Category
« Rooney Mara Arriving at LAX Airport Hi Res Candids Photos – May 20th | Ain’t Them Bodies Saints Official Trailer! »
written by Angelic on May 22, 2013
Thereâ€™s something very familiar about David Loweryâ€™s Ainâ€™t Them Bodies Saints. The writer-director himself might twitch few ears in recognition, after his most recent work, the largely unheralded duo of Lullaby and St. Nick, but in the bones of his latest, which played as part of Criticâ€™s Week here, is the genetics of familiar art. There is almost certainly a major nod here to Badlands, as well as Thieves Like Us, and more generally speaking, Lowery seems intent on re-exploring the essence of that particular period of outlaw movies.
Saints begins with a shoot-out, involving Bob Muldoon (Casey Affleck) and Ruth Guthrie (Rooney Mara,) who are subsequently hauled away. Muldoon is arrested, but the pregnant Guthrie is let go, to live in a comfortable house in a small Texan town called Meridian looked after by the excellent Keith Carradine. Weâ€™re not furnished with details of the trigger event, until the narrative progresses significantly, being drip-fed tiny morsels that piece together bit by bit, with the script offering far more focus to the central relationship.
Thereâ€™s certainly something of Malick in the way Lowery frames his story, which isnâ€™t at all a bad thing, given how well the drenched visuals fit the emotional undercurrent of the film. Itâ€™s just a shame that Lowery couldnâ€™t match his aesthetic convictions and maturity with a story-telling maturity, as his story is a little twee and thereâ€™s a jarring clash between an obviously serious agenda and sentimentality. As an art film, it still works very well, and both Mara and Affleck have enough to work with to offer strong performances, itâ€™s just that the substance doesnâ€™t quite marry up with the style in places.
The joy of the film is in the interplay between characters â€“ the plot is rounded out by Ben Fosterâ€™s local cop â€“ and the ambiguity that masks the nature of some of the key relationships, including a trio of bad guys who appear after a time as things roll inevitably towards another flashpoint, bringing just as inevitable action and tragedy. Lowery has made a Western of sorts, with lots of traditional flags, not all of which are dealt with completely successfully, I might add, but there is certainly pleasure in his poetic convictions.
Itâ€™s a shame the film wasnâ€™t grittier â€“ not for the want of obligatory violence, but because films like this havenâ€™t been made since Badlands for a reason, and even the most traditional of genres evolve. But for its substance problems, the style is really a beautiful thing â€“ Lowery is clearly enamoured with the Malick method, and his cinematographer â€“ Bradford Young â€“ offers a delirious and beautiful portrait of his vision.
This is certainly another of those gems hidden away in the sidebars of Cannes that deserves to be cherished by a wider audience â€“ and thanks to the talent associated with the project, and the inevitable high profile, that will be the case.
Source:Â What Culture
written by Angelic on December 20, 2011
I have consolidate all “The Girl with the Dragon Tattoo“Â movie reviews for you guys:
written by Angelic on December 14, 2011
Moviegoers won’t be able to take their eyes off the American actress’ Lisbeth Salander, critics rave.
Rooney MaraÂ ownsÂ ”The Girl With the Dragon Tattoo.”
That is to say, while the film shows off David Fincher at his meticulous, moody best and Daniel Craig delivers yet another stellar performance, the beating heart of the picture â€” or, if you will, the exposed pierced nipple â€” is Mara as the spiky-haired hacker, Lisbeth Salander.
For all the shortcomings of “Dragon Tattoo”â€” and there are a bunch, from a pacing that sometimes drags to Swedish author Stieg Larsson’s deeply unsatisfying ending â€” you walk away unable to shake what you’ve just seen from Mara. Alternately vulnerable and vicious, her Salander is an entirely different creature from the one presented by Noomi Rapace in the Swedish version of the film and, what’s more, an entirely different creature from anything Mara offered in “The Social Network” and “A Nightmare on Elm Street.”
Let’s stop right there, before we go from gushing to outright hero worship. At least we’re not alone. With the “Dragon Tattoo” review embargo officially lifted, critics have been celebrating Mara’s performance.
The Sex Scenes
The Final Word
Source: MTV News
written by Angelic on December 05, 2011
You canâ€™t take your eyes off Rooney Mara as the notorious Lisbeth Salander, in the American movie version of Stieg Larssonâ€™s â€śThe Girl with the Dragon Tattooâ€ť (opening December 21st). Slender, sheathed in black leather, with short ebony hair standing up in a tuft, her fingers poking out of black woollen gloves as they skitter across a laptop keyboard, Mara (who played Mark Zuckerbergâ€™s girlfriend at the beginning of â€śThe Social Networkâ€ť) cuts through scene after scene like a swift, dark blade. Salander is a twenty-four-year-old hacker with many piercings, of herself and of others. Sheâ€™s both antisocial and intensely sexualâ€”vulnerable and often abused but overequipped to take revenge. She lives in an aura of violence. Salander obviously accounts for a big part of the success of Larssonâ€™s crime novelsâ€”both men and women are turned on by herâ€”and Mara makes every scene that she appears in jump. She strips off and climbs right onto Daniel Craig, as Mikael Blomkvist, the investigative journalist who takes Salander on as a partner, and whom she makes her lover. Craig looks a little surprised. In this movie, he is modest, quiet, even rather recessive. Itâ€™s Maraâ€™s shot at stardom, and he lets her have it. • Read full story »
written by Angelic on October 10, 2010
Disney’sÂ ”Secretariat” may not prove a hopeless nag, but it certainly wasn’t a quick-starting thoroughbred in its domestic debut as a sturdy rival ended up in the winner’s circle after a lackluster box-office derby.
Sony’sÂ ”The Social Network” fell a modest 31% in its second outing to nab the weekend laurels, with a $15.5 million performance yielding $46.1 million in cumulative coin and bolstering hopes of a leggy run by the critically lauded legal drama. Warner Bros.’ romantic comedyÂ ”Life as We Know It” — starring Katherine Heigl and Josh Duhamel as a couple contrived via involuntary parenthood — adopted an estimated $14.6 million to place second in its opening frame, while “Secretariat” was third with $12.6 million.
Whether that puts the high profile horse-racing drama in the money is another matter.
“Secretariat” was produced for just $32 million, but as a major movie release it also carries hefty marketing expenses. Disney wouldn’t disclose the costs of its campaign, though a studio insider put marketing outlays at $30 million-$35 million, or notably below the Hollywood norm.
In many cases, a movie reaches the break-even point once its U.S. and Canadian box office matches production costs. If it fetches a similar sum abroad, that equates to exhibitors’ split of receipts, while ancillary revenue from home entertainment and TV distribution can be viewed as a means of recouping marketing expenses.
Picture profitability aside, Disney needs a decent theatrical ride with “Secretariat” to salvage corporate pride. So execs now will look to the next couple of weekends to pad the film’s poor opening stake.
The Burbank studio hasn’t had much recent luck at the multiplexes, except for summer’s Pixar-produced “Toy Story 3.” Disney will screen the 3D animated family-fantasy “Tangled” for exhibitors attending the annualÂ ShowEast confab in Orlando on Monday night.
Directed by Randall Wallace (“We Were Soldiers”), “Secretariat” stars Diane Lane as the 1973 Triple Crown winner’s middle-aged owner Penny Chenery. Opening audiences were comprised 65% of couples, while females represented 54% of the PG pic’s support, and 60% of patrons were aged 35 or older.
“The people who have seen it loved it,” Disney distribution boss Chuck Viane said. “So we’re going to hope that it will have legs.”
“Secretariat” lagged its historical comparison in its first frame. Universal’s 2003 racing drama “Seabiscuit” debuted with $20.9 million and grossed $120 million overall domestically.
Rated PG-13 and helmed by Greg Berlanti (“The Broken Hearst Club”), “Life” was produced for an estimated $35 million and was co-financed by Village Roadshow.
Its opening audiences skewed 68% female, with 70% of patrons aged 25 or older.
“We had a nice weekend,” Warners exec vp distribution Jeff Goldstein said.
Two other movies opened wide during the weekend to dismal results.
Rogue Pictures’ Wes Craven-penned and â€“helmed 3D horror picÂ ”My Soul to Take” took fifth place on the frame, scaring up just $6.9 million despite premium ticket prices in more than 1,900 locations playing the R-rated pic in 3D. Its 3D venues contributed a whopping 86% of opening grosses.
Universal distributed Stateside and Alliance in Canada, attracting audiences comprised 54% of females and 52% of moviegoers aged 25 or older. “Soul” was produced for an estimated $25 million.
Also, Uni’s specialty division Focus Features unspooled “It’s Kind of a Funny Story” — a dramatic comedy rated PG-13 and starring Zach Galifianakis — in a barely wide 742 theaters and grossed $2 million, or a disappointing $2,712 per venue. Support came 54% from females and skewed 52% to patrons under age 25.
Collectively, the pre-Columbus Day weekend’s top 10 movies rang up $77.3 million, or almost 17% less than top performers in a comparable frame last year, Rentrak said. (Though a federal holiday, Columbus Day isn’t considered part of the box-office weekend, which remains a three-day session.)
Among the weekend’s limited bows, Overture unspooled “Stone” — a dramatic thriller starring Robert De Niro, Edward Norton and Milla Jovovich — in four New York locations and two in L.A. and grossed $73,000, or a solid $12,167 per site. The R-rated pic represents the last Overture release before its operations are swept up into Relativity branding.
Sony Pictures Classics bowed the Stephen Frears-directed “Tamara Drewe,” an R-rated comedy starring Gemma Arterton, in two locations in New York and two in L.A and grossed $19,282, or an acceptable $4,820 per site.
The always-prolific specialty distributor also debuted financial-crisis documentary “Inside Job” in a pair of New York theaters to gross $42,017, or an auspicious $21,008 per venue.
The Weinstein Co. opened “Nowhere Boy,” a biopic about John Lennon’s boyhood days, with $56,065 from four playdates. That represented a tuneful $14,016 per engagement.
Looking ahead, two pics open wide on Friday â€“ Paramount’s youth-seeking 3D threequel “Jackass 3D” and Summit Entertainment’s adult-targeting action comedy “Red.”
Source: Hollywood Reporter
written by Angelic on October 02, 2010
There is a wide backlash from new media professionals about The Social Network. Jose Antonio Vargas says that the movie shows how much Hollywood doesn’t understand Silicon Valley. Jeff Jarvis thinks it vilifies nerds and is the new “anti-geek movie.” People who want absolute allegiance to the “truth” of Facebook’s founding are offended by the dramatization of it all, although nobody actually knows the truth.
After seeing the movie last night, I take those criticisms to heart. But I didn’t enjoy the movie for any of those points. IMHO, the movie speaks to this generation’s definition of the new media industry more than anything else.
The Social Network is about social upheaval in the digital age. It’s about the ability of a new media class to deconstruct centuries worth of privilege and access that would’ve won in every other generation but now. • Read full story »
written by Angelic on September 14, 2010
Sony’s savvy publicity department recently invited a handful of online writers to an early screening of David Fincher’s “The Social Network,” and has now allowed those critics to post early impressions of the studio’s Oscar hopeful, though many reactions read like full-length reviews. Needless to say, TheWrapÂ called this one very early on. Traditional media outlets will have to wait a while longer to post their own reviews, but here’s what the blogosphere has been buzzing about all day …
Eric ‘Quint’ Vespe of Ain’t It Cool News:
Drew McWeeny of HitFix:
Devin Faraci, formerly of CHUD:
Peter Sciretta of SlashFilm:
Steve ‘Frosty’Â Weintraub of Collider:
Erik Davis of Cinematical:
Austin Lugar of The Film Yap:
written by Angelic on September 13, 2010
Early reviews ofÂ The Social Network, directed by David Fincher, indicate that the film may live up to its hype.
The Social NetworkÂ movie discusses the evolution ofÂ Facebook and how it grew popular.
The opening scene is said to be one of the most dramatic break-up scenes one can imagine. Â The movie then goes on to emphasize the idea ofÂ entrepreneurshipÂ that has grown to dominate the recent generation.
David Fincher certainly brings a lot of unique humor to the film, much like he has in previous works. Â Some of his more notable films includeÂ Fight Club andÂ Zodiac.
The central focus of the film revolves around Mark Zuckerberg, a young genius who is not used to failing. Â Considering he was offered a job from Microsoft right before college, it is no secret that Mark Zuckerberg was gifted.
Mark Zuckerberg, who is played by Jesse Elsenberg, eventually goes through a heartbreaking separation from his girlfriend. Â It is during his depressive state that he comes up with the idea of Facemash, which eventually evolves intoÂ Facebook.
The Social Networking debuts on October 1, 2010. Â To seeÂ The Social NetworkÂ trailer, visit Fandango.
written by Angelic on August 20, 2010
It was E.M. Forster, of course, who scripted that immortal, oft-abbreviated imperative: â€śOnly connect, and the beast and the monk, robbed of the isolation that is life to either, will die.â€ť But had Forster lived to see the advent of something like the Internet, would he have been so quick to admonish the life bestial or monastic? As I write this, I am not nor have I ever been a member of those ubiquitous online communities known as Facebook and Twitter, which have separately and together transformed millions of us into the stars of our own reality shows, complete with â€śfriendsâ€ť and â€śfollowersâ€ť tuned into our every banal thought or change of mood, and where human popularity is tabulated in numbers as readily as the weekly box-office returns. In my Luddite way, I harbor a healthy suspicion for any technology whose adopters seem more its slaves than its masters. Above all, I cling foolhardily to the belief that the more time-honored methods of human interaction maintain a slight edge over the electronic ones. Indeed, though we may now live in public, we seem to see rather less of one another.
On the other hand, half a billion people canâ€™t be wrongâ€”or, rather, they can, but good luck convincing them of it. A scant seven years into its existence, Facebook is already an inevitability, a cultural axiom. Among other things, it is said to have played a role in rallying Americaâ€™s youth for the 2008 election (even if some of those youths were actually the fictitious avatars of middle-aged men and women seeking a little masked-ball escapism, or something more sinister). Nor is its reach limited to these shores: recently, Facebook was banned in Pakistan for supposed trespasses against Islam, which is no small achievement for a website that traces its origins back to an Ivy League social misfitâ€™s drunken act of revenge against a girl who spurned him. Like so many historic achievements in arts, letters, and commerce, Facebook was born of a romantic rejection. • Read full story »