Tag Archives: Lily Collins

Review: The Mortal Instruments: City of Bones


“The Mortal Instruments: City of Bones” might reduce plans for the sequel to ashes.

Clary (Lily Collins) is your average girl, living in New York City, hanging out with her best friend, Simon (Robert Sheehan). While at a club, Clary catches a glimpse of a ruthless murder. Trouble is, nobody else sees it. When she’s approached by the murderer the very next day, she knows something’s up and, sure enough, right in the middle of their conversation, she gets a frantic phone call from her mother (Lena Headey) just before she’s taken.

Turns out, Jace (Jamie Campbell Bower), is actually a Shadowhunter, a human born with angelic blood tasked with dispatching demons, and that is exactly what he was doing at the club. But no one was supposed to be able to see him – unless they had Shadowhunter blood. If Clary’s going to get her mother back, she’s got no choice, but to team up with Jace, trace her newfound Shadowhunter roots, and figure why and where her mother has been taken.

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Interview: Stuck In Love’s Nat Wolff & Liana Liberato

Stuck_in_LoveSometimes it’s awkward playing dance video games with Jennifer Connelly and often it’s a little uncomfortable to reenact your director’s first time, but when you’ve got strong talent and a good friend by your side, you end up with charming and poignant material like Nat Wolff and Liana Liberato did with “Stuck In Love.”

Wolff leads as Rusty, the son of a prominent writer (Greg Kinnear) and the brother of a budding young talent (Lily Collins) on the verge of having her first book published. Rusty wants to be a writer too, but what’s a writer without a life full of experiences? So Rusty decides to take a risk, defy the high school social ladder, and win over the girl of his dreams, Kate (Liana Liberato).

With “Stuck In Love” due for a limited release on July 5th, Wolff and Liberato took the time to sit down and run through the challenges and highlights of making the film. We cover what it’s like working with an esteemed co-cast, crying on cue and the pressure of portraying real people in addition to a nice dose of sarcasm and a sense of what happens when Nat Wolff unleashes his inner Alex Wolff. Check it all out for yourself in the video interview below.

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Review: Mirror Mirror

In Tarsem Singh I still trust. No, his films may not be the best of the best, but you can always count on Singh to wholly embrace whatever he’s working on, push the limits and, in turn, make it his own.

In the vain of the beloved fairytale, Mirror Mirror tells the story of Snow White (Lily Collins). After losing her father, the King, she’s got no choice, but to live with her stepmother, the Queen (Julia Robert), who, fueled by jealously, banishes Snow to her room in the palace. When her 18th birthday rolls around, Snow gets curious and sneaks out of the palace and into the town where she finds that no one sings and dances like they did during her father’s rule, rather are stricken by hefty taxes, taxes the Queen collects to throw lavish parties and perhaps one day another wedding.

When Snow White catches the eye of a Prince (Armie Hammer) the Queen wants for herself, the Queen sends Snow to her death in the woods. However, with the help of a band of dwarfs, not only does Snow survive the ordeal, but grows strong and determined to restore the kingdom.

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‘Mirror Mirror’ Set Visit: Tarsem’s Technique – The Madness and Genius of the Man Behind the Lens

Sure, The Cell made its 2000 debut in 2,411 theaters and Tarsem Singh himself made waves when his epic of a passion project, The Fall, finally hit theaters after years of development and production (including 17 years of location scouting and a four-and-a-half-year shoot in 24 countries), but it wasn’t until Immortals arrived back in November of 2011 that Singh finally earned more widespread clout for his mesmerizing visuals.

Even as Immortals was still in post-production, Singh was hard at work on what’s bound to be his next visual romp: his take on Snow White, Mirror Mirror.

Why Snow White?

Considering Singh’s resume, a family-friendly fairytale seems like a bit of an unusual choice, and his producer even thought so himself. Singh recalled, “I remember when they gave this to my producer, he said, ‘You’ll never get Tarsem to do a Snow White,’ and it was the only thing that I reacted to.” He added, “I just think that if I can look at something and I believe I can put my DNA on it, it’s usually what interests me.” While the Mirror Mirror script did catch Singh’s eye, he admits, “There’s nothing from the original script that I read that’s in it except for maybe one name. I tend to change a lot of these things and we did.”

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The Blind Side Isn’t An Oscar Movie, It’s Call And Response

The ups and downs of having ten Best Picture nominees are obvious. By doubling the number of films in contention for the grand honor, more mainstream movies have the opportunity to be recognized. More people have a favorite to root for come March 7th and the show will pull in better ratings. Also, since being nominated usually prompts moviegoers to seek out those films, more nominees means more movies grabbing extra attention at the box office. The down side? Those unworthy of finding themselves amongst the year’s top five can sneak in and nab a nomination. The perfect example of this transgression: The Blind Side.

I reviewed the film when it first hit theaters back in November and did so positively. The Blind Side is the epitome of a feel good movie. Once upon a time there was a troubled kid with absolutely no chance of reaching his full potential. Then, his wealthy fairy godmother arrives to give him the finer things in life. He grows up to be a successful pro athlete. The End. You know the saying ‘Don’t let your emotions get the better of you?’ Well, they got the better of the country and apparently the Academy as well. The Blind Side has turned Oscar voters into sentimental mush, brainwashing them into thinking the film is more than just a piece of fluff entertainment and is in fact one of the best films of the year.

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