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My Week with Marilyn is an upcoming British drama film directed by Simon Curtis and written by Adrian Hodges. It stars Michelle Williams, Kenneth Branagh, Eddie Redmayne, Dominic Cooper and Emma Watson. Based on two books by Colin Clark, it depicts the making of the 1957 film The Prince and the Showgirl, which starred Marilyn Monroe and Laurence Olivier. The film focuses on the week in which Monroe spent time being escorted around Britain by Clark, after her husband, Arthur Miller, left the country.
Principal photography began on 4 October 2010 at Pinewood Studios and filming will also take place in and around London. My Week with Marilyn is expected to be released on 4 November 2011.In the summer of 1956, Colin Clark works as an assistant on the British set of The Prince and the Showgirl, which stars Laurence Olivier and Marilyn Monroe, who is also on honeymoon with her new husband, playwright Arthur Miller. When Miller leaves the country, Clark introduces Monroe to British life and they spend a week together, during which time she escapes from her Hollywood routine and the pressures of work
My Week with Marilyn is based on Colin Clark’s The Prince, The Showgirl and Me and My Week with Marilyn; two diary accounts, which explore his time on the set of The Prince and the Showgirl and the time he spent with Monroe.[ The screenplay has been adapted and written by Adrian Hodges. The film is directed by Simon Curtis and it is his first feature debut.David Parfitt will produce the film, which is being financed by The Weinstein Company and BBC Films.
In August 2009, Scarlett Johansson became the frontrunner to play Marilyn Monroe in the film. Kate Hudson, Amy Adams and Michelle Williams were also named as potential candidates for Monroe. Three months later, it was revealed that Williams was in talks for the role. Williams was the only actress that producers met with during casting, despite other actresses being considered for the role. More than forty actors auditioned for the role of Clark, among them was James Jagger, who began talks with producers in May 2010.In September, it was announced that Eddie Redmayne had been cast as Clark.
Parfitt told the Daily Mail that finding an actor for the role had been difficult. He said “It’s a devilishly tricky part to find the right person for because Colin went to Eton, studied at Oxford and flew for the RAF.” That same month, it was also announced that Harry Potter actress Emma Watson had been cast in the small role of wardrobe assistant, Lucy.
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Watson was scheduled to spend only a few days on set shooting her scenes to prevent her studies at Brown University being interrupted. Kenneth Branagh began talks with producers for the role of Laurence Olivier in July 2010 after Ralph Fiennes had to pull out to direct his adaptation of Coriolanus. Branagh was later cast in the role.
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The movie THE HELP is about a woman named Skeeter Phelan who is an aspiring journalist. She gets a job at the Jackson Journal answering questions about household cleaning. To help her with her column, she enlists the help of a maid, Aibileen, who works for her friend.
Skeeter’s hope to become a journalist leads her to contact a publishing company in New York. She did not get hired by them immediately. However, she was told to keep writing and contact them once she gained more work experience. She spoke to one of the publishing company representatives who tells her something like “write about something that’s important to you”. Skeeter then decides to interview the maids who raised white children. She had been raised by a black maid named Constantine, who mysteriously moved away while she was in college. The story ensues as Skeeter takes us on her journey through the interviews and the book publication.
I liked the movie as a coming-of-age story for Ms. Skeeter. It was NOT an historical account of the lives of black maids or women in the south, nor do I think it was intended as such. The controversy about the depiction of the African American labor has already begun. People say that the picture painted of the African American maids doesn’t accurately reflect the severe hardship that they endured. I agree that the movie doesn’t show the maids experiencing a huge amount of brutality and exploitation. Yet, this movie was based on a book by Kathryn Stockett who was raised by a black woman. The best she can do is share based on her experiences and those of her friends. As children, white people probably did not see the difficult lives of the help. The story is being told from their perspective and seems to be getting at the gratitude white people felt from having someone who cared in their lives.
My other feedback is as follows:
The movie cost $4 at the matinee in my town. The prices have been lowered here. I recall $5.50 for a matinee several weeks back. There were an estimated 150 people of various ethnicities in my theater.
People were quiet during the movie. Other than the expected laughs at the onscreen events, people were quite respectful. Aibilene and Minnie’s relationship was funny, perfect, sisterly and heartwarming. That is so nice to see onscreen. People could emulate that more in real life.
I laughed out loud several times. Minnie and Skeeter were quite humorous even though there were a few serious moments.
Octavia Spencer, who plays Minnie, ought to model hats for a living. Her images in hats were inspiring. Someone styled her beautifully. The green crochet-looking hat was my favorite.
Aibilene’s wig care was informative and funny. She kept curlers in it when she wasn’t wearing it. The intent may not have been to be a joke but after seeing the wig a couple of times I laughed because of how Aibilene took such good care of it. It was surprising to see that level of detail. I loved it.
Cicely Tyson and Sissy Spacek were fabulous as usual.
Black Maids instilled lots of confidence in children. They were expert mothers.
The book was a bit different. For example, in the book Minnie ran into Miss Celia’s husband before Miss Celia told him about Minnie. Also, the reason Aibilene had cared for seventeen children is that she deliberately found new work after the children were about nine years of age. Aibilene felt that the children started to believe what their parents told them about maids and African Americans once they reached a certain age. Obviously, she wanted to leave the relationship on a high note.
We need more Skeeter’s in this world. She was funny and sincere. The scene with the toilets on Hilly’s lawn was pure entertainment.
Overall, I loved the movie and how the maids supported each other through the toughest times.

See my tribute to Minnie’s Hats.

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This looks like a pretty cool movie. I presume there will be mainly young, unknown indie actors in this movie since their actual identities haven’t been highlighted in text or in the image. This is another movie poster that would work very well as a book cover, but might look strange as a giant billboard in Times Square.
I like that the designer chose to do an animated poster. I did cheat and check if it is in fact an animated feature, and it’s not. (But I promise I didn’t look at a trailer.) I like the flat color and high contrast, this will almost certainly be a dark comedy about teenage angst and troubles. The typography is quirky, so I guess the script will be too.
I’ve gained a slightly greater knowledge of graphic novels simply from shelving them in the library all the time and taking the occasional sneaky flick through. Though not my book of choice, I really respect the amount of hard work that goes into their creation. I’ll take photos of some cool covers and post them very soon. This poster reminds me a bit of Ghost World and I suspect it’ll have a similar slow, dry wit. Also a must for fans of Daria that have already finished the DVD.
I also bet that because it was shown at SXSW that it is has a very cool soundtrack.
It takes either courage or ignorance for a first-time director to tell the kind of story John Hughes, Richard Linklater, Judd Apatow and George Lucas have already done so well, but David Robert Mitchell nearly pulls it off in “The Myth of the American Sleepover.”
So many filmmakers have depicted an endless night of teenage debauchery and self-discovery that an “Airplane!”-like spoof is probably in development. “Sixteen Candles,” “Dazed and Confused,” “Superbad” and “American Graffiti” have already gone there, not to mention “Nick and Norah’s Infinite Playlist” and “Go.”
And yet Mitchell still manages to plant a flag on this well-trodden territory by steering more toward drama than comedy, though he scores points on both fronts. Where he exceeds those films are sensual visuals that recapture summertime adolescence in all its vivacity.
“Sleepover” tells four stories that play out among a sprawling ensemble of teens. As in “Dazed,” their world is split between dewy-eyed freshmen and decadent upperclassmen who may be separated by just a few years chronologically, but eons in terms of worldliness.
Eager to transcend that gulf is Maggie (Claire Sloma), who skips out on the all-girls sleepover she was invited to attend in favor of chasing some older boys at a party. Taking her place at the sleepover is Claudia (Amanda Bauer), the new girl in town who attracts the attention of her host’s boyfriend.
Rob (Marlon Morton) spends the night in search of a blonde siren with whom he becomes infatuated after a chance encounter at the grocery. On a similar trajectory is Scott (Brett Jacobsen), a college junior who seeks to dull the pain of getting dumped by a girlfriend by going to elaborate lengths to pursue twins (Nikita and Jade Ramsey).

Mitchell nails the blustery display of cursing and smoking many teens affect to mask their immaturity. In one of the film’s funniest moments, a girl who brings marijuana to the sleepover loses serious street cred when she starts laying the seeds out on a mirror as if she was snorting cocaine.
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The storylines are slight but “Sleepover” operates best on a sense-memory level, anyway. Mitchell conveys all this sexual anxiety and yearning in an artful jumble of tawny limbs and peachfuzz. If his camera lingered any longer on all that pubescent skin, we’d be headed for Larry Clark territory.
The odd but endearing thing about “Sleepover” is that real teens probably won’t recognize themselves in these characters; there’s such an absence of cultural signposts in the film — no texting or slang — that its story could just as easily be taking place 30 years ago. “Sleepover” is set in Detroit, not that you could tell, either. It’s as if Mitchell’s intention was to capture Anywhere, USA, circa Anytime, to give “Sleepover” a fever-dream quality.
Occasionally, one of “Sleepover’s” characters emerge from their hormonal fog to speechify on the predicament that is teenhood in a way that’s pure Hughes. If there’s a Molly Ringwald equivalent for Mitchell, it’s Sloma, an enchanting pixie who dazzles in all the right places.
Nicely shot with a washed out look with competent performances, conclusion has an air of christian moral judgement and purity. follows a group of teenagers over one evening, switching between tgeir narrative threads. in tge end it drags on too long and becomes tedious as it attempts to give each story a neat resolution. The teenagers come across as vacuous, slightly tedious. Plot has too many contrivances and absurdly unlikely moments which undermines the realist approach otherwise taken. Lacks the shock value of larry Clarks ‘kids’, the brilliant awkwardness of a solondz film and the warmth and complexity of Ang Lees ‘The Ice storm’, and the fun of Lucas’s ‘American grafitti’ ‘ though it hints at all of these. Has its moments but a missed opportunity.
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“Sleeper” is less a fully realized artistic expression than an able reworking of a well-worn genre. Still, it may be just a matter of time before Mitchell finds the right distance from his influences to find his own vision.

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Coby is a young, shy and timid boy who appeared in the 2nd chapter of One piece. When we first met Coby he was trapped as a chore boy on Alvida’s ship. He got rescued by Luffy and was present when Luffy recruited Zoro. His dream as always been to become an Admiral within the marines. After joining the marines in Eastblue he gets transfered to the Marine HQ in the GL, where he begins training under the supervision of Luffy’s grandfather, ViceAdmiral Garp. When Luffy and Zoro meet him again in Water 7, his looks has completely changed. During the war we saw when Coby awoke his haki, which at the time was the CoO type.
I would have way more respect him if he became one without a devil fruit I mean Garp is probably admiral level without a fruit and he’s pretty anti-devil fruit and since he’s training them I don’t see coby getting one. And his haki has already been shown to be above average I hope he learns to control it and improves hid rokudoshu he could be incredibly fast and strong and be able to easily predict and maybe hit (if get armaments which Is highly likely since he has conquered and insane observation) logia and obviously hurt luffy with normal haki punches. I believe Coby will stay like Garp, even how boring it may sound. Seeing as he’s learning the CP9′s techniques, which Luffy seems to be doing aswell, I see their fight being an intense haki + said techinques kinda fight. I have big hopes for Coby, his dream is to become a marine admiral which I think he’ll become since Oda mostly makes dreams come true. But it could also be that his dream changes, or that he sees that the marines are the true “badguys” and joins Luffy instead, before or after the huge war, that is “soon” to come.
Coby getting haki during the war was the best thing for his character.Now he has a real fighting chance against Luffy.Against Coby,Luffy would always have to use the hardeneing technique,or risk getting smacked around by Coby.And he is crazy fast,mastering Soru,and he has such powerful CoO,a battle between him and Luffy would be about speed,and who can land a blow on the others weakspot.I would be pretty bummed if the WG got him a DF. His character is shaping up to be a physical fighter. His dream might change or there might be no longer the WG that we know off thanks to Dragon. But with Helempo he would get lot stronger. Both of them has potential and most important of all the drive and the resources to become very strong. But Coby would never be a match for Luffy. He would always stay 2 level behind him. Even when he improves at the rate of Luffy he is still way behind him.

About him reaching the rank of Admiral, if it ever is to happen, I see it happening at the ending of OP. I picture some sort of poetic marine ceremony, in which Luffy and crew (after Luffy becomes PK) comes sailing in to watch. Which will make Coby cry of joy, like the weakling that he is. No but that how I see it, Oda will probably think of an even better way.

In the opening minutes of the latest film by Xavier Gens, missiles hit the ground in New York, prompting mass panic and a gripping riot scene that culminates with Mickey (Michael Biehn) slamming the door of his personal fallout shelter, shutting himself inside along with a small handful of additional survivors that include Lauren German’s and Ivan Gonzalez’s estranged couple and half-brothers Milo Ventimiglia and Ashton Holmes. As the days pass, the group contends with mutual distrust, paranoia, and the very real possibility that no one is coming to their aid, which in turn sets them on a rapid decline into dementia and savagery.
Be warned: Gens’ mode here is most definitely not that of “Hitman”, the video game adaptation he made under intense studio scrutiny. This is the Gens’ of “Frontiere(s)”, the psychedelically brutal horror film that plays like a Gallic “Texas Chainsaw Massacre” with Nazis, and the one that placed him firmly among the ranks of the new French horror vanguard alongside the likes of Alexandre Aja and Pascal Laugier. And as much as I loved “Frontiere(s)”, “The Divide” tops it in every way; bleaker, more brutal and intense, and disconcertingly plausible.
Set predominantly in the shelter, the chronologically-shot story follows the group of survivors as they come to grips with the unenviable realization that, despite the fact that they managed to elude the immediate effects of the blast, they may not have enough supplies to wait out the radiation contamination. Add to that a general dislike for each other coupled with major doubts as to whether or not Mickey is being honest about the ration supply, and the situation reaches critical mass fairly quickly. And that’s just the first fifteen minutes.
A post-apocalyptic “Lord of the Flies”, this is a claustrophobic character study, through and through, and the entire cast is put through paces that are often hard to watch. Michael Biehn gives one of the best performances of his career (perhaps even the best) as the building’s super, a man we’re never quite sure is acting in the group’s best interests or his own. Milo Ventimiglia does particularly eye-opening work, and he Michael Eklund commit to their (frequently improv’ed) roles as a pair of jock hipsters who metamorphose into something very different with absolute fearlessness. And then there’s Courtney B. Vance, world weary, seemingly stoic, possibly vicious, and Rosanna Arquette, playing a single mother who is forced to face an almost incomprehensible reality. Superb work all around, the performances so good it’s easy to imagine that each actor came to set with an axe to grind and ten things to prove. Gens and writers Karl Mueller and Eron Sheean wisely keep the backstories and “fireside chats” to an absolute minimum, as if they realized in the editing room that the characters’ predicament already warrants enough sympathy without pouring on the sentimentality.
Films such as “Threads”, “When the Wind Blows”, and “The Day After” presented some of the most plausible, dour and unflinching looks at what life on earth would be like for the survivors of a nuclear blast, and “The Divide” is cut from similar cloth. But its blood-drenced depiction of the worst-case lifeboat scenario is by far one of the most visceral to date, and certain scenes and images will doubtlessly linger in the mind. The bleakness on hand may not be for everybody, especially when one remembers that the threat of nuclear annihilation, while seldom the go-to cause of the apocalypse in a lot of PA of late, never went away and is just as possible today as it was when the U.S. and U.S.S.R. rattled their sabres at each other with regularity. Gens and company put perhaps the most Darwinian spin on the subject matter and, while it offers scant comfort for the future, it certainly makes for profoundly intense cinema.
Anchor Bay has released a new poster for Xavier Gens’ post-apocalyptic “The Divide”, formerly known as “Fallout”. The survival flick involves a bunch of people trapped in an apartment basement while the world ends around them. Needless to say, it’s definitely the feel-good flick of the year! The film, which has been playing the festival circuits for a while now, but will finally be getting a Stateside theatrical release on January 13, 2012. My guess is we’re looking at a very limited release. The film stars Milo Ventimiglia, Ashton Holmes, Michael Biehn, Lauren German, Peter Stormare, Rosanna Arquette, Courtney B. Vance, Michael Eklund, and Iván González.