IMDB is celebrating it's 25th anniversary on October 17 and to celebrate they've revealed their top 25 stars of all time. Lookie who made it in at no 9!
If you want to see who else made the list, check it out HERE
I must confess that I had been looking forward to this one since it was first announced and before I knew a damn thing about the film. David Michod’s chilling “Animal Kingdom” remains one of the most startling and assured directorial debuts of the last decade, and my favorite from the current crop of gloriously pessimistic Aussie cinema that includes the films of John Hillcoat, Andrew Dominik’s “Chopper,” and Justin Kurzel’s “The Snowtown Murders.” And yet my already-colossal expectations were not just met, but exceeded by “The Rover,” Michod’s spare, brutal look at savagery and survival in a world abandoned and left to rot by the very people who once inhabited it. The film unfolds in the midst of a worldwide catastrophe called “The Collapse,” the causes of which Michod wisely declines to explain. Some have criticized the film’s leisurely pace and minimal plot, but when the mood and menace is this thick and gorgeous, it would be churlish to complain. Guy Pearce—who, in his whole career, has never been this feral or terrifying, even when he beat Shia LaBoeuf to within an inch of his life in “Lawless”—plays Eric, a frazzled shell of a man whose single-minded pursuit of his missing automobile forms the crux of the film’s slow-burning narrative. As his traveling companion, Robert Pattinson is nothing less than a revelation. The actor has often relied on his striking good looks and air of affectless-ness in the recent films of David Cronenberg, where affectless-ness is a consistent stylistic choice. As Rey, the stammering, sweet-hearted simpleton whose wardrobe looks to be on loan from a 90’s rap-rock band, Pattinson reveals newfound dimensions to his screen persona. He is daft, childlike, full of wonderment and fear. He and Pearce acclimate themselves effortlessly to Michod’s hellish milieu, which strips its “Mad Max” futurescape of all action-movie chicanery and unnecessary exposition and reduces it to the bare essentials. Some have called the film “dystopian,” although that seems unfair and not quite accurate—perhaps this collective misjudgment is to blame for the film’s performance at the box office. But any film that manages to successfully utilize Keri Hilson’s joyously insipid “Pretty Girl Rock” in its most emotionally charged moment has to be something pretty special.The critics over at The Playlist were fans of The Rover and have included the film and the performances on several lists already documented here. They still gave The Rover an honorable mention on their 17 Best Films You Didn't See in 2014 even though the film appeared in an earlier version of this list:
Films like "The Rover," "The Babadook," "Blue Ruin" and "Obvious Child" should have been bigger hits than they were, but we've been shouting about them for a while, including in our year-end coverage, so we wanted to use the spotlight to shine on some darker corners.The Playlist, like Buzzfeed, ranked Rob singing Pretty Girl Rock, as 4 out of 15 of the Best Movie Music Moments of 2014!
David Michod's "The Rover" is unrelentingly bleak, or very nearly so. Set in a post-apocalyptic Australia that makes the world envisioned by George Miller's "Mad Max" movies seem like a day at a multi-level spa, the narrative is defined largely by bloodshed, squealing tires, and grime. But it's during the movie's darkest section that Michod brings out the most wonderful moment of levity. Over a stark, wasted landscape, and stars Guy Pearce and Robert Pattinson tromping over brush, a familiar tinkling piano starts to boom over the soundtrack, former Timbaland protégé Keri Hilson's outrageously wonderful "Pretty Girl Rock." It lets the audience say, "Wait! I know this song," plugging them into the character's mindset in a way that the movie hadn't previously accomplished, segueing to the next scene, where Pattinson halfheartedly sings along to the song in some bombed-out vehicle (notably the line "Don't hate me 'cos I'm beautiful" which has to have meta relevance for the actor). The upbeat nature of the song gives the movie hope, even if that hope is just as phony and shiny as the song itself (and over just as quickly). It's sometimes hard to make an emotional connection with a movie as single-mindedly brutal as "The Rover," but this moment, thanks to this song, lets you in. It's also amazing to think that, in the dusty distant future, people are still doing the pretty girl rock.
6. Maps to the Stars Celebrity is often satirised, but not usually so well. David Cronenburg’s Maps to the Stars was appalling, trashy, and thrilling. Stunningly entertaining yet thought provoking and at times, moving. It was testament to the idea that perfect execution can sometimes be better than having the most original idea.I love love love that Rob's films get on these year end lists and best of mashups. Chances are we'll be doing this dance again at the end of 2015. :)
The men who have made suit-wearing an art form from Robert Pattinson to Tinie Tempah
Pattinson's off-duty style may be all about flannel shirts, white tees and backwards caps, but on the red carpet he shines, wearing a plethora of Gucci suits with aplomb. Pictured: Wearing Gucci at the Toronto Film Festival premiere of Maps to the Stars.Buzzfeed: The 16 Greatest Movie Music Moments Of 2014
Robert Pattinson Sings “Pretty Girl Rock.” (The Rover)
David Michôd’s post-apocalyptic movie is set in an Australia filled with brutality, in which people have begun murdering each other over sparse resources and personal slights. It’s not a place for upbeat musical cues, which is why there’s something particularly jolting about the moment when the gruff Eric (Guy Pearce) and his hostage-turned-helper Rey (Robert Pattinson) make their way over the rough terrain to the shiny sounds of Keri Hilson’s “Pretty Girl Rock.” Better still is the cut to Rey alone in a car, aimlessly singing along to Hilson’s entreaties that people not hate her because she’s beautiful. Civilization may be dying, but some songs, like cockroaches, will apparently live on forever.
52: Robert Pattinson - THE RECOVERING VAMPIRE - He’s gonna need more time to get past Twilight — assuming he ever can.
Nearly a year after the end of the Twilight franchise, Robert Pattinson could still use a little distance between himself and Edward Cullen. His close association with the vampire franchise is the most obvious answer to his very low likeability score; many men actively and disproportionately resent anyone associated with the franchise. He was a phenomenon with teenage girls and their mothers, but there were early signs that they wouldn’t follow him outside the vampire tale: Water for Elephants should have been in his love-affair-threatened-by-outside-forces wheelhouse, but it ground to a halt at a mediocre $58.7 million.
The lesson Pattinson seemed to have taken away from this was that he had to get as far away from Twilight as possible by only doing small, counterintuitive films. It’s similar to the post-Potter path taken by Daniel Radcliffe, but the problem is that Pattison’s critic-bait movies haven’t appealed to critics: Neither Bel Ami nor David Cronenberg’s Cosmopolis got much better Metacritic scores than the Twilight movies, which is a low watermark indeed. (Neither film cracked seven-digit domestic grosses, either.)
His fans are still mesmerized by him outside of movie theaters: Pattinson’s gossip value is at the top of the list, thanks to stubborn fascination with his relationship with Kristen Stewart. Studios give him a very middle-of-the-road 5.5, but his profile helps his small films get financing, and there are more on the way that aim to show him in new lights, including the Mad Max-like thriller The Rover from Animal Kingdom director David Michod. He’s also playing a limo driver/wannabe actor in Maps to the Stars, and Col. T.E. Lawrence in Werner Herzog’s Queen of the Desert. Enough of these quality projects could help wash away all talk of Team Edward, but it’s going to take something special, and a whole lot of time.So there we have it....
Eight-Figure Endorsements: Who's Getting Them in Hollywood
Predictably, A-listers are the most-prized targets on Madison Avenue. Although every deal is unique, one top commercial agent says he's seeing more eight-figure paydays than ever before. Long-term relationships have become a key way to optimize revenue, says another endorsement agent who, when it comes to beauty deals for his top female talent, only fields multiyear offers.
Charlize Theron struck gold with her gilded J'Adore ads, spinning her initial three-year deal with Dior (reportedly worth $5 million annually when she signed in 2004) into an iconic partnership nearly a decade later. The fashion house might hope its new arrangement with Robert Pattinson works just as well, as it is paying him at least $12 million to represent its Dior Homme fragrance for the next three years. With bigger revenue comes greater and more high-profile risks. Celebrities reduce missteps by scrutinizing a brand's roster of spokespeople almost as closely as potential co-stars. Jennifer Lawrence finally said yes to her first luxury endorsement when she saw she was in good company succeeding Oscar winner Natalie Portman as the face of Miss Dior.Rob's partnership with Dior was also the main basis for his inclusion in THR's other report about A-listers salaries. Excerpt from THR:
The New A-List: 23 Salaries From Angelina Jolie to Robert Downey Jr. Revealed
Who commands $20 million per movie? How much is Robert Pattinson getting paid to shill for Dior? And Downey is making HOW MUCH for "Iron Man 3"?! THR breaks down the earnings of Hollywood's biggest stars.
Big stars like Brad Pitt, David Beckham, and Ben Affleck couldn't beat out Robert Pattinson for the title of favorite male celebrity — an honor he picked up last year as well.
There seemed to be a little juice behind Canadian director David Cronenberg's latest effort, a wonderfully meandering adaptation of Dom DeLillo's novel of the same name that charts a single, seemingly endless limousine ride. For one, the film premiered at Cannes, to mostly ecstatic audiences (full disclosure: I was in one of them), and for another, Cronenberg loaded his bizarre contraption with a secret weapon: Robert Pattinson. As a disaffected billionaire, Pattinson showed unheard of gravitas and wit, both of which were sorely missing during his five-movie tenure as sparkly vampire Edward in the "Twilight" movies. But not even his handsome or borderline hieroglyphic face, could get people to come out to "Cosmopolis." Granted, the movie is pretty weird. But it's also tremendously rewarding -- it works its hooks into you and, months after seeing it, I still can't stop thinking about it. It's also part of 2012's great limousine ride double feature, along with Leos Carax's equally strange "Holy Motors." The mini-bar optional.I've always loved film montages. This is a great one from Criterion Corner with awesome music. Visit the Vimeo page for a list of the songs.
Decided by a poll of around 100 critics, Paul Thomas Anderson's "The Master" has topped Sight & Sound's Best Of 2012. American cinema made a particularly strong showing, with Benh Zeitlin's "Beasts Of The Southern Wild" and Wes Anderson's "Moonrise Kingdom" also making the grade. Leos Carax, Miguel Gomes and David Cronenberg continue to get international love as "Holy Motors," "Tabu" and "Cosmopolis" all find slots here, as they did on the Cahiers Du Cinema list. The lone UK film is "Berberian Sound Studio" which is a nice boost for the little thriller.
1. The Master (Paul Thomas Anderson, USA)Pre-order Cosmopolis in the US - released Jan. 1st and look out for our Cosmopolis Countdown giveaways later this month!
2. Tabu (Miguel Gomes, Portugal/Germany/France)
3. Amour (Michael Haneke, France/Germany/Austria)
4. Holy Motors (Leos Carax, France/Germany)
5. Beasts of the Southern Wild (Benh Zeitlin, USA)
= Berberian Sound Studio (Peter Strickland, UK/Germany)
7. Moonrise Kingdom (Wes Anderson, USA)
8. Beyond the Hills (Christian Mungiu, Romania/France/Belgium
= Cosmopolis (David Cronenberg, Canada/France/Portugal/Italy) = Once Upon a Time in Anatolia (Nuri Bilge Ceylan, Turkey/Bosnia & Herzegovina)
= This is Not A Film (Jafar Pahani & Mojtaba Mirtahmaseb, Iran)