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gt-icons · 1 year

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Random Actress icons

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danowh0re · 2 years

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Ah:(

#paul dano #zoe kazan #paul dano icons #zoe kazan icons #paul dano matching icons #zoe kazan matching icons

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ramascreen · 2 years

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Official Trailer For THE LAST MOVIE STARS From Director Ethan Hawke | Epic 6-Part Paul Newman & Joanne Woodward Documentary On HBO Max July 21

Watch the official trailer for The Last Movie Stars, from director Ethan Hawke and featuring the voices of George Clooney, Laura Linney, Sam Rockwell, Zoe Kazan, and more below! THE LAST MOVIE STARS is an epic 6-part documentary from CNN Films and HBO Max that chronicles Paul Newman and Joanne Woodward’s iconic careers and decades-long partnership. All 6-chapters of the documentary will debut…

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#The Last Movie Stars

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deadlinecom · 1 year

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don-lichterman · 2 years

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She Said Trailer #1 (2022)

Check out She Said Official Trailer starring Carey Mulligan and Zoe Kazan! ► Sign up for a Fandango FanALERT: https://www.fandango.com/she-said-2022-228489/movie-overview?cmp=Trailers_YouTube_Desc Subscribe to the channel and click the bell icon to be notified of all the hottest trailers: http://bit.ly/2CNniBy US Release Date: November 18, 2022 Starring: Carey Mulligan, Samantha Morton, Zoe…

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#Entertainment #harvey weinstein #harvey weinstein movie #me too #me too movement #Movie Trailers #Movieclips #Movies #Rotten Tomatoes Trailers #She Said #she said movie #She Said Movie Trailer #She Said Official Trailer #She Said Trailer #She Said Trailer 1 #She Said Trailer 2022 #Trailer #Trailers

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muffinsedits · 3 years

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𝘭𝘪𝘬𝘦 𝘰𝘳 𝘳𝘦𝘣𝘭𝘰𝘨 𝘪𝘧 𝘺𝘰𝘶 𝘴𝘢𝘷𝘦

#icons #ruby sparks #ruby sparks icons #ruby sparks twitter icons #twitter icons #zoe kazan #zoe kazan icons #zoe kazan twitter icons #paul dano #paul dano icons #paul dano twitter icons #paul and zoe #film icons #film twitter icons #movie icons #movie twitter icons

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donamarocas · 2 years

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give credits if you repost, please

like/reblog if you save

follow me for more

Xoxo 💖✨

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mylegendaryicons · 3 years

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#ruby sparks #ruby sparks icons #zoe kazan #zoe kazan icons #Annette Bening #annette bening icons #movie icons #icons

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shitedits · 6 years

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like if u save

#zoe kazan #zoe kazan icons #icons zoe kazan #actress icons #icons #zoe kazan icon #the big sick #the big sick icons

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holysickdivinenightz · 2 years

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like if u save please.

#paul dano icon #paul dano #zoe kazan #the batman #the riddler #riddler

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novsix · 3 years

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Zoe Kazan

#zoe kazan #icons #packs #layouts #twitter icons #clickbait #blue headers #brown headers #red headers

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multiprises · 7 years

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The Deuce, 1.01

#emily meade #maggie gyllenhaal #margarita levieva #zoe kazan #icones #the deuce

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today-icons · 7 years

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Zoe Kazan on New York Magazine | May 2017

#zoe kazan #new york magazine #photoshoot #painting #iconic #today icons

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local-femme-gentleman · 5 years

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rom-com recommendations #1

♡♡♡

1. Flipped Directed by Rob Reiner, starring Callan McAuliffe and Madeline Carrol

I may be slightly biased towards Flipped but I did grow up with it, and I’ve loved it for more or less half of my life ever since I watched it in 2010, back when I was just about 7 - I barely understood it at the time, but I remember loving every minute of it even back then. It’s also directed by Rob Reiner, who’s films I adore (and we both know his films are going to appear again on this list) and I really love the whole enemies to friends to lovers trope that the film embodies - so this movie truly panders to every single one of my not-so-guilty pleasures.

The movie is about Bryce and July - polar opposites and aside from the fact that they live in the same neighbourhood they have little to nothing in common. July has been practically in love with Bryce her entire life and Bryce has been more or less repulsed for all of his. But somewhere along the lines tables turn and the whole thing makes for a slightly bittersweet, highly nostalgic, and extremely cute love story, that follows themes of growing up, family trouble and social class divides but in a youthful and truly enjoyable way.

♡♡♡

2. (500) Days Of Summer Directed by Marc Webb, starring Zooey Deschanel and Joseph Gordon-Levitt

If there is one love story you should watch it is this one, and that’s because It’s a truly realistic depictions of an actual relationship, at least as far as I am aware. The film is opens by announcing that this is not you’re typical love story - that’s true and for the sake of not spoiling this movie for you I won’t say exactly why. But, I can almost say it’s not really a love story at all, and more like a case study or a documentary on a relationship, framed by sporradic days in it’s timeline led by a main character that doesn’t really understand why it allnturned out the way it did.

I first watched it when I was consoling a friend after a break-up, in true teenage girl fashion, and we decided to watch a movie. I chose this one (a mistake on my part), and halfway into the movie she burst into tears and whined about how love was meaningless and the movie “really get’s me, man.” At the end of the day I have to tell you to watch this movie, and if you don’t want to see it because you don’t think you’ll enjoy it’s bittersweet, sadder, elements - as many I’ve recommended it to do, watch it because they yell “Penis!” repeatedly at a park.

♡♡♡

3. Notting Hill Directed by Roger Mitchell, starring Hugh Grant and Julia Roberts

I watched this movie a lot growing up because it’s my mom’s favourite and she watched it approximately twenty times a year. So, perhaps I’m biased when it comes to this one too, except I really didn’t like it as a kid, I always thought the movie stretched their romance for far too long. Now, when I watch it again years later, I realise that was perhaps what the movie was going for - delaying the inevitable that is, and it is exactly what makes the movie so damn satisfying.

It is clear to everyone that Anna and William are destined for each other - but them, and when I was a kid watching Notting Hill that’s what annoyed me the most in this movie. However now I watch it and think how could they know? The whole premise of the move is that they come from different worlds, and in what world would a bookseller think he belongs with a movie star? But the movie pulls through in ways I didn’t realise as a kid, it’s bright and full of fun, witty, and now iconic dialogue, and now when my mom watches Notting Hill for the seventeenth time this year, I am more than happy to join her.

♡♡♡

4. The Big Sick Directed by Michael Showalter, starring Kumail Nanjiani and Zoe Kazan

I grew up India and despite the clashes between India and Pakistan the cultures are very similar. I did not grow up in a family like Kumail Nanjiani’s, but I was surrounded by tonnes of similar ones, many friends of mine are exactly where he was in the movie now. But the big sick, despite having themes and tones more introspective than most rom coms, is at it’s a core an undeniably fun ride, full of tonnes of funny moments, brilliant performances and completely new, barely explored, variations of the romantic-comedy genre.

The big sick shouldn’t be as crowd pleasing and comedic as it is, considering it’s melodramatic plot, but the movie definitely made me - and a lot of people - leave theatres laughing. The movie also defies categorization, yes I’ve put it in a rom com list, but it also revolves around race, overcoming illness, the mingling of different cultures and so much more - stuff that you would never associate with the genre, and still, the movie is an unexpectedly but undeniably fun ride

♡♡♡

5. When Harry Met Sally Directed by Rob Reiner, starring Meg Ryan and Billy Crystal

When Harry Met Sally was bound to be on this list, you knew, I knew it, we all knew it - and for me, When Harry Met Sally is simply one of the most charming movies I have ever seen. With it’s clever writing, endearing characters and great performances, the movie has solidified itself as a classic of the rom com genre. The film feels almost effortless, and completely original, and I find myself just as enthralled now, after watching it time and time again, as I was the first time I watched it.

The movie takes something familiar, and gives it a twist - it’s a common trope, boy meets girl, they don’t like each other, they’re forced to spend time together, and somehow they fall in love. But in When Harry Met sally it goes more like: boy meets girl, they don’t like each other, and then they say goodbye forever - except no, they don’t, and they meet again. Five years later. They still can’t stand each other, and it happens again - goodbye. And then five more years pass, they meet again and this time they stay in touch for the rest of the movie and build an actual relationship. It’s become one of my favourite movies, and it doesn’t matter if you’ve never seen it, or you know every line by heart, or even if you can’t stand rom coms - watch When Harry Met Sally, now if you’d like.

♡♡♡

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aliveandfullofjoy · 5 years

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Review: The Ballad of Buster Scruggs (Coen Brothers, 2018)

“Misanthrope? I don't hate my fellow man, even when he's tiresome and surly and tries to cheat at poker. I figure that's just a human material, and him that finds in it cause for anger and dismay is just a fool for expecting better.”

If The Ballad of Buster Scruggs isn't necessarily top-drawer Coen Brothers, it is still a terrific outing and demonstration of their impeccably tuned aesthetic. Each of the six chapters, for the most part, feel whole and boast gorgeous cinematography (thanks to Bruno Delbonnel), understated but effective art direction, and lovely music from Carter Burwell. Each chapter also has an embarrassment of riches from its actors -- so many people do excellent work here. Let's break it down, shall we?

1. The Ballad of Buster Scruggs

Tim Blake Nelson is an absolute marvel in this chapter. He's basically playing a murderous Bugs Bunny and it's just so damn delightful. That table-kick death? Leading the saloon in song? Shooting that guy behind his head with the mirror? Rising up out of his dead body like a cartoon ghost with angel wings and a lyre? Iconic. All of it. The rest of the cast is entertaining, but it's Nelson's show and he makes the absolute most of it.

2. Near Algodones

The weakest of the batch for me, this chapter does at least offer a solid duo of performances from James Franco and Stephen Root. My issue with this one is that the plot is so condensed--this must be the shortest chapter by far, and quite a lot happens--that by the time the ending comes about, it feels a bit like a "so what?" moment. The shot of Franco on the horse though, tied up in a noose? Stunning.

3. Meal Ticket

The first real heartbreaker of the film. Liam Neeson is chilling to the bone without saying much of anything, but even more impressive is Harry Melling (best known as Dudley in Harry Potter), who, with any justice in the world, should see this as his starmaking performance. He delivers devastatingly sad work as a monologuing limbless actor. His spirited delivery of the monologues are impressive, and the sadness in his eyes in the rest of his wordless performance is palpable. It's marvelous to watch, and so, so, so depressing.

4. All Gold Canyon

Tom Waits gets to do his thing all by himself in this chapter, and he makes the most of it. It's thrilling to watch him dig and sift for gold. What could easily drag and be one of the more boring chapters makes for one that is genuinely exciting in its victories and heartbreaking in its losses. Waits, again, is dynamite. The pastoral cinematography is to die for.

5. The Gal Who Got Rattled

The second heartbreaker of the film. This chapter is wordy and long, especially compared to its predecessors, but it boasts three phenomenal performances from Zoe Kazan, Bill Heck, and Grainger Hines. Kazan and Heck have lovely chemistry, and both deliver performances that are almost painfully sincere and endearing--Heck's proposal scene in particular is beautiful to behold. Hines masterfully underplays his role until the chapter's climax and he gets to sink his teeth into some intense action sequences and it's utterly thrilling to watch. The ending of this chapter put a pit in my stomach. Also, President Pierce! Jefferson Mays being wasted in a tiny role!

6. The Mortal Remains

A haunting coda. Five very different people are trapped in a stagecoach that may or may not be (but definitely is) taking them to the afterlife. Tyne Daly is utterly delightful as the Lady, Chelcie Ross has a breathlessly epic monologue about his experiences as a trapper, Saul Rubinek is quietly hilarious and affecting as a Frenchman, Brendan Gleeson is a smiling and singing Irishman, and Jonjo O'Neill is genuinely chilling as a jolly Englishman. For a film obsessed with death, this seems like the only logical ending. Between the five remarkable performances and the incredibly subtle lighting (that long change from bright golden sunlight to icy blue nighttime!!), this is a terrific cap.

The more I've sat with the film, the more I love it. Again, the absurdly strong cast of actors, the beautiful production value, and the Coens' literate and intelligent script -- it seems like an examination of how this country is built on horrific violence and death. I do wish they chose to subvert or refute some of the old western tropes (the film's depiction of Native Americans feels incredibly antiquated at best, even with all six of the stories come from white points of view), but all six chapters really work, and all have treasures to be found (most consistently in Delbonnel's cinematography). I cannot recommend this enough.

#there are probably typos #the ballad of buster scruggs #joel coen #ethan coen #coen brothers #sometimes elliott watches movies #tim blake nelson #zoe kazan #tom waits #bruno delbonnel #tyne daly #bill heck #harry melling #liam neeson

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pigballoon · 5 years

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The Ballad of Buster Scruggs

(Joel & Ethan Coen, 2018)

Returning two years on from the fairly underwhelming, and pretty quickly forgotten Hail Caesar, the Coen brothers return with a project whose format has been much talked about. Was it intended to originally be a 6 episode miniseries, or was it always going to be a movie? It doesn’t really matter either way, but having seen it I feel like some of these 6 segments might have been a chore in isolation, and work infinitely better as shorter parts of this larger whole.

Buster Scruggs, unlike their very traditional previous western, True Grit, runs the gamut of Coens styles from the sheer absurdity of stuff like Raising Arizona, and Burn After Reading, to the darker, doom laden, dread and melancholy of No Country For Old Men or Blood Simple, the traditionalist, throwback class of the aforementioned True Grit, or Hudsucker Proxy, or the existential nightmares they conjured up in things like A Serious Man and Inside Llewyn Davis, it’s all here, and unified the Coens have conjured up as fine a deconstruction of the western genre since Clint Eastwood’s Unforgiven over a quarter of a century ago.

To work through each section briefly, the titular Ballad of Buster Scruggs allows Tim Blake Nelson to cut loose in his own inimitable, and unforgettable way. It’s one of those pitch perfect marriages of actor and part that should earn damn near iconic status if enough people see it. The story he finds himself in the middle of (shout outs to Clancy Brown and David Krumholtz for playing their parts, however small) starts out outrageously amusing, and grows more and more absurd to the point of almost total idiocy. It’s blackly comic in the most black way, but so over the top it might prove off putting to many. Thankfully they have the good sense to keep it short enough that it never seriously outstays its welcome.

It’s followed by Near Algodones, another black comic work of absurdist madness, though slightly less outrageous than what comes before it (at least once Stephen Root finishes damn near stealing the whole movie), a little gentler in its tone, it’s ultimately no less bleak in its outlook, no less concerned with violence and death, it gives a nice little role to Ralph Ineson, and provides James Franco an opportunity to be as down to earth and natural as he may ever have been on screen.

These first two segments are probably the two that most define what I was talking about when I said that some of these episodes may have been a little much to stomach in isolation, so crazy are they both. Yet with the end of Near Algodones the movie entirely turns itself on its head.

In Meal Ticket, Liam Neeson, and Harry Potter’s now unrecognizable Harry Melling inject absurd amounts of melancholy into the most abstract segment in the movie. Told primarily through a sequence of very short scenes, with minimal use of much dialogue beyond the relatively incidental, the brothers and their two mournful performers craft a story less specific to the old west, more timeless and universal. It’s a mood piece of sorts, built around visuals and actions, asking the viewer to piece together the fragments they see, and infer meaning, and work their own way towards the conclusion, every bit as bleak as the finales of the stories that came before it.

After this comes the closest the movie can provide to respite. The Tom Waits led All Gold Canyon perhaps tonally could have come before Meal Ticket in the movies descent from dream into nightmare, but placed here breaks up the darkness of the movies second half a little bit. It’s another segment reliant more on action, with most of the dialogue proving on the incidental side. At the heart of it Waits is magnificent, it’s always nice to see him back on screen, and aided by the gorgeous photography of Bruno Delbonnel, now in his third collaboration with the brothers, this is maybe the most purely watchable chapter of the film.

It’s followed by another more traditional piece of work, in The Girl Who Got Rattled, with Zoe Kazan leading the way, aided by a terrific couple of performances from Bill Heck, and Grainger Hines. It’s the longest segment of the movie, along with the previous the most straightforward one, and the one with the closest thing to a proper arc, the one that feels the most like it could (again, probably in conjunction with All Gold Canyon) stand as a story in its own right. Heck and Kazan are a winning duo, and just when it starts to threaten to drag compared to what has come before, Hines steps up and elevates the final act at the centre of a sequence that needs someone special to make it work.

Finally comes the comparative chamber piece, The Mortal Remains. Shooting it in a studio where the rest was shot on locations may have been a practical choice rather than a creative one, but it adds to the movies meta qualities significantly, gone are the wide open plains, and in its place something that feels like a cross between the opening act of The Hateful Eight (the amount of talking in this segment would drive QT wild) and something out of Coppola’s Dracula. The oddballs in the carriage, the darkness and fog that surrounds them, the whole thing is unsettlingly off kilter, its another No Country For Old Men trick where the brothers sort of bring their film screeching to a halt at the last to force you to think a little bit more.about what you’re seeing. The quintet of performers, the great Tyne Daly and Brendan Gleeson, Jonjo O’Neill who finds himself gifted with the monologue of a lifetime, (speaking of Unforgiven) Saul Rubinek, and veteran Chelcie Ross, who is another of the movies show stealers, all bounce brilliantly off one another, off set each other, and keep this nightmare grounded to some degree in reality, a long way from the pure artifice in which The Ballad of Buster Scruggs began a couple of hours prior.

For all of its comic absurdity, and the storybook gimmick that strings the whole thing together, Buster Scruggs is a movie in which in spite of dabbling in generally pretty accessible, crowd pleasing or skin crawling storytelling, the Coens are able simply through structure, and their unmatched handle of tone to probe deeper into what they really want to explore. From the varying explorations of violence and preoccupation with death in all its complexities, to the use of songs, and mixture of tones, the Coen brothers latest effort is filled to the brim with all kinds of details that should reward repeated viewings. It’s a magic trick of a movie only the best can pull off, basically very light on its feet as a viewing experience, but enriched by a staggering amount of depth to be explored, and open up your understanding of what they’re going for just as they shrink their world, and box you in.

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