1. Besson dismantles the idea that superheroes are all regular people with the same human impulses we have. As Lucy evolves, each move forward differentiates her because she’s no longer a typical human being. She experiences the world differently and ceases to relate to her old self.
    — 

    Why Lucy is the shot in the arm the superhero genre needs

    By questioning the very humanity of its protagonist, Lucy shows the limitations of Hollywood’s favorite genre — and points to a new direction going forward

     

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  3. There are more prominent black films coming out now than were as recently as five years ago, but they’re not particularly original, or telling particularly ambitious stories. They’re repackaging stories considered rote by the modern moviegoing audience with the intentions of revitalizing them via the draw of unfamiliar casting — which is to say, non-white.
    — 

    Why Think Like A Man Too is proof that Hollywood fails black audiences

    It is just the most recent example of a troubling trend toward homogenization

     


  4. I like being in space because there are better parts for women in space. I don’t have to subject myself to just being the love interest or playing a character that doesn’t feel relevant to the story or playing a woman that doesn’t feel like an actual depiction of a real woman.
     

  5. Chasing a dream in Chinawood

    Hopefuls come from across the country, trying to become stars in China’s answer to Hollywood

     


  6. Ultimately, Edge of Tomorrow is not the story of how soldiers fought tirelessly to eradicate an invading alien race, but a story of Hollywood still caught in an endless loop of gendered habit. Studios create female characters, mess them up, and try again.

    The question is: How many more tries until the studios figure it out, and cinema moves forward?

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    Badass characters like Edge of Tomorrow's Vrataski seem to push Hollywood forward — but when will a woman be more than a “Female Yoda”?
     


  7. The important question concerning Hollywood’s imbalance is not whether good things are happening — they are — but whether each advancement inspires the developmental change necessary to make the numbers reflect the financial and creative strides being made in the industry. In 2014, people talk about the imbalance — but it will only matter if the powers that be start listening to the ever-rising voices of discontent.
    — 

    5 years of Girls on Film

    A look at the ongoing evolution of femme-centric film in culture and Hollywood

     

  8. "Religion is a serious subject, and Hollywood doesn’t do well with serious subjects — because Hollywood’s goal is to make money, not art. If the major studios started producing more big-budget movies on religious topics, all we’d end up with are more dumbed-down portrayals of religion." — Damon Linker, in Hollywood’s real problem with religion

     

  9. Laurence Olivier:

    Between 1939 and 1978, Laurence Olivier was nominated for 10 Oscars, with a Best Actor win for the title role in 1948’s Hamlet and a Lifetime Achievement Award at the ceremony in 1979. Just two years later, he won a Razzie for playing General MacArthur in the critically maligned Inchon, beating out the likes of Willie Aames in Zapped! and Arnold Schwarzenegger in Conan the Barbarian. When asked why he had agreed to star in a film like Inchon in the first place, Olivier gave this now-legendary response: “Money, dear boy. I’m like a vintage wine. You have to drink me quickly before I turn sour.”

    8 Oscar-winning actors who have also won Razzies

     


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  11. "The basic concept of lower-budgeted titles based on lesser-known characters is an enormously refreshing change from the tiny box Hollywood currently places superhero comics in. There are so many superhero movies in the pipeline right now that it’s time to stop thinking of them as a subgenre of the action movie and time to start thinking of them as a genre of their own — capable of telling stories that can be compelling and lucrative with diversity in tone, budget, or rating.”

    Coming soon: A different kind of superhero movie

     

  12. The Invisible Woman
    Directed by Ralph Fiennes
    Starring: Ralph Fiennes, Felicity Jones, and Kristin Scott Thomas

    What is it?
    Based on Claire Tomalin’s 1991 book of the same name, The Invisible Woman looks at the life of Ellen “Nelly” Ternan (Felicity Jones), a young actress who met Charles Dickens (Ralph Fiennes) at the height of his career and became his secret mistress until his death.

    Should you see it?
    Yes, but keep your expectations in check. The Invisible Woman is a relatively surface-level look at the relationship between Ternan and Dickens. The main reason to see The Invisible Woman is Felicity Jones, who turns in an excellent, layered performance as a woman caught between her need to keep secrets and a desire to freely live her life. (Thankfully, Fiennes understands that this is Ternan’s story more than Dickens’ and keeps the bulk of the focus on her.) That’s enough to make it worth seeing — but don’t go in expecting a new period-piece classic.

    AFI Fest 2013: 6 movies you should know about

     

  13. McDreamy played a young version of Kennedy once, among (many) others.

    9 actors who have played JFK