Latest news with #ShortCuts
Mint
23-05-2025
- Entertainment
- Mint
Julianne Moore's net worth: From luxury cars, properties, and endorsements - A look at the Siren star's earnings
Julianne Moore, the acclaimed American-British actress, is making headlines with her portrayal of Michaela Kell aka Kiki in the new Netflix show Sirens. Julianne has carved out a remarkable career in Hollywood, amassing a net worth of $55 million. She rose to fame in the early 1990s, recognised for her emotionally rich performances, particularly portraying women in distress. In 2020, she was ranked 11th in The New York Times' list of the 25 Greatest Actors of the 21st Century. Julianne Moore made a name for herself with a series of strong supporting roles during the '90s. Her breakthrough came with Robert Altman's Short Cuts in 1993, followed by impressive turns in Vanya on 42nd Street and Safe. By the mid-1990s, starring roles in blockbusters such as Nine Months and The Lost World: Jurassic Park made her a global name. Oscar nominations poured in for her performances in Boogie Nights, The End of the Affair, Far from Heaven, and The Hours. Other standout roles include appearances in The Big Lebowski, Magnolia, Hannibal, and Children of Men. In the 2010s, she continued to shine with The Kids Are Alright and her award-winning portrayal of Sarah Palin in Game Change. Her 2014 performance in Still Alice, where she played a linguistics professor diagnosed with early-onset Alzheimer's, earned her the Golden Globe, BAFTA, SAG Award, and ultimately, her first Academy Award. That same year, she starred in Maps to the Stars and The Hunger Games: Mockingjay – Part 1. She followed this with more strong roles, including appearances in Wonderstruck, Suburbicon, and Kingsman: The Golden Circle in 2017. Moore's success in film translated into an impressive property portfolio. In 1999, she purchased a duplex loft in New York's West Village for $911,500, later selling it for $1.95 million in 2002. In 2003, she acquired a townhouse in the same area for $3.5 million, which she attempted to sell for up to $12.5 million. She still owns this property. She also owns a home in the Hamptons, purchased in 2007 for $1.05 million. Although she listed it for sale in 2015, she later removed it from the market. During the 2020 pandemic, she and her family stayed there frequently, though they eventually moved to a nearby 10-acre property with enhanced security after an unexpected and unsettling incident involving a drunken intruder. Julianne Moore's car collection reflects a mix of practicality and opulence. Her most modest vehicle is a Toyota Prius, priced at approximately $24,525. She also owns a luxurious Mercedes-Benz S-Class worth $112,150, and the pinnacle of her collection is the Lexus LS 600hL, valued at $113,150.
Calgary Herald
08-05-2025
- Entertainment
- Calgary Herald
Canadian filmmaker Jason Buxton's second feature, Sharp Corner, a study in obsession
Article content Soon, another accident happens with similarly tragic results. Rachel demands they move, but Josh becomes obsessed with the two victims claimed by the crashes and increasingly transfixed by the potential that it might happen again. He spends much of his day looking out the panoramic window onto the road and waiting. Article content His private and professional life begins to unravel as he obsesses over saving future victims. Sharp Corner is based on a short story by Canadian author and journalist Russell Wangersky from his 2006 Giller long-listed debut collection, The Hour of Bad Decisions. Initially, Buxton wanted to tackle several stories from the book and weave them together in a structure similar to Paul Thomas Anderson's 1999 episodic drama Magnolia or Robert Altman's 1993 comedy-drama Short Cuts, which was inspired by the short stories of Raymond Carver. Article content 'All of Russell's work really appealed to me, but with that story, in particular, I was looking for something that would talk about obsession,' Buxton says. 'As a writer, I would often become very tunnelled. Even when I put down my writing for the day, I would still be solving problems in my head at dinner and not paying attention to my family. I realized that this short story gave me a really good template to look at obsession and how turning away from one's family can happen and the dangers of that.' Article content Article content Buxton said he walked through bookstores looking for potential CanLit material he could turn into film. It's his first since his acclaimed 2012 debut Blackbird, a drama about a bullied goth teen wrongly accused of plotting a school shooting. Sharp Corner was a long-gestating project for the Nova Scotia-based filmmaker, who began developing it years ago but was delayed by his work on a CBC miniseries that was shelved by COVID-19. Article content He would eventually take a few liberties with Wangersky's work when adapting his story for the screen. Article content 'In the short story, the character doesn't develop a saviour complex, it was something I added,' Buxton plays. 'The way that Ben Foster is at the beginning, that's the character Russell had written. The couple in his story didn't have a child. Those were all inventions that I came up with when I adapted the story into a two-hour movie. It didn't have what we think of as a three-act structure; it was more about the character who became an expert on these accidents that were happening in front of his house, and his wife doesn't understand why he seemed to be fascinated and gain something from these experiences. In fact, the original title I was working under when I had the other stories of Russell's was The Misery of Others. I felt like the character is obsessively drawn to the misery of others. In a way, I thought of it as a character who doesn't have an understanding of his own psyche. He doesn't have a relationship with his interior life and is perhaps cut off emotionally, and so this reawakens something.' Article content Article content Not an easy character to portray. Foster first gained attention as a teen actor in the late 1990s and early aughts in films such as Liberty Heights and Get Over It but has developed into a versatile character actor with acclaimed roles as a ruthless cowboy in 3:10 to Yuma, a troubled Iraq war vetern in The Messenger and a wild bank robber in Hell or High Water. Article content 'He is often cast as the very macho, madman kind of guy and this character starts off as meek,' Buxton says. 'So it wasn't obvious that this would be a role that was right for Ben and also a role that would appeal to him. This character spoke to him in a lot of ways. But, to me, there was no way of knowing that. But I love that he decided to do our movie because I think he brings so much interior life and mystery to the character. I find audiences love watching him and trying to figure out what this guy is all about.'
Associated Press
02-04-2025
- Entertainment
- Associated Press
Movie Review: ‘Freaky Tales' is a nostalgic, loving, exhausting and very gory ode to ‘80s Oakland
Remember what it was like growing up in the East Bay in the '80s? Ryan Fleck sure does, and vividly. The writer-director, together with partner Anna Boden, has produced a self-described 'very weird' (no argument here) love letter to his former home in 'Freaky Tales.' But this ode to Oakland contains more than memories. It's not about the way things happened, Fleck says, but about the way he chooses to remember them. Set in 1987, 'Freaky Tales' is certainly creative. It is whimsically visual — think hand-drawn stick figures popping up, comic-book style graphics, or a sudden shift to cartoon mode — and it has Pedro Pascal, never a bad thing. It's also often heartfelt, even if it ends in a spasm of hatchet-wielding, samurai-sword-slicing, Tarantino-esque gore that, dare we say, doesn't feel like a love letter to anything — except maybe Tarantino. The real issue is, a lot of us don't remember growing up in the East Bay because we didn't. Maybe we've never even been there. What's never quite fleshed out here is why this all should resonate with us — or how these haphazard moments, albeit compelling, weave together in the cohesive way the filmmakers seem to promise. In any case, Oakland in 1987 was 'hella wild,' we're told at the start: the people, the culture, the music, and also a cosmic 'bright green glow' — an electricity in the air that may be a gift from aliens, or perhaps augurs the end of the world. The film then moves, in a style reminiscent of Robert Altman's 'Short Cuts,' through four separate yet connected tales happening on one night. We begin with 'Strength in Numbers: The Gilman Strikes Back,' set at 924 Gilman, home to the Berkeley punk rock scene. A sign on the club's door expresses its peaceful ethos: 'No Racism, No Sexism, No Homophobia, No Drugs, No Alcohol, No Violence.' But try telling that to the local band of skinheads who've been rampaging through the joint, terrorizing the crowd. Usually, the punk kids don't fight back. This time, they do. Young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) are among those who arm themselves with terrifying weapons, including Tina's fearsome spiked bracelet, for a blood-spattered confrontation. It's at another East Bay nightspot, Sweet Jimmie's, where aspiring female rap duo Danger Zone makes its mark in the second story, 'Don't Fight the Feeling.' Entice (singer Normani) and Barbie (Dominique Thorne) take their shot by agreeing to a rap battle with homegrown star rapper Too $hort (played here by Symba), who launches the contest in the raunchiest of ways. Normani and Thorne are engaging, but the story is short on narrative heft. Things get deeper in 'Born to Mack,' with Pascal as a once-violent debt collector trying to turn a corner. As his very pregnant wife sits outside in their car, their new life beckoning, Pascal's Clint goes into a video store where in a back room, his last collection job awaits — or so he thinks. An unwelcome reminder of his violent past sets in motion an unthinkable tragedy. And from tragedy comes an unexpected chance at redemption. Everything comes together — in a way — in 'The Legend of Sleepy Floyd,' revolving around a real-life sports drama: the May 1987 game in which Golden State Warriors guard Eric 'Sleepy' Floyd went on a scoring rampage — including 29 points in the fourth quarter — to defeat the Los Angeles Lakers. Here, the filmmakers envision an unhappy coda to the night. A band of thieves led by a fiendish corrupt cop (Ben Mendelsohn) has broken into players' houses while they're away. When the mother and girlfriend of Sleepy himself come home early, yet another tragedy ensues. And then comes the finale, with Sleepy (Jay Ellis) exacting bloody revenge in a paroxysm of gore. Fans of such things will undoubtedly enjoy it; what the movie is saying about Oakland, however, remains elusive. We won't spoil the A-list cameo performance, but in the end, as the credits roll, this celebrity returns for sort of a blooper reel moment, cracking up the crew. It's fun to feel everyone laughing together, and even more fun to watch the vintage breakdancing number that accompanies the credits. Clearly, the cast had a great time. But for us, there's a sense by then that maybe you sorta had to be there. 'Freaky Tales,' a Lionsgate release, has been rated R by the Motion Picture Association 'for strong bloody violence, language throughout including slurs, sexual content and drug use.' Running time: 106 minutes. Two stars out of four.
