Scott Eastwood says he was ‘completely naked’ shooting ‘Longest Ride’ sex scene

11 Apr 2015 | Author: | No comments yet »

‘The Longest Ride': Critics aren’t bullish on Nicholas Sparks romance.

Eastwood was assured that careful camera angles and editing would keep the film rated PG-13 and his modesty intact (unlike the flashes we saw of Ben Affleck in Gone Girl). Does digital data offer indicators that can be used to monitor marketing effectiveness and predict box office success even before awareness turns into intent?Starring Scott Eastwood (son of Clint) as a hunky bull rider and Britt Robertson as an aspiring New York City gallerist, this 10th movie adaptation of a tearjerking Nicholas Sparks novel is mostly being shrugged off by reviewers, not unlike a hapless cowboy thrown from a bucking bronco.

It’s been a good few years for female-focused movies. (Very) slowly, but surely studios are beginning to catch on to the fact that women are not only a strong audience in their own right, but that they’re looking for more than just a shirtless guy on the screen.Luke (Scott Eastwood) and Sophia (Britt Robertson) are the definition of opposites attract in The Longest Ride, the latest book-to-film adaptation from author Nicholas Sparks. Moviepilot — which studies social data and box office trends — analyzes this weekend’s new movies across Facebook, YouTube, Twitter and Google (the methodology behind the numbers is laid out in the appendix below) over the seven days leading up to their release, when marketing campaigns should be at their peak. “Furious 7” set off at breakneck speed last weekend, racing to a massive $143 million opening total and streaking far ahead of the competition.

The Times’ Betsy Sharkey writes: “Even with all ‘The Longest Ride’s’ shots of the eye candy that is Scott Eastwood, Nicholas Sparks’ latest romance to make its tissue-sodden way to the big screen is a wash. You can thank Paul Feig for some of the movement—the director brought us Bridesmaids (and he’s also working on the all-female Ghostbusters), which felt like one of the first movies to actually portray a romantic comedy in a real way.

As the couple ponder their romantic future, they find inspiration in Ira, an elderly man whose decades-long romance with his beloved wife withstood the test of time. “What was really beautiful about this film, is actually making a commitment, a real commitment, not just something on the surface,” says Oona Chaplin. “I think you’re right. A long one. … The two-plus hours is mostly marked by an emptiness born of scene after scene designed to blatantly manipulate emotions rather than trigger them.” Sharkey adds that director George Tillman Jr. “gets swamped by the sentiment that characterizes Sparks’ work. The extended Longest Ride love scene is really long as it moves from one room and into the shower (which is practically a must for a Nicholas Sparks adaptation). “I was trying to be a little crazy and do fun stuff.

In real life, Alda has been married to his wife for 58 years, but says he doesn’t have any tips to share about how to navigate decades as a successful couple. “I don’t think there’s a secret. Otherwise, it’s distinction-free.” As in many Sparks films, “the performances never rise above the cloying material, though Eastwood acquits himself best, with an affable charm.” For what it’s worth, the ending is “so ridiculously contrived, it’s almost worth the movie’s extended length. And we’re already counting down the weeks untilAmy Schumer’s Trainwreck comes roaring into theaters this summer to (hopefully) shatter a few damsel-in-distress stereotypes.

He, king of cheesy dialogue and laughably outdated relationship dynamics, has been holding court with his brand of very, very not good movies for far too long, in this writer’s opinion. It was all pretty minor (problems) for the art department.” Eastwood was not a fan of discussing the scene too in-depth, eventually saying people should investigate themselves at the theater this weekend.

Tobias Bauckhage (@tbauckhage) is co-founder and CEO of moviepilot.com, a social-media-driven movie community reaching over 29 million Facebook fans and 30 million monthly unique users. And there’s Jack Huston from Boardwalk Empire, who plays a World War II-era man whose love for Oona Chaplin’s European beauty inspires a lifelong passion for the arts. Based on community data, Moviepilot helps studios to optimize their social media campaigns, identifying, analyzing and activating the right audiences. When these two romances collide—after Eastwood’s cowboy rescues Huston’s aged character (played by Alan Alda) from a car wreck—both couples realize that not everyone is so lucky to get a chance at true love. Without giving too much of the plot away (but let’s be honest: If you’ve seen one Nicholas Sparks movie in the past five years you can probably predict nearly every “twist”), we’ll just say that it embodies pretty much all of our complaints about the genre.

Also starring Britt Robertson and Clint Eastwood’s son, Scott, ‘The Longest Ride’ has opened to mixed reviews with one critic calling it dumb, long and dull, while another promises Nick Sparks fans that this 10th adaptation sticks to the proven winning formula. It’s harder to admit that he’s good at his niche — and has a string of 10 films, nearly all profitable, to prove it, even if every one has been savaged by critics.” Fan engagement measured by PTAT (People Talking About This) is a more precise but also a fickle indicator, heavily driven by content strategy and media spending.

Which sort of makes sense, as it comes from a slick, push-all-the-buttons professional bull writer. … There’s nothing very exciting about Eastwood’s rodeo competitions, and Robertson’s big dilemma—do I go to New York for a job, or stay here with my boyfriend?—isn’t much of dilemma at all. Why does the girl always manage to fall in a puddle/get splashed by mud/spill at the exact moment that there’s a shower nearby and a spare moment for first-time sex? The movie has nowhere to go and spends more than two hours getting there.” “If the movie is to be remembered for anything, it’s for the presence of Scott Eastwood in his first significant starring role.

We track all English language original video content about the movie on YouTube, down to videos with 100 views, whether they are officially published by a studio or published unofficially by fans. Scott resembles the big guy enough for that to be interesting, but not so much that it’s distracting.” “In a plot thread set in the 1940s, we have Jack Huston—grandson of John Huston, nephew of Angelica Huston—co-starring with Oona Chaplin, granddaughter of Charlie Chaplin, great-granddaughter of Eugene O’Neill. Movies with over 40 million views are usually mainstream and set to dominate the box office, while titles drawing around 10 million indicate a more specific audience. Meanwhile, back in the present, Luke and Sophia steam up several different shades of stained glass in a shower scene that evokes the late softcore maestro Zalman King…” “Chaplin and Huston do a slightly better job of steaming up the screen than Eastwood and Robertson.

The men are so smoldering and they care so much about their bull riding/house building/pickup truck owning that of course it’s only natural that the girlfriend should give up her dream job/dream city/dream apartment in order to ride horses around the countryside and make the relationship work. I don’t think Huston ever gets a chance to join in the Calvin Klein-esque underwear shoot that is ready to spring into action any time Luke sheds his shirt.” “After some courtin’ (‘I’m old school,’ Luke says ominously) the two end up in a lovemaking montage that intercuts bull-riding with their mistily shot grapplings. We count all tweets over the period of the last seven days before release (Friday through Thursday), that include the movie’s title plus a number of search words, e.g. “movie” OR a list of movie-specific hashtags. Search is a solid indicator for intent moving towards release as people actively seek out titles that they are aware of and are thinking about seeing. Just as the basic plot points are hard to swallow, even the most rudimentary aspects of the characters’ interactions feel forced, artificial and unspontaneous.”

Sparks and his cornball ilk, instead of providing us with a feel-good movie that also happens to have things like witty dialogue or realistic conflict, seem to train audiences to settle for the lowest common denominator plot. Search is particularly significant for fan-driven franchises and family titles as parents look for information about films they may take their children to see.

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