The return of ‘America’s sweetheart’: evergreen Sandra Bullock is toast of Toronto

13 Sep 2015 | Author: | No comments yet »

George Clooney Slams Donald Trump as “Idiotic” for Comment About Mexican Immigrants.

The actress stars as a political strategist in Our Brand Is Crisis, a part originally written for a man. (Pal George Clooney, one of the film’s producers, was reportedly up for the role). “There’s so much talk of that right now, and it’s getting heightened, which makes me very happy,” the actress, 51, told reporters Saturday at a press conference for the movie at the Toronto International Film Festival. “What I’d like to comment on is the fact that I was able to say: ‘Would you be able to take a role that was written and that you guys have worked on and cherished a long time and change it to a female?'” she added. “And there was not a lot of hesitation.The Oscar-winning actor and director is calling on Hollywood to cast more women in parts originally conceived for men in order to increase the diversity of female roles in the film industry, according to Entertainment Weekly. “There’s a lot more [roles] out there if people just started thinking,” he said.

George Clooney has said that Republican presidential hopeful Donald Trump’s description of Mexican immigrants as “rapists” and “criminals” was “idiotic”. And for those who preferred their searches to be more personal, there were performances that wrestled with identity, politics and the places where those converged. Clooney made the suggestion at the premiere of Sandra Bullock’s upcoming drama “Our Brand In Crisis,” which he is producing, at the annual Toronto Film Festival.

Playing Jane Bodine, a notorious, down-on-her-luck campaign strategist who travels to Bolivia for one last job, Bullock operates in a marvelous middle-ground between the old slapstick, wry comedy stuff she’s so famous for and the serious fare befitting someone with an Oscar. You know, it ends up working out very well for the film, but that wasn’t, you know, we weren’t that good.” “The U.S. has become a dumping ground for everybody else’s problems,” he said at the time. “They’re sending people that have lots of problems, and they’re bringing those problems with us. But the sad thing is that there is still that tendency.” Hollywood has stepped up efforts in recent years to cast women in roles traditionally held by men or, in some cases, that were originally played by males. We still have some ways to go, but I don’t mind being the one to ask, ‘What do you got that you haven’t made yet, that you’d be willing to change for me?'” said Bullock. “And hopefully, I mean, what would be very helpful was if this film has a level of success that makes the studio go: Okay, this is a viable thing for us. Directed by David Gordon Green, the film is a political comedy starring Sandra Bullock as an American election strategist who is invited to Bolivia to help a senator win a presidential election.

On the red carpet, Damon commented that one reason he liked his character from the best-selling book, who never loses his sense of humor as he struggles to survive, was that “He’s ingenious in how he figures out how to save his own life.” Another dangerous place, as shown in “Sicario,” which debuted Friday, is the Mexico-U.S. border towns that are on the front lines of the drug war. A 2014 study by the Center for the Study of Women in Television and Film at San Diego State University found that only 15% of that year’s top 100 films had women in lead roles, which was barely an improvement on three years prior. It is based on the 2015 documentary of the same name by Rachel Boynton, which focused on the campaign marketing that helped Gonzalo Sánchez de Lozada win the Bolivian presidency in 2002.

Emily Blunt plays an FBI agent recruited by a mysterious DEA agent (Josh Brolin) and his partner (Benicio Del Toro) to follow a trail of murder and money all the way to a drug kingpin. Bullock said the film was about “big business and how we as a people are manipulated”. “We need to take start to take ownership back and look at things for what they really are, rather than what we’re being sold,” she said.

Her character, a quick-witted depressive with an alcohol addiction, was originally male, before she requested that Clooney and his co-producer, Grant Heslov, switch the part’s gender. The bloody world of London’s East End during the 1950s and ’60s is the setting for “Legend,” with Tom Hardy (“Mad Max: Fury Road”) playing two roles: Twin brothers and murdering gangsters Reggie and Ronald Kray. Bullock and her co-star, Zoe Kazan, said it was significant that the character had no overt desire for children, nor an on-screen romantic relationship, though Kazan suggested this might have been because she was originally written as a man. “That’s not a great sign,” she said. “Women aren’t just child-bearers,” said Bullock. “We have excitement about life and dreams and work. This is funny Bullock, but it’s also pensive, wounded Bullock—a curious cocktail that I’d like to see more of from America’s favorite movie star. In his newest, “The Danish Girl,” Redmayne plays Einar Wegener, who in the 1920s in Copenhagen became the world’s first recipient of a male-to-female sex change, becoming a woman named Lili Eibe.

Who doesn’t like Sandra Bullock, who can be marooned in space or goofily investigate low-life Boston crimes with Melissa McCarthy with equal aplomb? The movie is directed by Tom Hooper (“The King’s Speech”) and buzz is that Redmayne could possibly be a member of another exclusive club: Actors who’ve won Best Actor Oscars two years in a row.

Bullock is, it turns out, a terrific actress—she may play fewer notes than Meryl Streep or Nicole Kidman, but she finds so much variation, sharps and flats and whatever other terms we can use to belabor this metaphor, in her range. The New York-set movie, costarring Naomi Watts (as Fanning’s mother) and Susan Sarandon (as her grandmother), has, like “Danish Girl,” gotten some heat for not casting transgendered performers in its lead roles.

Bullock implied that one way for women to get access to richer, less stereotypical roles might be to ask studios to switch the gender of parts written for men. Jane is a jumble of idiosyncrasies, both hard-to-like and irresistible, respected and feared for all her political acumen, but also derided, shunned for her mental messiness.

In a review that praised Bullock’s “top form” performance, Lee said: “Her comic timing, wasted in lesser, plane-ready comedies, is on top form and she imbues her neurotic character with more than the thinly sketched quirks provided on the page”. So does the small, spirited “Freeheld,” based on a 2007 Oscar-winning short about a New Jersey police officer who came out of the closet in the 1990s and sued for the right to award her pension to her lesbian partner. “Freehold” has tears, as Hester pushes for her benefits only because she became ill.

The film doesn’t shrink from grim hospital scenes, or the circus the court case became. “Movies are an empathy machine,” Page says. “We see stories about people we thought were different from us, and then we realize they’re really not. And that’s the only way progress is made.” The film chronicles young Malala Yousafzai, the Pakistani activist for girls’ education, from her girlhood in Swat, Pakistan, to her being shot in the head by the Taliban in 2012 for speaking out for female rights in her home country through her recovery, accomplishments and relocation with her family to England and being awarded the 2014 Nobel Peace Prize. This is the vein that Bullock should keep pursuing: chances to be Sandra Bullock while also working her way into a character, into a film, that isn’t operating on one prescribed level.

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