Michael Fassbender
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Michael and James and the musical version of X-Men
These guys are just trolling. LOL!
He does doesn't he? Whether hes wearing a 3 piece suit to a tshirt and jeans to a sexy leather jacket
twitter.com/lokiandmagneto/status/468295083695951872/photo/1/large twitter.com/lokiandmagneto/status/468295083695951827/photo/1/large
Michael looks like a little boy being led by his dad in the 2nd picture.
Michael looks like a little boy being led by his dad in the 2nd picture.
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I think this is supposed to be the link...
https://twitter.com/lokiandmagneto/status/468295083695951872/photo/1/large
Here is the picture I found following that link, don't know if there was supposed to be another photo... the link she posted was two conjoined links but only one link worked.
Attachments
Sorry, about the link. I guess I don't know how to work it. Anyway, thanks for finding it.
OMG LOL I was laughing so hard, they are so cute, esp Michael. Did he really say finger licking good in the end? Too funny
For neophytes who are trying to have film and movie appreciation: I have been blessed to be acquainted with Mr. Brian Linehan interviews ; whom made a career out of his love of movies. There are two prominent notables, the art of conversation and discussion of the craft. It is purely art for art sake. There was no ****ing gossip, stalking nor madness. It was a lesson in "how to be a proper fan". I discovered these treasures after he died. It would have been interesting to have his take on Mr. Fassbender; although "Sharp Magazine" provided a wonderful piece of Michael's work without the fuss and nonsense.
I have included a sample of his work.
https://www.youtube.com/watch?v=4cqcbDZqQX4
I have included a sample of his work.
https://www.youtube.com/watch?v=4cqcbDZqQX4
Why Jane Campion and Her Jury Awarded 'Winter Sleep' the Palme d'Or
The main competition jury of the 2014 Cannes Film Festival Cannes Film Festival
Going into tonight's awards ceremony at the 2014 Cannes Film Festival, there was no clear front-runner for the event's highest honor, the Palme d'Or.
Prior to the show, buzz in Cannes was deafening for Xavier Dolan's first film to screen in competition "Mommy," the Dardennes brothers' harrowing "Two Days, One Night," and the challenging Russian epic "Leviathan." Yet ultimately the Palme went to Cannes regular, Turkish director Nuri Bilge Ceylan for his three-hour plus drama "Winter Sleep," a Shakespearean tale of a disgruntled landowner contemplating his affluent lifestyle. Dolan settled for the Jury Prize (along with Jean-Luc Godard for "Goodbye to Language"), while "Leviathan" writers Andrey Zvyaginstev and Oleg Negin were awarded Best Screenplay. The Dardennes, who both have already won Palme d'Or twice before (for "The Child" and "Rosetta"), were shut out as was Marion Cotillard's much-praised performance.
At the press conference immediately following the awards, Campion admitted that she was a "little afraid" to watch Ceylan's film. "I was thinking, oh my god, I'm going to need to take a toilet break," she said. "But I sat down, and the film had such a beautiful rhythm and it took me in. I could have stayed there for another couple hours. It was masterful."
"The real gift of the film is how honest it is," she added. "It's ruthless. If I had the guts to be as honest as [Ceylan], I'd be proud of myself."
In awarding both Dolan and Godard the Jury Prize, the Jury awarded the youngest and oldest filmmaker with films in the competition. Asked if coupling them together was intentional, Campion said "yes, we were aware."
"All of us owe a lot of our life blood to Godard," Campion said. "It's so wonderful that we've had this opportunity to heartfully give him the prize. When I saw his new film, I wasn't expecting it, but I was blown away by it."
Campion also had high praise for "Mommy." "It's such a great, brilliant and modern film," she said. "[Xavier] Dolan is kind of a genius, I think."
The main competition jury of the 2014 Cannes Film Festival Cannes Film Festival
Going into tonight's awards ceremony at the 2014 Cannes Film Festival, there was no clear front-runner for the event's highest honor, the Palme d'Or.
Prior to the show, buzz in Cannes was deafening for Xavier Dolan's first film to screen in competition "Mommy," the Dardennes brothers' harrowing "Two Days, One Night," and the challenging Russian epic "Leviathan." Yet ultimately the Palme went to Cannes regular, Turkish director Nuri Bilge Ceylan for his three-hour plus drama "Winter Sleep," a Shakespearean tale of a disgruntled landowner contemplating his affluent lifestyle. Dolan settled for the Jury Prize (along with Jean-Luc Godard for "Goodbye to Language"), while "Leviathan" writers Andrey Zvyaginstev and Oleg Negin were awarded Best Screenplay. The Dardennes, who both have already won Palme d'Or twice before (for "The Child" and "Rosetta"), were shut out as was Marion Cotillard's much-praised performance.
At the press conference immediately following the awards, Campion admitted that she was a "little afraid" to watch Ceylan's film. "I was thinking, oh my god, I'm going to need to take a toilet break," she said. "But I sat down, and the film had such a beautiful rhythm and it took me in. I could have stayed there for another couple hours. It was masterful."
"The real gift of the film is how honest it is," she added. "It's ruthless. If I had the guts to be as honest as [Ceylan], I'd be proud of myself."
In awarding both Dolan and Godard the Jury Prize, the Jury awarded the youngest and oldest filmmaker with films in the competition. Asked if coupling them together was intentional, Campion said "yes, we were aware."
"All of us owe a lot of our life blood to Godard," Campion said. "It's so wonderful that we've had this opportunity to heartfully give him the prize. When I saw his new film, I wasn't expecting it, but I was blown away by it."
Campion also had high praise for "Mommy." "It's such a great, brilliant and modern film," she said. "[Xavier] Dolan is kind of a genius, I think."
We were young, we didnt know any better, Magneto (Ian McKellen)
The 2020s are bleak. A devastated Manhattan is the home to a mutant prison camp. A mini-army of virtually indestructible biomechanical warriors, the Sentinels, able to take on the abilities of super-powered individuals, are rounding up and killing the gifted, their human helpers, and any that contain the genes to father and grandfather such offspring. Wolverine (Hugh Jackman), Magneto, Professor X (Patrick Stewart) and Storm (Halle Berry) have come across a rogue band of mutants still at large, evading capture through a form of time travel. As extinction looms for their species, the only option left to the X-Men is a mind-boggling strategy: Send Wolverines conscience back to his 1973 ever-young body, before Mystique (Jennifer Lawrence) triggers the Sentinel programme into existence.
Urgent, gripping, X-MEN: DAYS OF FUTURE PAST is, at last, a return to form for the franchise, after a long, mediocre run. Surprising emotional heft anchors a whizz-bang narrative across multiple timelines, coupling the original cast to the new protagonists birthed in FIRST CLASS (2011). As the future superheroes steel themselves for the approaching final confrontation, and a sense of the end of an epoch permeates, 1970s Wolverine must convince the younger Charles Xavier/Professor X (James McAvoy) and Erik Lehnsherr/Magneto (Michael Fassbender) to stop Mystique from assassinating Dr Bolivar Trask (Peter Dinklage), head of Trask Industries, whose death will galvanise his Sentinel research into fruition. Combining time travel genre tropes, and a bringing the team back together movie, in the context of history/time-to-come, is no mean feat. Rarely is ambition an attribute of blockbusters.
I dont want your suffering; I dont want your future, Charles Xavier
An atmosphere of anger and regret make for a melancholy spectacle. Amid the stakes of annihilation waiting, Vietnam and Nixon and hate are the 1970s waters to navigate. DAYS OF FUTURE PASTs winning hand comes in the form of juggling adroitly an enthralling array of thespians across genders and ages. In particular, having McAvoy/Stewart and Fassbender/McKellen play the same characters, in the same film, is a master stroke.
X-MEN 2 still remains the franchise, and graphic novel big screen, benchmark, but DAYS OF FUTURE PAST does attempt to match it. Nightcrawlers White House attack, from the 2003 action flick, has a goofily imaginative rival sequence: Our leads attempt to break the young Magneto out of the Pentagon, utilising the skillset of Quicksilver (Evan Peters), supposedly shot at 3,600 frames per second. DAYS OF FUTURE PAST is not perfect however, a longer runtime would have been welcome to allow the story and characters to breathe, as well as to include more politics. Having said that, there is a refreshing humanism seeped into the films fabric, where value for human life, no matter their moral make-up, is championed. Placing a check on bloodlust, in genres normally craving questionable catharsis, is an attribute alone worthy of celebrating, amid the perquisite mayhem.
The 2020s are bleak. A devastated Manhattan is the home to a mutant prison camp. A mini-army of virtually indestructible biomechanical warriors, the Sentinels, able to take on the abilities of super-powered individuals, are rounding up and killing the gifted, their human helpers, and any that contain the genes to father and grandfather such offspring. Wolverine (Hugh Jackman), Magneto, Professor X (Patrick Stewart) and Storm (Halle Berry) have come across a rogue band of mutants still at large, evading capture through a form of time travel. As extinction looms for their species, the only option left to the X-Men is a mind-boggling strategy: Send Wolverines conscience back to his 1973 ever-young body, before Mystique (Jennifer Lawrence) triggers the Sentinel programme into existence.
Urgent, gripping, X-MEN: DAYS OF FUTURE PAST is, at last, a return to form for the franchise, after a long, mediocre run. Surprising emotional heft anchors a whizz-bang narrative across multiple timelines, coupling the original cast to the new protagonists birthed in FIRST CLASS (2011). As the future superheroes steel themselves for the approaching final confrontation, and a sense of the end of an epoch permeates, 1970s Wolverine must convince the younger Charles Xavier/Professor X (James McAvoy) and Erik Lehnsherr/Magneto (Michael Fassbender) to stop Mystique from assassinating Dr Bolivar Trask (Peter Dinklage), head of Trask Industries, whose death will galvanise his Sentinel research into fruition. Combining time travel genre tropes, and a bringing the team back together movie, in the context of history/time-to-come, is no mean feat. Rarely is ambition an attribute of blockbusters.
I dont want your suffering; I dont want your future, Charles Xavier
An atmosphere of anger and regret make for a melancholy spectacle. Amid the stakes of annihilation waiting, Vietnam and Nixon and hate are the 1970s waters to navigate. DAYS OF FUTURE PASTs winning hand comes in the form of juggling adroitly an enthralling array of thespians across genders and ages. In particular, having McAvoy/Stewart and Fassbender/McKellen play the same characters, in the same film, is a master stroke.
X-MEN 2 still remains the franchise, and graphic novel big screen, benchmark, but DAYS OF FUTURE PAST does attempt to match it. Nightcrawlers White House attack, from the 2003 action flick, has a goofily imaginative rival sequence: Our leads attempt to break the young Magneto out of the Pentagon, utilising the skillset of Quicksilver (Evan Peters), supposedly shot at 3,600 frames per second. DAYS OF FUTURE PAST is not perfect however, a longer runtime would have been welcome to allow the story and characters to breathe, as well as to include more politics. Having said that, there is a refreshing humanism seeped into the films fabric, where value for human life, no matter their moral make-up, is championed. Placing a check on bloodlust, in genres normally craving questionable catharsis, is an attribute alone worthy of celebrating, amid the perquisite mayhem.