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Brad Pitt & Michael Fassbender: '12 Years a Slave' at Telluride!

Brad Pitt & Michael Fassbender: '12 Years a Slave' at Telluride!

Brad Pitt answers an audience member’s question at a Q&A for his film 12 Years A Slave during the 2013 Telluride Film Festival on Friday (August 30) in Telluride, Colo.

The 49-year-old actor was joined at the question and answer session by his co-stars Michael Fassbender and Chiwetel Ejiofor.

PHOTOS: Check out the latest pics of Brad Pitt

Here’s a synopsis of the film: In the pre-Civil War United States, Solomon Northup (Ejiofor), a free black man from upstate New York, is abducted and sold into slavery.

The film is set to hit theaters on October 18 – be sure to check it out!

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191 Responses to “Brad Pitt & Michael Fassbender: '12 Years a Slave' at Telluride!”

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  1. 1
    neer Says:

    It seems there’s a new tattoo on Brad’s right arm as shown on pics of him at TYAS Telluride Film Festival, Colorado – August 30, 2013…
    The tattoo has the letters A, MPZSKV….. and obviously we know what that means…. that’s his family!!!
    Obviously, there is no letter J there.
    So trolls & Ticky, pls pls pls…stop your delusions… Brad is forever with his family. They are his present & future. Definitely, no place of J in his HEART, MIND, SOUL plus his BODY

  2. 2
    busted Says:

    TYAS got a great reaction from the screening audience. Brad and his company are doing some amazing work. He is becoming a TOP producer.

    Brad looks so young in that pic and he has some new ink.. hmmm FAMILY is what is is all about for him. He has a tat of his family’s first initials. SWEET. and SEXY

  3. 3
    busted Says:

    I hope we hear a lot from TYAS during Awards season. Chiwetel as Best Actor.. and hopefully Best Picture. Brad may have another year where he is associated with 2 Oscar Nominated movies. Exciting times ahead.

    beside that he and Plan B have several TV/Internet shows coming as well. just so good.

  4. 4
    Alliana Says:

    This movie looks great–acting, directing and storyline.

  5. 5
    Sayer Says:

    They looks the same age. Michael is only 36. Dude looks old for his age.

  6. 6
    another fan Says:

    After movies like Gone with the Wind that project blacks are cartoonist, or charactertures, this movie “12 Years a Slave” gives a human perspective to what it was like to be a slave. Slaves were human beings, yet are seldom given their humanity in movies or documentaries about the civil war. Even today there is a smugness and arrogance to whites and the white media when it comes to their perspective on blacks. Every thing is filtered through that smugness and arrogance. “12 Years a Slave” seems to come through without that fliter. So I am thankful to Brad and his producing partners for bringing this movie forward.

    As for the lead actor, Ejiofor, I cannot pronounce his name, but he first impressed me in “Salt”. He does not fall into predictable acting styles like a Jamie Fox. He is commanding, yet nuanced in his performances.

  7. 7
    busted Says:


    I like Michael..

    but yeah Brad and he don’t look that different in age.

    I guess those pics are expensive because Jared only has a couple.

  8. 8
    Phool. Says:

    ’12 Years A Slave’ Reviews From
    Telluride: ‘Masterful,’ ‘Phenomenal,’ ‘Slavery Movie For The Ages’
    The Huffington Post | By Christopher Rosen 08/31/2013 9:41 am EDT

    On the last Friday in August of 2012, Ben Affleck’s “Argo” made a surprise debut at the Telluride Film Festival. The film was met with rapturous reviews from critics attending the prestigious and secretive fest, with many early viewers already predicting Oscar nominations for Affleck’s third feature. Six months later, “Argo” was named Best Picture at the 85th annual Academy Awards.Whether that trajectory happens with Steve McQueen’s “12 Years A Slave,” of course, remains to be seen. The film, however, was a surprise addition to the already impressive Telluride Film Festival schedule on Friday night, and critics are gushing about the slavery drama, McQueen’s third feature, in ways they haven’t gushed thus far this year.


    “Steve McQueen’s ’12 Years a Slave,’ Anchored By Brilliant Chiwetel Ejiofor, Is a Slavery Movie For the Ages,” reads the headline on Eric Kohn’s A-plus review for Indiewire. The piece is no less enthusiastic, with Kohn writing that “Ejiofor is a lock for Best Performance in the Oscar race, as is McQueen and his movie.”

    Kohn’s sentiments were echoed both by the audience response to the film’s debut screening (THR described the applause as “thunderous”), and awards pundits. THR Oscar expert Scott Feinberg wrote that “12 Years A Slave” should not only factor in the Best Picture, Best Director and Best Actor race, but also in the supporting categories, where Michael Fassbender (as a slave owner) and newcomer Lupita Nyong’o stand good chances of breaking through.


    Based on the memoir by Solomon Northup, “12 Years A Slave” tells the story of a man (Ejiofor) who was kidnapped into slavery in 1841 and forced to spend 12 years living in increasingly brutal circumstances. Fassbender, Benedict Cumberbatch, Paul Dano and Bryan Batt play various oppressors, with Nyong’o, Sarah Paulson, Alfre Woodard, Paul Giamatti, Michael K. Williams, Quvenzhane Wallis, Dwight Henry, Taran Killam, Scoot McNairy, Garret Dillahunt and Brad Pitt rounding out the film’s massive supporting cast.

    “Had Steve McQueen not already christened his previous picture thus, ‘Shame’ would have been the perfect one-word title to capture the gut-wrenching impact of his third and most essential feature,” wrote Variety critic Peter Debruge. “This epic account of an unbreakable soul makes even Scarlett O’Hara’s struggles seem petty by comparison.””12 Years A Slave” will also screen at the Toronto International Film Festival and New York Film Festival. Fox Searchlight is set to release the film on Oct. 18.

    More reactions from Telluride attendees can be found in the tweets below.


    short cut to:Article:

  9. 9
    Phool. Says:

    Telluride Film Review: ’12 Years a Slave’


    August 31, 2013 | 01:20AM PT

    This epic account of an unbreakable soul makes even Scarlett O’Hara’s struggles seem petty by comparison.

    Peter Debruge Senior Film Critic @AskDebruge

    Had Steve McQueen not already christened his previous picture thus, “Shame” would have been the perfect one-word title to capture the gut-wrenching impact of his third and most essential feature, “12 Years a Slave.” Based on the true story of free black American Solomon Northrup’s kidnapping and imposed bondage from 1841 to 1853, this epic account of an unbreakable soul makes even Scarlett O’Hara’s struggles seem petty by comparison. But will audiences have the stomach for a film that rubs their faces in injustice? As performed by Chiwetel Ejiofor, Northrup’s astounding story is too compelling not to connect with American audiences, and important enough to do decent business abroad as well. Get Variety

    The first thing fans of McQueen’s “Hunger” and “Shame” will notice here is the degree to which the helmer’s austere formal technique has evolved — to the extent that one would almost swear he’d snuck off and made three or four films in the interim. Composition, sound design and story all cut together beautifully, and yet, there’s no question that “12 Years a Slave” remains an art film, especially as the provocative director forces audiences to confront concepts and scenes that could conceivably transform their worldview.


    If “Django Unchained” opened the door, then “12 Years a Slave” goes barreling through it, tackling its subject with utmost seriousness. The film opens in a world where slavery is a fact of life and Northrup has no recourse to challenge his captivity. Duped and drugged on a bogus job interview, he awakens in shackles and is beaten ferociously when he dares to assert his status as a free man. Some may wonder why he doesn’t continue to protest, forgetting that the word of a black man in pre-Civil War America had almost no legal currency, especially if said individual was unable to produce his free papers.

    Assuming Northrup wants to survive, a fellow hostage advises, he must do and say as little as possible, in addition to hiding his ability to read and write. “I don’t want to survive,” Northrup bellows. “I want to live!” Separated from his wife and children, he faces a situation where the entire society is stacked against him.


    While not every white person in the film is evil, they willingly participate in a system that demeans their fellow man, and the injustice is too great simply to forget and move on (as Hollywood and society would evidently prefer).Alarmingly, the few films of the past century to engage directly with the institution of slavery have nearly all come from the exploitation sphere, fetishizing aspects of violence and sexual abuse that McQueen endeavors to cast in a different light.


    An early scene in which slave trader Theophilus Freeman (Paul Giamatti) prods naked slaves for the benefit of prospective buyers offers an alarming yet in-no-way-arousing corrective to an equivalent sequence in the tasteless 1971 mock-doc “Goodbye Uncle Tom,” which lingers on the nudity and degradation of such a market. There’s little ambiguity in these unflattering depictions, though neither is there opportunity for audiences to misconstrue them as erotic.


    To simplify Northrup’s memoir, John Ridley’s script lets the character — stripped even of his identity as he is redubbed Platt Hamilton en route to market — change hands just three times over the course of the film. Two of those owners, played by Benedict Cumberbatch and Bryan Batt, are as decent as the circumstances permit, even going so far as to encourage the fiddle playing with which he previously earned his living in upstate New York. The third, Edwin Epps (Michael Fassbender), becomes the bane of Northrup’s existence — a man who justifies his actions according to scripture and prides himself in “breaking” disobedient slaves.


    On Epps’ plantation, “Platt” is expected to pick 200 pounds of cotton each day and is savagely beaten every time he falls short. For sheer productivity, none of the slaves comes close to Patsey (Lupita Nyong’o), a soft-spoken beauty of whom Epps is especially fond, much to the consternation of his severe wife (Sarah Paulson).

    This jealous big-house matriarch is a familiar character among such exploitation movies as “Mandingo,” constantly jealous that her husband prefers the favors of a slave, and yet Paulson dodges the caricature, even when throwing a heavy crystal decanter in Patsey’s face or urging her husband to beat the life out of her.


    Such cruelty is commonplace in the film’s first two hours, and though audiences might not pick up on the technique, McQueen applies the same unflinching approach to these moments that he used in “Hunger” and “Shame”: long uninterrupted takes that force us to absorb the full impact of human mistreatment, as when Northrup survives a lynching attempt, only to dangle from a noose for several minutes while his fellow slaves move about in the background, too nervous to cut him down.


    This scene also perfectly illustrates McQueen’s knack for letting the characters’ behavior inform the sociology of the situation, rather than explaining things overtly through dialogue. Though arguably too harsh for young eyes, “12 Years a Slave” will serve as an important teaching tool, giving audiences who’ve never witnessed the dynamics of slavery an impression of how the system worked.


    As in Northrup’s near-hanging, we see that even though slaves far outnumbered their white masters, harsh discipline could serve to discourage organization by playing upon their survival instincts. Few scenes this year could be more depressing than Patsey begging Northrup to end her suffering, unless you count the one in which Epps forces him to beat her nearly to death — another exchange heightened by the way McQueen constructs the entire sequence within a single shot, as the agitated camera circles her abuse.


    Actors like Nyong’o don’t come along often, and she’s a stunning discovery amidst an ensemble that carves out room for proven talents such as Paul Dano, Alfre Woodard and Brad Pitt to shine. Though the film brims with memorable characters, the show ultimately belongs to Ejiofor, who upholds the character’s dignity throughout. McQueen shrewdly limits everything audiences see and feel to the sphere of Northrup’s direct experience, drawing us into his head and keeping us there by including occasional shots in which this hyper-intelligent individual (in many ways the superior of his captors) struggles to make sense of his station.When it comes time to bestow awards, voters tend to prefer characters who suffer to those who abuse, and yet, this actorly transformation may be Fassbender’s most courageous yet, tapping into a place of righteous superiority that reminds just how scary such racism can be.


    In many respects, “12 Years a Slave” works like a horror movie, beginning with a “Saw”-style abduction and proceeding through subsequent circles of hell, the tension amplified by a score that blends chain-gang clanging with those same foghorn blasts Hans Zimmer used in “Inception.” As captured by cinematographer Sean Bobbitt, however, a rare beauty suffuses even the most infernal situations.


    This radiant aesthetic, coupled with the rousing use of negro spirituals, provide a beacon of optimism amidst so much hate, once again proving cinema’s place as the ultimate human-rights medium. It’s a shame that such injustice was allowed to exist for so long — 12 years for Northrup and nearly 250 for those less fortunate — and an even bigger disgrace that it takes a British director to stare the issue in its face.


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  10. 10
    Phool. Says:

    Telluride: Steve McQueen’s ’12 Years a Slave’ Met with Shock and Awe at World Premiere
    Holywood Reporter: by Scott Feinberg
    TELLURIDE, Colo. — 12 Years a Slave, a drama based on the remarkable true story of a free black man from the north who was deceived and sold into slavery in the south in mid-19th century America, had its world premiere Friday evening here at the Galaxy Theatre. The film was greeted with thunderous applause when its end credits began to roll; moments later, the audience offered a standing ovation as its director, Steve McQueen, and principal stars — the British actor Chiwetel Ejiofor, McQueen regular Michael Fassbender, Kenyan newcomer Lupita Nyong’o and Brad Pitt, who is also a producer of the film — were introduced for a brief Q&A. The film, which will next screen at the Toronto Film Festival, will be released by Fox Searchlight on Oct. 18.


    Word leaked early in the fest that 12 Years would be a “TBA screening,’ and the attendant excitement drew a full house that included Ralph Fiennes, Ken Burns, Michael Moore, J.C. Chandor and Cheryl Boone Isaacs, the recently-elected, first black president of the Academy of Motion Picture Arts and Sciences. By the time the theater emptied out, few hadn’t shed a tear in response to the emotional rollercoaster on which they had just journied.


    McQueen’s previous two films — Hunger (2008), which is about a hunger striker, and Shame (2011), which is about a sex addict — both also debuted at Telluride. And like them, Twelve Years is an extremely dark and disturbing work that will almost certainly resonate more with critics than the general public. But unlike those earlier two films, which received a grand total of zero Oscar nominations, this one, because of its larger historical canvas and the magnificent performances from its giant ensemble cast, will almost certainly resonate more with the Academy.


    Indeed, I believe that it will strongly contend for noms in the categories of best picture, best director (McQueen, for biting off more than ever before and capably chewing it), best actor (Ejiofor, for his total commitment in every scene of the film), best supporting actor (Fassbender, for playing a brutal Southern slave owner), best supporting actress (N’yongo, for portraying a slave who endures heartbreaking brutality), best adapted screenplay (for John Ridley’s take on Solomon Northup’s 1853 autobiography of the same title) and best original score (Hans Zimmer).


    The film — which also features fine work by Sarah Paulson, Michael Kenneth Williams, Paul Dano, Benedict Cumberbatch, Paul Giamatti, Alfre Woodard, Garret Dillahunt, Adepero Oduye and Beasts of the Southern Wild stars Quvenzhane Wallis and Dwight Henry — is one of several 2013 awards contenders that tackle the subject of race in America, along with Fruitvale Station, Lee Daniels’ The Butler and 42. A year after similar subject matter was presented with humor in the best picture-nominated Django Unchained, it is being treated with the utmost realism and seriousness in these films. And, as we celebrate the 150th anniversary of the Emancipation Proclamation and the 50th anniversary of Martin Luther King Jr.’s “I Have a Dream” speech, with a black president in the White House but racial tensions amongst the general population still high, that seems right.


    Follow Scott on Twitter @ScottFeinberg for additional news and analysis.

  11. 11
    Phool. Says:

    Review: Powerful ’12 Years A Slave’ won’t turn away from the brutality of slavery
    Chiwetel Ejiofor is exceptional in this true story


    By Gregory Ellwood Saturday, Aug 31, 2013 3:02 AM

    TELLURIDE – After its premiere screening at the 2013 Telluride Film Festival Friday evening, it goes without saying that no narrative film or TV program has ever depicted the sheer brutality and horror that was American slavery as Steve McQueen’s “12 Years A Slave” does. Based on the true story of Solomon Northrup, a free black man who was kidnapped and sold into slavery in 1841, “12 Years” is a powerful drama driven by McQueen’s bold direction and the finest performance of Chiwetel Ejiofor’s career.

    The film begins about halfway through Northrup’s ordeal as he finds himself cutting sugarcane and sharing a floor to sleep on with countless other slaves.


    It then quickly jumps back to his idyllic life in Saratoga, New York where he appears to have made a living as a violin player. While his wife and two children head out of town for a few weeks (Quvenzhané Wallis briefly appears as his daughter) , Northrup (Ejiofor) makes the mistake of partnering with two men who present themselves as circus promoters (Taran Killam, Scoot McNairy) for a few performances culminating in Washington, D.C. At that time the nation’s capital was not a safe area for free men of color because it bordered the slave states of Virginia and Maryland. After a night of celebrating with his supposed business partners, Northrup wakes up to find himself in a slave pen shackled in chains. The horror of this situation is immediate to both Northrup and the audience. His predicament becomes even more painful to watch after he is sold to a Louisiana plantation owner and freedom is now thousands of miles away.


    Northrup’s story and the brutality he witnesses during his time as a slave would be tough viewing for anyone, but that’s McQueen’s greatest strength and what truly sets “12 Years” apart. McQueen has no fear in depicting the true savagery thrust upon American slaves by their owners. He won’t flinch in holding on the image, even if it’s graphically

    disturbing. Slavery was an inhumane evil that McQueen refuses to turn away from. The fact Mcueen makes this creative decision early on allows one heartbreaking whipping scene near the end of the movie to effectively become the picture’s climax. The scene is filmed completely in one shot allowing the tension to build as you realize there will be no escape for the victim or the viewer. It’s obviously tough to watch, but also brilliantly realized. As producer and supporting cast member Brad Pitt noted in the film’s post-screening Q&A, the film is so intense it makes you “want to take a group walk around the block.” And, yes, that’s a good thing.


    For all McQueen’s considerable skills as a filmmaker, “12 Years” would not succeed without Ejiofor’s incredible turn. In this day in age it may be hard to believe why a free man wouldn’t run for his life or fight to his last breath in Northrup’s circumstances. Ejiofor makes history palatable as he captures Northrup’s desire to survive as well as his despair as the weight of his plight increases over time.


    Michael Fassbender and newcomer Lupita Nyong’o are the picture’s two other standout turns. Fassbender is essentially the embodiment of evil as Northrup’s last slave owner, Edwin Epps. McQueen’s frequent muse (“Hunger,” “Shame”) is relentless in depicting the inhumanity in Epps, but expertly manages to avoid making Epps one note. Instead of pretending there is some good in Epps, Fassbender and McQueen provide him a range of combustible madness.Epps primary victim is Patsey, a young slave girl played by Nyong’o. As Patsey suffers from Epps affections, insecurities and jealousy, Nyong’o eloquently convinces us why her character sees death as her only viable escape. It’s the film’s breakthrough performance and may find Nyong’o making her way to the Dolby Theater next March.


    McQueen is also blessed by fantastic small performances by a number of great actors including Paul Dano as an insecure overseer on Northrup’s first plantation, Benedict Cumberbatch as Northrup’s sympathetic (to a degree) first owner, Paul Giamatti as a cold-minded slave auctioneer, Alfre Woodward as a kept plantation owner’s wife and Pitt as Northrup’s eventual salvation. Laura Paulson deserves special recognition for superbly avoiding cliches in the familiar role of a jealous plantation owner’s wife.


    In the pre-Civil War United States, Solomon Northup, a free black man from up…

    “12 Years” also features gorgeous cinematography by another longtime McQueen collaborator, Sean Bobbit, and one of Hans Zimmer’s more moving scores in some time.

    One minor criticism of the film is that is shockingly fails to convey the passage of time during Northrup’s forced slavery. This isn’t to suggest McQueen needed title cards dictating individual years, but when your film is titled “12 Years A Slave” it might make a bit of sense to communicate the weight of the period to your audience.


    Most importantly, however, long after its initial run in theaters and years after it earns whatever awards come its way, “12 Years”,” like “Lincoln,” “The Hurt Lock” or “Milk,” will have an enduring legacy as an educational tool for new generations. And, frankly, that might be the most satisfying reward someone like McQueen or Ejiofor could ask for.”12 Years A Slave” will continue to screen at the Telluride Film Festival and have it’s official world premiere at the 2013 Toronto International Film Festival. It opens in limited release on Oct. 18.

    Short cut to:

  12. 12
    anoher fan Says:

    Let me clarify my comments above. I seldom sense that whites or the white media has empathy for slaves, or blacks in general, though they lump all blacks into pre-conceived stereotypes. Many whites have an open mind or even sympathy for those who are different from them. Many more I believe have disdain. But seldom empathy. I think a movie like “12 Years a Slave” will let all movie goers experience from a first person pespective how evil and vile slavery was. And let them experience how intolerable slavery must have been (individuals were born into and died in slavery without having any say over their bodies, their families, their work.)

  13. 13
    ShakenNotStirred Says:

    It’s Steve McQueens film not Brad Pitt. Why no pictures of the star Chiwetel?

  14. 14
    Phool. Says:

    Telluride Review: Steve McQueen’s ’12 Years A Slave’ Starring Chiwetel Ejiofor, Michael Fassbender & More
    Steve McQueen’s “12 Years a Slave” instantly establishes itself as the most unflinching of all slave dramas – which is to say, there is plenty of flinching, not to mention cowering and recoiling and passing out, thanks to beatings and whippings that arrive at roughly 10-to-15-minute intervals throughout a 133-minute running time. “Amistad,” meet the Marquis de Sade, in the form of slavemaster Michael Fassbender, who puts his victims through more tortures than Mel Gibson ever could have imagined for Jesus.
    This revolving door of graphically rendered brutalities might feel like its own punishment if not for an array of astonishing performances that’s practically a one-stop Oscar-nomination shopping spree.
    At the film’s world premiere in Telluride Friday night, it quickly became apparent that leading man Chiwetel Ejiofor had moved to the head of the line of best actor candidates, with Fassbender and newcomer Lupita Nyong’o sure to contend in the supporting categories. Even those of us who aren’t Oscar bloggers should break out whatever pneumonic devices we need to immediately commit Ejiofor’s and Nyong’o’s names to the tips of our tongues.
    ’12 Years’ has a sex scene within its first five minutes, which will have some viewers sniggering that they wouldn’t expect anything less from the director of “Shame.” But there are no pleasures to follow for any of the characters after that brief undercover coupling in a crowded slave’s quarters. After that flash-forward, we see Solomon Northup (Ejiofor) and his family in happier times, as free and even privileged blacks in the north, before he’s kidnapped and transported to the South for a quick and easy sale. He pleads his case to captors along the way, who respond by pounding Northup each time he insists his name isn’t really Platt. It’s a classic wrong-man/mistaken-identity setup, although no noir ever required this many scarring prosthetics.
    A parade of character actors famous for playing sleazeballs get to mistreat Solomon, starting with Paul Giamatti, and including Paul Dano as an imbecile sub-“master” who can’t stand the thought that there might be an educated slave in the midst.
    Transfers in ownership ensure that Solomon’s lot goes from bad to worse to worst, as he finally ends up in the hands of notorious “slave-breaker” Edwin Epps (Fassbender). Epps isn’t even the most villainous of the many detestable white people in the movie: that would be his jealous and bloodthirsty wife, played by Sarah Paulson, who makes Lady MacBeth look like Olive Oyl.
    It may seem foolish to complain that a movie about slavery makes the white characters look bad, but John Ridley’s script certainly sees things in terms of black and white, in every way, which means that all the Southern white characters are caught up in their own awards race, for most contemptible. Paulson’s one-note beeyotch character doesn’t do the actress any favors, but Fassbender, in what could have been a mustache-twirling part, is utterly transfixing as the kind of guy who really does have a deeply emotional investment in manic racial sadism.
    “Long-suffering” isn’t easy to play with layers, either, but Nyong’o as Edwin’s slave mistress, who actually manages to get privileges taken away, not added, for her sexual services is a heartbreaker in every way. She’d steal the movie if it weren’t Ejiofor’s performance, but few actors could pull off the combination of dignity and torment he manages here.
    McQueen gives the actor a lot of dialogue-free long takes, including one closeup toward the end that’s content to study his face for what seems like at least a minute as Solomon considers the possibility that his last, best chance for freedom has ended in another betrayal.
    Among supporting players, Alfre Woodward has one great scene as a gossipy, highly intelligent, exalted lady among slaves, and she makes you wish the movie had a few more character sketches like hers among the lashings. Executive producer Brad Pitt shows up in the last 20 minutes, looking vaguely Amish, and given that there hasn’t been a likeable white character since the opening minutes of the movie, it feels incongruous to see him suddenly come on screen and immediately give a speech about God-given racial parity. But by this time we’re ready for the light at the end of the tunnel, even if his dialogue does seem right out of “Lincoln.”
    Although Ridley sometimes writes his villains’ lines a little more broadly and obviously than needed, the overall mixture of period flavor with contemporary accessibility in the verbiage couldn’t be any better balanced. As for McQueen’s work, advance chatter had some wondering whether he had what it took to make a mainstream entertainment his third time around, but there won’t be much questioning of that after doubters see “12 Years a Slave.” It has the strokes you’d expect out of a studio picture but also some moments few other directors would have attempted, like an agonizingly beautiful sequence in which Solomon literally tip-toes his way through a near-hanging that goes on for several silent minutes. If McQueen could forge a career working arthouse moments into multiplex movies, that’d be a case of mistaken identity we’d be happy to live with. [A-]

  15. 15
    Phool. Says:

    appologies as its a TYAS thread I transfered all the reviews from Previous thread to over here, didnt want Trolls spoiling it with their rubbish.

  16. 16
    BPositive Says:

    Excited to see this amazing film in October. Brad Pitt and Michael Fassbender are top shelf and Chiwetel Ejiofor is very impressive. Hopefully, this film will receive a few awards nominations.

  17. 17
    Rose Says:

    I feeling Oscar buzz with TYAS, Brad and Angie should start preparing to be at the Oscars because the buzz is TYAS is a shoe in for an Oscar or two. Good job Brad, you picked the right woman and you are living your best life. Congratulations.

  18. 18
    Rose Says:

    @Phool.: Phool, I did answer your last comment on the previous thread.

    Love Brad’s new tattoo. Family is everything to Brad, I love the first initial to his family tattoo. A, MPZSKV. That’s Brads family, take that trolls.

  19. 19
    Rose Says:

    @ShakenNotStirred: Whaa, whaa, whaa, whaa, ouch, ouch.

  20. 20
    Phool. Says:

    #Rose @ 08/31/2013 at 11:02 am (Reply to post from previous thread)

    Hey there’s still life in the old dog ( Take your pick between Clint or Betty) they both are Silver foxes ready to pounce on each otherlol.I think KH if he had played his cards right he could have managed to squeeze more money out of Kim Kardashan, but he was stupid in that sence not hiring a top end attorny, oh well I bet there was a lesson thats been learnt.


    Oh yeah I heard the constant screamings since yesterday at the Ocean, I guess after seeing Brad looking steaming Hot showing his soon to be Oscar winning movie, along with his families Tatto’s also not forgeting the icing on the cake that gold band of his and Angie looking again steaming Hot even from behind, I swear Rose I saw a ring sparkling in her photo as well, Oh hang on Rose another scream from the ocean, so is it any wonder the screaming poor ocean will carry on being screamed at if only it could swollow the trolls up in its depth ol.


    Did you like the Ticky being touted to be Paula Deen article, I knew hags would love it, you know from playiing a hooker or stripper to a full blown racist cooking biitch, what else could Ticky ask for, See the roles are comming in for Ticky what next would she be the face of KKK.

  21. 21
    Rose Says:

    Forget to mentioned that Brad is the Executive Producer for TYAS, so he should be very proud of this movie. Keeping my fingers crossed for an Oscar or two for several of the casts. Good luck guys. Great buzz.

  22. 22
    Phool. Says:

    Good Morning Love The JoliePitts
    How are you my dearest sister, I am so sorry haven’t been able to post to you personally you can cyber slap me for that I give you permission. I think I did mail to you yesterday on the previous thread either that or i’m losing my marbles lol. Thanks for the articles you posted much appreciated. Yes I’ll be away soon, so when I get back you need to keep me update on all the gossip I would miss while away ok lol. Rose is lucky she’s going for holiday I already told her if she goes to NOLA she needs to first visit Brads houses and then keep vigil out side his main residence you know as one does, and that’s not called stalking lets get that clear lol.
    Lots of good news from the Jolie Pitt camp Brads TYAS is picking up momentum and so far high praise indeed for his production hopefully fingers crossed the little Golden statue is coming home next year, so time to make room where they are going to put them lol.
    Brad is still rocking his long luscious hair,damn how shiny is it even in that dull light its like as if hes got this “golden halo” around him lol.

  23. 23
    tweet Says:

    very short video of Brad speaking at this event.
    12 hours ago · Galaxy Theatre
    Brad Pitt talks about producing 12 Years A Slave at #telluride

  24. 24
    Dawne Says:

    wow, looks like another win for the inimitable Brad Pitt!!! What a great nose he has for quality scripts and directors. Loved the pic of Angie and Viv…… darling. Can you just imagine how tightly wound Viv has her Daddy twisted around her delicate baby finger???? Would love to see it in action.

  25. 25
    Phool. Says:

    we are morons

    I have posted to you on the previous thared yes thats the sign of me being too lazy to bring it over here lol, missed talking to you today, at least I had Rose & anustin for company, take care.

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