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Angelina Jolie Goes Bowling in Australia with All Six Kids!

Angelina Jolie Goes Bowling in Australia with All Six Kids!

Angelina Jolie and her lovely children leave Strike Bowling Centre after having an afternoon of fun together on Tuesday (August 10) at the Entertainment Quarter in Moore Park, Australia.

The 38-year-old actress was joined by all six of her kids – Maddox, 12, Pax, 9, Zahara, 8, Shiloh, 7, and five-year-old twins Vivienne and Knox – for the family outing that day.

PHOTOS: Check out the latest pics of Angelina Jolie

The day before, Angelina was seen heading to work and displaying her new arm tattoo.

Over the weekend, Angie and the kids went to the aquarium together.

FYI: Vivienne is wearing Havaianas sandals.

10+ pictures inside of Angelina Jolie going bowling with her kids…

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288 Responses to “Angelina Jolie Goes Bowling in Australia with All Six Kids!”

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  1. 101
    A lurker Says:

    TYAS is 100% fresh with average rating 9/10 on rottentomatoes.

  2. 102
    A True Brad and Angie Fan Says:


    Yeah, I have the same feeling about TYAS that they dominated TIFF and the awards discussion(includes Oscars). TYAS is the film to beat and I don’t see any films matching the anticipation and momentum that TYAS receive. Again there is great reviews for Gravity and upcoming of American Hustle. But clearly looking of all the major reviews from critics and the public response, TYAS is the film to beat and is the film of the year. And i wan’t be surprise is TYAS dominated the awards season and the Oscars. TYAS is truly a powerful film.

    The trolls and ticky should be frightened and concern. But with no surprise they are arlready scared and concern that TYAS and Brad will win his first Oscar come March 2.

  3. 103
    The Ring Pop Says:

    the world is happy, Jenny is a nun after 1 husband many many many,many many many lovers

    how long will Jen and Justin last
    tic tac tic tac tic tac

  4. 104
    valis202 Says:

    @A True Brad and Angie Fan:
    The trolls and ticky should be frightened and concern. But with no surprise they are already scared and concern that TYAS and Brad will win his first Oscar come March 2.
    LOL. I agree, hence the stupidity we have seen from them the last couple of days. If Brad gets an Oscar, to complement Angie’s, I really think it will absolutely slay the trolls.

  5. 105
    A True Brad and Angie Fan Says:

    Northern California viewing of “12 Years a Slave” at the Mill Valley Film Festival on October 11, 2013.

    here’s a link of the viewing and the tickets to the viewing.

  6. 106
    A True Brad and Angie Fan Says:

    12 Years a Slave
    TIFF 2013 Review

    As the end credits rolled during TIFF’s first press and industry screening of Steve McQueen’s 12 Years a Slave, a peculiar thing occurred: very few people moved. Some quickly sprinted down the stairs, hurrying for their next screening, but many, like yours truly, just sat and stared, feeling emotionally overwhelmed by the experience. The film is that kind of success, a stunningly realized achievement that will clearly rank among the finest — if not the finest — films of 2013. McQueen, the British helmer behind Hunger and Shame, has brought America’s most shameful period to the screen with a fury and authenticity the likes of which audiences have never seen.
    Perhaps a story of slavery set along these particular lines was necessary to truly connect with modern viewers, for the protagonist of this true tale, Solomon Northup, was a free man sold into slavery in 1841. (The film itself based on Northup’s eponymous account.) Solomon, played by the great Chiwetel Ejiofor, was a musician in Saratoga, New York, a respected husband and father of two. When offered the lucrative opportunity to perform with a traveling circus in Washington, D.C., he cannot help but accept. But in a stunning jump cut, we shift from a wine-fueled dinner to Solomon in nightmarish shackles, cruelly betrayed by the gentlemen who recruited him. Despite the almost 150-year time differential, the situation of a free man made enslaved is identifiable; there is a moment when Ejiofor looks directly into McQueen’s camera, and it hammers home the feeling that Solomon is one of us, and we are Solomon.
    And whether one already knows how Northup’s story ended or not, we are an eyewitness to his brutal journey. One of Solomon’s early encounters after losing his freedom is with slimy trader (Paul Giamatti), with whom Solomon is rather lucky to have been sold to William Ford (Benedict Cumberbatch), a plantation owner who, about as likable as an onscreen slave owner can be, treats him with respect, even something resembling kindness. But, after an altercation with a monster in Ford’s employ (the ever-weasel-y Paul Dano), Solomon is sent to the cruel, complex, diabolical Edwin Epps. In what is perhaps the actor’s most effective performance yet, he is played by McQueen’s Hunger and Shame star, Michael Fassbender.
    The majority of the film takes place on Epps’s horrific plantation. Here, we meet Epps’s equally vile wife (Sarah Paulson gives a performance unlike any she’s delivered thus far), the sweet-natured Patsey (Lupita Nyong’o), and, eventually, a Canadian carpenter played with confident efficiency by 12 Years’ producer, Brad Pitt. All are memorable, especially Fassbender’s Epps and Nyong’o’s Patsey, but there is no one who commands the screen like Ejiofor. Not every actor could make a shouted line like “I will not fall into despair” work, but nothing which comes out of his mouth sounds rote or unbelievable; the man is in almost every scene, and he nails all featuring his presence.
    The film is, then, a tremendous achievement for its actors and directors, but also for screenwriter John Ridley, composer Hans Zimmer, cinematographer Sean Bobbitt, and, frankly, virtually everyone else involved. It’s rare to say a movie has no false notes, but such is the case with 12 Years a Slave, a film that, days later, may still leave viewers shaking. When was the last time you experienced a movie that truly lingered in the memory? McQueen has crafted such an epic, and, in doing so, has made a 21st-century masterpiece. This is likely to be the most moving cinematic experience of the year, and if there is any justice, McQueen’s film will be required viewing in American classrooms — itself something of an ironic statement, given that McQueen is British. You want to see, hear, and feel slavery? Here is the system, in all its awful components.
    12 Years a Slave premiered at TIFF and opens on October 18. Click below for our complete coverage.


  7. 107
    the ring Says:


    Y a ti que te importa mi vida?me divierto viendo la rabia de estos idiotas y sus idolos de barro,por mi como si meten a brangelina con ticky en una nave espacial…me importan una mierda los tres

    soy española….bingoooooooooooooooooooo¡¡¡pero no vivo siempre en spain querida

    besos hala madrid¡¡¡

  8. 108
    Marginalized one Says:

    @The Real Silly Silly Rabbit:

    Really now your lies are tre pathetic. Rich has been Brad’s head of security for many many years and rarely ventures outside the US for long. He is there to guard Brad’s greatest treasures, Angie and the kids. Brad’s young guy assistant who is mostly with him is also there in AUS.

    Too many posting here are calling you out and you just dig a deeper hole with your crap.

    This is not the first time nor will it be the last time the family is in different parts of the world for work for brief periods of time. Brad made TYAS in the US while Angie was in the UK filming Malificent.

    The kids are happy here cause the paps keep a distance from them unlike in the US where the paps are right up in their sweet faces screaming their names.

  9. 109
    Just me Says:

    It seems Julia Roberts could get an Oscar nod, I really wanna see how Julia interacts with Angie at awards show. Julia is Brad’s friend, but what’s her reaction when she meets Angie. I am curious.

  10. 110
    were the morons Says:

    Good afternoon Rose and Phool,
    See how the female comedians are getting the highest praise? Sandra and Julia… Meanwhile, manny is still at the bottom of the totem pole.

  11. 111
    Susan Says:

    Julia loves being top dog, I’m sure she met Angie before, Angie is not like Ticky into strangulation hugs, she’ll kiss both sides of the cheek and move on.

  12. 112
    Observer2 Says:


    ROTFLMAO! HomiC, who is the one that keeps talking about Angelina’s nipples? Not me. You can’t quit them.

    And you’re right. She is a HERO. And the last three letters of her first name are INA.

    Again, you keep taking yourself out. LMAO!

  13. 113
    Observer2 Says:

    # 99@Passing Through:

    PT, what did you expect. Their idol is Lenny, after all.

  14. 114
    Passing Through Says:

    # 56 Adorable kids @ 09/10/2013 at 1:57 pm
    Marcheline grew IN a bowling alley. Not near one. Angie’s grandparents owned a bowling alley in IL before they moved to CA.
    Re: The voodoo priestess – I’m not giving the trolls ideas…I’m using theirs. LOL. Don’t you know about the FFers believe a UK tabloid story about Angie using voodoo to steal Brad from Ticky? And she had a hex put on Ticky, too…that’s why Brad didn’t go back. I think the voodoo priestess may have even thrown the chicken feet bones to tell Angie’s future (all bad), too, but I can’t remember every detail about every crackhead story the tabs have had the last 8 1/2 years…

  15. 115
    Ⱦamsin Says:


    No querida, la que es una vergüeza es gente como tu que idolatra a este par de drogadictos inmorales que explotan niños y refugiados por igual, con el afán de tener fama y fortuna. ¿Por qué no reevaluas tu vida y buscas un quehacer en vez de estar aqui todo el dia?

    The Ring me hace reir, y no solo a mi, sino a mucha gente. Gente como tu viven enfermas emanando odio y amenazas de muerte hacia gente que no conoces, simplemente porque no besamos el suelo por el cual tus ídolos caminan, tal y como tú y los demas Brangelocos lo hacen.

  16. 116
    Some Bunny Says:

    @The Silly Rabbit
    @The Silly Silly Rabbit

    Gee We rabbits sure do love to multiply… :O

    Love seeing new family pics of my most admired people on the planet. The kids behavior towards the razzi’s should win an award of some kind. You know Maddox at 12 now, is holding back on telling the photags to go fvck themselves! Very polite and well mannered kids reflect very stable, well rounded parenting from Brad and Angelina.

    I always loved how humbled Angelina Jolie continues to be, and not taking her global mega star status to HW Snob-ville like too many have done in entertainment industry do after hitting it big. I continue to be moved by Angelina and the wonderful humanitarian work she does while raising 6 beautiful kids!! I just know they all will be following their mom and dad footsteps and do amazing things in their lives too.

    Blessings to the JP’s and to their Family and Fans

  17. 117

    g’day bitches
    jolie still whoring as usual
    leaving lots superstinky FJWP
    many vile rotting soiled undergarment
    horrible stench
    CHANEL N°5 no help
    jolie biggest whore ever
    global superdupermegawhore
    FJWP thick on ground
    all over BAMPZSKVille
    all over sydney
    all over entertainment quarter in whore Park
    all over sea life aquarium
    smother jolly swagman camped by a billabong
    while the band played waltzing matilda
    soon to bury all land down under
    all over sherman croaks
    all over studio
    all over sunset tower hollywood hotel
    – and jen suite 1502 — stuffed full
    all over polo park
    all over anaheim
    all over LA county museum of fart
    all over sydney
    all over tokyo
    in japan vending machine everywhere
    all over honolulu
    all over oahu
    all over UN
    all over jordan + al zaatri refugee camp
    all over london + RAF Northolt
    all over paris + Il Vino
    all over punk lotus clinic
    all over siren studio
    all over LAX
    all over las vegas
    all over beverly, hills that is
    all over washington dc
    all over FJWP Schwartz
    all over waldorf tower
    all over chelsea piers
    all over lincoln center
    all over santa barbara
    all over goleta
    all over el capitan beach
    all over congo + rwanda
    all over gisozi genocide memorial
    all over rescue camp
    all over jungle
    all over natural history museum of la
    all over whole food
    all over urban outfitter
    all over parrot cay
    all over miraval and rest of south of france
    all over kurdistan
    all over baghdad
    all over turkey
    all over lebanon
    all over jordan
    all over shores of windermere
    all over the lake district
    all over le touquet-paris-plage
    all over costa navarino
    all over messinia
    all over pylos
    all over santorini
    all over paul allen octopus yacht
    all over charter yacht mystique
    all over olympics venue
    all over sarajevo
    all over wilton park
    all over sussex
    all over kent
    all over canterbury
    all over hamshire
    all over ashridge estate
    all over chiltern hills
    all over unhcr hq
    all over heathrow
    all over richmond
    all over pinewood studio
    all over westminster
    all over lancaster whorehouse
    all over mayfair
    all over sphinx
    all over pyramid
    all over egypt
    all over galapagos
    private jet N528AP Gulfstream G550
    stuff cadillac
    stuff lexus
    stuff beckham bulge
    float in ocean
    plug surrey sewer
    toxic biohazard
    use thickest rubber
    use gaz mask
    use hazmat suit
    use long pole
    use net
    use tong like big blue one
    disease 4 u
    u puke anyway
    u r warned now
    govern ur self according

  18. 118
    A True Brad and Angie Fan Says:

    An Unblinking Portrait of Slavery in ’12 Years’
    TORONTO September 11, 2013 (AP)
    By JAKE COYLE AP Entertainment Writer

    In Steve McQueen’s “12 Years a Slave,” Solomon Northop, a free man from upstate New York who’s kidnapped and sold into slavery in Louisiana played by Chiwetel Ejiofor, is hung for daring to strike an abusive and imbecilic plantation hand (Paul Dano). He’s cut down, but only just barely enough to reach the ground. McQueen captures it all in one long, agonizing take, as Northop is left dangling, shuffling excruciatingly on his tiptoes.”I don’t think I’ve seen that on film, and I wanted to make damn sure if it was on film, it was going to be done well,” McQueen said in a recent interview. “It was very necessary for me to use those kind of shots to tell the story. Film is what 115, 120 years old? It’s a baby. There’s no right or wrong way to shoot anything. It’s not style. It’s necessity.”
    Film history, however, is long enough that one might expect one of the nation’s most essential chapters to have been depicted on screen more frequently and fervently. “It’s a massive hole,” says McQueen. There have, of course, been a handful of notable films about slavery (“Beloved,” ”Amistad,” the miniseries “Roots”), but, it’s safe to say, never before has there been a movie like this. “12 Years a Slave” is the most unblinking portrait of slavery yet seen in cinema: a straightforward resurrection of its atrocities, complications and, most of all, its plain reality.”I wanted everyone to be Solomon Northup,” says McQueen. “You are on that journey with him.”"12 Years a Slave,” which Fox Searchlight will release in theaters Oct. 18, premiered over the weekend at the Toronto International Film Festival where it was hailed as a masterpiece and very possibly this year’s best picture Oscar winner. It is quickly gathering force as a kind of epochal achievement.McQueen, the British director of the sex-addiction drama “Shame” and the Irish Republican Army hunger strike tale “Hunger,” had planned to make a film about slavery, but it didn’t take shape until his wife came across Northop’s 1853 autobiography, which straightforwardly tells of his nightmarish odyssey.Ejiofor (the “Dirty Pretty Things,” ”Kinky Boots” British actor of Nigerian roots) plays Northop, a violinist taken from his family and put into servitude on plantations, all the while unable to contact his home or even proclaim his true identity. His journey, “down the rabbit hole” as Ejiofor says, isn’t into a uniformly evil world of slavery, but one peopled by a wide spectrum of human decency, both masters and slaves.
    It’s in many ways about how, faced with unspeakable hardship, one reacts. Northop refuses to surrender.”They’re something about it that I find very heroic,” says Ejiofor. “You could only find that by really confronting his experience head-on.”
    The hanging scene is only one of the film’s lengthy moments — a beating that serves as an introduction to life as a slave; a forced whipping of another slave — showed in full, unbroken view.”If you don’t know what that feels like,” says Ejiofor, “if you don’t get inside that experience of being there all day, out there in the sun, hung by your neck, barely able to stay alive, then you don’t know the depth that this man is prepared to go to in order to keep himself alive.”
    The film is often harrowingly difficult to watch. But it’s ultimately concerned with being faithful to Northop’s experience (“Solomon deserved nothing less,” says McQueen), and capturing his undimmed dignity. Northop went on to be part of the abolitionist movement and lecture on slavery throughout the Northeast.”This is not National Geographic or any kind of scientific exploration to tell you how things actually were,” says McQueen. “It’s about the narrative.”Though the experience of making such a film, shot in 35 days outside of New Orleans, might be expected to be weighed with the heaviness of its subject, the cast says the process was too focused, too fast-moving for such a mindset. Says McQueen: “If you start thinking about it in such a way, it will paralyze you.”Michael Fassbender, who starred in both of McQueen’s previous films, plays Edwin Epps, the far harsher of two plantation owners. (The other, more benevolent plantation owner is played by Benedict Cumberbatch). He’s described with understatement as “a man of hard countenance.”Fassbender sought to find the humanity in Epps, who’s torn by his love for his most prized cotton-picker (Lupita Nyong’o, in a shattering performance).”You are going to places that are uneasy, but it’s my job,” says Fassbender. “Of course the emotional elements follow, and they do have an effect and there’s a residue going home with them. But concentrating on the work sort of protects yourself from that.”

  19. 119
    A-lister Aniston Says:

    Sorry Folks, Jennifer Aniston Is Indeed A Genuine Movie Star
    by Scott Mendelson for

    Jennifer Aniston attends the “We’re The Millers” New York Premiere at Ziegfeld Theater on August 1, 2013 in New York City. (Photo by Rob Kim/Getty Images)

    Most probably didnt notice or dont care, but Warner Bros. Were The Millers has now amassed $124 million at the domestic box office as of Monday. Of note, it surpassed the $117m gross of Horrible Bosses and the $118m domestic gross of The Break-Up to became co-star Jennifer Anistons third-biggest domestic grosser, behind Marley & Me ($143m) and Bruce Almighty ($242m). Its a continuing testament to the relative box office bankability of an actress that most pundits are all-too-quick to write off as proverbial box office poison (Google Jennifer Aniston and bomb). In truth, her financially profitable films far outnumber here genuine money-losing flops.

    Now this isnt a referendum of the overall quality of Ms. Anistons film projects any more than a box office audit of Adam Sandler would take into account the relative paucity of quality films (although I still argue You Dont Mess With the Zohan is an underrated gem of a critique of Israel/Palestine tensions). But even a cursory glance at the twenty-five films on Jennifer Anistons resume, from Leprechaun in January of 1993 to the current Were the Millers shows a relative pattern of genuine cost-to-gross profitability ratio. Of note, Leprechaun was pretty much the only feature film that she made prior to Friends and thus the only film that didnt at least partially depend on her alleged popularity/box office drawing power to make back its investment.

    Whats interesting is how rarely Aniston played what amounted to the token girlfriend, even if thats the case in her biggest hit (Universals Bruce Almighty) and her biggest and costliest flop (Warner Bros. Rock Star, which starred Mark Wahlberg and made $17 million worldwide on a $57m budget). With few exceptions, she was either the least or co-lead in a romantic comedy/drama or was part of an ensemble. Her first post-Friends star vehicle was the romantic comedy Picture Perfect, which grossed $44m worldwide on a $19m budget in 1997. The next, The Object of My Affection with Paul Rudd, earned $46m on an $15m budget in 1998. This was the pattern for much of her career. The hits arent always huge, but the budgets are usually small.

    Pundits and the like tend to hold up low-grossing films like The Switch or Love Happens and call Aniston box office poison while ignoring how cheap those films were to make. The Switch, which I might add is a genuinely good movie with Jason Bateman about a hard-to-market subject (artificial insemination), earned $49 million on a mere $19m budget. Love Happens may have a title that belongs in a spoof of romantic dramedies, but the Aniston/Aaron Eckhart vehicle earned exactly twice its $18m budget worldwide, making it a break-even proposition before DVD/VOD. She has a host of smaller genre fare on her resume, such as Friends With Money ($18m worldwide on a $6.5m budget), Derailed ($57m on a $22m budget), and The Good Girl ($16m on an $8m budget). Jennifer Aniston isnt attempting to front a $150 million fantasy spectacular or a$100 million mega-comedy. She tends to make smaller, and/or more intimate genre films which dont need to be blockbusters to be hits.

    Ironically, two of her biggest whiffs probably rank among her best films, both in 1999, as the $70m The Iron Giant made just $23m while the $10m Office Space earned just $10m (Im presuming the latter films cult status has slowly pushed it into profitability). Now Aniston arguably deserves little blame for the failures of those two, and it can be argued how much she helped the Jim Carrey-is-God religious comedy Bruce Almighty (although she was the highlight of the mostly forgettable picture). But when the big money is spent and she is expected to draw real crowds, she generally delivers regardless of whether or not the movie is any good.

    There are some exceptions, of course. Rumor Has It grossed $88m worldwide, but on an alleged $70m budget, although one must presume that at least some of that exorbitant cost went to the copious re-shoots and reedits (the version I saw at a test screening a year before release seemed perfectly mediocre to me). And last years Wanderlust, again with Paul Rudd, couldnt even muster its $35m budget in global grosses (it earned just $23m). But those are among the very few arguably big movies aside from the aforementioned Rock Star that lost big money with Anistons name on the poster. The rest were solid moneymakers.

    Along Came Polley, with Ben Stiller, earned $171m on a $42m budget back in 2004. The Break-Up, which capitalized on her then-romance with co-star Vince Vaughn in 2006, opened with $39m (her biggest debut outside of Carreys $67m opening for Bruce Almighty) and ended up with $204m on a $52m budget. 20th Century Foxs Christmas 2008 smash Marley & Me, co-starring Owen Wilson and a dog, earned $242m worldwide on a $60m budget. At $143m, its Anistons biggest domestic grosser outside of the Jim Carrey-fueled Bruce Almighty. The allegedly troubled and postponed ensemble romantic comedy, Hes Just Not That Into You (starring, among many others, Bradley Cooper, Jennifer Connelly, Ben Affleck, Scarlett Johansson, and Drew Barrymore) almost went direct-to-DVD before opening in early 2009, opening with $28m and earning $178m on a $40m budget.

    Sonys The Bounty Hunter, which co-starred Gerald Butler, was written off as a flop after it only opened to $20 million in 2010, but it ended up grossing $136m on a $40m budget. The Adam Sandler-fueled Just Go With It earned $100m domestic and $214m worldwide for Sony on an $80m budget (Sandler has a propensity for weirdly expensive comedies). Finally we get to the last two biggies, both from Warner Bros. and both of which played off of Anistons would-be sex appeal. Horrible Bosses cast her as a rape-minded dentist, but played for laughs because hot women raping men is funny (thats a discussion for another day). The ensemble with Kevin Spacey, Jason Bateman, Jason Sudeikis, Charlie Day, Jamie Foxx, and Colin Farrell opened with $28m and earned $209m on a $35m budget. The Horrible Bosses campaign emphasized Aniston as a sex doll man eater caricature, a template repeated for this summers Were the Millers, which cast her as a stripper and emphasized her climactic strip tease in the trailers and television spots. Were the Millers is now at $178m and climbing worldwide on a $37m budget.

    Out of twenty-five theatrical features since 1993, six of them have grossed $100 million domestic while five have grossed $200m worldwide, with Were the Millers likely to become the sixth, none with a budget of more than $81m. Of her genuine we lost money bombs, arguably only Wanderlust and Rumor Has It depended on Anistons pull to sell, and Rumor Has It, also starring Kevin Costner and Shirley MacClaine, would have been fine at $88m worldwide without the exorbitant budget that was partially caused by the legendary production nightmare that caused original director Red Griffin to be replaced by Rob Reiner. The Iron Giant was an animated film and Rock Star was a Mark Wahlberg vehicle through-and-through (Anistons face isnt even on the poster). The majority of the rest of her filmography is filled with cheap films that made enough money to justify their investment.

    Heres the irony: Most of those cheap pictures can attribute the vast majority of their financial success to Anistons draw. Jennifer Aniston is another genuine movie star who can be considered a bigger star because the vast majority of her films are disposable. The very fact that films like Love Happens, The Switch, Derailed, or Picture Perfect made any money at all can be mostly attributed to Anistons genuine box office drawing power, because they had little else to sell (we can debate Jason Batemans star power another day, but Ill merely add that hes one of my favorite character actors). Like Melissa McCarthy (who is new to this game) or Adam Sandler (who is still the dominant comedy star of our era), the vast majority of Anistons films are successes only because of the drawing power of the person whose face is on the poster.

    So sorry folks, Jennifer Aniston is not box office poison or any such rubbish. Not because her films are generally very good, but because the vast majority of her films are profitable regardless of their quality. She may not make the best films or command the biggest budgets, but she is a consistent and reliable box office performer. This has little to do with her worth as an actress or her worth as a human being. Shes a perfectly fine actress (again, shes terrific and grounded in the otherwise farcical Bruce Almighty) and I have no judgments or interest in her off-screen life. But in terms of her ability to draw crowds in numbers relative to the needs and expectations of a given project, films with often little to sell other than its top-billed actress, Jennifer Aniston is a genuine movie star.


  20. 120
    A True Brad and Angie Fan Says:

    Best Director: McQueen, Daniels Edge towards Making History
    Posted on Sep 9 2013 – 11:25am by Sasha Stone

    n 86 years of Oscar history only two African-American directors have ever been nominated for an Oscar — John Singleton and Lee Daniels. It isn’t that the Academy leans towards white American filmmakers to be exclusionary. It’s more a function of the fact that black directors in America, or even white directors making films about black characters, often tackle subjects laden with sensitive topicality that makes them too hot to touch, like Spike Lee. It isn’t easy to make a film that can aggressively address substantial subjects and still cross the black and white divide without doing anything that may seem offensive to either side. Add to that, trying to please the critics (who are 99% white), and making money to boot. It is as though the past, present and future stack up like heavy bricks on the back of every minority filmmaker but especially so with black filmmakers here in America. That there are at least two African-American directors “in the conversation” this year (Daniels and Ryan Coogler) is a impressive miracle in itself. That British-born Steve McQueen has now emerged to lead the field means we could be witnessing history in the making — not just in terms of another nomination, but with a possible milestone win as well.

    Make no mistake about it, winning an Oscar won’t make Steve McQueen or 12 Years a Slave look better than they already do. It would make the Academy and Hollywood look better. No one will be able to say McQueen won BECAUSE he was black. No one will be able to say the film doesn’t deserve it.

    But it’s too early to count those chickens, and indeed, McQueen is likely to bristle at the notion of himself being categorized this way. I suspect that’s because he isn’t African American, he’s British. Here in America things are a little different with regard to race. Despite what many Republicans keep denying, there is still a big problem here. 12 Years a Slave roars forth to confront the issue the head-on, and in the eye of the hurricane will be Mr. McQueen.

    If I had to rank the directors most likely at this moment in time, I think I would want to avoid guessing the placement of films I haven’t yet seen. With that restriction in mind, the list would like this:

    1. Steve McQueen, 12 Years a Slave
    2. Alexander Payne, Nebraska
    3. Alfonso Cuaron, Gravity
    4. Paul Greengrass, Captain Phillips
    5. Lee Daniels, The Butler
    6. The Coens, Inside Llewyn Davis
    7. Woody Allen, Blue Jasmine
    8. Ryan Coogler, Fruitvale Station
    9. Jason Reitman, Labor Day
    10. JC Chandor, All is Lost

  21. 121
    sorry folks Says:

    Sorry, folks- FAT tick old manny is 44 year old leathery cougar who pays millions a year to a publicist and never has gotten a decent movie role or big pay day and will never get the Oscar she claims she deserves. She does, however, have a tiny stolen troll boy. On days when he is not stalking Heidi B.

  22. 122
    were the morons Says:

    @A-lister Aniston: Mary Osei, go back to Africa, you delusional hen. Lol

  23. 123
    Lol Says:

    @A-lister Aniston:
    I guess Huvsy read people calling Maniston box office poison. Lol. Maniston hens, the real movie star is you can open a movie on your own, you are the lead not the supporting roles to popular male starrs. Huvsy really works hard. Lol

  24. 124
    well Says:

    That write up, especially phraseology like “sorry folks” is classic old manny PR…I think that acting coach butt-kisser of fat tick used to write that way, too. How long til fat tick is on a vespa or accosting Daniel Craig in parking garages?

  25. 125
    Wonderbust Says:

    Bwahhah aww Tammy are the JP fans suppose to be upset and shaking in our boots because of that Forbes article. Newsflash Angelina is getting her SECOND Oscar in Nov and Brad possibly his first in March. Get back to me when ticky gets a juicy role or Oscar nom.

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