KATE #WINSLET: Glamour Paris Jan 2012 Cover Girl! ~ http://tinyurl.com/3r8cx8k ~ http://tinyurl.com/yfuuh4k @glamourparis

Kate Winslet Covers Glamour Paris January 2012
Posted Tuesday December 13, 2011 12:23 PM GMT

Kicking off the New Year with a high-profile cover, Kate Winslet is featured on the front of Glamour Paris magazine’s January 2012 issue.

The “Titanic” hottie looked marvelous with brassy blond locks, purple eye shadow, and a black leather jacket as she works the camera like a seasoned pro.

And though she’s been thoroughly enjoying life as of late, Kate’s ex-boyfriend Louis Dowler has been pining for her ever since their split.

Dowler told press, “I don’t think Kate behaved well and it is still very raw for me. I was in love with her and you can’t switch that off overnight. I’m not sure Kate treated me well.”

“I thought we were inseparable. I certainly haven’t found anyone else since. …I don’t want to go into details but it wasn’t a straight forward break-up. I’m a laid-back guy, so I am not walking around with a long face – but I do still hold a torch for her.”

http://www.gossipcenter.com/kate-winslet….ary-2012-569063

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Get Red Carpet Ready Like Kate Winslet With Makeup Tips & Tricks From A Pro

Celebrity makeup artist Pati Dubroff tells YOU the red carpet beauty secrets you need to know right now!

Pati Dubroff explains how to keep your makeup looking fresh all night long and what beauty trends we should expect to see on the red carpet through the coming awards season.

What makeup trends do you predict we will see on the red carpets during the upcoming awards season?

1. “Glowing radiant skin is a mainstay – soft lingerie tones to give a polished natural healthy look will for sure be an important trend to watch for.”

2. “Pops of color are always lovely, but definitely there needs to be regard for the event (see below).”

3. “Full luscious lashes that look real and not overtly false lash fake. I am also sure there will be some sexy winged eyes a la Sophia Loren – a look that is timeless and also so right now!”

Are there any makeup shades that you recommend celebrities avoid on the red carpet?

“Unless the red carpet is for a very fashion-forward event (Met ball), a music awards show or a daytime fun premiere, brights and colors could stand out in a not-so-good way.

The bright turquoise eyeliner or shocking pink lipstick may not be ‘grown up enough’ for the Globes or Oscars. The key is to look classic and modern at the same time. In this way, a deep magenta or deep rose lipstick will work – and save the bubblegum for another day.”

Do you have a trick for keeping makeup looking fresh through a long event?

“The trick for long wearing makeup is first prepping the skin well. The skin needs to be well hydrated – but not greasy. I am a huge fan of Intraceuticals Oxygen Machine treatments – the oxygen helps infuse the hydrating serum and skin is plump and glowing.

I then pat Clarins Beauty Flash Balm on the tops of the cheeks to give a radiant lift to the facial contours.

The next crucial step is filling in pores and fine lines especially around tzone and corners of eyes. This step mattifies skin (reducing need for too much powder) and helps foundation stay put.

The other key for long wearing makeup is layering. I will use a cream blush, a sheer wash of loose powder, and then a powder blush.
For eyes, it is about layering a cream shadow or smudged pencil with a powder to increase hold and long wear.”

Which celebrities do you think consistently get it right (makeup-wise) on the red carpet? Why?

1. Kate Winslet always looks polished yet not overdone. She always looks effortless and comfortable.

http://www.hollywoodlife.com/2011/12/13/red-carpet-makeup-beauty-tricks-tips/

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Kate Winslet’s ‘Golden’ Gift Idea

Hats off to Kate Winslet for making the act of giving that much more beautiful. After lending her voice to the documentary A Mother’s Courage: Talking Back to Autism, Winslet founded the Golden Hat Foundation, named after a featured poem of the same name.

“Lancôme has given me the strength to go all the way, and I know this will open many doors,” the brand ambassadress says of the company’s Golden Hat range. Comprised of holiday-ready luminous powders, moisture-rich lipsticks and five new shades of nail polish, the collection “is so stunning and gorgeous and perfect for now,” Winslet tells Stylelist. “I mean, the colors are really festive.”

Ranging from $15-$40, the products, which are embossed with the foundation’s signature hat, help to promote awareness for children afflicted with non-verbal autism. (The actress has also spearheaded a book initiative of the same name, which features a slew of celebs all wearing the same golden topper.)

Passionate about the cause, the star is also dedicated to the effects of proper skincare. “As you get older, I think it has to change all the time,” she says of her routine. “Based on the seasons, based on whether I’ve had enough sleep or not. What I particularly love about the [Lancôme] Renergie line is that it does actually work and it does right away.”

To shop the Golden Hat collection, and to get a gold star from StyleWatch this season, click here.

http://stylenews.peoplestylewatch.com/20….for-aging-skin/

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Review: ‘Carnage’ a glorious descent into hatred
By MARK KENNEDY, AP Drama Writer
Tuesday, December 13, 2011

In Hollywood terms, “Carnage” is relatively tame violence-wise. A pet hamster may be in peril, a bunch of tulips get mauled and a cell phone gets abused, but that’s pretty much it. There’s more actual carnage in “Puss in Boots.”

But if you’re into sheer domestic savagery, this is the film for you. Based on the 2009 Tony Award winning play “God of Carnage” by Yasmina Reza and directed by Roman Polanski, the film is a dark comedy that focuses on the collapse of good manners when two liberal, upper middle-class couples get together to discuss an altercation between their young sons.

Starring a first-rate cast of Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly, it may be uncomfortable stuff for yuppies to watch: A polite discussion of childrearing descends into racial slurs, drunken insults, the airing of dirty personal laundry and some barfing.

“There’s no reason to lose our cool here,” says Foster’s character, an uptight altruistic, artistically inclined woman, who, despite her nervous, thin smile, does precisely that.

To fans of the play, relax. Polanski and Reza, who share screenwriting credits, have added no flashbacks or car chases or explosions to what on stage has always been a four-character talk-fest — sometimes a scream-fest — that unspools in an apartment in real time. In fact, the movie hews so closely to the play that it sometimes feels like a filmed play.

One major difference is the act that brings these two couples together: The opening shot is of an 11-year-old boy smacking another 11-year-old boy with a stick in a Brooklyn park, dislodging some teeth and prompting swelling. In the play, the assault is only alluded to.

Did we say “assault”? Whoops. That’s precisely the discussion at hand when we first meet the Longstreets — Penelope (Foster) and Michael (Reilly) — and the Cowans — Alan (Waltz) and Nancy (Winslet). The Cowans’ boy has hit the Longstreet’s kid and both couples are meeting in the Longstreet’s tasteful apartment to discuss the implications over cobbler and coffee.

Penelope Longstreet thinks it was indeed an “assault” that left her son “disfigured” and wants an apology — from the boy and his parents. The Cowans resent the implication: It was just horsing around, and their son is no thug. In fact, maybe the whole problem is that the Longstreet’s boy is a “snitch.” Whoops, again.

Before you know it, both sides are sliding into madness, unmasked as hardly civilized. Michael Longstreet, who we meet as a cheerful wholesaler of pots and pans, is revealed to be a ball of resentment. His wife is exposed as a shrewish fraud. Alan Cowan, a crude, self-absorbed lawyer with a cell phone permanently attached to his ear, is nothing but a world-hating nihilist, and his pearl necklace-wearing mousy investment banker wife is riven with simmering hatred.

The four circle each other — sometimes the two wives gang up on the boys, sometimes vice versa — as a circumspect discussion of their parenting skills (or as one calls it “accountability skills”) lead to a prickly discussion of their world views, all lubricated by Scotch. It’s a play in which a seemingly innocuous line — like, “That’s a funny line of work” or “Maybe your son is picking up on a lack of interest” — can produce lightning bolts of hatred.

“Doing the right thing is futile!” screams Penelope Longstreet in exasperation.

They’re acting like children — and that’s the point, really. The four actors are tremendous at hiding their characters’ real feelings and yet also trying to suppress the rush of blood to their heads. Waltz, in particular, has his annoying-arrogant phone skills down pat: Listening to him conduct a loud conversation as he shoves cobbler in his face while everyone silently and painfully waits for him to hang up will make you want to smack him with a two-by-four.

And that’s also the point, really.

The film may have been shot outside Paris, but it recreates an upper-class New York world marvelously. Production designer Dean Tavoularis has clearly spent a lot of time in overstuffed, show-offy Brooklyn apartments, where knickknacks are displayed to prove how interesting the occupants are, and art books sit as a testament to their owners’ intelligence. Many of the items in the apartment appear angular, as if messy emotions could be squared away.
Images
In this film image released by Sony Pictures Classics, Ch…In this film image released by Sony Pictures Classics, Jo…In this film image released by Sony Pictures Classics, fr… View All Images (3)
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What’s so frightening is how universal this plot is. The play — French playwright Reza is also known for her play “Art” — opened in Zurich in 2006 and then Paris a few years later. It became a hit in London and then made it to Broadway with a cast that featured James Gandolfini, Marcia Gay Harden, Jeff Daniels and Hope Davis. All the actors were nominated for Tonys in 2009 and Harden took home the best actress prize and director Matthew Warchus won the directing Tony.

This new film’s cast — three Academy Award winners and one Oscar nominee — have risen to the challenge — and teased out more of the humor than the Broadway production. In the film, the drunken zaniness at the end is emphasized, while the real threat of a four-way fistfight hung over the play.

Gandolfini’s brutishness — with its menacing hint of violence — is somewhat missed, but Reilly channels his inner sad-sack to great effect. Foster and Winslet prove eminently worthy, but really the material is the best thing here. A nasty spat between two couples over the course of an evening may not sound like a fun flick, but like any act of carnage, it’s hard to turn away.

“I’ve behaved poorly,” Penelope Longstreet says at one point.

She has. They all have. Quite wonderfully.

“Carnage,” a Sony Pictures Classics release, is rated R for language. Running time: 80 minutes. Three and 1/2 stars out of four.

Read more: http://www.sfgate.com/cgi-bin/article.cg….L#ixzz1gVxTtQHm

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December 13, 2011
“Carnage”: The Jury Is Out
Posted by Richard Brody

In Roman Polanski’s “Carnage” (which Anthony Lane reviews in the magazine this week), an adaptation of Yasmina Reza’s play “God of Carnage,” an upper-middle-class New York couple (played by Kate Winslet and Christoph Waltz) goes to the apartment of a slightly less prosperous couple (Jodie Foster and John C. Reilly) to discuss their sons’ playground fight; the two couples proceed to get into fights of their own. The first fissure of the veneer of civility comes early on, during a question of the phrasing of accusations and blame regarding the boy who is considered to be the aggressor. The story turns on issues of guilt and responsibility, and the strangest thing about the movie is that the two boys aren’t on hand for the discussion. So it’s also about the meting out of back-room justice by the presumptive authorities—who, as it turns out, have guilt and responsibility issues of their own, and are working out those issues out via the proxies of their negotiations about the responsibility and guilt of others.

The overall theme of the film is judicial indeterminacy—the inability of a body of judges to know exactly what transpired between the parties whose conflict is the subject of an ostensibly rational deliberation that turns out to be fraught with the sort of distorting subjectivity and personal bias (as well as moral flaws of a comparable, or even greater, gravity) that renders any such judgment (and those who make them) deeply suspect, utterly unreliable. Its main idea is, in effect, shit happens—there will be turmoil and rowdiness and pain and even blood, but, because only the parties to an event know what happened, practically as well as emotionally, it’s ultimately up to the parties themselves to work out their differences without interference or supervision.

I agree with Anthony when he concludes that “the performances are lusty and concerted, but they remain just that—performances,” but this histrionic showcase is, for obvious reasons, Polanski’s film of the moment, one that reflects his most pressing personal concerns.

Read more http://www.newyorker.com/online/blogs/movies/2011/12/carnage.html#ixzz1gVy12CqY

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The Writers: Yasmina Reza climbs inside ‘Carnage’

The playwright, who usually doesn’t favor making movies based on her plays, was encouraged by director Roman Polanski and a stellar cast.

By Reed Johnson, Los Angeles Times
December 14, 2011

Yasmina Reza never planned to make a film of her international hit play “God of Carnage,” a hair-trigger drama about a playground scuffle between two boys that escalates into a bitingly funny, primal struggle among their parents.

But when a longtime friend proposed making a movie, the Paris-based playwright knew exactly the type of director the film needed: a master of macabre humor, an expert at raising the tension inside tight psychological spaces, a connoisseur of the darkest recesses of the human heart.

In other words, someone just like Reza’s friend who pitched the movie — and ended up directing it — Roman Polanski. Retitled “Carnage,” with a screenplay by Reza and Polanski, and the formidable cast of Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly, the movie opens Dec. 16 in L.A. and New York.

“Roman saw all my plays and followed my work, but we never spoke about doing something together,” said Reza, speaking by phone from her Paris home in expressive, if slightly hesitant, English. “I was myself never turned toward any movie adaptation for any of my plays. I had a lot of offers, but I never said yes. And two years ago we were together on holiday, he had seen the play one month before in Paris, [under] my direction. And he asked me, ‘Did you sell the rights for a movie?’ I said no, and he told me he was very interested, and I said yes. And it was for me really very obvious that he might be the most right person to do it.”

The plot of “Carnage” is set in motion by a brief, opening playground vignette in which we see one boy hit another with a stick. The action then shifts to a New York apartment, where the boys’ parents — Veronica (Foster), a writer, and her husband, Michael (Reilly), and Alan (Waltz), a lawyer, and his spouse, Annette (Winslet) — have met to resolve the dispute.

But finding a peaceful resolution proves problematic. Accusations fly, tempers rise, and the adults’ veneer of civilized behavior starts to dissolve, with results that are both amusing and chilling.

Throughout its 80-minute running time, “Carnage” hews closely to its theatrical source material. But Reza said Polanski did insist on changing the ending to add a funny, absurdist coda and a glimmer of hope that the play lacks.

“The end of the play is much more somber, more sad, more desperate,” Reza said. “But Roman did not want this end.” He told her, “I want to find something more brutal and more optimistic, in a way. Not more optimistic, but more open.'”

Reza, the daughter of Iranian-Hungarian immigrants, has made her reputation as the polyglot author of plays, including “Art” (1995), which won the Tony Award for best play and has been performed in about 30 languages, as well as a half-dozen novels. She also wrote the bestselling book “Dawn, Dusk or Night,” a journalistic account, laced with mordant observations, about the year she spent on the campaign trail with then-candidate and now French President Nicolas Sarkozy.

Reza first met Polanski when he asked her to translate his stage adaptation of Franz Kafka’s “The Metamorphosis.” The Oscar-winning director of “Rosemary’s Baby,” “Chinatown” and “The Pianist” approached her after seeing a production of her 1987 debut play, “Conversations After a Burial.”

Reza said the only reason she could imagine bringing any of her stage works to the screen would be if the adaptation lent a new dimension to the work. With “Carnage,” she believes, that’s happily the case, a result she attributes to Polanski and the sterling cast that he handpicked.

“They were so right in each part, so I was very thrilled and confident,” she said of the actors. “And then I realized what the movie adds to the play: It’s the close-up. You can be really near the face, really in the eyes, in the voice. You can see them so close, and you are deep inside the intimacy.”

http://www.latimes.com/entertainment/new….0,1499331.story

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White People Problems in Roman Polanski’s Carnage
The parental rage of brownstone Brooklyn in Carnage
By Karina Longworth Wednesday, Dec 14 2011

Roman Polanski’s adaptation of Yasmina Reza’s hit play, Carnage, stars Jodie Foster, John C. Reilly, Christoph Waltz, and Kate Winslet as two sets of Brooklyn parents whose social, economic, and philosophic differences are leveled in less than 80 minutes by their common pettiness and immaturity.

Posh pair Alan and Nancy (Waltz and Winslet) have come to the home of wholesaler Michael (Reilly) and crunchy nonfiction author Penelope (Foster) to discuss how to deal with the fact that the former couple’s son hit the latter couple’s son in the face with a stick. Artificial politesse gives way to passive aggression, which gives way to aggressive aggression between the couples and within them. “We are not all short-tempered sons of a bitch!” Penelope yells at Carnage’s halfway point. It’s the film’s idea of irony that, up to that moment and going forward, we see only evidence to the contrary.

A real-time, hell-is-other-people endurance test set, with the exception of two framing shots, entirely within the stuffy space of an upper-middle-class urban apartment, Carnage was filmed six months after Polanski was released from house arrest. His 10-month confinement to his Zurich apartment ended when Swiss authorities chose not to honor a request by the U.S. to extradite the then-76-year-old on statutory-rape charges dating back to 1977. Polanski hardly skirts the available parallels. Carnage (the film, not the play) begins with the boys’ altercation, an incident of violence that Polanski shoots from such a far remove that we cannot know what motivated it or have any sense of its context. The film to follow consists of outsiders with unique personal motives debating who’s to blame for an incident they did not witness and, it’s implied, cannot really objectively understand.

Polanski’s life, of course, has been uniquely dramatic, and from the Holocaust to the murder of his wife by the Manson Family, the filmmaker’s real-life traumas have ghosted his every personal and professional move. But for all of its apparent analogies to Polanski’s recent struggles, Carnage feels like a markedly impersonal exercise. Even as it successfully evokes the single location as a pressure cooker for heightened behavior (Polanski moves the camera as little as possible, preferring fixed wide shots that contain all four stars in the frame), its take on the psychological and emotional side effects of such an airless situation never transcends the obvious. (It’s got nothing on the house-arrest movie of the year, Jafar Panahi’s This Is Not a Film.)

And unlike Polanski’s last film, the fatalistic political thriller The Ghost Writer, Carnage’s study of the rotten underbelly of “polite” social interaction is completely transparent. From the moment 10 minutes in when Foster first breaks the facade of niceties by responding to Waltz’s insincere pleasantry (“At least we got a new recipe out of [the meeting]”) with an unrestrained shot (“Wish our son didn’t have to lose two teeth in the process”), there’s no question in what direction this is headed.

The material is ostensibly farce, but Polanski never lets the proceedings skip his carefully laid rails. The film—and Reilly, Foster, and Winslet’s arch, oversculpted performances—has a precision you can set your watch to. At exactly 30 minutes in, the drama hops one level above realism with a character’s visceral breach of the social contract; 15 minutes later, they start drinking and jump to a platform even further removed from plausibility; 20 minutes after that, they’re dangerously drunk, and predictable hysterics ensue (hysterics that might be a little more believable had they been up all night drinking, not sipping scotch for 20 minutes with mid-afternoon light streaming in).

Waltz’s character is both the film’s most unabashed villain and its version of a straight man. As the most cynical, least conciliatory member of the quartet (that he constantly takes business calls on his cell in the middle of this meeting is basically his fuck-you to all of this), the actor’s insidiously even keel is perpendicular to and punctures the exaggerated arcs of the rest of the cast. In the final stage of the film’s programmatic chaos, Alan announces that he believes in the god of carnage and cops to the pleasure he gets from watching people deviate from social convention and tear one another apart. You’d have to agree with him in order to embrace this film—there’s nothing else to see here.

http://www.villagevoice.com/2011-12-14/f….nski-s-carnage/

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