Charlie's Angels(2019)
- Thread starter ThaBurgerPimp
- Start date
They going with the non sexy theme this time
So.... We have a lesbian angel and a female Bosley.
Why does this movie exist?
The previous Charlies Angels worked as a reboot... because it fully embraced the camp of the Original Series.
Like none of this was taken seriously...
You can't do this shit.. Kind of Seriously... You have to fully embrace the camp.
Plus it starred Three women that were at their Celebrity Peak at that time and Bill Murray.
Also 20 years later and I'm still fucking Tripping that Tom Green Married Drew Barrymore.
Why does this movie exist?
The previous Charlies Angels worked as a reboot... because it fully embraced the camp of the Original Series.
Like none of this was taken seriously...
You can't do this shit.. Kind of Seriously... You have to fully embrace the camp.
Plus it starred Three women that were at their Celebrity Peak at that time and Bill Murray.
Also 20 years later and I'm still fucking Tripping that Tom Green Married Drew Barrymore.
this will and looks horrible.
They send everyone to school to learn the exact same shit. All of the writers think the same way. The musicians sing the same shit. The painters paint the same shit. They kill creativity that way. That's why they keep on redoing old shit.
They need to go out of the box and hire writers whom are not "classically trained." That way we'll get fresh product.
They need to go out of the box and hire writers whom are not "classically trained." That way we'll get fresh product.
https://www.dailymail.co.uk/tvshowb...ter-Ella-Balinska-22-set-Hollywood-storm.html
Idyllic getaways, model good looks, and a starring role on the new Charlie's Angels reboot: Lorraine Pascale's lookalike daughter Ella Balinska, 22, is set to take Hollywood by storm
By Jabeen Waheed For Mailonline
Published: 19:03 EDT, 16 August 2019 | Updated: 03:21 EDT, 17 August 2019
View comments
Ella Balinska is currently soaking up the sunshine on an idyllic getaway before her exciting promotional commitments for the new Charlie's Angels reboot kicks off.
And if her fun-loving, warm and inviting Instagram platform is anything to go by, it's no doubt the 22-year-old will be completely at ease while kicking off her new life in Hollywood following the film's release in November.
Her relaxed nature when it comes to her shiny new role may also come from her upbringing, for she is the daughter of the hugely popular former model and TV cook, Lorraine Pascale, 46.
Idyllic getaways, model good looks, and a starring role on the new Charlie's Angels reboot: Lorraine Pascale's lookalike daughter Ella Balinska, 22, is set to take Hollywood by storm
By Jabeen Waheed For Mailonline
Published: 19:03 EDT, 16 August 2019 | Updated: 03:21 EDT, 17 August 2019
View comments
Ella Balinska is currently soaking up the sunshine on an idyllic getaway before her exciting promotional commitments for the new Charlie's Angels reboot kicks off.
And if her fun-loving, warm and inviting Instagram platform is anything to go by, it's no doubt the 22-year-old will be completely at ease while kicking off her new life in Hollywood following the film's release in November.
Her relaxed nature when it comes to her shiny new role may also come from her upbringing, for she is the daughter of the hugely popular former model and TV cook, Lorraine Pascale, 46.
https://www.vogue.co.uk/article/ella-balinska-charlies-angels-interview
Ella Balinska Is The British Actress Set To Steal The Screen In The Charlie's Angels Reboot
With her first role in Elizabeth Banks's Charlie's Angels reboot, the 22-year-old actress is joining the legacy of female acting heroines.
Naomi is the Miss Vogue editor
Tuesday 30 October 2018
Three days before her Vogue interview, 22-year-old Ella Balinska landed the role of her lifetime: as an as-yet-unnamed Angel in the Elizabeth Banks - directed reboot of Charlie's Angels (set for release in autumn 2019). Making up the trio with Kristen Stewart and Naomi Scott, does Ella feel she's made it? "I've never really thought 'I want to make it', it's been more about, 'I want to wake up in the morning to do what I love.'" It's a role she was born to play, even if her catwalk-ready frame – inherited from her mother, former Vogue model Lorraine Pascale – had her thinking otherwise. "I've always wanted to do action, but I thought that at a proud 5ft llin, I was too tall. I'm qualified in 12 types of stage combat, so it's safe to say the brief for my character was very familiar."
Ella Balinska Is The British Actress Set To Steal The Screen In The Charlie's Angels Reboot
With her first role in Elizabeth Banks's Charlie's Angels reboot, the 22-year-old actress is joining the legacy of female acting heroines.
Naomi is the Miss Vogue editor
Tuesday 30 October 2018
Three days before her Vogue interview, 22-year-old Ella Balinska landed the role of her lifetime: as an as-yet-unnamed Angel in the Elizabeth Banks - directed reboot of Charlie's Angels (set for release in autumn 2019). Making up the trio with Kristen Stewart and Naomi Scott, does Ella feel she's made it? "I've never really thought 'I want to make it', it's been more about, 'I want to wake up in the morning to do what I love.'" It's a role she was born to play, even if her catwalk-ready frame – inherited from her mother, former Vogue model Lorraine Pascale – had her thinking otherwise. "I've always wanted to do action, but I thought that at a proud 5ft llin, I was too tall. I'm qualified in 12 types of stage combat, so it's safe to say the brief for my character was very familiar."
Why?
Probably will be garbage
See all the GIFs from EW's 'Charlie's Angels' cover shoot
Knockouts! See all the GIFs from EW's Charlie's Angels cover shoot
I'm so sick of all of this identity shit.
Its getting to the point that men can't write female characters or direct women in Hollywood. Every story with a female lead has to be written and directed by a woman or else the MeToo manhunters will try to burn it to the ground. Hollywood identity optics is out of control.
Everything is so cookie cutter and compartmentalized that these stories strangle themselves in political correctness and suck the fun out of a story by trying to hard to color inside the lines.
Here is another one that I will only watch for free if I watch it at all.
Its getting to the point that men can't write female characters or direct women in Hollywood. Every story with a female lead has to be written and directed by a woman or else the MeToo manhunters will try to burn it to the ground. Hollywood identity optics is out of control.
Everything is so cookie cutter and compartmentalized that these stories strangle themselves in political correctness and suck the fun out of a story by trying to hard to color inside the lines.
Here is another one that I will only watch for free if I watch it at all.
Nobody going to see this shit. 
‘Charlie’s Angels’: What the Critics Are Saying
The reviews for Elizabeth Banks' 'Charlie's Angels' film reboot are in. Here's what the critics are saying.
www.hollywoodreporter.com
‘Charlie’s Angels’: Film Review
THR review: Kristen Stewart leads the trio of smart and confident female spies known as Charlie's Angels as they fight to bring down an international criminal plot in this reboot directed by Elizabeth Banks.
www.hollywoodreporter.com
The Empty Corporate Feminism of Charlie’s Angels
By Alison Willmore
Kristen Stewart, Ella Balinska, and Naomi Scott in Charlie’s Angels. Photo: Merie Weismiller Wallace/Sony Pictures
You could chart a mini arc of corporate feminism onto the Charlie’s Angels franchise. When it premiered in its original form on ABC in 1976, it was a marshmallow-light Aaron Spelling creation that proved to resistant network heads that audiences really would show up for a women-led hour-long series — especially if those women went scantily clad and braless (a rival exec decried it as “jiggle television”). In 2000, the show was adapted into a movie that didn’t subvert the more retrograde sensibilities of its source material so much as it transformed them into the stuff of comedy, helped along by the appeal of a giggling, drop-kicking Drew Barrymore, Cameron Diaz, and Lucy Liu. It was still written and directed by men, though Marianne Wibberley would join as a screenwriter on the 2003 sequel that pushed the tenuous charms of the first film past their breaking point.
There was a disastrous video game in there somewhere, and a short-lived second TV series in 2011. And now, because nothing ever goes away anymore, the Angels are back on the big screen, and in true 2019 fashion, they’ve been given a girl-power makeover so desultory that you could fill out a bingo card with it. A man tells one of the main characters to smile (he dies!). Supreme Court Justice Ruth Bader Ginsburg is declared to have secretly been an Angel this whole time (I died). Kristen Stewart kicks the film off by declaring to the camera that “I think women can do anything,” a sentiment that, like the random montage of women around the world doing things that follows shortly after, is not actually explored beyond its potential to be stuck on a T-shirt. The basic idea of Charlie’s Angels remains the same — three women fight crime as part of a private organization owned by the mysterious figure of the title, one who’s only ever heard on speakerphone. But what’s so depressing about the new film is that the most radical thing it can think to do to update this concept is to hint that Charlie has actually, this whole time, been a lady.
Charlie’s Angels is directed by Elizabeth Banks in her second turn behind the camera — she also appears in a supporting role as the foremost of the film’s many Bosleys (the Townsend Agency has gone global). She’s not a natural with action. The film’s big setpieces are all chopped to bits, then edited together in a way that doesn’t line up smoothly enough to give a sense of fluid motion, to blur the line between stunt double and actor, or to give you a sense of where all these bodies are in relationship to one another. That’d be more forgivable if the other scenes had snap, but the screenplay, which Banks wrote from a story by Evan Spiliotopoulos and David Auburn, has a tendency to end on lines that you only realize are supposed to have impact or humor when the movie then cuts away to something else. “Are we on a boat?” Naomi Scott groggily asks in one sequence, after waking up from being drugged. “Yeah,” Stewart replies. The music swells, and the camera pulls out to reveal that they are indeed on a boat — scene!
Stewart, as the loosey-goosey Sabina, and relative newcomer Ella Balinska, as the no-nonsense Jane, are the established Angels, while Scott, most recently seen in Aladdin, is an engineer named Elena that they’re assigned to protect. Elena works at a company poised to unveil a pocket-sized source of clean energy that can also, inconveniently, be weaponized, something neither her condescending boss (Nat Faxon) nor their visionary CEO (Sam Claflin) wants to hear. When she attempts to blow the whistle, an assassin (Jonathan Tucker) comes after her, seemingly already informed of her whereabouts. There are betrayals, and disguises, and a choreographed dance number, but there’s a shocking dearth of pleasure in what should be a movie that’s mainly about it. Only every once in a while does it manage that kind of indulgent effervescence — like when the head of the Angels’ Berlin base, when giving them a tour, reveals himself to be a combination chiropractor, chef, and licensed psychotherapist.
Or when Stewart is on screen. Where the last two Charlie’s Angels installments were sold on their trio of stars, this soft reboot has leads at various levels of recognizability, and they all seem to be acting in their own movie. Balinska, with her striking athleticism and stern demeanor, is in a thriller, and Scott, with her cartoonishly big expressions, is in a screwball comedy, and neither is especially well-served by these tonal choices. It’s only Stewart, whose line readings are wildly counterintuitive, who finds a rhythm that works. She plays her character as a crypto-queer, filter-free goofball, and it’s wonderfully weird. It’s not clear if Stewart has, or wants, a future in broad action-adventures like this, but she’s the only person in the movie who actually comes across as having a good time — and how empowering is that?
By Alison Willmore
Kristen Stewart, Ella Balinska, and Naomi Scott in Charlie’s Angels. Photo: Merie Weismiller Wallace/Sony Pictures
You could chart a mini arc of corporate feminism onto the Charlie’s Angels franchise. When it premiered in its original form on ABC in 1976, it was a marshmallow-light Aaron Spelling creation that proved to resistant network heads that audiences really would show up for a women-led hour-long series — especially if those women went scantily clad and braless (a rival exec decried it as “jiggle television”). In 2000, the show was adapted into a movie that didn’t subvert the more retrograde sensibilities of its source material so much as it transformed them into the stuff of comedy, helped along by the appeal of a giggling, drop-kicking Drew Barrymore, Cameron Diaz, and Lucy Liu. It was still written and directed by men, though Marianne Wibberley would join as a screenwriter on the 2003 sequel that pushed the tenuous charms of the first film past their breaking point.
There was a disastrous video game in there somewhere, and a short-lived second TV series in 2011. And now, because nothing ever goes away anymore, the Angels are back on the big screen, and in true 2019 fashion, they’ve been given a girl-power makeover so desultory that you could fill out a bingo card with it. A man tells one of the main characters to smile (he dies!). Supreme Court Justice Ruth Bader Ginsburg is declared to have secretly been an Angel this whole time (I died). Kristen Stewart kicks the film off by declaring to the camera that “I think women can do anything,” a sentiment that, like the random montage of women around the world doing things that follows shortly after, is not actually explored beyond its potential to be stuck on a T-shirt. The basic idea of Charlie’s Angels remains the same — three women fight crime as part of a private organization owned by the mysterious figure of the title, one who’s only ever heard on speakerphone. But what’s so depressing about the new film is that the most radical thing it can think to do to update this concept is to hint that Charlie has actually, this whole time, been a lady.
Charlie’s Angels is directed by Elizabeth Banks in her second turn behind the camera — she also appears in a supporting role as the foremost of the film’s many Bosleys (the Townsend Agency has gone global). She’s not a natural with action. The film’s big setpieces are all chopped to bits, then edited together in a way that doesn’t line up smoothly enough to give a sense of fluid motion, to blur the line between stunt double and actor, or to give you a sense of where all these bodies are in relationship to one another. That’d be more forgivable if the other scenes had snap, but the screenplay, which Banks wrote from a story by Evan Spiliotopoulos and David Auburn, has a tendency to end on lines that you only realize are supposed to have impact or humor when the movie then cuts away to something else. “Are we on a boat?” Naomi Scott groggily asks in one sequence, after waking up from being drugged. “Yeah,” Stewart replies. The music swells, and the camera pulls out to reveal that they are indeed on a boat — scene!
Stewart, as the loosey-goosey Sabina, and relative newcomer Ella Balinska, as the no-nonsense Jane, are the established Angels, while Scott, most recently seen in Aladdin, is an engineer named Elena that they’re assigned to protect. Elena works at a company poised to unveil a pocket-sized source of clean energy that can also, inconveniently, be weaponized, something neither her condescending boss (Nat Faxon) nor their visionary CEO (Sam Claflin) wants to hear. When she attempts to blow the whistle, an assassin (Jonathan Tucker) comes after her, seemingly already informed of her whereabouts. There are betrayals, and disguises, and a choreographed dance number, but there’s a shocking dearth of pleasure in what should be a movie that’s mainly about it. Only every once in a while does it manage that kind of indulgent effervescence — like when the head of the Angels’ Berlin base, when giving them a tour, reveals himself to be a combination chiropractor, chef, and licensed psychotherapist.
Or when Stewart is on screen. Where the last two Charlie’s Angels installments were sold on their trio of stars, this soft reboot has leads at various levels of recognizability, and they all seem to be acting in their own movie. Balinska, with her striking athleticism and stern demeanor, is in a thriller, and Scott, with her cartoonishly big expressions, is in a screwball comedy, and neither is especially well-served by these tonal choices. It’s only Stewart, whose line readings are wildly counterintuitive, who finds a rhythm that works. She plays her character as a crypto-queer, filter-free goofball, and it’s wonderfully weird. It’s not clear if Stewart has, or wants, a future in broad action-adventures like this, but she’s the only person in the movie who actually comes across as having a good time — and how empowering is that?
Elizabeth Banks on 'Charlie's Angels' reboot criticism: 'You've had 37 'Spider-Man' movies'
Elizabeth Banks responds to criticisms of rebooting the 'Charlie's Angels' franchise yet again by comparing it to 'Spider-Man.'
Charlie's Angels reboot earns just $3.1 million as weekend kicks off
The reboot, co-starring Kristen Stewart, Ella Balinska and Naomi Scott is projected to take just $8.2 million at the B.O. this weekend, well below Ford V Ferrari which has already taken $10.9 million
Review: Charlie’s Angels Isn’t Heaven-Sent, but It’ll Do
Elizabeth Banks gamely revives the brand, but doesn’t do enough new with it.
How ‘Charlie’s Angels’ Fell From Grace At The Box Office With An $8M+ Opening
Updated with Sunday figures: In the wake of Terminator: Dark Fate’s failure at the B.O., and Paramount’s recent decision to make Beverly Cops 4 for Netflix, we have the further breakdown of cinema IP in Sony‘s Charlie’s Angels reboot, which is tanking with a God-awful $8.6M domestic opening...
deadline.com
Box Office: ‘Ford v Ferrari’ Flies to $31M; ‘Charlie’s Angels’ Crashes With $8.6M
'Ford v Ferrari' easily ran 'Charlie's Angels' and the rest of the competition off the road at the weekend box office, grossing a better-than-expected $31 million.
www.hollywoodreporter.com
Unfortunately, this film will fail just like these recent films before it:
Sadly, this Charlie's Angels reboot is yet another woke, SJW, "feminist empowerment" action film that nobody asked for, nor wanted.
But, as I see it, the problem here isn't that men aren't interested in seeing strong females kicking ass.
I believe the main problem here is with the way they approach, market and deliver these films to the audiences in general.
- They beat us over the head with the same one note feminist type or message.
- The women are all strong, competent, intelligent, insightful and can kick virtually ANY man's ass.
- The men are almost always evil, oppressive, incompetent, useless, weak, emotionally insensitive or cucks.
- The studios/directors blame men for the failure of these films and say we are all misogynist, aren't woke or "Trump Supporters".
None of those factors help to put asses in seats or to sell tickets....
That being said, this girl is absolutely fucking GORGEOUS!!!!
Sadly, this Charlie's Angels reboot is yet another woke, SJW, "feminist empowerment" action film that nobody asked for, nor wanted.
But, as I see it, the problem here isn't that men aren't interested in seeing strong females kicking ass.
I believe the main problem here is with the way they approach, market and deliver these films to the audiences in general.
- They beat us over the head with the same one note feminist type or message.
- The women are all strong, competent, intelligent, insightful and can kick virtually ANY man's ass.
- The men are almost always evil, oppressive, incompetent, useless, weak, emotionally insensitive or cucks.
- The studios/directors blame men for the failure of these films and say we are all misogynist, aren't woke or "Trump Supporters".
None of those factors help to put asses in seats or to sell tickets....
That being said, this girl is absolutely fucking GORGEOUS!!!!
'Charlie's Angels' reunion! Watch Cameron Diaz surprise Drew Barrymore for her birthday
Cameron Diaz surprises Drew Barrymore for her birthday in this sweet video showcasing how deep their friendship runs.