17 Cutest Cats in Movies




17 Cutest Cats in Movies

By Evy Baehr, Executive Managing Editor  


1. Hello, Simba is clearly number one cute.


Simba from lion king

Movie: Lion King


2. Monty from Stuart Little makes clumsy look cute.


Monty_ stuart Little

Movie: Stuart Little


3. Garfield, it’s all about that fluff.



Movie: Garfield


4. Lucifer, he’s a cute kitty even if he isn’t purrfect.


Lucifer, Cinderella

Movie: Cinderella


5. Let’s face it, the Aristocats are the stars of their own movie for a reason.


the Aristocats

Movie: the Aristocats


6. Hard to be cuter than Milo.


Milo from Milo and Otis

Movie: Milo and Otis


7. Si and Am’s cuteness gets them places.


Si and Am from Lady and the Tramp

Movie: The Lady and the Tramp


8. It’s for sure, you would never want to lose Sassie. 



Movie: Homeward Bound


 9. If wishes were horses we would be able to keep these guys, Sangha & Kumal, as pets.



Movie: Two Brothers


10. Azrael is a trouble-maker, but just so cute. 



Movie: The Smurfs


11. Aslan has looks and wisdom, the whole package really. 


Aslan_ narnia



12. Mittens the Cat, come on, so darling.



Movie: Bolt


13. Figaro’s cuteness spans history.



Movie: Pinnoccio


14. Puss has those eyes…can’t deny those eyes…



Movie: Puss in Boots



15. Snowbell, just  look at that mane. 


Snowbell_ stuart-little-9

Movie: Stuart Little


16. Alex is so cute he’s helped create a franchise.



Movie: Madagascar


17. Bonus hour: Rufus is loving and cute.


Rufus, the rescuers

Movie: The Rescuers

Conversations with Helen Mirren


By Evy Baehr, Executive Managing Editor

Immigrating to France, the Kadam family must build up their Indian Restaurant in the midst of stiff competition in THE HUNDRED-FOOT JOURNEY. THE HUNDRED-FOOT JOURNEY is a pro-family movie with a moral message. THE HUNDRED-FOOT JOURNEY is coming out August 8th, staring Helen Mirren and Om Puri, plus some newcomers.

Movieguide® had the chance to speak with Mirren on her role as the competing restaurant owner. Make sure to check out the full review of THE HUNDRED-FOOT JOURNEY on www.movieguide.org.

Question: Your character in the movie has an amazing capacity for le moujuos, the perfect thing to say. Is it nice when a script makes you that little bit cooler than you are in real life?

Helen Mirren: Of course! Why do you think we become actors? For that very reason! We get our best lines written for us, and you know, we look intelligent, and we look witty, and we don’t really have to do anything but say the words. But, having said that, that line was absolutely scripted, as you rightfully pointed out, a wonderful line. In fact, we did improvise quite a lot in this film as well, because Lasse (the director) likes to, and I think that’s his magic as a film director. As you all know, film is a very cumbersome, technical, heavy medium. It’s very hard to make a soufflé of a film, which is hopefully what this is, a well-risen soufflé. It is very hard to maintain the lightness of touch. He achieved it by. . . we would shoot the script, and then we would always improvise mess around a bit. So, the set was a very improvisational set, which was lovely.

Question: To what degree was it a pleasure for you to work with Mr. Puri, who is so renowned in a different cultural tradition?

Helen: Yes, different but irreversible. The interesting thing is, especially of the generation that Om is from, there was a great appreciation of English, British because of the connection, but there was always a great tradition of classical theater. I think it’s partly why the Brits and the Indians on certain levels got along very well together. Especially in the world of theater there is this classical tradition. Both of us have done a lot of theater. So, in many ways, Om and I had more in common with each other than maybe I had with Manish or Charlotte, because they come from a sort of very different acting background. Having said that, I have to say you know they were both just so wonderful to work with, but Om and I just naturally feel into it. That was very easy for both of us because we knew of each other’s work. We had enormous respect for each other, and … it’s a shame Om isn’t here because you would fall in love with him. He has this wonderful warmth. . .. He was the guy who would cook these big feasts. He would cook Indian food for everyone, and make a family feeling on the set. Om created his family off the set. It was brilliant.

Question: Just curious, your character in this movie really has a moment of redemption that kind of carries through.

Mirren: Yes.

Question: Now, when you tackle somebody and you read the first part of the script, and they can kind of be cold or icy or mean or whatever is it important for you that they have that moment of redemption or is it just kind of a nice plus for this one per se?”

Mirren: In this case, yes. I really wanted to play Madame Mallory because she’s French, and I’m dying to be a French actress, and my pathetic attempt at being a French actress, but if she’d just been a mean French person I don’t think I would’ve gone along with it. Also, because I think it’s one-dimensional. You know we’re all a bit paranoid about the French, aren’t we? I know a lot of Americans are, and they feel just so intimated by the French. Although I do speak good French so it’s easier for me, but you know the French can be very, very intimidating and so this sort of cliché of the cold judgmental, nasty, uptight French person. I wouldn’t be happy with just playing that at all. I have lived and worked in Paris and have met such kindness in Paris with people I didn’t know. The Parisians seem on the surface to be so cold and judgmental and sort of superior, but actually they’re incredibly kind-hearted and generous, and I learned that in Paris.

Question: Can you actually cook? Or, are you just a tremendously engaging fake?

Mirren: I’m the engaging fake. Well, actually I don’t cook in the movie. I run the restaurant. She knows food and understands food and employs very good chefs. She doesn’t actually cook herself. She tastes and judges, but luckily, she doesn’t cook, because I would reveal myself very rapidly to be somewhat inept. The only thing I have to do is break eggs.

Question: What should viewers take away as the message of this movie in your opinion?

Mirren: Well, love thy neighbor. That’s the hardest much more difficult than do not covet thy neighbor’s wife. That’s easy. Love thy neighbor is difficult, that’s why there are wars. It’s the hardest and the most important.

Question: You’ve worked with some of the great directors of all time. What is it are you looking from a director when you are actually acting on set?

Mirren: I think what you want is a comfortable environment that you feel you can invent. Again, because film is such a cumbersome, technical, huge thing, it’s hard to create that little space of peace, calm, creativity and ease, and that’s what you want the director create for you. So, when you walk onto the set, you forget all of that and the fact that it’s costing so much money, but here, you are on your little playground, and you can invent and be free. Encouragement really is simple and I know it’s pathetic we need to be encouraged, but we do. I’m in the middle of working on a film called WOMEN IN GOLD. The film is directed by Simon Curtis, who worked as my assistant many years ago. He was getting my fan mail and now he is my director.

Question: What’s that dynamic like working with him now?

Mirren: He’s not my assistant; he is my director. If my director is a 16-year-old girl or boy, my director is my director, and I give them all my respect and my attention. It doesn’t matter what age they are or anything. If you sign up, then you sign up to this director, and my feeling is that you should just say, okay, this is your project. How can I serve your project. That’s what the relationship is. Of course, within that you contribute hugely with your ideas and your inventions and that’s your job. I think film is the director’s median, surely. So, he is my director.


Eight Finalists Reach for $50,000 Chronos Prize

Screenwriting Contest with the Largest Cash Prize of Any Similar U.S. Competition Announces Its First Annual Finalists

Hollywood, Calif. – Dr. Ted Baehr, founder of Movieguide®: The Family Guide to Movies and Entertainment, announced the top eight finalists for the inaugural Chronos Prize for Inspiring Screenplays by Established Filmmakers. Awarding $50,000 to the top entry, the Chronos Prize will be the largest cash prize for any competition of its kind in the U.S.

Supported by a grant from the John Templeton Foundation and set to be presented annually by Movieguide®, the Chronos Prize is designed to encourage professional and established writers to create stories that are compelling, entertaining, inspiring, spiritually uplifting, and increase man’s love or understanding of God. 

“We are incredibly honored to recognize, in a significant way, the important contributions of established filmmakers in bringing family and faith centered stories to worldwide audiences,” Dr. Baehr said. “As we celebrate the beginning of the Chronos Prize – we are excited and hopeful that this well deserved recognition will be a vital tool in reshaping the future of the film and television industries.”

The winner will be announced at the 22nd Annual Faith & Values Awards Gala and Report to the Entertainment Industry on Feb. 7, 2014 at the Universal Hilton Hotel in Los Angeles.

This year’s finalists are (in alphabetical order):

Brian Bird and John Wierick of Dove Canyon, CA for THE MAGNOLIA PASSION

Art D’Alessandro of Maitland, FL for MIRACLE BOY

Nathan Frankowski and Matt Chandler of Camarillo, CA for LITTLE DRUMMER BOY

Matthew G. Hill and Landon Johnson of Anaheim, CA for BURNING AT BOTH ENDS

Heather Hughes and Kate Wharton of Seattle, WA for MERRY ME

Mark Nowrasteh of Austin, TX for END OF THE EARTH

Brad Silverman of Lancaster, CA for WHEN LIFE GIVES YOU LEMONS

Rusty Whitener and Ann Tatlock of Pulaski, VA for PROMISES TO KEEP

Begun in 2013, with its inaugural year completing in February 2014, the Chronos Prize is designed to help established filmmakers who have made successful faith-friendly and faith-based movies and television programs and screenplays. It intends to reward successful established filmmakers who endeavor to create stories that are compelling, entertaining, inspiring, spiritually uplifting, and increase man’s love or understanding of God.

In addition to the Chronos Prize, the highlight of the MOVIEGUIDE® Awards each year is the presentation of the two $100,000 Epiphany Prizes for Inspiring Movies & TV. Also supported by a grant from the John Templeton Foundation, the Epiphany Prizes honor the best, most inspiring movie and television program of the previous year.

Author of “The Culture-Wise Family” and “How To Succeed in Hollywood (Without Losing Your Soul),” Dr. Baehr is chairman of the Christian Film & Television Commission® (CFTVC) and its family guide to movies and entertainment, Movieguide® (www.movieguide.org). CFTVC and Movieguide® are an international, non-profit ministry dedicated to “redeeming the values of the entertainment industry by influencing industry executives and by informing and equipping the public about the influence of the entertainment media.”

At the Faith & Values Awards, Dr. Baehr will present highlights from Movieguide®’s 2013 Report to the Entertainment Industry, a comprehensive financial analysis of the movie business showing what kinds of movies and what kinds of movie content moviegoers favor the most with their hard-earned money.

For more information about Movieguide® or CFTVC, visit www.movieguide.org or call 1-888-248-6689.

The John Templeton Foundation (www.templeton.org) funds independent research and public engagement to pursue big questions and discoveries on life’s purpose, human potential, and ultimate reality. The Foundation’s motto, “How little we know, how eager to learn,” exemplifies its support for open-minded inquiry, commitment to rigorous scientific research and related scholarship, and encouraging civil, informed dialogue among scientists, scholars, theologians, and the public at large.


Portraying America’s Rust Belt: Behind the Scenes Lessons from OUT OF THE FURNACE




By Carl Kozlowski, Contributing Writer

Most movies are designed to provide escape for audiences wanting to take their minds off the sometimes harsh realities of life. In contrast, OUT OF THE FURNACE, actually shines an unflinching light on the lives of Russell and Rodney Baze, two fictional yet highly realistic and relatable brothers slogging their way through life in the dying steel town of Braddock, Pennsylvania.

Rodney, played by Casey Affleck, is a soldier suffering from Post-Traumatic Stress Disorder (PTSD) after serving four grueling tours of duty in Iraq and Afghanistan. His brother Russell, played by Christian Bale, is struggling with plenty of other problems himself. He’s working hard days in the same steel mill that made his elderly father fall sick, is using his wages to pay off Rodney’s gambling debts and care for his bedridden father, and accidentally kills a mother and child in a traffic accident.

By the time he gets out of prison, Russell has lost his girlfriend – whom he hoped to marry – to another man. With all that weighing on him, Russell finds himself facing the greatest crisis of his life: saving his brother Rodney from his dangerous involvement in an illegal fighting ring run by a vicious criminal named Harlan DeGroat (Woody Harrelson).

FURNACE is an often bleak movie, and its frequently profane language, violent actions, and the villain’s illegal drug use make it a movie that’s not appropriate for family audiences. However, it has a sympathetic portrayal of the stresses our soldiers face coming home. Also, it respectfully shows Russell as a man of faith, who attends Catholic Mass even while behind bars and in the face of the crisis regarding his brother.

Christian Bale, Casey Affleck, Woody Harrelson, and actress Zoe Saldana answered questions about the movie recently alongside the movie’s writer-director, Scott Cooper, whose prior debut film CRAZY HEART earned Jeff Bridges a Best Actor Oscar.

They discussed the movies’ more heartfelt and more positive aspects in an interesting way that was more thought-provoking than the average press conference.

Question:  This movie has strong family values and a unique small-town location. How did you pick these themes and places, and how did it affect the performances? 

SCOTT COOPER:  I grew up in a small town in Appalachia, in Virginia, as the grandson of a coal miner and spent a lot of time in small town America. While I was touring with my first film CRAZY HEART, I was reading a great deal about Braddock, Pennsylvania (where FURNACE is set) and what the town had undergone in the past five to seven years with economic troubles and the loss of the steel industry, it was important to me to shine a light on not only small towns, but what we as Americans have undergone these past five turbulent years. That blue collar milieu was familiar to me yet under-represented in films. It was very prevalent in the 1970s but not since then. I wanted to see that represented on screen again because I knew these people very well, their values and mores, and could weave all those things into a narrative in a very personal way.

CASEY AFFLECK:  There’s a story just in the way the place looks, a place that was once bustling, and is now something else. It has a lot of atmosphere. Normally you’re on a set, and a lighting set up takes 20 minutes, and you’re normally staring at a bunch of plywood in the fake interiors, but in this movie, you go in another real room. You’re not staring at a bunch of plywood, but a real house you’re supposed to be in. It really grounds you.

CHRISTIAN BALE:  There’s a world that the camera creates and the broader world beyond it. This time, we were so immersed that we were easily in the broader world and that helped make it real.

ZOE SALDANA:  You walk into a town like this and gain a really unique insight. It’s very easy to walk away when things go wrong, but to stick around and basically give life to a town because of everything it gave you generation after generation after generation, that’s a real mark of a true American – sticking together when it gets really rough. I’ve been to places around the world that can give you knots in your stomach and Braddock was one of those places, but once you sit down with those people, you wish you had an ounce of the strength that they possess every day in sticking around. That was something I was really very moved by.

MOVIEGUIDE:  Woody, you were as scary as we’ve ever seen you, yet extremely relaxed. Does that come easy to you?

WOODY HARRELSON: You want to be relaxed as possible, even if you’re doing something intense, so you’re basically in a state of dynamic relaxation. I didn’t feel there was anything natural about playing Harlan DeGroat.

COOPER:  The very last shot of the film was the first one we shot. When we finished, Woody walked over and hugged me and said, “I never wanted to shed a character more in my life.” Truly I wanted Woody to represent the very worst of America, and Christian to represent the best. Hopefully we succeeded in that dichotomy. As someone with a very limited career as an actor, you realize once you see these guys in action, you see the work and see the other side of the lens, and you quickly realize the difference between being modestly talented and how gifted they are.

Question:  It’ interesting how Christian’s character is in church, and in chapel in prison. Was there any particular backstory motivated you to have the character be that way?

COOPER:  When I was writing the character, I always thought of him as a very good man who was beset on all sides by a relentless fate. It was based on someone in my life who has suffered a tremendous amount of pain and loss, and who is also one of the most positive people I know and has given me a great source of inspiration. That man’s faith has carried him through, whether with absolution or whatever he was asking for. …For me, to have Russell Baze have that kind of seeking faith as he’s doing things that are morally questionable and put him in real risk was important.

Directors can go their whole career without telling personal stories. I don’t even consider it work. It’s a privilege to have actors of this caliber help me reach my vision. They were always questioning, taking a script that was well written and elevating it in every way. Making me understand who I was as a person. After the modest success of my first film, I found it very daunting to live with those expectations. After growing up with very little money and still having very little after CRAZY HEART, you can get tempted to make movies for the wrong reasons. They want you to make that movie, but you can’t, you have to stick to your artistic worldview and this was a personal story that was charged and emotional. It was a risk, certainly. I could have taken a much less risky route after my first film, but as one of my filmmaking heroes, Francis Ford Coppola, said, “If you’re not taking the highest greatest risk, why are you filming?”

Question:  Casey, you gave a very raw real performance of soldier returning from Iraq, especially talking about what you’d seen over there. Did you do any special preparation?

CASEY AFFLECK:  Not really, you start by making notes a few months before the shoot, over and over and talking to Scott lot about where he’s coming from, but [PTSD] is not too much of the film. Watching documentaries and talking to veterans, feeling as much as you can what that experience might be like for somebody. These guys are doing more tours than ever before, so there’s a constant level of anxiety and a lack of understanding what those symptoms are when they come back. People don’t want to hear what their experiences were. They would often rather forget about that stuff and here you are in your living room, trying to be in whatever moment you’re in and not bring it into every moment of your life. And, hope that it doesn’t bubble up in your consciousness at the wrong time.

Weekend Report July 26-28, 2013

July 26-28, 2013
Select a studio’s button to see that studio’s 2013 Report Card
THE WOLVERINE tops the weekend
20th Century Fox’s THE WOLVERINE took the top spot but with less than anticipated. It was followed by THE CONJURING, DESPICABLE ME 2, TURBO and GROWN UPS 2.

DESPICABLE ME 2 became only the second movie in 2013 to top $300 million. TURBO will struggle to make it to $100 million.

  Here are 2013’s animated movies:
DESPICABLE ME . . . . . . . . . . . . . $306,412,945
MONSTERS UNIVERSITY . . . . . . . $255,345,000
THE CROODS . . . . . . . . . . . . . . . $186,390,796
EPIC . . . . . . . . . . . . . . . . . . . . .  $106,188,590
ESCAPE FROM PLANET EARTH . . . $57,012,977
TURBO . . . . . . . . . . . . . . . . . . . . $55,767,998
Color codes
Exreme Caution
The Wolverine   3star
The Conjuring   4star
Despicable Me 2   4star
Turbo   4star
Grown Ups 2   2star
RED 2   4star
Pacific Rim   4star
The Heat   4star
R.I.P.D.   0star
Fruitvale Station   3star
Language Compared to Studio Box Office 2013
     No L – No obscenities and profanities
     L – Few obscenities and profanities (1-9)
     LL – Several obscenities and profanities (10-25)
     LLL – Numerous obscenities and profanities (more than 25)
Disney, is winning the box office average without any LLL movies while Warner Bros and Sony bring up the rear with ample foul language.
Language Code Percent Box Office Avg.
25% 25% 50%
14% 14% 29% 43%
20% 40% 40%
29% 14% 57%
Warner Bros.
18% 27% 55%
17% 83%
Violence Compared to Studio Box Office 2013
     No V – No violence
     V – Brief or action violence
     VV – Moderate violence (may include some blood)
     VVV – Very strong, extreme or graphic violence
The major studios appear to be on a violence binge. In an era when many are calling for gun control, Hollywood appears to be out of control in its love for guns and explosions.
50% 50%
86% 14%
40% 60%
29% 29% 43%
Warner Bros.
9% 73% 18%
33% 67%
2013 Weekend Box Office Winners
Jan 04 Texas Chainsaw 3D -4
Jan 11 Zero Dark Thirty -2
Jan 18 Mama -3
Jan 25 Hansel & Gretel: Witch Hunters -3
Feb 01 Warm Bodies -2
Feb 08 Identity Thief -2
Feb 15 A Good Day to Die Hard -2
Feb 22 Identity Thief -2
Mar 01 Jack the Giant Slayer +1
Mar 08 Oz the Great and Powerful +1
Mar 15 Oz the Great and Powerful +1
Mar 22 The Croods +1
Mar 29 G.I. Joe: Retaliation -1
Apr 05 Evil Dead -4
Apr 12 42 -2
Apr 19 Oblivion -2
Apr 26 Pain & Gain -4
May 03 Iron Man 3 -1
May 10 Iron Man 3 -1
May 17 Star Trek Into Darkness -2
May 24 Fast and Furious 6 -2
May 31 Fast and Furious 6 -2
Jun 07 The Purge -3
Jun 14 Man of Steel -1
Jun 21 Monsters University +2
Jun 28 Monsters University +2
Jul 05 Despicable Me 2 +2
Jul 12 Despicable Me 2 +2
Jul 19 The Conjuring -2
Jul 26 The Wolverine -2



Page 3 of 5