Yesterday (July 13th 2016), Blake Lively was spitted leaving her New York City hotel and heading to her interview with Live! With Kelly and co-host Fred Savage, we have added x89 photos to the gallery …
We have updated the 2016 candids section of the image gallery, with some lovely photos of blake in some very stylish outfits …
x26 Spotted in Soho Manhattan NY July 12th 2016
x75 Arriving at Cafe Society Press Junket in NYC July 12th 2016
x16 Out and about in New York City July 11th 2016
x04 Private Airport in Rhode Island July 5th 2016
x64 Taylor Swifts 4th July Weekend Party 2016
x18 Leaving the Crosby Hotel in NYC June 22nd 2016
x14 Out in New York City June 22nd 2016
x36 Leaving her hotel for The Shallows World Premiere in NYC June 21st 2016
x37 Out and about in a Sunny NYC June 20th 2016
x18 Leaving for Jimmy Fallon NYC June 20th 2016
x18 Leaving her hotel in New York City June 22nd 2016
x50 Leaving her Hotel in New York City June 20th
x11 Out in Tribeca June 1st 2016
x18 Leaving her hotel in New York May 2nd 2016
x06 Celebrity Sightings At Nice Airport – May 09 2016
x16 Grocery Shopping in NYC March 12th 2016
x10 Leaving a hotel in New York City Feb 18th 2016
x38 Celebrity Sightings in New York City February 18th 2016
x77 Celebrity Sightings in New York City February 17th 2016
Straight from the trainer to you.
In preparation for her role in The Shallows, Blake Lively and trainer Don Saladino set up a flexible six day workout plan for the actress to ensure she was in peak physical condition to fight that shark.
“She truly listened to me every step of the way and we both listened to her body,” Saladino tells Well and Good. “At the end of the day, it will never be one-size-fits-all. In order to get the results, you need to be paying attention to what’s going on [with you].”
Before laying out the workout regimen, Saladino noted that every workout is different and to always keep that in mind when reading up on celebrity workout plans:
“I could write out a workout for you, but the thing that people have to take into consideration is the intensity levels,” Saladino says. “And just because you see a celebrity workout plan, doesn’t mean that it’s exactly the same formula that helped them get in shape. If a leg day was set up for a Monday for Blake, but she was flying home the night before and stayed up all night with the baby and was exhausted, I’m not gonna make her do the full workout.”
So what did Lively get up to on those six days?
Day one focused on the upper body, finishing with a 20-30 minute burst of cardio. Day two was all about the lower body, think kettlebell deadlift, a lateral lunge, and split squat. Day three encompassed water; Lively hit the pool with a mix of interval work, treading water and long-distance swimming. Day four focused on getting outdoors and exercises that work anywhere: walking lunges, push-ups, and planks and more cardio. On day five, Saladino simply encouraged Lively to head outdoors “whether that was a walk with her daughter or husband, a jog around town, or a hike—for 30-40 minutes.”
With its lean script, clever construction and arresting cinematography, this crass-on-paper bikini movie turns out to be a minor masterpiece.
So much of our best trash ends up in the ocean. Jaume Collet-Serra, the Spanish film-maker whose shimmering, cool approach made the dopey horror flick Orphan something of a must-see, serves up a minor, silly masterpiece with The Shallows. Without an ounce of body fat on its script, the timing for this refreshing splash couldn’t be better, coming as it does during a deadening summer of flabby sequels. For a slick 87 minutes, The Shallows delivers on its promise: Blake Lively, in a bikini, fighting a shark.
If you haven’t already opened a new browser to immediately buy yourself a ticket, I’ll continue. Nancy (Lively), photographed in a golden haze, bums a lift from an unseen Mexican resort to a “secret” beach. Her travelling companion has stayed behind, having quaffed demasiado tequila the night before. The beach is off the beaten path, but Nancy has a number of pictures dated 1991 of her equally athletic-looking mother at the very same spot.
“Mom’s beach?” Nancy’s little sister asks via a FaceTime chat, a cleverly shot but mercilessly short bit of exposition. As if the film needs to fulfil some sort of government-mandated backstory requirement in order to register as a legal motion picture, Nancy’s touch-base with home informs us that she is a medical school dropout struggling with the recent death of her mother. Home is Galveston, Texas, which means she can be both a heartland of ’Murica sweetheart as well as a demon on a surfboard. The almost-a-doctor bit means we’ll buy it when she tears at her wetsuit to create a tourniquet or uses her necklace as a suture.
That’s needed because there’s something more treacherous than sick wipeouts or sharp coral in these waters: a giant, hungry shark. But before the nasty beast shows its teeth, we get ample footage of Nancy on cloud nine, hanging 10, in this quiet cove. When two nice locals say adios for the night, she stays behind to catch a few more waves. The remainder of the picture is of her figuring out how to survive when there’s a vicious person-shredder separating her from safety.
After the initial attack (in which cool blue turns to Argento red), Nancy spends most of her time strategising on a rock that just so happens to have a nice, scooped-out middle for her lie in and resemble a wounded Greek siren. Kudos to Collet-Serra and his screenwriter Anthony Jaswinski for figuring out a way for Lively to undergo a series of costume changes, despite the storytelling hurdle of never returning to shore. First she’s got the wetsuit zipped, then she’s got it not-so-zipped, then she’s got one arm torn off like an Amazonian warrior etc. The camera photographs her above the water, under the water, through the water and with her legs wrapped around a dead and bleeding whale. It’s an all-or-nothing performance and the movie doesn’t shy from embracing the very physical nature of the scenario.
But here’s the key thing: the group of jaded and highly intellectual New York critics that made up the audience at my screening went from snickering at the arguably unnecessary early cleavage shots to gasping, cringing and even murmuring “Oh, no!” as our leading lady suffered increasingly ferocious setbacks. You just gotta jump right in, get your head wet and take this movie on its own terms.
The Shallows is a film begging for you to shout back at the screen, and while the premise is ridiculous, it’s anything but dumb. (I choose not to Google whether or not a shark would hover in one area for a day after it has already chomped other humans.) Each step has an internal logic, shot in a clear and visually arresting manner. Collet-Serra has reteamed with cinematographer Flavio Martínez Labiano and they are incapable of giving us a boring setup. There’s also a good bit of humour, thanks to Lively’s scene partner, a wounded seagull, whose deadpan reaction shots recall a feathery Jack Benny.
The big finish had the crowd cheering, and some of that excitement was without irony. The conclusion is even a tiny bit touching, and without forcing the issue too much, as in the multiple Academy Award-winner Gravity. This isn’t to compare Lively’s performance with Sandra Bullock’s, but there are ample similarities between the two films in their exaggerated energy and go-for-broke simplicity. What could have been mere summertime chum is actually one of the more cleverly constructed B-movies in quite some time.
The Shallows is released in the US on 24 June and in the UK on 12 August.
Blake Lively got some flack for saying that she had an “L.A. face with an Oakland booty” on Instagram and now rapper Sir Mix-a-Lot is responding to the comment.
The line is from the rapper’s song “Baby Got Back” and Blake used it to caption a photo of herself on the red carpet at the Cannes Film Festival. See photos from that event in the gallery!
“For her to look at her butt and that little waist and to say ‘L.A. face with an Oakland booty’ doesn’t that mean that the norm has changed, that the beautiful people have accepted our idea of beautiful? That’s the way I took it,” Sir Mix-a-Lot told Pret-a-Reporter. “Now let me do this, as far as the critics are concerned: I don’t want to come off like, ‘Oh, he’s an Uncle Tom,’ because I’m not. If what Blake Lively meant by that comment was, ‘Oh my goodness, I’ve gained weight, I look horrible,’ if that’s what she meant — and I doubt that she did — then I’m with the critics. But no one in the world is gonna tell me that a woman that wears that dress is thinking that she’s fat. No, I’m sorry, it just doesn’t happen. It sounds like to me like she was giving the line props.”
“I think she’s saying, ‘I’ve got that Oakland booty,’ or ‘I’m trying to get it.’ I think we have to be careful what we wish for as African-Americans, because if you say she doesn’t have the right to say that, then how do you expect her at the same time to embrace your beauty? I mean, I don’t get it. I think it’s almost a nod of approval, and that was what I wanted. I wanted our idea of beautiful to be accepted,” he added. “I think now not only is it accepted, but it’s expected