admin / April 26th, 2016

Tom Hiddleston’s butt may have its own hashtag, #Hiddlesbum, but the actor doesn’t strip down just so his impressive backside can trend on social media.

In his new indie High-Rise, he plays a doctor who moves into an apartment building that turns out to be full of all sorts of crazy neighbors and shenanigans. “He moves into the building to get away from the entanglements of real life,” Hiddleston told E! News at the Tribeca Film Festival. “He’s excited by the anonymity of the building.”

But he learns his privacy isn’t so sacred when a neighbor (Sienna Miller) spies him sunbathing in the nude. And yes, that’s when we get a peek at Tom’s buttocks.

The scene is actually in the 1975 novel that the movie is based on, High-Rise by J.G. Ballard. “And [director] Ben Wheatley and Amy Jump, the screenwriter, thought it was very important to do so I had not problem doing it,” Hiddleston said.

Miller laughed when we told her about #Hiddlesbum. “That’s so funny,” she said.

But she admits that nudity on camera is never comfortable for most actors. “[Tom] doesn’t love it but he’s also very good at his job and professional so if the script calls for it, he will get his Hiddlesbum out,” Miller explained.

High-Rise is available on VOD, iTunes, and Amazon Video on April 28 followed by a theatrical release on May 13.

Hiddleston was teased about #Hiddlesbum while appearing late last month on The Late Show With Stephen Colbert while talking about him dropping his pants on his new AMC series The Night Manager.

Hiddleston told Colbert that he’s OK with nudity because he “trained” for it while studying acting at the Royal Academy of Dramatic Arts. “There’s no class in #Hiddlesbum at RADA,” he joked. “Actually…there’s always a moment in training where you’re given a role where you have to be comfortable with nakedness. I think they see it as part of the training.”

Source



admin / March 14th, 2016

Review from Empire Magazine, since the movie is coming out on the UK this weekend.

Neurologist Dr. Laing (Hiddleston) moves into a pristine tower block in the shiny 1970s, only to see the new society crumble into age-old violence. ★★★★

While J.G. Ballard is seven years gone, and the source for this film 40 years old, it still feels alarmingly now. The future he imagined in the 1970s, with its affluenza and anger, couldn’t feel more relevant today.

Ballard’s book was published in the year Margaret Thatcher became leader of the Conservative Party, before the Winter Of Discontent saw rubbish rotting on British streets amid industrial disputes, before greed became nakedly good. But the novel seemed to foresee all that was to come, and the first of the many smart decisions in this pungent adaptation is to maintain its period setting. It must have been tempting to modernise it. But as ridiculous as the cars, lapels and shagpile sideburns are, retaining the novel’s era grants High-Rise a compelling air of tragedy. The people in this tower block are buying a bit of the future, but they’re never going to escape the past.

Although designed to be exciting and people-friendly, the brutalist architecture of post-War regeneration came to represent ugly failure. High-Rise captures the excitement of that sleek, new way of living, and then takes malicious delight in its destruction. This film is both beautiful and grubby; it bathes your eyes but leaves a sticky residue. From the ethereal elegance of an aristocratic French fancy-dress party (costumes wrapped around warped souls), to the lithe musculature of a naked Hiddleston, to the striking image of his paint-splattered face — as if Dulux made an STD commercial — it is crammed with dreamlike (or at times nightmarish) moments. The chilly eroticism is familiar from producer Jeremy Thomas’ other Ballard adaptation, Crash, but this is more anarchic than Cronenberg’s controversial cult classic.

This is a strength and weakness. By staying so faithful to the material, screenwriter Amy Jump and director Ben Wheatley capture its spirit without quite making High-Rise consistently gripping as a story. Once we are firmly established with the concrete erection and its dubious denizens, incident upon incident of unpleasantness pile up to become almost monotonous. But it’s hard to know how one could wrestle Ballard’s book into a conventional thriller without losing the jagged edge that buries it in the mind. And Wheatley and DP Laurie Rose conjure such restless, arresting images that even if your attention to the plot wanders, you will still want to watch.

Wheatley doesn’t allow the larger scale — this must be his biggest-budget picture by millions — to blunt the unpredictability and energy he showed in Kill List et al. Hiddleston, highest-profile star yet, manages a very tricky balancing act, as the cool observer drawn deeper — or higher — into mayhem, while Sienna Miller’s seductive aide and Luke Evans’ bolshy filmmaker are wonderfully unrepentant. This is a dazzling, troubling, ugly and unsettling film. Ballardian, then: fucked up and up and up.



admin / March 14th, 2016

Finally, someone has found a way to adapt JG Ballard successfully for the cinema. Until now he was better suited to providing excellent band names (Comsat Angels) or grim song titles (Atrocity Exhibition) for 1970s-80s post-punk bands. Ballard’s work defiantly resists adaptation. He is an obsessive and an imagist. He doesn’t do plot, he just examines his nightmarish scenarios and mentally collapsing protagonists from every conceivable angle, rather than offering neatly structured climaxes. His dialogue is functional. In conventional outer space sci-fi you can have fun with spaceships, ray-guns and special effects, but Ballard’s “inner space” is far harder to capture.

Why JG Ballard’s High-Rise takes dystopian science fiction to a new level
Read more
High-Rise, the most outwardly conventional of Ballard’s 70s steel-and-glass novels, has famously been a property in development ever since it was published, attracting and defeating numerous adapters. Too many of these involved screenwriters superimposing their own ideas upon Ballard’s scenario and killing its internal balance. Ben Wheatley and his partner-editor-scenarist Amy Jump, however, have made several decisions that honour both the novel of 1975 and the cinematic needs of 2016. Firstly, they set the movie in its original period, the mid-70s, in the aftermath of Ernő Goldfinger, the Ronan Point collapse, brutalism and the sorrowful postwar migration from backstreet slums to suburbs in the sky. They have not unnecessarily filled in Ballard’s vacant characters, instead allowing the collective psychosis that grips the high-rise to remain the film’s protagonist. As a handyman puts it: “I don’t work for you, I work for the building.”

he pair also understand that Ballard was, first and foremost, a sublime imagist and they pack every frame with their own audacious pictorialism. Much of it partakes freely of the great British movies of the period, an age of big, mad projects financed by the last US studio money then remaining in Britain. Think of Ken Russell at his Tommy/Lisztomania high tide, or Nicolas Roeg’s menacing reds. Recall the queasy insanity of Lindsay Anderson’s O Lucky Man! and Britannia Hospital; Kubrick’s A Clockwork Orange; or those psycho-house movies that bookend the 1960s, The Servant and Performance. And, at a distance, remember Cronenberg’s contemporaneous Shivers (1975), filmed in Montreal’s minatory Nuns’ Island apartment complex, designed by Mies van der Rohe; or the Gropiusstadt of 60s Berlin, which gave us both Christiane F and Bowie’s Neuköln. And, oh yes, Pasolini’s The 120 Days Of Sodom, just for good measure.

A single viewing of High-Rise does not let it settle quietly in the mind. I expect to mine it 10 more times. For now, I know this: in Ben Wheatley and Amy Jump, 21st-century Britain has found its postmodern Powell and Pressburger.

High-Rise is released in cinemas on 18 March

Source



admin / March 12th, 2016

Here are Posters and stills from High Rise, which will be available on Demand, on Amazon Video and on iTunes April 28th and in Theatres May 13th.




Gallery Links:



admin / March 12th, 2016

A new clip for Ben Wheatley‘s psycho sociopolitical satire High-Rise has hit the web, and it’s about as far out as you’d expect. With a steady stream of films since his excellent 2009 feature debut Down Terrace, Wheatley has established himself as one of the most fearlessly odd and consistently unpredictable filmmakers on the market. His skewed sense of humor, a penchant for moments of ultra-violence, and general head-tripping panache can make his films a bit challenging at times, the reward is always a singular cinematic experience.

Wheatley looks to be in peak form with High-Rise. Adapted from J.G. Ballard’s classic novel, the film stars Tom Hiddleston as Dr. Robert Laing, a man seeking quiet and anonymity in his new apartment who finds his bizarre collection of neighbors aren’t too keen to leave him well enough alone. Thanks to the indulgent lifestyle within the ultra-modern compound and a simmering threat of class warfare between the upper and lower floors, Laing finds himself headed down a debauched path of questionable sanity.

Also starring Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, and Sienna Guillory, High-Rise is due out in US theaters May 13th.

Via Collider.



admin / March 10th, 2016

The film adaption of High Rise couldn’t have come at a better time. As the questionable ethics of London’s ever-growing number of luxury flats continues to dominate the conversation around the capital’s future, J.G. Ballard’s titular high rise, built from concrete, steel and a solid foundation of social hierarchy, feels uncomfortably familiar. Starring Tom Hiddleston, Jeremy Irons, Elisabeth Moss, Sienna Miller and Luke Evans, the Ben Wheatley epic hits screens March 18th in the UK. Here, as Hiddleston’s Dr. Robert Laing attends his first social event in the high rise, get a taste of the dark undertones and class tensions the film explores.

Via: i-D.com



admin / December 14th, 2015

The first trailer for High Rise has been released.



admin / September 29th, 2015

Images of Tom at the 63rd San Sebastian Film Festival have been added to the gallery where he was promoting High Rise.

0010.jpg 0023.jpg 0014.jpg 0004.jpg

Gallery Links:



Ads
Upcoming Appearances

Nothing currently

Gallery Images
Current Gif

Current Projects

Thor: Ragnarok (2017)
 
Tom as Loki
Thor must confront the gods to the gods when Asgard is threatened with Ragnarok.


Kong: Skull Island (2017)
 
Tom as Captain James Conrad
Thor must confront the gods to the gods when Asgard is threatened with Ragnarok.


Avengers: Infinity War (2018)
Tom as Loki
The plot is unknown at this time.

Elite Affiliates
Alicia Vikander Anna Torv Benedict Cumberbatch Brad Pitt Caitriona Balfe Carmen Electra Cara Delevingne Cate Blanchett Cate Blanchett Chris Evans Chris Pratt Dakota Fanning Eddie Redmayne Elijah Wood Elle Fanning Emilia Clarke Felicity Jones Fergie Hayley Atwell Hugh Dancy Jamie Dornan Josh Duhamel Kaley Cuoco Kit Harington Matt Damon Michael Fassbender Robert Downey Jr Noomi Rapace Sam Claflin Sam Heughan Sharon Stone Sophie Turner Tom Cruise Viggo Mortensen
Help Out & Donate

You and all the people can help here and any help would be more than appreciated. The goal is to be your number 1 source to Tom Hiddleston and for it, we need all the help you can give us. Anything you done will be creditted to you!

This site is always looking for pictures that we don't have up, so if you have scans, stills, shoots or any other picture that we could use, send to us. Full credits will be given.

Site Information

Owner: Anne
Name: Tom Hiddleston Fans
Domain: tom-hiddleston.org
Since: February 2013
Adopted Out: February 2017
Host: Free Fansite Hosting
Online:
Hits:




Tom Hiddleston Fans (tom-hiddleston.org) is a non-profit fansite. It is not official and has no affiliation with Tom Hiddleston himself, his family, friends or anyone around him. All pictures, videos and other media are copyright to their respective owners, no copyright infringement is ever intended. If there is anything on this site that belongs to you and you'd like me to take down, please e-mail me and I will do so immediately.

Candids Policy

This fansite is strictly against any paparazzi or stalkerazzi pictures. We will not support any kind of bashing or privacy intrusion into Tom's life and/or the one of people around him. The gallery contains just paparazzi photos related to Tom's work, such as on-set photos and promotional related (arriving or leaving TV Shows...).