Brad Pitt is a Fighter

It must be hell for the haters. Brad still hot as a potato in HW, having role non stop , producing critically acclaimed films, and having a great family life .! That is not the haters want ! sure piss them off1

82 Jill loves to hate : 09/20/2007 at 10:14 pm
I love how Angelina shows at “Robbing someone else’s closet”

http://justjared.buzznet.com/gallery/photos.php?yr=2007&mon=09&evt=jolie-darfur-now&pic=brad-angelina-darfur-now-premiere-07.jpg

What the hell is she wearing? Poor Pax had on Brads pants today.

you guys are retarted, brad pitt is the hottest guy out there.

Want me some Brad Pitt.

I THINK THE REASON MATT DAMON IS NOT PLAYING IN THAT MOVIE , IS BECAUSE HE WON POLL ABOUT TWO WEEKS AGO . THEY ASKED PEOPLE, WHO IS MOST SEXEIST :

BRAT PITT , GEORGE CLOONY OR MATT DAMON AND 90 PERCENT OF PEOPLE SAID: MATT DAMON, SO I THINK THIS IS WHAT HAPPEND. OF COURSE YOU DON’T WANT SOMEONE TO PLAY AGAINT YOU THAT PEOPLE THINK IS THE MOST SEXEIST ONE.

Seeing BRAD PITT shirtless NEVER I repeat NEVER GET’S OLD!!! :D

I have watch Good Morning America today, Brad Pitt’s interview & Ange. I wished it’s a little bit more longer. They both look so good. Ange wearing white long dress & Brad in tan & white. They always wear same tone & tone clothes now a days.Today is the L.A. Premiere, I hope both of them go then rest after this so many premiere & relax. they need a long family vacation.Thanks to all who posted the links to UN.

Another great review

‘Jesse James’ a Throwback to Great ’70s Westerns
By Todd McCarthy, Variety.com

A ravishing, magisterial, poetic epic that moves its characters toward their tragic destinies with all the implacability of a Greek drama, “The Assassination of Jesse James by the Coward Robert Ford” is one of the best Westerns of the 1970s, which represents the highest possible praise. It’s a magnificent throwback to a time when filmmakers found all sorts of ways to refashion Hollywood’s oldest and most durable genre. Given the narrower current notion of what constitutes an acceptable commercial feature, Andrew Dominik’s daring high-wire act will trod a very hard road to find secure theatrical footing, which suggests Warner Bros. might do best to nurture it in a small number of theaters in the hope that critical support and word of mouth will snowball into long runs and a slow rollout.

Whether it directly resembles them or not, this impeccable new picture is at one with the adventurous spirit that produced films such as “McCabe & Mrs. Miller,” “Pat Garrett and Billy the Kid,” “Bad Company,” “The Great Northfield Minnesota Raid,” “Jeremiah Johnson,” “The Outlaw Josey Wales,” “Days of Heaven,” “The Long Riders” and, yes, “Heaven’s Gate,” rather than with anything being made today.

Shot two years ago and long delayed in editing, the film marks an enormous advance for Dominik beyond his 2000 Aussie prison crimer “Chopper.” Elegant, artful and consumed by a fascination with American history and Western lore, his adaptation of Ron Hansen’s popular 1983 novel retills the once overworked ground of outlaw legend so thoroughly that it has become fertile once again. The hefty 160-minute running time will no doubt cause carping in some quarters, but this is one film whose length seems absolutely right for what it’s doing.

Meticulously noting dates and locations, and framing the story’s long arc with discreetly distanced narration, the yarn commences on Sept. 5, 1881, just before the last train robbery pulled off by the James gang in their 14-year career. After this spectacularly staged nocturnal job, the older surviving brother, Frank (Sam Shepard), calls it quits and disappears back East, leaving Jesse (Brad Pitt), who’s 34, to continue with the help of dubious lowlifes such as the Ford boys.

The most questionable member of the latter clan is 19-year-old Robert (Casey Affleck), whose wimpy demeanor, thin, unemphatic voice and irritatingly sycophantic manner mark him as a singularly unpromising gunslinger.

But even when Jesse returns to his life with wife and children under the alias of Thomas Howard, he can’t quite bring himself to get rid of Bob, a leech who has collected every dime novel written about his hero. Jesse is both appalled and amused, at one point taunting Bob with the question, “You want to be like me, or you want to be me?”

Although arrestingly different from the outset, it initially feels overelaborated: Shots in which the edges are purposely blurred and a soundtrack too conspicuously mixed to emphasize ambient sounds of insects and weather warn of incipient pretension. Fears also gather that Dominik has no intention of supplying the film with enough dramatic traction to sustain interest over the long haul, as the deliberate pacing seems designed to accommodate numerous embellishments and digressions.

But any sense of viewer impatience is soon overtaken by the film’s accumulation of detail on every front — narrative, historical, folkloric, behavioral and psychological. Pitching the dialogue in a way that neatly injects prairie twang with a literary lyricism, Dominik settles into an expansive narrative strategy of the sort often found in novels and long-form series, wherein the story skips and meanders among events whose relevance and meaning may be initially unclear, but which are all there for good reasons.

While Jesse cools his heels and smokes his big cigars at home, attention shifts to cohorts Charley Ford (Sam Rockwell), Bob’s grinning older brother; Jesse’s cousin, the homely Wood Hite (Jeremy Renner), and **** Liddil (Paul Schneider), a self-styled ladies’ man. Jesse’s shadow hovers over them all, and the narrative’s dominant ploy is that the other characters are constantly afraid that Jesse, no matter where he is, will find out about any transgressions on their part and will come after them.

Which, in fact, he does. Intensely aware of his legendary status and willing to play it up when it suits him, especially with the worshipful Bob, this Jesse James is both paranoid that everyone’s out to get him and resigned to the fact that his days are numbered. His antennae for sensing when something is amiss are almost supernaturally acute, and he takes more than one long journey to track down people plotting against him. The irony is that the man he really needs to have his eye on is the one closest to him.

Eventually, the long-ineffectual authorities get into the act, setting in place the mechanism leading to Bob Ford’s almost ritual killing of Jesse as he dusts a picture frame in his house. But that’s not all, as the final half-hour provides its own fascination in playing out the strange fate of the man whose fame came with its own curse.

At least as conceived here, Jesse James is the biggest celebrity in the land, and Pitt generously endows the character with the droit de seigneur he switches on at will. Pitt emphasizes Jesse’s mercurial nature, but in a way that suggests much of it is calculated, a strategy that, until the end, he uses to manipulate events. It’s a layered, continually interesting performance.

Affleck makes an indelible impression as the insecure, physically unprepossessing weakling who endures no end of humiliation, and eventually embodies the sort of nobody who has bloodied American history from time to time to insure his own immortality.

Rockwell’s effectively drawn Charley Ford is weak, but in a different way than his brother, always ducking to stay out of trouble, and he’s a good foil for the other, more withdrawn rural men. The supporting cast is vivid all around, including a vibrant cameo by political strategist James Carville as a big-shot governor.

Even those who resist the film itself will be in awe of its surpassing visual beauty and consummate craftsmanship. Just when it seemed that cinematographer Roger Deakins had achieved another career high with “No Country for Old Men,” he trumps himself yet again, here using a subdued palette of parched-plains earth tones captured with an extraordinary luminosity and delicacy.

Made on various Canadian locations, the film boasts great production values from top to bottom.

More on Variety.com

http://movies.msn.com/movies/movie.aspx?m=1683630&mp=r

my favorite Jay Leno joke was
‘’Hurricane Katrina was so bad it wrecked more homes than Angelina Jolie’’
bwhahahahahahahahaha

You can clearly see Brad is fit. He body is hotter than any men around his age in holywood. He is fit and tight. Don’t hate haters. He is yummy. Go brad !!!!!!!

122
so is tom cruise and johnny many more stars. But they all did nominated though.

I certainly hope they don’t have any more kids. Four is enough. They work way too much to give the four they have the attention they deserve. Brad is so career obsessed and Angie too. That is number one priority who cares what they say> Actions speak louder than words. I KNEW when Angie said they were taking a break from work SHE WAS LYING and I was right.

BRADELICIOUS