Armie Hammer (born Armand Hammer 28.07.1986)
Armie Hammer is an American actor famous for his role as both Winklevoss twins in 2010's 'The Social Network' and his upcoming lead role in 2013's 'The Lone Ranger'.
Childhood: Armie Hammer was born in Los Angeles, California. He moved to Dallas, Texas before moving again to the Cayman Islands at the age of seven and then to LA again at the age of 12. His parents are Dru Ann who was a bank loan officer and Michael who owned the companies Knoedler Publishing and Armand Hammer Productions. He attended Faulkner's Academy, Grace Christian Academy which his father founded and Los Angeles Baptist High School. He dropped out in the eleventh grade to embark on an acting career but took courses at Pasadena City College and the University of California. He claims that his parents 'disowned' him when he left school.
Acting Career: Armie Hammer has appeared in several episodes of 'Gossip Girl' and 'Reaper' in 2009 as well as appearing in 'Desperate Housewives', 'Veronica Mars' and 'Arrested Development' where he made his screen debut. He made his break as the titular character in the movie 'Billy: The Early Years' in 2008. In 2010, he had a starring role in David Fincher's Facebook story 'The Social Network' where he played the Winklevoss twins and subsequently won two awards including a Toronto Film Critics Association Award for Best Supporting Actor. He was nominated for a Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role for appearing as Clyde Tolson in 2011 movie 'J. Edgar'. In 2012, he appeared as Prince Andrew Alcott in fantasy movie 'Mirror Mirror' He will play the main part in 'The Lone Ranger' in 2013 alongside Johnny Depp who will star as his sidekick Tonto.
Personal life: Armie Hammer married Elizabeth Chambers in 2010 after being introduced by his friend Tyler Ramsey.
Elizabeth Chambers and Armie Hammer pictured at The National Board of Review Awards held at Cipriani's 42nd Street. 'The Post' took home Best Film, with stars Tom Hanks and Meryl Streep landing Best Actor and Best Actress - New York, New York, United States - Wednesday 10th January 2018
This year's been a big one for blockbuster hits.
This year and the amount of big movies released has been so extensive that it would be hard for anybody to pick out the top 20 films to have dropped, let alone the top 10! Still, that's what we've done here, trawling through all of our favourite pictures of 2017 so far to come up with 10 that we just can't forget, and that had the best, most lasting impact out of the lot! Here's our top 10 best movies of 2017...
10) 'Atomic Blonde'
Charlize Theron leads the way in 'Atomic Blonde'
Continue reading: The 10 Best Movies Of 2017 (So Far!)
The actor was a little too big for his short shorts.
Armie Hammer has revealed that his shorts in Call Me By Your Name needed a little bit of digital retouching to stop the movie being X-rated.
Speaking to Andy Cohen on SirusXM, Monday, the actor revealed he suffered a wardrobe malfunction during filming because he was just too big for the super-short shorts.
You can see a lot (but not all) of Armie Hammer in Call Me By Your Name
Set in northern Italy in the summer of 1983, this internationally flavoured drama is a gorgeously nostalgic coming-of-age story that gets deep under the skin. With a career-best performance from Armie Hammer, the film is packed with complex characters and finely observed moments that have huge emotional resonance. And while the central story hinges on sexuality, it's actually about finding the courage to express our feelings.
Hammer stars as Oliver, an American in Italy for his summer internship with author Perlman (Michael Stuhlbarg) and his artistic wife Annella (Amira Casar). And he has an immediate connection with their 17-year-old son Elio (Timothee Chalamet), a smart, inquisitive young man who is initially wary of Oliver's brash American attitudes, then slowly develops a crush on him. Even more terrifying, Oliver seems to feel the same way. But Elio has a girlfriend (Esther Garrel), whose best friend Chiara (Victoire Du Bois) catches Oliver's eye. And as they spend the summer studying, eating, drinking and roaming the beautiful countryside, Elio and Oliver begin to admit their mutual attraction.
Continue reading: Call Me By Your Name Review
It's the summer of 1983 and 24-year-old Oliver has returned from his studies in America to stay with his parents at their villa in Northern Italy. It's there he meets a 17-year-old local named Elio; a free spirit who enjoys reading, playing music, swimming and partying. Elio offers to show Oliver the sights of the town, and it doesn't take long for the pair to start falling for each other. But it's a confusing time for them - for Elio especially. He has a complicated relationship with his female friend Marzia, and both of them face rejection and prejudice on the basis of their bisexual feelings.
Continue: Call Me By Your Name Trailer
A relaxed, amusing true story about noted Swiss painter and sculptor Alberto Giacometti, this sharply well-made film feels somewhat slight, with only a wisp of a plot. But the characters are so vivid that it's thoroughly engaging, and it's written and directed by Stanley Tucci with a terrific attention to detail. So even if the plot itself barely seems to have enough fuel to keep moving, there are constant bits of comedy, drama and emotion to hold the interest.
It's set in 1964 Paris, where journalist James Lord (Armie Hammer) agrees to sit for a portrait with Alberto (Geoffrey Rush), who says it will only take a day or two. But Alberto doesn't work very quickly, painting then repainting while constantly being distracted by his favourite muse, the prostitute Caroline (Clemence Poesy). His wife Annette (Sylvie Testud) barely tolerates this, while his brother Diego (Tony Shalhoub) just shrugs it off as he assists Alberto around the studio. James watches all of this with a smirk, then becomes a little worried as days stretch into weeks and he begins to understand that for Alberto this painting will never be completed. Indeed, he never sees any of his work as ready to show to the world.
Anchored by one of Rush's best performances yet, the film is a wonderful depiction of Giacometti's artistic process, watching him produce his work with only his own inner voice to guide him. Rush plays him as a man who never lets a moment of pleasure pass him by, and everything he does is based on spontaneous impulse. So the people around him need the patience of a saint. The wry Hammer is a terrific foil for the blustering Rush, sitting with a bemused smile watching the chaos unfold around him while wondering how he can extricate himself from this situation without ruffling the artist's feathers.
Continue reading: Final Portrait Review
It's been six years since the last Cars movie (there were two Planes movies in that time), and the filmmakers have wisely decided to go back to basics for this one. After the sequel's foray into global spy mayhem, this movie keeps its focus on the race track. There's still that nagging lack of logic in the premise: a world of cars living like people, except that there are no people. But the oddest thing about this movie is that its themes are aimed at grown-ups, not children.
It opens as Lightning McQueen (voiced by Owen Wilson) is at the top of his career, winning every race and celebrated as a rock star. Then young upstart Jackson Storm (Armie Hammer) beats him, using high-tech training methods. To boost his speed, McQueen's sponsor (Nathan Fillion) sets him up with hot new trainer Cruz (Cristela Alonzo). But the old-school McQueen doesn't like simulators; he wants to feel sand in is tyres. So he takes Cruz on a cross-country trip to tap into his roots and show her the purity of racing on a dirt track. This involves seeking out salty old trainer Smokey (Chris Cooper) as McQueen prepares for a make-or-break race. Meanwhile, a TV pundit (Kerry Washington) drastically cuts McQueen's odds of winning any more races at all.
It's unlikely that kids in the audience will be able to identify with the central idea that you need to recognise when it's time to step aside for the younger generation. But then, they're mainly watching these movies for the vroom-vroom action, then buying the merchandise and recreating the races at home. The plot is for the adults, really, and this film provides a very nice story arc for McQueen (and Cruz as well). There is also, of course, a non-stop barrage of automotive puns and sight gags, silly side characters and wacky action. The stand-out scene is a riotous demolition derby in the mud.
Continue reading: Cars 3 Review
Basically a 90-minute shoot-out, there isn't a lot to this movie. British filmmaker Ben Wheatley (High-Rise) is using a group of wildly offbeat characters to play a hilarious riff on Tarantino-style dialogue and violence. So while there's not much to it, the actors have plenty of grist to bring their roles to life. Which makes the film funny and intense all the way through, even if there's no emotional connection at all.
The entire film is set in a warehouse in 1978 Boston, where Justine (Brie Larson), Chris (Cillian Murphy) and Frank (Michael Smiley) have gone with their drivers Stevo and Bernie (Jack Reynor and Enzo Cilenti) to buy a cache of guns from the swaggering Ord (Armie Hammer) and his mercurial arms dealer Vernon (Sharlto Copley), who has brought ex-Black Panther Martin (Babou Ceesay) as some muscle, plus bickering drivers Harry and Gordon (Jack Reynor and Noah Taylor). All of them greet each other tensely, but they make the deal with a bit of offhanded banter and wary respect. But just as they're all getting ready to leave, Stevo and Harry spot each other. And both are still feeling wounded after the nasty encounter they had last night.
What follows is an explosion of utterly pointless violence. All of these people are nervous and trigger-happy, so it doesn't take much to set them off. The carnage that follows isn't like most movies, because people don't get shot and just lie on the ground; they crawl off injured, regroup and rejoin the fray. Alliances shift, and every moment of panic leads to even more chaos. And right in the middle, there's a bag of cash and a crate of rifles that everyone has an eye on. Wheatley stages this in real-time, with a steady flow of jaggedly witty conversation between the gunshots and constant sight-gags in the action mayhem.
Continue reading: Free Fire Review
Armie Hammer and Timothée Chalamet at the 67th International Berlin Film Festival (Berlinale) photocall for 'Call Me by Your Name' held at Grand Hyatt Hotel, Berlin, Germany - Monday 13th February 2017
It's been seven years since designer Tom Ford made a splash with his award-winning writing-directing debut A Single Man, and it's no surprise that his second film is just as exquisitely beautiful to look at. What's unexpected is the complexity of the storytelling. Adapted by Ford from Austin Wright's novel Tony and Susan, this movie has three sides to it: a romantic drama, a darkly personal odyssey and a freaky thriller. These elements kind of fight for the audience's attention, but they're sharply played and packed with intense emotion.
Set in Los Angeles, everything revolves around gallery owner Susan (Amy Adams), who lives in a spectacular home with her banker husband Hutton (Armie Hammer), who's facing financial problems. Susan is shocked when she receives a manuscript by her ex-husband Edward (Jake Gyllenhaal), who has finally finished his long-gestating novel. But as she reads it, she realises that their break-up inspired the story, and she pictures Edward in the central role as Tony, a man travelling through Texas with his wife and daughter (Isla Fisher and Ellie Bamber), who are kidnapped and brutalised by roadside thugs led by the unstable Ray (Aaron Taylor-Johnson). So Tony teams up with jaded detective Bobby (Michael Shannon) to track them down.
The film's central narrative is Susan's deeply internalised discovery of her own dark soul, which plays out both in her scenes with Hutton and figuratively in the fictional thriller narrative. All of these things take complex twists and turns that have vivid moral shadings. But of course the Wild West action element continually steals focus from the more understated personal drama. In this sense, Gyllenhaal has the trickiest role, or rather two roles, as the story's catalyst and victim. Meanwhile, Adams is strikingly transparent as Susan, engaging in jagged interaction with both Gyllenhaal's enigmatic Edward and Hammer's eerily heartless Hutton.
Continue reading: Nocturnal Animals Review
Adopting a deliciously groovy vibe, Guy Ritchie turns the iconic 1960s TV spy series into a flashy action-comedy. There's absolutely nothing to this frothy romp, but it's packed with hilarious characters and lively action scenes that continually surprise the audience with inventive twists on the genre. And it just might turn the suave, fast-talking Henry Cavill and the brooding, engaging Armie Hammer into A-list stars in the process.
It opens in 1963 East Berlin, where ex-con CIA operative Napoleon Solo (Cavill) is trying to help sexy mechanic Gaby (Alicia Vikander) escape to the West, chased by his nemesis, KGB agent Illya Kuryakin (Hammer). Gaby's father is a nuclear scientist on the verge of selling his secrets to a rogue Italian billionaire couple (Elizabeth Debicki and Luca Calvani) so, even though the Cold War is raging, the CIA and KGB decide to cooperate on the mission. This means that rivals Solo and Illya must work together as they travel to Rome with Gaby, making contact with British agent Waverly (Hugh Grant) and Gaby's creepy uncle (Sylvester Goth). And of course, there are unexpected wrinkles along the way.
As always, Ritchie cleverly subverts each set-piece, letting chase scenes unfold in carefully staged but enjoyably inventive ways, often putting the real action in the background while the characters act as if they're above all this nastiness. As popcorn entertainment, this is first-rate, with a cast that's more than up to the challenge. Cavill is particularly smooth, a Bond-style spy who seems unable to resist seducing every pretty woman he meets. Hammer's role is pricklier, since Illya never quite relaxes, although his petulance makes him just as likeable. Their interplay is snappy and often very funny but, unlike Ritchie's similarly toned Sherlock Holmes movies, this strains to avoid being a bromance. Solo and Illya continue to spy on each other right to the end, maintaining their Cold War distance even as they team up to save the world.
Continue reading: The Man From U.N.C.L.E. Review
Henry Cavill and Armie Hammer star opposite each other in the big screen re-boot of the popular 60s spy series 'The Man From U.N.C.L.E.', out on August 14th 2015. In a new interview, the actors open up about working with director Guy Ritchie, who brought a lot of calm to the otherwise action-packed set.
Continue reading: The Man From U.N.C.L.E. - Henry Cavill & Armie Hammer Interview
Date of birth
28th August, 1986
Set in northern Italy in the summer of 1983, this internationally flavoured drama is a...
It's the summer of 1983 and 24-year-old Oliver has returned from his studies in America...
A relaxed, amusing true story about noted Swiss painter and sculptor Alberto Giacometti, this sharply...
It's been six years since the last Cars movie (there were two Planes movies in...
Basically a 90-minute shoot-out, there isn't a lot to this movie. British filmmaker Ben Wheatley...
It's 1978 Boston and an unlikely gang made up of Justine (Brie Larson), Stevo (Sam...
Lightning McQueen may be a legendary name in the Piston Cup Championship history, but as...
This true story from 19th century America feels eerily relevant today in its depiction of...
It's been seven years since designer Tom Ford made a splash with his award-winning writing-directing...
For a short time, Edward and Susan had a happy marriage, they lived in a...
Nat Turner was a former slave who on witnessing the scope of slavery across America...
Adopting a deliciously groovy vibe, Guy Ritchie turns the iconic 1960s TV spy series into...
America and Russia have never seen eye to eye, but they do have some of...