This seems to be quite the busy year for Jason Bateman. Not only has he played the leading man in several box office hits (Horrible Bosses and The Change-Up to name a few), but now he's about to get an adorable addition to his family. The actor's rep confirms that Jason's wife, Amanda Anka, is pregnant with their second child. Surprisingly, the happy couple weren't the ones to announce the exciting news. Amanda's father, Paul Anka, let the cat out of the bag announcing "I'm going to be a grandfather again. It's another baby girl." It seems to be a week of talkative grandfathers dishing on all the baby details. The couple has been married for 10 years now and are already parents to 4-year-old daughter Francesa Nora. Congrats! - US
Speaking of being together for 10 years, that's how long Sara Gilbert and Allison Adler have been together -- until now. The couple announced yesterday that they have ended their relationship and will share custody of their two children, son Levi, 6, and daughter Sawyer, 4. While many of you probably remember Gilbert as the hilariously sarcastic daughter of Dan and Roseanne Conner on the television show Roseanne, Sara has also developed a name for herself as one of the co-hosts of the daytime show, The Talk. No reason was given as to why the long-time pair decided to part ways, but Gilbert's rep stated that the split was "completely amicable." - People
On a happier and even more interesting note, Forbes released its list of the Most Powerful Women yesterday and named Lady Gaga to be more powerful than Oprah Winfrey. And here I didn't think anyone was more powerful than Ms. O. But sure enough, the financial magazine placed Gaga at No. 11, which is apparently the highest ranking achieved by an entertainer. Meanwhile, Oprah (aka former Queen of the World) was ranked at No. 14. So even though she's the world's only female black billionaire and launched a successful television show while making more than three times as much as Gaga, ($290 million), she pales in comparison to the pop diva in one very important area: Twitter. Her 6.6 million followers doesn't hold a candle to Gaga's 12 million and counting. Oh, the power of social media. - NY Mag
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
The star-studded cast took to the stage at the city's Wiltern Theatre to stage a production of the classic musical in aid of Paul Newman's Painted Turtle charity.
Nip/Tuck's Julian McMahon thrilled fans by donning a corset and suspenders to play Dr. Frank-N-Furter, while Glee stars Michele and Morrison took on the roles of stranded lovers Janet Weiss and Brad Majors.
The show also saw star turns from Jack Nicholson, Nicole Scherzinger, Billy Idol, Danny Devito, Ricky Lake, Rachel Evan Wood, Jason Segel and Lost's Jorge Garcia.
Speaking before the event, producer Lou Adler, who worked on the original film, admitted McMahon wasn't his first choice to play Frank-N-Furter - he wanted Cher to tackle the role.
He says, "I've always envisioned Cher as Frank-N-Furter. But she's working in Las Vegas."
They will share the stage with Glee stars Lea Michele and Matthew Morrison, as well as Lost actor Jorge Garcia, Nip/Tuck's Julian McMahon and Ricki Lake for The Rocky Horror Picture Show Tribute later this month (Oct10).
The show, which also features a costume ball for guests, will be held to raise money for the Painted Turtle, a charity set up by late actor Paul Newman to help children with chronic and life-threatening illnesses.
The musical will feature choreography from famed dance guru Kenny Ortega, while Lou Adler, who executive-produced the 1975 big screen version of the Rocky Horror stage show, is taking charge of the production.
He tells Variety, "It is terrific to have such a diverse cast of actors in support of a great cause - The Painted Turtle. Each of these individuals will bring a unique performance to the tribute and make for an incredibly memorable evening."
The show wil take place on 28 October (10) at the Wiltern Theater in L.A.
The Brown Bunny filmmaker was just 16 years old when he was accepted to study acting under famed teacher Stella Adler, who had previously coached Robert De Niro and Marlon Brando.
But when he broke the news to his parents during a car journey, his dad Vincenzo launched into a furious rant about his son's movie aspirations, branding him "an idiot".
Gallo tells Britain's The Independent, "(He) slams on the brakes to the car. The car goes skidding into a snowbank. And he grabs my ear, and he pulls me by my ear from the back seat to the front seat, into the rear-view mirror and he pushes my face, five or six times, into the mirror. The rear-view mirror breaks off from the windshield.
"And he tells me, 'Look at your face, you retard. You look like Paul Newman? You look like Robert Redford? Those are actors. You look like an idiot. Get a job... When you get a job as a plumber or in a gas station, give us a call and we'll come and visit you.' And then he threw me in the back seat."
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.