Elvis Presley's famous blue suede shoes are to go up for auction in Los Angeles next month (Dec13). The iconic brogues were ordered for the star after the release of his hit 1956 single Blue Suede Shoes, and he wore them on stage for four years before gifting them to his friend Joe Esposito.
In 1994, they were purchased by museum owner Chris Davidson, who put them on display at his Elvis-A-Rama institution in Las Vegas.
The shoes are tipped to sell for around $80,000 (£53,000) when they go under the hammer at the Julien's Auctions sale on Friday (06Dec13).
For the past 11 years--his whole life--Evan (Freddie Highmore) has been an orphan but that’s about to change along with his name. Evan has "always heard the music " even when it’s not playing and one day he decides to follow it in hopes of finding the parents he’s never met and whose musical genes he has inherited. It takes him out of the orphanage he has always despised and into Manhattan where 11 years prior he was conceived. As we learn via flashback his parents both young musicians at the time were an unlikely match: Lyla (Keri Russell) was a shy dainty cellist while Louis (Jonathan Rhys Meyers) was a brash Irish rocker. Their mutual love for music ultimately brought them together on a rooftop for just one night of which Evan turned out to be the product. But when Evan is born prematurely Lyla’s father (William Sadler) does what he thinks is right for her career and gives the newborn up for adoption without her knowledge. Lyla and Louis have since reluctantly given up music but Evan is about to pick up where they left off in New York City. While there he is discovered by a seemingly well-intentioned "manager" named Wizard (Robin Williams) who renames the prodigy August Rush. Before long Wizard is booking gigs in hopes of capitalizing financially while August hopes to use his music for a slightly nobler purpose: tracking down and reuniting his parents. Highmore (Charlie and the Chocolate) is as much a child-actor prodigy as August Rush is a musician; he’s truly in a class of his own. It’s not just that the British youngster seamlessly ditches his accent to play an American—better and more undetectably than many of his elders are able to do might I add—or that he’s able to pull off the musical aspect (he reportedly mastered the guitar and conducting for further authenticity) but rather that he advances the never-dormant story every step of the way. And it’s not every day that a teenager can handle being the centerpiece of a big Hollywood movie (see The Seeker et al.) but Highmore makes it a non-issue. Russell and Rhys Meyers meanwhile add a classy touch of adult to the story with their opposites-attract arc. Russell borders on too pristine and precious at times and Rhys Meyers is written as the stereotype of Irishmen but they make you believe in the commonality of music as a matchmaker. Williams however misfires with his portrayal of the somewhat ambiguous Wizard. It is unclear whether he is a reincarnated pirate or just a well-traveled New Yorker and Williams plays him with that lack of clarity but kids will laugh nonetheless when the actor gets loud and hyper. Terrence Howard as a concerned social worker and Mykelti Williamson as a pastor turn in solid supporting performances while young Jamia Simone Nash may incite standing ovations with her singing. The concept of August Rush is most certainly aimed towards those too young to discern between realism and fantasy but at least director Kirsten Sheridan (Jim’s daughter) doesn’t patronize kid viewers the way most preteen movies do. While the young director doesn’t exactly steer clear of clichés and sap she makes a concerted effort to place the film’s music and sheer energy at the forefront. Sheridan also does the best with what she’s given which is a highly predictable occasionally preachy script—with a tendency to give Highmore cringe-worthy voiceovers (i.e. “Open yourself up to the music around you”)—written by Nick Castle (Hook which August Rush often resembles) James V. Hart (The Last Mimzy) and Paul Castro. Just as impressive as the film’s omnipresent music—both “found” (basketball dribbles etc.) and orchestrated—is the look of a somewhat magical Manhattan that is as fun for kids as it is mildly scary. All in all Sheridan’s first big movie is a different if slightly uneven kind of kids flick but not so different that the target audience won’t dance along.
Invincible is Rudy and The Rookie all rolled into one. Set in the mid-‘70s Mark Wahlberg stars as the real-life Vince Papale a blue-collar Philadelphian down on his luck after his wife leaves him. His only solace is playing football with his cronies and rooting for his beloved Philadelphia Eagles who are in a real rut. Newly hired head coach the legendary Dick Vermeil (Greg Kinnear) decides to infuse some new blood into the team by holding open tryouts. All of Vince’s friends think he’d be perfect and urge him to go for it. He does makes it and is soon playing with some of his idols much to their chagrin. I mean who is this punk anyway? Sure he’s got some excellent instincts but can he really be a NFL player with no experience? Yes in fact he can proving to all those regular Joes out there you can live the dream. Yeah yeah. Unfortunately none of the actors really add anything either. Wahlberg is definitely a natural to play this kind of role having already done so in Rock Star. At least in Invincible he gets to show off some of his athletic abilities rather than just his bare chest in black leather pants. But the performance is run of the mill. As is Kinnear who as Vermeil takes on the headaches of turning a losing team into winners all while his supportive wife sweetly reassures him he’s doing the very best he can. Seen it. To their credit some of the supporting actors—including Kirk Acevedo (The New World) Michael Kelly (Dawn of the Dead) and Michael Rispoli (Mr. 3000)—paint a convincing picture of genuine camaraderie between local Philadelphians. And Elizabeth Banks (The 40 Year-Old Virgin) rounds things out as Vince’s cute love interest (and eventual real-life wife) who knows a few things about football by golly. You’d think Invincible would be a no-brainer feel-good kind of sports flick. It’s based on a real-life person has that whole underdog thing going for it and it’s football. What could go wrong with that? Nothing really besides the fact it’s been done about a hundred times over—and has now been left in the hands of newbies. First-time director Ericson Core a former cinematographer and writer Brad Gann are clearly green doing things by the play book line for line. It’s scary helming a feature film for a big studio like Disney who had such sport hits like The Rookie and Remember the Titans. Perhaps Core wanted to go more out on a limb but was reigned in. Who knows? The football scenes are definitely the highlight and Core handles the action well. I mean you do want Papale to prove himself the natural athlete he truly is and make all his homies proud. But the rest of it is just blah.
Based on the best-selling book by Mark Foster Game tells the remarkable real-life story of Francis Ouimet (Shia LaBeouf). He was a working-class immigrant kid who in the early 1900s turned the privileged world of golf on its ear. The story begins with Francis working as a caddie at a posh country club where he masters the game by quietly practicing on his own. His French-born father (Elias Koteas) thinks he's wasting his time and should be earning an honest wage but Francis is far too smitten with the game to give it up. Francis finally gets his big break when an amateur spot opens up at the 1913 U.S. Open. With a feisty 10-year-old caddie named Eddie (Josh Flitter) by his side egging him on Francis plays the best he ever has. He eventually finds himself facing off against the sport's undisputed champion Harry Vardon (Stephen Dillane) a U.S. Open winner and six-time British Open champion (a record that still stands today). Their legendary battle changes the face of the sport forever--but I wouldn't necessarily call it the greatest game ever.
Game is one of those juicy little biopics actors can really sink their teeth into. Starting with our young lead LaBeouf (Holes) is sufficiently determined as the guy playing against impossible odds. His Francis with his liquid brown eyes and winning smile is full of optimism and raw talent that propels him into the majors. And he looks pretty authentic swinging a golf club too. Still it may be time for LaBeouf to move on from the Disney family fare and do something grittier sort of like what he showed in Constantine. Dillane--who was so achingly good in The Hours as Virginia Woolf's beleaguered husband--also does a fine job as the legendary Vardon a man haunted by his own demons. In a way Game is a story about both men who have more in common than they realize. Although a top professional in the sport Vardon has to fight against the elitist golfing community's prejudices. You see Vardon grew up dirt poor on the plains of Scotland and because of his background was never permitted into any "gentleman's" clubs. The cast of colorful supporting players add to the film especially Flitter as the caustic but encouraging Eddie. He may be small but he packs a wallop. The last shot of the movie features Francis and Eddie walking off the golf course at sunset evoking the classic Casablanca ending line "This is the start of a beautiful friendship"--which apparently really happened. The real-life Eddie and Francis remained friends for the rest of their lives.
The main slice against Game is that it's about golf. Besides comedies such as Caddyshack and Happy Gilmore a serious movie about the game really isn't going to stir your soul say like football or baseball. But actor-turned-director Bill Paxton--who made his directorial debut with the creepy Frailty--takes the story and keeps it convincingly affecting. Much like Seabiscuit it's the real-life historical context that makes Game even more compelling. Paxton painstakingly details how the game was played at the turn of the century--and who was allowed to play it. The whole discriminatory arrogance surrounding the game makes the stakes even higher for our heroes. Vardon had a score to settle while Ouimet simply became the game's new hero paving the way for legendary whiz kids like Tiger Woods to step up on the green. Paxton also views Game as a Western. The final golf round between Vardon and Ouimet is the ultimate shootout á la the OK Corral in which the camera angles are inventive--a bird's eye view of the ball sailing through the air or gliding on the green into the hole. Plus he keeps the tension as taut as he can considering the less than exhilarating subject matter. Oh come on who isn't a sucker for a good sports underdog story even if it is golf?
When jailed petty thief Cosimo (Luis Guzman) is given the recipe for a heist so perfect it's practically a masterpiece--or in his specific street lingo a "Bellini"--his long-suffering girl Rosalind (Patricia Clarkson) sends the word out to all the seedy characters and petty huslers in Collinwood a working-class neighborhood on Cleveland's East Side: Cosimo needs a "Mullinski " or fall guy to take the prison rap for him so he can pull the safecracking job. However five potential Mullinskis--cocky prizefighter Pero (Sam Rockwell) broke single dad Riley (William H Macy) slick and streetwise Leon (Isaiah Washington) handsome gigolo Basil (Andrew Davoli) and over-the-hill thief Toto (Michael Jeter)--decide to pull off the Bellini themselves. If only they were as smart as they were desperate for cash.
The film is produced by director Steven Soderbergh and actor George Clooney both of whom know more than a little about on-screen performance and they've recruited a troupe of top-notch character actors most of whom audiences usually see shining in supporting roles. The film particularly provides a chance for Rockwell who's been turning in a dizzying amount of scene-stealing performances in recent years to step into the spotlight as a leading man and the actor proves worthy of the task. At first seeming the swaggering loudmouth who's too dumb to know he's dumb Rockwell's Pero morphs believably into the movie's main mover and shaker and ultimately a convincing romantic lead (his scenes with a sweetly restrained Jennifer Esposito have both warmth and a hint of sizzle). Among the veterans the always-engaging Macy plays a fresh variation of one his trademark hapless losers on the brink while the vastly underused Jeter brings spark and life to an otherwise woefully underwritten role. Meanwhile the newcomers Washington and Davoli hold their own against the heavyweights and show great promise for roles to come (Gabrielle Union is also potent in a blink-and-you'll-miss-her part). On the flip side Soderbergh stalwart Guzman is as watchable as ever but his role never develops enough--comedically or dramatically--to allow him to give a truly eye-opening performance while recent Emmy-winner Clarkson's considerable talents are wasted in a thankless "girlfriend" part. Ironically the most disappointing performance comes from the flick's biggest name: Clooney who cameos as a tattooed wheelchair-bound safecracker. George is game enough but the script lets him down by giving his seemingly outrageous character very little by way of outrageous dialogue or action.
The up-and-coming writing-directing team of brothers Anthony and Joe Russo prove adroit enough with their visuals and staging. They know enough to get out of their actors' ways and never allow the film's many slapstick moments to hit the audience sledgehammer-hard a la those other brothers the Farrellys. But where the film avoids getting dumb and dumber it also never goes far enough to wring more than polite chuckles out of the comedic set-ups--call them Genteel and Genteeler. Nor do they reach the heights of arty loopiness of that second set of cinematic siblings the Coens. Instead the Russos' film--which borrows liberally from the Italian comedy Big Deal on Madonna Street--is as featherweight as cotton candy: tasty enough while it's in front of you but also instantly forgettable save for the high-quality performances.