It’s George’s birthday tonight on Suburgatory, but not everyone is having a happy celebration. That’s right, trouble’s coming to our favorite Chatswin residents, in both their relationships with their significant others and their families.
Father of the year Jeremy Sisto chatted with Hollywood.com (while his adorable daughter was chiming in in the background) about the dark times ahead for George, Dallas (Cheryl Hines), Tessa (Jane Levy), Dalia (Carly Chaikin), and Noah (Alan Tudyk)… as well as an amazing, can’t-miss musical moment coming at the end of tonight’s episode. Seriously, you really don’t want to miss this.
“It’s my birthday, and Dallas gets me this present that I think is just completely wrong," Sisto tells Hollywood.com. "It’s hideous, but it’s fine because the thing that George finds endearing is how she tries and fails. But she gets hurt when he gets really moved by Tessa’s gift — she framed something from back in the time when I was still with Tessa’s mom. Dallas has insecurities that I’ll never feel as strongly [about her] as I felt about Tessa’s mom. George probably feels that way too some degree, so she’s hurt.”
And that’s how this memorable musical moment comes into play. “I try to cheer her up," Sisto says. "Earlier in the episode, I asked if there was any song I could play her, and she says R. Kelly’s 'Bump and Grind'... I learn the song and I perform it for her at this deli, so I’m looking forward to seeing that myself.”
But that might be the only happy moment we see for awhile, as drama is about to unfold for everyone. "[Tessa and George] end [the season] very poorly," Sisto says. "I plan to move in with Dallas and Dalia, [and] there is this rivalry between [Tessa] and Dalia. They get into a crazy physical fight.”
RELATED: 'Suburgatory': Is Yoni Gone For Good?
We’ve seen Dalia and Tessa throw verbal punches in the past, but what could possibly bring them to physical blows? “Dalia does something that in turn breaks Tessa and Ryan up, so Tessa’s got a real bone to pick with her,” Sisto says. “They eventually get into a huge fight, and that’s when I tell her, 'Oh, by the way, you’re going to be living together...' She refuses to do it. She goes into the city to find her mom, and her mom has actually moved into the Chatswin area just in case [Tessa] wanted to develop a relationship.”
While we’re excited to see the return of Malin Ackerman as Tessa’s absent mother, could we really be seeing the end of Tessa and Ryan? Say it ain’t so! “[The breakup] was going to happen anyway, since he’s going away to college and they weren’t going to do long distance,” Sisto says. “I think Tessa is coming to terms with the fact that this isn’t the guy that she’s going to be with forever. She has to let him go, but she doesn’t want to do it yet. And that’s when Dalia just rushes things along.”
Dalia is also facing some dark times ahead, especially when we find out her deep, dark secret. “Dalia’s a hoarder!” Sisto says. “We’ve seen her as vapid and vacant of human emotion, [but] what we see this season more and more is how deep that goes.”
But the person having the most issues is Noah. “Everyone’s a mess, but he’s a real mess," Sisto says. "He left his wife for his nanny, but she doesn’t want to be with him, and now he’s got to be this single dad and he has no idea how to do it.”
And Noah will not be catching any breaks anytime soon. “His daughter comes back, and you come to understand that they’ve never been alone in a room together," Sisto says. "There is just no relationship between [them], and we peek into that. We will watch him unravel." Poor guy!
Watch Suburgatory on Wednesdays at 9:30 PM ET/PT on ABC.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: ABC/Adam Taylor]
You Might Also Like:Topanga's Revealing Lingerie Shoot: Hello '90s! 25 Stars Before They Were Famous
Contagion a sharp thriller from writer/director/cinematographer/editor/do-all Steven Soderbergh (Ocean’s 11 The Informant!) is like an adaptation of a Michael Crichton novel that never was. The movie quickly sets up its pawns in order to engage you in a game of pandemic chess where the terror comes from science and the humanity comes from your own empathy. Instead of relying on a sci-fi backstory outlandish deaths or large-scale set pieces Soderbergh lets the facts do the talking—and it's scary as hell.
Much like his Oscar-winning film Traffic Soderbergh unfolds the story by weaving in and out between a series of character perspectives: Matt Damon's Mitch who loses his wife to a mysterious virus and strives to protect the rest of his family; Laurence Fishburne and Jennifer Ehle members of the Center for Disease Control racing against the clock to find a cure; Kate Winslet's Erin a field agent tracking down the source of the American outbreak; Jude Law's Alan a high-profile blogger searching for the truth behind the disease; and Marion Cotillard's Dr. Orantes another agent hunting for Patient Zero in Hong Kong. While the drama spans globally each characters' quarrels are playing out in a claustrophobic scenario a world in which any person they meet any object they touch can infect them with the life-threatening disease.
Soderbergh doesn't have much time to dive into his characters' backstories but the film's screenwriter Scott Z. Burns carefully constructs each scene to deliver just the right balance of terrifying scientific babble and revealing personal drama. When the virus starts massacring the world population and vandalism riots and societal unrest emerge the thing that makes Contagion click is our interest in the personal stories. Damon as seems to be the case with everything he touches elevates the material being the perfect everyman and our surrogate for the too-plausible-for-comfort scenario. Fishburne too turns what's normally a plot-forwarding government agent role into a man dealing with the weight of his decisions watching citizens of the country drop like flies from his ivory tower. It's heavy stuff but Burns' playful dialogue helps the cast lighten the harrowing mood—only so the movie can pull the carpet from underneath you over and over again.
But in the end Contagion is Soderbergh's show. The director uses every ounce of cinematic artistry to leave us squirming in our seats with a fetishistic approach to shooting the most mundane of objects. The close-up is Soderbergh's weapon of choice honing in on common day objects that we realize are infested with germs (with the effect amplified by a thousand if you catch the movie in IMAX). A door handle a bathroom drier button the human face—Soderbergh lingers as a reminder of his invisible villain: the virus. That's a compliment: the design and photography is striking the purposefully pristine picture quality fills the characters' quest to stay healthy with tension. Composer Cliff Martinez's electronic score compliments the icky scenario germinating over the picture like audible infection. The world of the film is rich with detail. Just the icky kind.
Contagion isn't flawless. With so much going on things fall to the wayside—Cotillard's plotline specifically gets lost in the shuffle—but the reality keeps us engrossed. The movie plays like an oral history of a horrific event with each detail frighteningly exposed. Except in the case of Contagion it's not an event that has happened so much as one that could happen.
And at any moment.
Three years since relieving ruthless Las Vegas hotel owner Terry Benedict (Andy Garcia) of a large chunk of cash Danny Ocean (George Clooney) and his crew--including detail man Rusty Ryan (Brad Pitt) and novice pickpocket Linus Caldwell (Matt Damon)--have tried to live modest legit lives. Sure it's hard to go straight but hey at least they got away with the heist of the century. Right? Not quite. Seems a mysterious someone has ratted the gang out to Benedict who demands his $160 million back or else. Strapped of most of their cash and too hot in the United States to pull off a job Ocean and company decide Europe would be the best place to score much to the chagrin of Danny's wife Tess (Julia Roberts). Once in Europe however they find out it isn't as easy as it used to be. They run up against the tough-as-nails Europol agent Isabel Lahiri (Catherine Zeta-Jones) who once had a fling with Rusty and Europe's premier master thief the Night Fox (Vincent Cassel) who seems to be one step ahead of Ocean's crew. Let the games begin.
Ocean's Twelve's crop of A-listers have way too much fun making these movies as they recapture that freewheeling spirit and good-ole-boy camaraderie from Ocean's Eleven. Even though sometimes it seems like they are a bunch of frat boys hazing each other the actors clearly are enjoying themselves tremendously--and so do we. Clooney and Pitt continue to be the suave ringleaders speaking to each other in code while Pitt's Rusty gets the love interest this time around. As Rusty's former flame Zeta-Jones holds her own with the boys but doesn't have nearly the chemistry with Pitt that Roberts and Clooney exude as marrieds Danny and Tess. Actually Roberts almost steals Twelve away from the guys: she gets to show off her comedic abilities in one of the film's most hysterical sequences which involves real-life movie stars and Fabergé eggs. As far as the rest of the gang they all are back and raring to go including Damon who comes off as even more green and eager as Linus and the hilarious bickering Malloy brothers played brilliantly by Scott Caan and Casey Affleck. As for the villains Garcia's Benedict has very little do leaving most of the malevolent posturing and stylish good looks to French actor Cassel (Birthday Girl) as the crafty Night Fox.
With one of the keenest eyes in the business director Steven Soderbergh is a pro at letting audiences experience what seem to be very personal moments in his films. Ocean's Twelve is no exception as we become privy to the locker-room antics of our favorite band of thieves. This makes you as much a part of the boys club as its rowdy stars. Soderbergh describes Twelve as a "movie in which everything goes wrong from the get-go " whereas everything went right in Eleven. This allows for some wonderful comic scenes such as Roberts' escapade and the quick-witted exchanges between the boys. Upon finding out that the gang is now called "Ocean's Eleven" safecracker Frank (Bernie Mac) exclaims "Who decided that? I'm a private contractor!" The film's inherent problems come from George Nolfi's screenplay which tries to incorporate the whole "greatest thief in America meets the greatest thief in Europe" idea. Suddenly Twelve becomes less about planning a heist and watching things go wrong than about a cock fight to see which thief can outdo the other thief. At the end when all the convoluted twists are revealed you're left wishing for simpler times.
November 22, 2002 5:27am EST
In the last Friday movie the Jones family won the million-dollar lotto jackpot and left the 'hood for Beverly Hills. But the money has run out in Friday After Next and the clock ticks down once again on another Friday in the 'hood. Craig (Ice Cube) wakes up in the wee hours of Christmas Eve to find a scrawny Santa stealing the contents of his and his cousin Day-Day's (Mike Epps) apartment including Christmas presents and the rent money. "The ghetto " Craig commiserates "is the only place where you can get fried by Santa Claus on Christmas Eve." To avoid getting evicted--and possibly roughed up by the landlady's newly paroled son Damon (Terry Crews)--the two get jobs as security guards at a local strip mall where their uncle Elroy runs Bros. Bar-B-Q restaurant with the slogan "Tastes so good makes you wanna slap yo' mama." Day-Day's rent-a-cop antics eventually land the duo in some hot water resulting in yet another action-packed Friday. Friday After Next has some great lines but it's mediocre compared to its predecessors. Don't expect the staple marijuana humor here either; it has been replaced with raunchy R-rated dialogue instead.
The best thing about Friday After Next is the terrific character acting by the cast. Ice Cube's Craig is still the most reasonable Jones of the clan and his character's levelheadedness strikes a nice balance between him and Epps' motor mouth character Day-Day. Epps made his first appearance as Day-Day in Next Friday after Chris Tucker who starred as Craig's original sidekick Smokey in Friday left. Together Epps and Ice Cube who also collaborated together on All About the Benjamins fit neatly like a sort of urban Laurel and Hardy. A hilarious new edition to Friday After Next is Katt Williams in the role of Money Mike who runs the Pimp N' Ho's clothing store. Williams' diminutive size doesn't hamper the stand-up comedian-turned-actor's performance as he prances around the strip mall like he's a big man on campus. While the film has some new faces it also has familiar ones like the return of John Witherspoon in the role of Craig's father. This time around Witherspoon has made his character Mr. Jones much more crass.
While all three installments of the Friday series were scripted and produced by Ice Cube Friday After Next marks video director Marcus Raboy's feature film directorial debut. So while the films have some common thematic elements such as having to come up with cash in 24 hours (usually followed by an "or else") or being terrorized by a neighborhood bully they differ in look and style. Raboy's style here is similar to a music video; that is fast paced bordering on frenetic. And while he achieves the campy '70 look he was aiming for you may leave the theater thinking too much happened between Thursday and Saturday. Craig and Day-Day for example spend too much time chasing after the ghetto Santa or being chased by hooligans and not enough smoking weed. Ice Cube and Epps have such a great rapport on screen that it would have been nice to see them sit back and exchange witty dialogue. Their was also too much focus on the older cast members including Witherspoon and Don "DC" Curry who spend the entire film being repulsively raunchy--which is disturbing in a hearing-your-parents-talk-about-sex kind of way.