Earlier this year (11), The West Wing star published his memoir, Stories I Only Tell My Friends, and the book went on to win critical acclaim on the New York Times bestseller list.
And now Lowe is looking to capitalise on his new-found success as an author by signing a deal with publisher Simon & Schuster for Love Life, a novel which will focus on his own experiences and observations.
Jonathan Karp, a rep for the company, released a statement which reads, "The first book proved that Rob Lowe is a great storyteller. The second book will prove that he can write about anything and continue to captivate readers."
Love Life is set for a 2013 release.
The former California governor's book, tentatively titled Total Recall: My Unbelievably True Life Story, will cover his marriage to Maria Shriver, which crumbled earlier this year (11) after he was revealed to have fathered a lovechild with a maid, as well as his Hollywood career.
Schwarzenegger will also write about his upbringing in Austria, his bodybuilding and his time in office.
The star has been preparing the tome for months and will begin writing chapters during filming breaks on The Expendables 2.
His spokesperson tells People.com, "He has been keeping notes and working on the book for over a year. He didn't want to write his autobiography while he was governor."
Jonathan Karp of publisher Simon & Schuster adds, "Nobody has a life story even close to his. Truly, Arnold is one of the most fascinating figures of our time."
For those of you who like me have in recent years come to regard “chick flick” as a purely pejorative term Bridesmaids directed by Paul Feig (Unaccompanied Minors) and starring Kristen Wiig (MacGruber) is nothing less than miraculous: A broad female-driven comedy that is both sharply observed and genuinely funny capable of inducing howls of laughter from both sexes in equal measure. What's more unlike other offerings from the genre it actually respects its audience’s basic intelligence. How refreshingly novel.
Wiig who also co-wrote the film’s screenplay with Annie Mumolo plays Annie 30-something and stranded. Since losing her business and subsequently her boyfriend to the Great Recession she’s resigned herself to mediocrity slogging through a dead-end job at a jewelry store where she labors vainly to conceal her cynicism from the bright-eyed folks shopping for engagement rings and BFF bracelets and clinging to a dead-end relationship with a handsome but solipsistic creep (Jon Hamm) who very plainly regards her as nothing more than a convenient booty call.
Annie’s lone source of relief from the drudgery and ennui is the close bond she shares with Lillian (Maya Rudolph) her lifelong best friend. When Lillian reveals that she’s gotten engaged and that she’s chosen Annie to be her maid of honor at the wedding Annie’s already shaky emotional footing threatens to give way entirely. Wiig is fairly brilliant here (and indeed throughout the film) subtly and humorously conveying both overt happiness for her friend’s milestone and internal terror over the sudden realization that the music has stopped and she’s the only one without a chair.
Lillian’s engagement sets up the film’s main comic conceit: the rivalry of passive-aggressive one-upsmanship that develops between Annie and blue-blooded Alpha bridesmaid Helen (Rose Byrne) a pretty prissy blue-blood who clearly covets Annie’s maid of honor role. Pressured to prove herself against the would-be usurper Annie leads the bridal party into one disaster after another starting with a Brazilian luncheon that results in a violent case of food poisoning in the middle of their gown-fitting.
As you might gather from the above example some of the film’s comic set-ups verge on the predictable but Wiig a comedienne equally adroit as the brunt of jokes or the source of them keeps things fresh and lively – and funny – throughout. I’d be remiss however if I didn’t recognize the scene-stealing efforts of Melissa McCarthy as Megan the mannish potty-mouthed sexually aggressive sister of the groom the bridal party’s oddest — and ultimately its most grounded — member.
At times Bridesmaids tries a little too hard to be an all-female version of The Hangover Wedding Crashers or any of the other films to which it has been copiously compared. The needless intestinal comedy of the wedding-gown dysentery scene in particular serves as little more than proof that women are just as capable of reaching for easy laughs via telegraphed gross-out jokes as men. (I suspect this as well as the film’s overlong running time stems in part from the creative influence Judd Apatow who produced the film.)
Bridesmaids is at its best when it’s not reaching or forcing matters but rather when it puts its trust in its talented cast. The relationship that blossoms in fits and starts between Annie and Rhodes an Irish-American traffic cop played by Chris O’Dowd is heartfelt and its evolution stunted at various points by Annie’s penchant for neurotic self-sabotage feels genuine. Wiig and O’Dowd establish an easy endearing chemistry devoid of the pat screwball give-and-take that so often characterizes rom-com courtships and it helps keep the movie aloft when its comic energy ebbs.
WHAT IT’S ABOUT?
George Simmons is a comedian-turned-Hollywood superstar whose comfortable Malibu existence is threatened when he is diagnosed with a rare blood disorder. Placed on a regimen of experimental meds that offer a mere 8% chance of success he’s forced to confront the very real prospect of his own mortality which not surprisingly triggers a drastic realignment of his priorities. Looking for a companion to assist him in his final days he hires Ira Wright an earnest young comedian in desperate need of a break to work as his assistant. Ira naturally jumps at the chance to be mentored by one of his idols but quickly finds himself in over his head as he accompanies George on his perilous chaotic journey of self-discovery and redemption.
WHO’S IN IT?
A newly trim Seth Rogen (Pineapple Express Observe & Report) injects an endearing blend of sensitivity and self-doubt into his normal “lovable schlub” routine as Ira the struggling performer tasked with such a strange assignment. In the role of George Adam Sandler deserves kudos for taking on a character clearly based on himself. It’s not hard to see the similarities between Sandler’s resume of high-concept critically-maligned blockbusters and George’s fictional portfolio of hits like Merman a male-centric version of Splash Re-Do the story of a grown man turned into a baby by a wizard and My Best Friend is a Robot a buddy comedy co-starring Owen Wilson. (For a more complete list check out george-simmons.com.) But in contrast to Sandler’s genial everyman persona George is an acerbic self-absorbed privileged vision of the Hollywood success run amok.
Supporting players include Leslie Mann (Drillbit Taylor Knocked Up) who plays George’s ex-girlfriend and soulmate Laura a one-time actress now married with two children in Marin County. Eric Bana (Munich The Time Traveler’s Wife) makes an inspired turn as Laura’s husband Clarke a boisterous Aussie businessman whose temperament amusingly alternates between violent aggression and teary-eyed affection. Relative newcomer Aubrey Plaza (TV’s Parks and Recreation) is a delight as Ira’s shy witty love interest Daisy while veteran Apatow players Jonah Hill (Superbad Forgetting Sarah Marshall) and Jason Schwartzman (The Darjeeling Limited Walk Hard) provide much of the film’s laughs as his oddball roommates. Rounding out the supporting cast are RZA Aziz Ansari and Apatow and Mann’s real-life daughters Maude and Iris Apatow.
Cameos abound with appearances by such varied names as musician Jon Brion comedians Ray Romano and Andy Dick and rapper Eminem.
After tugging the heartstrings and tickling the funnybone with equal skill in his previous directorial efforts The 40-Year-Old Virgin and Knocked Up Judd Apatow heads into darker more ambitious territory with Funny People while still trying to deliver the same raucous comedy that we’ve come to expect from him. The result is a movie that is at times heartbreakingly poignant and laugh-out-loud funny.
At almost two and a half hours in length Funny People is neither poignant nor funny enough to justify such a bloated running time. Apatow let his ambition get the best of him this time attempting to deliver — to paraphrase his own words — his funniest and most serious film to date. Methinks a shorter cut of the film might have yielded either a great comedy or a great drama depending on which path its director chose. Instead we wind up with a merely good dramedy that meanders for a while before falling off a cliff in the third act.
While offering some sobering advice to Sandler’s character at a high-class restaurant rapper Eminem catches Ray Romano staring at him and unleashes a barrage of expletives at the mortified former sitcom star much to the shock of the surrounding customers. It’s ironic that one of the film’s funniest scenes comes courtesy of one of the few non-comedians in the cast.
The film features solid performances all around but I was most impressed by Bana who displays some terrific range and comedic timing as Laura’s charismatic unstable Aussie husband. Perhaps the man who scowled and brooded his way through Munich and The Hulk might want to consider sprinkling more comedy into the mix.
Writer and star Jason Segel concocted this romantic comedy from an experience in his own life. It is a moment recreated right at the top of the film when TV and frustrated puppet theatre composer Peter Bretter (Segel) stands naked physically and emotionally as his TV-series star girlfriend Sarah Marshall (Kristen Bell) dumps him for another guy. Not being able to deal with the sudden rejection and unable to perform properly at his job he decides to take the Hawaiian vacation he and his now-ex never got around to. Unfortunately she coincidentally has the same idea and with her English rocker new boyfriend (Russell Brand) in tow and winds up in the exact same resort with poor pitiful Peter. In a tactic designed to prove Sarah made a huge mistake he manages to hook up with the hotel’s pretty and sympathetic concierge (Mila Kunis)--signing up for “activities” she is unlikely to suggest to any other guest. With the Hawaiian paradise as the perfect backdrop the film turns into a classic battle of the sexes as Peter attempts to put the pieces of his shattered heart back together. One of the original regulars of producer Judd Apatow’s short-lived NBC series Freeks and Geeks and now co-star of How I Met Your Mother Jason Segel smartly breaks out of the supporting TV mode and proves his worth as a fine comic movie lead in his sharply observed script inspired by an incident that happened in his own life. Sure to be much discussed and dissected the hilarious opening scenes in which he boldly goes for laughs displaying his full frontal manhood signals him as a screen actor unafraid to let it all hang out there. That’s just perfect for a character who pretty much wears his vulnerability on his sleeve (when he has one on). As a screenwriter he has also given his co-stars choice roles to run with as well. Bell as the vapid TV actress takes what could have been a one-dimensional role and shapes her Sarah Marshall into a believable human being who finally hits a wall in her longtime relationship. Kunis (TV's That '70s Show) is an enormously appealing and warm screen presence and Brand as the loopy rocker steals every scene he’s in with one of the year’s most indelible comic creations. As usual some of Apatow’s stable of regulars turn up here as well with standout bits from Knocked Up and 40 Year-Old Virgin’s Paul Rudd as a loony surf instructor and Superbad’s Jonah Hill as the fanboy restaurant host. Debuting feature director Nicholas Stoller got some early experience on Apatow’s underappreciated series Undeclared and does a nice job here bringing Segel’s creation to the screen. A mark of a good director is good performances and there isn’t a bad one in the bunch. Not too shabby for a first timer. His achievement however is clearly overwhelmed by the imposing shadow of producer Apatow and his star/writer. It’s their show but Stoller goes light on stylistic touches and doesn’t screw it up seamlessly letting the actors the terrific script and the scenery do all the heavy lifting making this Sarah Marshall hard to forget indeed.
Knocked Up barely meets the “romance” quota that qualifies it as a romantic comedy but fear not fellas—it’s mostly comedy and of the highest grade. The movie centers around two twentysomethings who couldn’t be more different: gorgeous careful career-minded Alison (Katherine Heigl) and beastly reckless foggy-minded Ben (Seth Rogen). After a promotion at her job working for the E! network Alison decides to cut loose for one night and celebrate. She and her sister (Leslie Mann) go out to a local club where they meet Ben and his stoner friends (Jason Segel Jay Baruchel Jonah Hill and Martin Starr). One drink leads to another and before long Alison is drunk enough to take Ben home and into bed. Eight weeks later Alison is singing the morning-sickness blues and sure enough pregnancy test after pregnancy test confirms her worst fear: bun in the oven...from a one-night stand...with a guy who repulsed her when she saw him through sober eyes. So she decides to tell manchild Ben that he knocked her up and it changes everything—well sorta. Meet Seth Rogen this year’s Steve Carell Award winner for Breakout Star and Best Unknown Lead. Of course neither Carell nor Rogen was truly unknown before his respective breakout—Rogen it could be argued really broke out in last year’s 40-Year-Old Virgin alongside Carell—but the Everyman appeal and unlikely ascension to stardom between the two are similar. As with Virgin Rogen is hilarious primarily with the delivery of the absurdity he spews. And not only does Rogen display a surprising soft-ish side when necessary he projects something so relatable that you’ll swear you’ve had a Ben in your circle of friends at one point. The glue of the onscreen relationship and chemistry is Heigl. The Grey’s Anatomy star shows that she’s much more than a pretty face convincingly going hormonal as hell while improving upon the comedic chops she hinted at in the god-awful The Ringer. Mann writer/director Judd Apatow’s real-life wife and the only other source of estrogen in the movie is very much game for the pot(ty mouth) humor but it’s Paul Rudd as Mann’s cynical husband who seems to be Apatow’s comedic muse. Already a member of the Frat Pack it’s only a matter of time before Judd makes Rudd his lead. Judd Apatow has been working for much longer than most people care to realize but he finally made a splash (read: box office hit) with last year’s Virgin and Knocked Up solidifies him as the one to beat when it comes to comedy. Apatow combines certain elements that make his style reign supreme. First and foremost is a distinct note of improvisation that makes his actors—many of whom he repeatedly employs—feel at home and thus his audiences do as well. Then there’s his affection for the underdog which is no doubt how he sees or once saw himself. It not only endears him to his ever-growing fan base it’s a theme that grows on you throughout the course of his movies (namely his last two) convincing you that sometimes the good guy CAN get the girl. Knocked Up builds on both themes: The actors seem like they sat around with Apatow took one toke too many and started riffing on each other and pop culture; and Rogen is certainly Apatow’s underdog a nod to underdog dreamers everywhere and to comedy by implying “Would it be funny if the movie was George Clooney trying to woo Katherine Heigl?” He caps it off in mature real-world fashion to mimic his protagonist’s arc by throwing in some sentimentality. It's effective and seems credible which sums up all of Apatow's work.
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.
October 22, 2002 11:11am EST
Don't count out the Corleone family just yet.
A new installment of late author Mario Puzo's Mafia series is in the planning stages at Random House. According to Variety, Paramount Pictures, which is home to the three Godfather movies, will have first dibs on the screen rights.
For the past several months, Random House Trade Group's vice president and senior editor Jonathan Karp has been working out a deal with Puzo's estate, which controls the literary rights to the characters created by the author, to recruit another writer to continue the Corleone family saga. Karp was Puzo's editor when he died in 1999.
Although Karp would not discuss the details, the deal could easily be one of the largest for a sequel based on the work of a deceased author. The Godfather has sold more 22 million copies since it was first published in 1969.
"There is enormous continuing interest in the Corleone family, and a great opportunity to tell a story that could take place before, during or after the original book," Karp told Variety.
"Mario once told me he wished he had done more with Sonny Corleone's character, and there was certainly more opportunity to explore the singer Johnny Fontaine. And Michael Corleone did make an appearance at the beginning and the end of The Sicilian, because he has a relationship with the freedom fighter," he added.
It is not yet known who will write the book, but Karp said he is looking "for a connected author, in the best sense of the word." A decision will not be made until a final selection of story outlines is collected Nov. 4.
"We hope Paramount or some other studio will want to buy the movie rights, and it is our intention to see that happen," Karp said.