Joey McIntyre Heads to Beverly Hills: In today's '90s news, former New Kids on the Block-er Joey McIntyre will guest star on The CW's reboot of 90210. McIntyre will play a music manager who does business with Tristan Wilds' character, Dixon. It is scheduled to air in February of 2013, though this probably should have aired in 1993, replacing the words 'Tristan Wilds' with 'Brian Austin Green.' [EW]
Entertainment Tonight Nabs a Co-Host: Nancy O'Dell can breathe a sigh of relief — she won't be going at it alone anymore. CNN's Rob Marciano was named co-anchor of CBS' Entertainment Tonight today, as Mark Steines ended his 17-year tenure last July. [Deadline]
Michael Bay Gets Some New Neighbors: For once, Michael Bay plus aliens will NOT equal explosions. Bay is set to guest star on an upcoming episode of ABC's recently picked-up aliens-next-door comedy The Neighbors, as himself. He'll run into Jami Gertz's character (a human) at a club — but we're sure some extraterrestrial hijinks will ensue. [TVLine]
Matthew Lillard Tries Journalism: FX's pilot The Bridge keeps sounding better and better. They've already cast Diane Kruger and Demian Bichir as American and Mexican agents going after the same killer, and now Matthew Lillard has joined the cast as Daniel Frye, a cocky reporter who likes to paaarrrrtttaaayyy. Homeland's Meredith Stiehm and Hawaii Five-0's Elwood Reid are set to exec produce the pilot, and if it goes to series, Lillard will heavily recur. [The Hollywood Reporter]
Fringe Alum Gets Arrow-ed: My fellow Fringe-ies and Arrow lovers, rejoice! Lincoln Lee Seth Gabel has joined the Arrow cast as a “scary and nightmarish” super-villain modeled after the DC Comics character Vertigo. Now, Gabel will not be playing Vertigo himself — they're similar, but don't have the same name, and TVLine says Gabel's version will have a dark, Christopher Nolan-esque vibe. However, a new drug called Vertigo will pop up in the Sterling City streets, in Gabel's early 2013 debut episode. Our money's on Oliver Queen thinking this drug has failed his city. [TVLine]
Vampire Diaries and Arrow Unite: Well, their showrunners will, anyway. Julie Plec and Greg Berlanti — the showrunners behind TVD and Arrow, respectively — have teamed up for a CW remake of The Tomorrow People, a British cult classic from the '70s. The original featured several young people who represented the next phase of humanity, all possessing different powers, including the ability to teleport and communicate telepathically with each other. We imagine the CW version will feature more shirtless scenes than the original, and are very excited. [Deadline]
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[PHOTO CREDIT: DailyCeleb.com]
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Thanks to the recent speech at the Republican National Convention in which the former Dirty Harry berated a chair holding an invisible Barack Obama going into a movie starring Clint Eastwood as a technophobe who has trouble not walking into tables and chairs on a daily basis isn’t exactly a setup for success. But believe it or not it’s actually not that unfortunate context that’s the problem: from the clunky script and pacing to Clint’s ever-present grumble and the film’s predictable plot Trouble with the Curve is a slow pitch right down the middle.
And this is coming from someone who loves baseball movies so much she’s suffered through Kevin Costner’s For the Love of the Game – twice. But Trouble isn’t really a baseball movie. It’s a sappy father-daughter relationship tale with baseball as the hook and the caulk filling in the film's cracks.
Gus (Eastwood) is one of the oldest most respected scouts in the game but he’s getting old his eyes are going and some twerp with a laptop (Matthew Lillard) and his frat boy henchman are determined to shove Gus out of his position at the Atlanta Braves and replace him with a computer (muah-ha-ha). His daughter Mickey (Amy Adams) who he named after Mickey Mantle because that’s how much he loves baseball is trying to make partner at her law firm in a pool of misogynistic bigwigs when she’s called down to North Carolina to help her dad at the behest of his boss and best friend (John Goodman). While she should be working things out with her pops a young scout named Jimmy (Justin Timberlake) shows up flirts with Mickey and steals the storyline for the entire middle section of the film.
While Eastwood’s growling grumbling demeanor are perfect for the role of a stalwart old man who refuses to give up the game he once knew he’s saddled with stale jokes and quips – you may know them as “dad jokes” – that undermine his ability to be the wise man who knows better than these young whippersnappers. Adams does the best she can with a role that asks little more than for her to be smart sassy and outspoken but it simply feels like the role was over-cast. Timberlake’s character is plagued with Gus’ same brand of dad jokes but luckily for us the former boy bander is oozing with enough charm to make any joke no matter how terrible funny enough to make us fall in love with him – for an hour and half anyway.
Script issues aside where the film really starts to lose its way is in its portrayal of Lillard’s young ladder-climbing villain. At one point they even show him sitting in a dark room backlit by a lone desk lamp as he instructs his henchman to keep spying on Gus. All that’s missing is a maniacal laugh and a fluffy cat on his lap for him to stroke with his ruby-ring-decked hand.
It’s this hyperbolic villainy coupled with the treatment of Gus’ mortal enemy (technology) paired with two battling relationship stories (Timberlake and Adams vs. Eastwood and Adams) and the slow plodding pace that keep this film from being what it should be: a perfectly sweet predictable popcorn flick.
Trouble would be a perfectly adequate movie to casually watch on a Sunday afternoon with your dad but then again you could just get Field of Dreams on Blu-ray just as easily.
[Photo Credit: Warner Bros]
Twilight’s contentious “Edward vs. Jacob” debate was finally settled at the close of 2009‘s New Moon the second episode of Stephenie Meyers’ supernatural teen harlequin saga when plaintive emo hottie Bella Swan (Kristen Stewart) definitively rejected the advances of Taylor Lautner’s musclebound man-wolf in favor of Robert Pattinson’s brooding vampire.
Or so we thought. Twilight’s fateful love triangle is revived in earnest by Eclipse part three of the series and this time the implications are serious -- relatively speaking of course. Taking over the helm from New Moon director Chris Weitz is David Slade (30 Days of Night Hard Candy) who adds a hefty dose of action to Twilight’s trademark mix of soaring romance and manic melodrama making Eclipse the first film in the saga in which -- get this -- something actually happens.
Indeed action is a primary theme of Eclipse. Like most high school seniors Bella wants some; her pasty paramour Edward Cullen however remains stubbornly chaste and not just because the briefest exposure to his unbridled vampire lust would almost certainly kill his all-too-human sweetheart. You see chivalrous Edward hails “from a different era ” one in which the institution of marriage meant everything and a man took care to mount a proper courtship before marrying a girl nearly a century his junior. (He’s 109 years old.) He asks her to marry him; she agrees but only if he’ll turn her into a vampire first; he hesitates pondering the unalterable consequences; the matter is tabled and heavy petting resumes. (This exchange is repeated ad nauseam throughout the remainder of the film.)
The constant fawning and unwavering devotion from impossibly beautiful Edward aren’t enough to sate Bella’s thirst -- she needs validation like a vampire needs blood -- and so she uses the flimsiest of pretexts to re-insert herself into the life of Jacob Black the sensitive werewolf she previously shunned who dutifully plies her with his own declarations of undying love. (Jacob to his credit has developed enough game since we last saw him to qualify as a serious contender for Bella’s affections and is no longer the devoted doormat we saw in New Moon. He’s still a tool though.) Game on.
But Edward and Jacob aren’t the only ones with designs on Bella. (Seriously are there no other hot emo chicks in the greater Pacific Northwest?) A ginger-haired menace (Bryce Dallas Howard) has emerged one that will require Edward’s vampire clan and Jacob’s wolfpack tribe longtime enemies forever on the verge of a climactic battle (in which Bella will serve as the jeans-and-hoodie-clad Helen of Troy no doubt) to put aside their differences and unite against a common enemy. In order to ensure Bella’s safety Edward and Jacob must form an uneasy tag-team (no not that kind of tag team much as it would likely better serve to resolve matters) to keep Bella safe from harm.
With its amped-up action sharpened wit and darker horror flick-inspired atmospherics Eclipse boasts the broadest appeal of all the Twilight films thus far. But that doesn’t mean it’s good. Director Slade’s grasp of plot development borders on amateurish in this film; Eclipse often feels less like a movie than a weighty discourse on the pros and cons of vampiredom laid out in lengthy exhaustingly repetitive chunks of exposition and awkward campy flashbacks as just about every character in the film including Edward attempts to dissuade Bella from joining the ranks of the bloodsuckers.
But alas no force no matter how utterly rational its arguments will keep Bella from her destiny. Which obviously is Edward. Or is it? Eclipse goes to great pains to invent ways to perpetuate the film’s romantic rivalry inserting scenes like the one in which Bella on the verge of freezing to death in a tent high up in the mountains is saved when Jacob arrives to heroically spoon her body temperature back to its proper level. (Eclipse is being hyped as the first “guy-friendly” Twilight flick but no film which includes a climactic spooning scene can rightly claim such a distinction.) Edward meanwhile with his poor vampire circulation is powerless to help.
Who will win in the end? Will it be abs over eyes? Obviously it will take two more movies (at least!) to solve this kind of wrenching dilemma.
Think Mean Girls meets High School Musical meets whatever other high school teen scenario you can think of. Here four teenage girls make up the Bratz contingency each come from different ethnic and socio-economic backgrounds—just like the dolls they are based on. There’s Yasmin (Nathalia Ramos) a quiet Latina beauty with a great voice; Sasha (Logan Browning) the outgoing black cheerleader who loves to dance; Jade (Janel Parrish) a lovely Asian fashionista who also a wiz in chemistry; and Cloe (Skyler Shayne) the tall Caucasian blonde who despite being a klutz is a star on the soccer field. They’ve been best friends forever (or BFF as they lovingly refer to it) but once they hit high school they drift apart and into respective cliques organized by the narcissistic class president Meredith (Cheslea Staub). Still these BFF’s—who live for clothes make-up and hair products—won’t be pushed down. They’re gonna shake things up and prove it’s always best to just be yourself and stick together. You can’t really blame the unknown girls—each very cute in their own way—for wanting to bring the Bratz dolls to life. It’s a big deal! They get to sing and dance and wear all these cool clothes! They get to throw food in a cafeteria lunch fight! They get to serve sweets at Meredith’s Sweet 16 party dressed as clowns and still look fabulous! All the young girls in the audience will idolize them and wish they were a Brat too (perhaps to their parents’ chagrin). No it’s the adults in the movie you have to scratch your head about and ask “Do they really need the money that bad?” Character actors such as Lainie Kazan who plays Yasmin’s wise grandmother and Jon Voight as the inept high school principal and Meredith’s father just embarrass themselves over and over again—especially Voight who along with his mediocre appearance in Transformers has become the go-to guy to star in movies based on toys. And what’s with this latest trend to make live-action flicks based on toys? You can understand Transformers because they already had their own cartoon show and you know the movie would at least be action-packed full of cool visual effects. But a Bratz movie is a little too much. Even though it tries really hard to send positive messages there’s really nothing redeeming about turning little dolls—who frankly dress a little on the trashy side—into flesh-and-blood teenagers obsessed with how they look and dealing with high school politics. Bratz really only distinguishes itself from other Mean Girls-type movies because of the toy franchise. It would have been easier to take had it aired on the Disney Channel.