A few years ago, if someone told you Paul Rudd and Tina Fey would be smooching each other on the big screen, you'd be all, "As if!" But then, we realized that they're actually pretty close in age (42 and 43, respectively), they're both parents, and they're both partners in being adorable and hilariously reasonable. If there was a Gallactic Senate of Pop Culture, they'd be in it, making topical jokes and bringing people together with their sensible ways. Their pairing for March 2013's Admission is practically inevitable at this point.
The film finds Fey as a single college admissions officer, bombarded by the notion that she should be a mother at her age. Suddenly (and very pleasantly) Rudd's John enters her life and plays an adorable, yet slightly underhanded ruse to introduce her to her long-lost son, a product of an accidental pregnancy during college. The result is an expectedly heartwarming tale in which Fey learns to nurture her now-teenage son and of course, learns to fall prey to Rudd's irresistible nerd-charm.
Admission hits theaters in March 2013, but until then, we can enjoy the lady-bait that is this two-and-half-minute flirtation fest between two of pop culture's most beloved faces. They're so cute I could just pinch their little faces! But I won't. Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Universal Pictures]
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Kristen Stewart obsessed with herself? Maybe just a little. Stewart stopped by to visit Conan O'Brien last night, and when he asked her what it was like filming sex scenes for The Twilight Saga, she had quite a bit to say on the subject. In fact, she confessed that she likes to look at herself making 'schmexy faces.' Yes, she did go that far. And she didn't stop there...
Here's what you missed last night on late night TV:
Late Night With Jimmy Fallon
Fallon shared a clip of Kellan Lutz arm wrestling Kristen Stewart in The Twilight Saga: Breaking Dawn—Part 2.
Jimmy Kimmel LIVE!
Comedian Martin Short admitted to loving Honey Boo Boo. "The difference between her family and the Palins is teeth and that's it," he said. He also attempted to feel up his "ding dong," as he puts it, in front of Kimmel while talking about discovering a lump in the area as a kid. He explained how he tried to cure the cyst himself. "I went to the medicine cabinet, and I got a bottle of this thing called Dettol," he said. "Dettol, I would later find out they would use a cap for a gallon of water to clean hospital floors. I didn't know, so I just poured it on there. By day three there was a rash." That sounds painful, to say the least.
Late Show With David Letterman
Alec Baldwin talked about doing voice over work for his character, North, in Rise of the Guardians. "It's like radio acting," he described. "You're there in the booth with the microphone, and the director is saying to you, 'Alright Alec, you're Santa Claus... You're tired. You're fat. You've been eating cookies. Mrs. Claus doesn't understand why you work so hard. We would like you to put all of that inside the line itself.' That's voiceover acting in a nutshell."
The Tonight Show With Jay Leno
Helen Hunt stopped by Leno to promote her new movie, The Sessions. She admitted that she doesn't read reviews because she's fearful that they might be emotionally disturbing. She also said that she wasn't allowed to go into a party at Sundance. She also didn't try to get in because she knew the bouncer didn't know who she was. How could you NOT know who Helen Hunt is?!?
Conan O'Brien asked Kristen Stewart what it was like filming Twilight sex scenes when Stewart had to look "into the eyes of the camera." "It's nice to see your own reflection while you're making schmexy faces," she said. "It's absolutely absurd, actually. I want to shoot myself." Stewart also dissed her father claiming that he loves all the attention she has received since starring in the Twilight franchise. "He loves it," she said. "He's a total fame whore. You go anywhere, even if I'm not with him, he's like, 'Hey I'm John... Stewart... Father of Kristen. Have you ever seen Twilight? Yeah, that's my kid.' It's the most embarrassing thing in the world."
[Photo Credit: TBS]
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The story of the most dominant racehorse of all time does not easily fit into the standard inspirational sports flick mold. Such films typically require its protagonists to overcome seemingly insurmountable obstacles be they competitive (Hoosiers) personal (The Natural) societal (Ali) or some combination of all three (Remember the Titans). But by all accounts the greatest challenges to Secretariat capturing of the 1973 Triple Crown were not rival horses — indeed Secretariat had no true rival — but a pair of slow starts and an abscess. And abscesses — apologies to dermatologists — simply aren’t all that effective as dramatic devices.
Lacking most of the vital ingredients of the traditional underdog movie formula Disney’s Secretariat is forced to synthesize them. Its screenplay written by Mike Rich and based rather loosely on the book Secretariat: The Making of a Champion by William Nack adopts a conventional save-the-farm framework: When her parents pass away within months of each other Denver housewife Penny Tweedy (Diane Lane) is advised to sell off her family’s Virginia-based Meadow Stables a beautiful but unprofitable horse-breeding enterprise in order to pay the onerous inheritance taxes levied by the state. But Penny her deceased father’s hackneyed horse-inspired counsel fresh in her mind (“You’ve got to run your own race ” etc. etc.) is loath to depart with such a cherished heirloom. So she concocts a scheme just idiotic enough to work betting the farm — literally — that her new horse Big Red in whom she has an almost Messianic faith will win the Kentucky Derby Preakness and Belmont races in succession.
Of course Big Red under the stage name Secretariat goes on to do just that but only after the film subjects us to nearly two hours of manufactured melodrama. Lane grasping all-too conspicuously for awards consideration treats every line as if it were the St. Crispin’s Day speech. Her character Penny exhibits a hair-trigger sensitivity to the sounds of skeptics and naysayers bursting forth with a polite rebuke and a stern sermon for anyone who dares doubt her crusade from the trash-talking owner of a rival horse to her annoyingly pragmatic husband (Dylan Walsh).
Lane isn’t alone in her grandiosity. The entire production reeks of it as director Randall Wallace lines the story with fetid chunks of overwrought Oscar bait like so many droppings in an untended stable even using Old Testament quotations and gospel music to endow Penny’s quest with biblical significance. John Malkovich is kind enough to inject some mirth into the heavy-handed proceedings hamming it up as Secretariat’s trainer Lucien Laurin a French-Canadian curmudgeon with an odd sartorial palette. It’s not enough however to alleviate the discomfort of witnessing the film's quasi-Sambo depiction of Secretariat’s famed groom Eddie Sweat (Nelsan Ellis) which reaches its cringeworthy zenith when Sweat runs out to the track on the eve of the Belmont Stakes and exclaims to no one in particular that “Big Red done eat his breakfast this mornin’!!!” Bagger Vance would be proud. Whether or not Ellis’ portrayal of Sweat’s cadence and mannerisms is accurate (and for all I know it may well be) the character is too thinly drawn to register as anything more than an amiable simple-minded servant.
Animal lovers will be happy to know that the horses in Secretariat come off looking far better than their human counterparts and not just because they’re alloted the best dialogue. In the training and racing sequences Wallace effectively conveys the strength and majesty of the fearsome animals drawing us into the action and creating a strong element of suspense even though the final result is a fait accompli. It's too bad the rest of the film never makes it out of the gate.
Although it's modern day there's a distinct Raymond Chandler-esque feel to this story about a petty thief named Harry Lockhart (Robert Downey Jr.) who lucks into a movie audition and finds himself heading to Hollywood. Harry is replacing Colin Farrell as a detective in a film and to get the realism of the part he's shown the detecting ropes by Det. Perry van Shrike (Val Kilmer) also known as Gay Perry--because he's gay. Then Harry runs into his old high school sweetie Harmony (Michelle Monaghan) at a Hollywood party. She believes Harry is a real detective and begs him to help her. That's when the bodies begin coming out of the woodwork. Greed torture and mayhem ensue. If there's any way to prove that Downey is back in true form this is it. He's glib charming deep and truly becomes a modern-day Chaplin in this very trampy role. Kilmer avoids some of the stereotypes of playing gay but as he points out "we're not good cop bad cop we're fag and New Yorker." Both deserve awards. Monaghan holds her own as a feisty red-head. Even Downey's real-life son Indio--who plays his character in the early flashback scenes--shows incredible promise as an actor. This is the Shane Black’s directorial debut the same guy who wrote Lethal Weapon and Long Kiss Goodnight. He knows violence that’s for sure but he also has a keen sense of humor. In Kiss Kiss he mixes them well. Black sets the mood with Downey--giving his best Bogie-like voiceover-- narrating the action along the way. This is better than Get Shorty as far as a dark look into the entertainment industry and far more entertaining. And as Harry's character promises "I've seen Lord of the Rings and we're not going to end this 17 times."