Onscreen, he slept on a bed of old newspaper and lunch meats, grumbling at his finicky roommate and guzzling beer after beer. He made his life's work uncovering the mysteries behind suspicious deaths with a microscope and a permanent grimace. He deliberated upon a complex court case, whose story has maintained its status as one of cinema's greatest feats to date. Offscreen, his name was Jack Klugman. The accomplished film and television actor, a show business staple for over half a century, has passed away at the age of 90.
USA Today reports that Klugman died suddenly, of yet undetermined causes, on Monday in Los Angeles. The reports came to USA from his son, who revealed that Klugman passed away while beside his wife, Peggy Compton.
Early on in his career, Klugman took a role in Sydney Lumet's classic film 12 Angry Men, which would cement his reputation as a performer of note and stick with him has one of his greatest accomplishments. Undoubtedly, however, Klugman's most iconic role would have to be his small screen turn as Oscar Madison, the slovenly half of Neil Simon's The Odd Couple. Klugman assumed the role at the inception of the sitcom in 1970, more than living up to the crotchety but fun-loving incarnation of the character that audiences saw actor Walter Matthau create for the film, two years prior. For the program's five-year run, Klugman invigorated misanthropic slob Oscar with a perfect recipe of grumbling cynicism and boyish charm.
Immediately following the conclusion of The Odd Couple, Klugman returned to his dramatic roots with the crime series Quincy, M.E., portraying a coroner who made a habit of investigating the foul play behind a number of his deceased subjects. The series would last until 1983, allowing Klugman's notoriety to grant him a number of recurring and guest starring television roles throughout the remainder of his career.
From the mid-1970s on, Klugman had repeated struggles with throat cancer. In 1989, Klugman lost the use of his vocal cords temporarily, but through determination regained the ability to speak, continuing to perform on film and stage thereafter.
Klugman has been married twice: to actress Brett Sommers from 1953 until her passing in 2007, and then to Compton from 2008 on. Klugman is survived by Compton, and his two sons, Adam and David Klugman, from his first marriage.
[Photo Credit: Getty Images]
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Director Jason Reitman made a very smart decision when approaching his new film Young Adult. His past two successes Juno and Up in the Air were stylized dramedies one with colorful dialogue and production design flourishes the other with precision camera work his director's hand evident at every turn. In his latest he pulls way back letting his lead character—a vile destructive former high school prom queen named Mavis (Charlize Theron)—do the talking. And talk she does—every word a stinging insult disillusioned wish holier-than-thou gripe or embarrassing truth. Reitman unleashes an unfiltered Theron and the results are gut-wrenching hilarious and powerful.
While working on her latest Sweet Valley High-esque book Mavis receives a mass e-mail from her high school boyfriend Buddy (Patrick Wilson) announcing that he and his wife are expecting their first child. This sets a fire under Mavis' ass and after chugging a 2-Liter of Diet Coke and throwing on a Hello Kitty tee she hits the road to take back the man that's rightfully hers. Mavis shacks up in a drab hotel located in the heart of her small Minnesota hometown and immediately proceeds to the bar to indulge in her favorite pastime: pounding back whiskey. There she runs in to one of her forgettable high school classmates Matt Freehauf (Patton Oswalt) who she only recalls after being reminded of a horrendous gay bashing that left both his legs crippled ("And I'm not even gay."). The two form an unlikely friendship—Matt being enamored by Mavis' pathetic quest Mavis needing an ear to talk off.
Young Adult's simple premise allows writer Diablo Cody (Juno The United States of Tara) to move Mavis from depressing suburban local to depressing suburban local with ease creating a playground of homogenized perfection for Theron's foul behavior. Whether she open-mouth chewing on fried chicken at the local KFC/Taco Bell covering up last night's hangover with a fresh facial or seducing Buddy at the Applebee's-esque restaurant Mavis never falters always looking down at her surroundings finding excuses for why she's not the source of her own problems.
Theron's performance is fearless one of the few crass female performances shaded with human complexity and empathy. Young Adult is a very funny film that works because of its star's ability to teeter the edge of comical and truly unlikable. Oswalt and Wilson amplify the main performance embodying their own grounded characters to properly riff with the vulgar Mavis. Matt is a very Patton-y character to begin with but between is jokey back-and-forths with Mavis is an inherent sadness one Oswalt surfaces with a contrasting subtly. Unlike Mavis Matt has the ability to rise above is own plight and change. His new friend is tragically a lost cause. At times the film's story feels too narrow never allowing us to really explore Mavis' other relationships but it's hard to naysay for wanting more.
Few movies attempt to mine comedy out of the bleakness of everyday life; even fewer do so while twisting storytelling conventions. You watch Young Adult with hopes for Mavis but Reitman and Cody aren't ready to indulge you. In Theron they've found one of the few actresses in town who can simultaneously look like a conventionally gorgeous blonde bombshell and complete make-up-caked crap a woman with the balls to take a character who relishes in schadenfreude. They don't squander that talent. From the first to the umpteenth Teenage Fanclub sound cue Mavis is delusional caught up in her own fantasy and willing to execute it at any cost. It's a truly cringe-worthy mission but it works because sadly we all know someone like that.
September 22, 2010 12:10pm EST
On the hit television show The Secret Life of the American Teenager protagonist Amy Juergens has to deal with high school drama boy troubles the needs of her young child and more making her days at Ulysses S. Grant High School far from ideal. In reality the lives of youngsters are even more complicated as all of the above in addition to peer pressure academic competition and the age-old quest to be cool can overwhelm the most focused individual.
Writers-directors Anna Boden and Ryan Fleck (Half Nelson) both dramatize and make light of the plight of pubescents in their sweet new film It’s Kind of a Funny Story. Based on Ned Vizzini’s novel which chronicles a lonesome teen’s brief stay at an adult psychiatric ward it is a very funny story but the filmmakers keep it levelheaded with melancholy supporting characters and a message about the affliction of our society’s medicated youth.
Keir Gilchrist (The United States of Tara) plays Craig a chronically depressed Brooklyn teen who checks in for treatment after contemplating suicide. An over-achiever caught up in the rat race that is the American Dream Craig’s pessimism and depression stem from neglectful parents more concerned with him gaining acceptance into an elite school than following his passions. His anxiety is aggravated by the dreadful current events of our time notably the wars and financial meltdown that have crippled the aspirations of much of our country’s youth. Though he is a bit over-dramatic Craig’s ailment does raise notable points about paternal priorities and an entire generation of disheartened dreamers.
But surrounded by the hospital’s eccentric group of patients including Emma Roberts’ damaged love interest Noelle and Zach Galifianakis’ emotionally guarded Bobby Craig makes a psychological breakthrough. Gilchrist is like the love child of Justin Long and Jay Baruchel but isn’t nearly as fun to watch as either of those hot-at-the-moment performers save for one Flight of the Conchords moment in the middle of the movie. It’s not that he’s unconvincing; he’s just dull. Luckily Galifianakis steals the show at every turn giving his first ever three-dimensional performance and earning all the attention he’s been getting lately.
Had its story been laid out ordinarily It’s Kind of a Funny Story wouldn’t have been nearly as affecting as it is. But a series of funky flashbacks quirky cut-scenes and animated sequences make the film’s otherwise predictable narrative abstract original and refreshing.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
Two orphaned kids Andi (Emma Roberts) and her mechanical whiz of a younger brother Bruce (Jake T. Austin) live in a foster home with a couple of aging wannabe rock stars (Lisa Kudrow Kevin Dillon) who are vehemently anti-pet. Running out of ways to keep their stray pooch Friday hidden in plain sight they stumble on to an abandoned hotel that turns out to be the perfect shelter for Friday – and transform the place into luxury accommodations for all sorts of unwanted pets they spring from the local pound and the streets. But can they stay one step ahead of the law while keeping this United Nations of dogs in line? Human actors don’t have a chance against the gifted assortment of canines. With dogs of every breed from a border collie who loves to herd sheep (don’t ask) to an English bulldog obsessed with chewing stuff the trainers deliver a cast that flawlessly pulls off every dog trick in the book. Fortunately Roberts (Nancy Drew) and Austin are winning and likeable as the two main kids who share a need for family with their four-legged counterparts. Kudrow and Dillon don’t get a whole lot to do in strictly stereotyped roles but Don Cheadle as the kids’ social worker adds a nice touch of dignity and warmth to the story. For his first American feature German director Thor Freudenthal got the supreme challenge: working with kids and animals. Getting this furry menagerie to act on cue could not have been easy but Freundenthal and his talented trainers make it look so. Particularly amusing are the various gadgets and elaborate contraptions Bruce builds to keep the doggies occupied and quiet -- including simulated car windows they can stick their heads out of portable toilets complicated feeding machines and on and on. Just like the current hit Marley & Me it’s a funny and heartwarming family comedy.