The Girls Gone Wild founder stepped out to attend the lavish launch of the venue formerly known as Foxtail - but his night was cut short when he was stopped at the door by club security.
A source tells Hollyscoop.com, "Security told him he wasn't allowed inside and he went crazy. After he was escorted out he started screaming at the owner of the club and tried to make his way back in."
Cops from the Los Angeles Police Department were called to intervene when Francis attempted to barge past the doormen, and officers were forced to "drag him out" of the club.
Rumours suggest Francis was banned from the club's opening by MI6 part-owner, The Hills' Frankie Delgado, who is close friends with fellow reality TV star Brody Jenner.
Francis is currently under police investigation by the Los Angeles County Sheriff's Department following an altercation with Jenner and his girlfriend Jayde Nicole outside a nightclub last month (Aug09).
However, Delgado's business partner and MI6 co-owner Sam Nazarian insists he has no problem with Francis.
Nazarian tells the website, "He's a good friend and I don't know what happened but we can resolve it tomorrow. He's a great guy, I think he was too excited for our grand opening."
The director also has a slew of other legal problems to face - he was this week (begs14Sep09) ordered to stand trial over charges of tax evasion on 14 October (09).
This was no college like I ever attended! Take three typical high-school seniors--the nerd (Kevin Covais) the good-looking Regular Guy (Drake Bell) and the hell-for-leather go-for-broke Horny Fat Guy (Andy Caldwell)--and let them loose during freshman orientation at fictional Fieldmont University. Just add beer marijuana and wild sex and you’ve got what may well be a new Frat House Classic one that adheres studiously to the tenets of the teen-comedy genre which also includes defying authority and destruction of public property. When it comes to the so-called “guilty pleasures” of 2008 this makes the Dean’s List. Like any good college hangover you’ll hate yourself in the morning--but you’ll still be laughing. Credit an enthusiastic cast and a refreshing (but quite appropriate) disregard for the rules. Drake Bell (of Nickelodeon’s Drake and Josh fame) who looks far too old to be contemplating a college career is ostensibly the leading man here. Yet the principal selling point of the film is the onscreen camaraderie between he and co-stars Caldwell who plays it full-tilt a la John Belushi and Chris Farley (and that is meant as a compliment) but holds back enough when the ensemble demands require and Covais who all but steals the film with a smart shrewd take on the big-screen geek. A good deal of the film’s energy can be traced directly to them. The whole show is the three boys and they have a great easy rapport that transcends many of the worst trappings of a film like this. They feel like friends and that goes a very long way in a film that in some ways doesn’t deserve so rich an effort but benefits from it nonetheless. College marks the feature debut of director Deb Hagan who manages at times to give the film a fresh visual perspective while maintaining a relaxed but steady momentum. College is neither original nor good but it is enjoyable (far more so than would be expected) and it is fast-paced. It also delivers exactly what it promises. If it’s bang for the buck you want it’s bang for the buck you got when you enroll in College.
Pride is “inspired” by true events. Unlike movies “based” on true events those that are “inspired” can take the bare bones of a true story and build exponentially upon them. It focuses on swim coach Jim Ellis (Terrence Howard)—not by the way to be confused with the great boxer Jimmie Ellis—who inspired in a group of inner-city kids “pride determination and resilience” when he was assigned to monitor a rundown Philadelphia recreation center in the early 1970s. As one would expect in a film of this sort Coach Ellis instills in his kids a will to struggle and fight--and to paddle their way to glory. Along the way they contend with the hazards of urban life (drugs crime) and the ugliness of racism. The kids learn teamwork and respect and the coach learns a thing or two about himself too. Terrence Howard who’s in such a beautiful groove as an actor that he can almost do no wrong brings his trademark intensity and passion to the role of swim coach Jim Ellis. He’s tough but tender forceful yet contemplative--and everything a big-screen coach should be. He also has great chemistry with the kids and particularly with Bernie Mac whose custodian of the rec center becomes a great sounding board for Coach Ellis and the swimmers. If Howard is a great screen coach--and he is--than Mac is a great assistant coach. It would be nice to see them paired up again. Kimberly Elise is very pretty and very good in another stock role that of a city councilwoman eventually won over by Howard leading to a potential (and predictable) romance. Even Tom Arnold cast as an antagonistic and racist rival swim coach manages a good turn. This is the first feature from director Sunu Gonera and he brings an enthusiastic approach to absolutely formula material. The swimming scenes are exciting and even better the scenes that focus on the characters are just as stimulating. Besides any director who can get a good performance out of Tom Arnold surely has something. Films of this sort can be done well and they can be done badly--and we’ve all seen countless examples of the latter. Pride is clearly a feel-good movie from the first frame to the last. And guess what? It all works. Every second of it. Pride’s corniness quotient which should be off the scale is instead supplanted (refreshingly so) by a good old-fashioned sense of storytelling and heart. It gets its message across without being heavy and that is tantamount to a victory in itself.
Pity Mitch (John Francis Daley). It's his first day on the job at Shenanigans--a take on the nationwide-chain Bennigan's. The waiter who trains him Monty (Ryan Reynolds) is the same one he looks down on him. Monty shows Mitch the ropes as well as the cooks' genitalia. Sorry there's no other way to put it. See there's this game that the male employees play whereby...let's just say it's one of many unspeakable "games" they play that'll make you watch the film as you would a horror movie: your hands covering your eyes with just enough space between two fingers to catch a glimpse. And these are just Mitch's first moments on the job. Over the course of his shift he'll meet a twenty-something named Dean (Justin Long) who's trying to go straight--that is do something else with his life; a pushover (Patrick Benedict) whose timidity carries over to the urinal; and a veteran waitress (Alanna Ubach) who barks profane tirades about her patrons but not to them. People knock the MPAA's sense of humor but if they truly didn't have one this gross-out flick would be slapped with an NC-17 rating.
A film set in a restaurant falls squarely on the shoulders of its actors. Thankfully Reynolds and company make good carrying the film and its script of top-that one-liners and well shenanigans. Reynolds while now a bankable star in avenues other than comedy clearly has a knack for this stuff. His comedic timing and delivery are truly first-rate never more so than in Waiting excelling in the sheer vulgarity he has to shell out. Dodgeball's Long as Dean is downright earnest next to his buddy Monty but it's his role to defer to Reynolds' eloquent sarcasm. Of course this doesn't totally preclude him from joining in on the fun. He's just forced to take more barbs than he can dish out. Anna Faris (from the Scary Movie series) flies even more under the radar as Monty's ex the only one that stands in his way of proclaiming his prowess second to none. Also making pitch-perfect appearances as malevolent employees are fringe-sters Luis Guzman Chi McBride Dane Cook and Andy Milonakis with Anchorman's David Koechner as the manager.
Waiting is not the type of movie in which a separate director and writer is required--it's a package deal. That's because--and let's be honest here--a film set almost entirely in one location without a single stunt person or special effect doesn't need more than one voice. To this effect writer/director Rob McKittrick makes his first foray into each arena. Needless to say his directorial debut is almost a non-entity but that's more complementary than detrimental on a project like this. His stinging commentary on the other hand displays a comedic deftness that is worth keeping an eye on in the future especially if Waiting does any business at the box office.