Friends who star on Saturday Night Live together go on to star in almost every movie they make together. At least, that appears to be Kristen Wiig and Bill Hader's philosophy, and the two are carrying on the tradition with their latest film The Skeleton Twins. The first trailer for the Sundance darling showcases a slightly different side of the pair, however, as they play twins who reconnect after they coincidentally each cheat death on the exact same day. Their second chance at life inspires both of them to re-evaluate their lives and mend their relationships with one another. Between the eight years they spent together on SNL, the 10 movies they've both starred in, and the countess talk show and award show appearances they've made together, Wiig and Hader have created many wonderful, weird, and goofy characters. In celebration of their chemistry, here's a look back at all of the hilarious pairings that Wiig and Hader have entertained us with over the years...
Devin and Karina, The Californians Despite being one of SNL's most divisive recurring sketches, The Californians was a cast favorite, which explains why it was performed so many times. Still, the pointless soap opera about rich people giving directions would be nothing without Hader's Devin, whose close relationship with Wiig's Karina caused a great deal of tension with her husband, Stuart (Fred Armisen).
Brady Trunk and Anastasia Hicks, Hollywood Dish As the world's worst entertainment news hosts, Wiig and Hader had the perfect opportunity to showcase both their most obnoxious, arrogant voices and their silliest faces during some extremely uncomfortable interviews with various celebrities that culminated in a series of dramatic spit takes.
Lyle Round and Mindy Elise Grayson, Secret Word Nine times out of ten, if SNL was doing a game show sketch, Hader played the host. Still, his most famous host was Lyle Round, an obnoxious, sleazy '50s television personality who always laughed at his own jokes and alternated between flirting with and yelling at Wiig's Mindy Elise Grayson, who has never been able to understand the one rule of the show. It's Wiig and Hader at their most over-enunciated, which is generally when they're at their finest.
Bobby and Paulette, Adventureland As the permanently exasperated couple that runs the titular theme park, Hader and Wiig got the chance to introduce audiences to their relaxed, hilarious chemistry and the oddball characters that we'd come to love them for, along with the real reason why nobody ever wins a giant panda while playing arcade games. They just don't have that many left.
Phone Sex Callers, Her In perhaps their strangest co-starring role (and considering the kind of weirdos these two normally play, that's saying something), Hader and Wiig each provided voices for people in a chat room that Theodore Twombly (Joaquin Phoenix) enters at the beginning of the film to connect with another person. Though Hader plays a man pretending to be a woman, his cameo is brief (and if you didn't know to listen for him, it would probably pass you by completely). Wiig's performance as SexyKitten, on the other hand, is much more memorable, primarily because she asked Theodore to... well, "choke [her] with the dead cat" in the throes of passion. You'll never be able to watch Bridesmaids the same way again.
Columbia Pictures via Everett Collection
As grand as the themes of good and evil, needs and deservings, power and responsibility and such forth are, superhero movies are generally pretty straightforward in premise: hero stops villain from wreaking havoc. As off-putting as this kind of simplicity might sound, it's usually the right way to go. If you pack enough substance into your characters and adhere your plot to these linear margins, you can actually wind up saying a healthy amount (and having a lot of fun). The Amazing Spider-Man 2 gets half of this formula down pat. Although Andrew Garfield's Peter Parker is still a moreover undistinguished identity, his emotional magnitude (re: his relationship with Gwen Stacy) is enough to keep him valid through the storm of lunacy that is his second feature. And it's not even that lunacy that holds him back. The problem isn't how wild his conquests are, how silly some of the action sequences feel, or how absolutely bonkers his villains turn out to be. It's all the other stuff (and yes, if you can believe it, there's a ton more going on in this movie than what I've already mentioned — that's the issue). All the plot twists, tertiary mysteries, ominous flashbacks, abject reveals, and weightlessly sinister pawns in this brooding game that, save for its fun with the baddies, takes itself way too seriously. All that stuff that The Amazing Spider-Man 2 thinks is necessary to make Peter Parker matter? It actually does just the opposite.
Peter is at his best when he's playing Tracy and Hepburn with the girlfriend he's perpetually disappointing (the eternally charming Emma Stone), or trying to win back the favor of the only remaining parental figure from whom he's rapidly slipping away (Sally Field, reminding us why she's a household name), or angling to connect with the mentally unstable engineer who just wants people to notice him (Jamie Foxx working his comic shtick with a frightening zest). We have the most fun with Peter when he's playing the simplest games, and we connect best with him on similar ground. But Peter and company, at the behest of The Amazing Spider-Man franchise's Sandman-sized aspirations, spend so much time exploring new avenues: the secrets surrounding the death and work of Richard Parker, the behind-the-curtains operations of OsCorp, the nefarious goings on in the waterside penitentiary Ravencroft.
Columbia Pictures via Everett Collection
As a result of the grand stab at world building, there is just so much stuff that Peter has to wade through in this movie, dragging the likes of Gwen and his boyhood friend Harry Osborn (Dane DeHaan, mastering angst, menace, and upper-class privilege all at once) into the dark crevasses of narrative waste. With so many diversions into the emotionally vacant, deliberately joyless explorations of Parker family origin stories, secret brief cases, and underground subways — The Amazing Spider-Man 2 rivals Captain America: The Winter Soldier in complexity, but forgets the necessary ingredient of fun — we barely have enough energy left when the good stuff hits.
And in truth, the good stuff isn't really good enough to sustain us through all the duller periods. Garfield and Stone do have laudable chemistry. Foxx is a hoot as Peter's maniacal new foe, especially when paired with the grimacing DeHaan. And the action, while often straying from any aesthetic authenticity, is nothing shy of neat-o. It's all passable, occasionally worthy of a hearty smile, but rarely anything you'll be definitively pleased you took the time to see.
But beyond coming up short in the micro, the film's regal downfall is its scope. With so much to do, both in accomplishing its own necessary plot points and setting up for those to come in future films, The Amazing Spider-Man 2 doesn't seem to take time to make sure it's having fun with its own premise. And if it isn't having fun, we won't be either.
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Maybe we shouldn't be surprised if we don't see much of Jason Sudeikis around Saturday Night Live this weekend. No, the SNL star hasn't left the show for good — as he's alluded to/threatened time and time again — but because returning favorite host Justin Timberlake is back and, well, he and Sudeikis' fiancee Olivia Wilde have history.
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Then again, if J. Suds decides to sit this one out, it wouldn't look all that different from most episodes of SNL recently. The variety show's former heavy hitter has been all but reduced to a minor player, only occasionally popping up in the background of a sketch or to dust off his Wolf Blitzer or Billy Ray Cyrus imitation. (Even then, he's overshadowed by Vanessa Bayer's pretty cool take on Miley.) In February alone, Sudeikis only appeared in a handful of sketches — in none of which was he front and center.
So what is the fate of Sudeikis, who is currently in his 10th year at Studio 8H? Will the guy who seemed to have one foot out the door with Kristen Wiig — and who said in early 2012 that he'd "miss the people ... the process, the parties" — stick around for the duration of Season 38? Hollywood.com reached out to both NBC and the Sudeikis' rep, but did not get a comment regarding his current and future status on the long-running show.
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Look, it's not that we want Sudeikis out the door. Far from it. (I mean, what would be up with "What Up With That?" without his trademark dance moves?) But if this does turn out to be the final season for the actor/comedian, he's squandering his talents and would be leaving a lame duck. Maybe it's because Sudeikis didn't get the comeback he so richly deserved on 30 Rock (we had higher hopes for Floyd and Liz) or because he's doing Applebees commercials voiceovers, but we're really pulling for this talented performer to go out with a bang rather than a whimper.
After all, Sudeikis has done an awesome job playing the likes of Taylor Hicks and Vice President Joe Biden, Jon Bon Jovi, and one half of "Two A-holes." Please, J. Suds, you're too funny and started too promising to become the punchline of "that guy is still here?" jokes. Make the best of the rest of Season 38 and step up your game to play on the level of Bill Hader and Fred Armisen again. That is, if you do indeed choose to go. (Just as long as you don't make a Hall Pass sequel).
[Photo credit: NBC]
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.