This Nashville native began her professional career as a singer and dancer at Opryland, U. S.A. in the early 1970s. An attractive blonde, Rhodes began to branch out into TV while still at Opryland. Sh...
Singer/songwriter Richard Marx has opened up about his split from his actress wife Cynthia Rhodes, describing their breakup as painful. The Hazard singer announced in April (14) that he had separated from the Dirty Dancing star after a 25-year marriage, and at the time of the news he insisted he was "just having fun" as being single was "all brand new" to him.
However, the musician has now confessed he is hurting from the split but is adamant his new album, Beautiful Goodbye, is not about his doomed union.
Marx tells People.com, "There were people who thought that, especially with the name of the album, that it was going to be a record about splitting up. And it's not that at all. It's really a celebration of romance and seduction...
"It has been a painful time. But I don't necessarily want to bury myself in songs about it, frankly, out of respect. I have nothing but love and respect for my ex-wife and I don't really want to delve into that in songwriting so much. Not to say that I never will, but I didn't feel like that's where I wanted to write from. I wanted to write from a more positive, inspired, hopeful place... I wouldn't discuss (the reasons for the split) with even some of my close friends. It's really nobody's business."
Singer/songwriter Richard Marx and his actress wife Cynthia Rhodes have called time on their 25-year marriage after separating last summer (13). The Hazard singer, 50, went public about the split during an appearance on U.S. TV talk show Katie on Friday (04Apr14), when host Katie Couric asked him about dating.
He said, "It's all brand new to me, so I'm just having fun... You hit 50 and go, 'What do I want to do differently? I want to do as much differently as possible'."
Marx met Dirty Dancing star Rhodes in 1983 and they fell in love while he was working on the soundtrack to her film Staying Alive. They wed in 1989 and share three grown-up sons, Brandon, Lucas and Jesse.
The king of love ballads and his wife are no longer singing the same tune.
A source tells People.com, Marx and Rhodes are in the process of divorcing.
The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Professional debut at age 17, singing and dancing with "Opryland, U.S.A." in Nashville (date approximate)
Toured with rock band "The Tubes"
Was a member of the pop band Animotion
First regular TV appearances on "Music Hall America"
Appeared in the music video of "Roseanna" by Toto
Played leading role opposite John Travolta in "Staying Alive"
This Nashville native began her professional career as a singer and dancer at Opryland, U. S.A. in the early 1970s. An attractive blonde, Rhodes began to branch out into TV while still at Opryland. She segued to features as an ensemble dancer in the overblown disaster "Xanadu" (1980) and Francis Ford Coppola's musical misfire "One From the Heart" (1982). After a small role in the surprise smash "Flashdance" (1983), Rhodes landed one of the female leads opposite John Travolta in Sylvester Stallone's "Staying Alive" (also 1983), the unnecessary sequel to "Saturday Night Fever" (1977). Rhodes had her first non-musical role as Tom Selleck's partner in the effects-driven "Runaway" (1984). Perhaps her best screen role was as Patrick Swayze's sexy dance partner whose pregnancy opens the way for Jennifer Grey in the hit "Dirty Dancing" (1987). Rhodes has seemingly retired from screen acting since her 1989 marriage to singer Richard Marx.
born on September 16, 1963; married on January 8, 1989