The couple's relationship unravelled after a Christmas Day bust-up in 2009 which left the Two And A Half Men star facing criminal charges.
They subsequently split, and Sheen filed for divorce in November (10).
But Mueller's mother, Moira Fiore, reveals they want to give their marriage another chance.
She tells The Palm Beach Post, "They're talking about it constantly, and Brooke has been saying she and Charlie are trying to get back together.
"She (Mueller ) seems ready to give it another try. Charlie's been telling her that things have not gone well for him (and it) is because they broke up. I think he's making her feel guilty and he wants to be with Brooke."
The estranged couple is parents to twin boys, Max and Bob, born in March, 2009.
Kathryn Bigelow made Oscars history when she became the first female to land the top director honour, beating ex-husband James Cameron in the process.
Calling the huge win "the moment of a lifetime," Bigelow dedicated the award to "the women and men in the military who risk their lives on a daily basis in Iraq and Afghanistan and around the world."
The gritty film also claimed the night's sound awards, film editing and original screenplay prizes - as it collected six of the nine accolades it was nominated for.
Avatar, the world's biggest grossing movie ever, was a triple winner and Up, Crazy Heart and Precious won double.
All the pre-show favourites won the big acting prizes with Jeff Bridges claiming Best Actor, Sandra Bullock Best Actress, Mo'Nique Best Supporting Actress and Christoph Waltz Best Supporting Actor.
Bigelow led what became a great night for firsts - Bullock became the first star to land a Golden Raspberry dishonour the same year as an Oscar - she picked up the Worst Actress Razzie for All About Steve on Saturday (06Mar10); Bridges won his first Oscar for Crazy Heart after five attempts, and 33 of 39 Academy Award winners took home their first Oscars, with The Hurt Locker trio of Bigelow, writer Mark Boal and sound editor Paul N.J. Ottosson picking up their first and second accolades at the 82nd annual prizegiving.
The full list of winners at the Kodak Theatre in Hollywood is:
Best Supporting Actor: Christoph Waltz (Inglourious Basterds)
Best Animated Feature Film: Up
Best Original Song: The Weary Kind by Ryan Bingham & T-Bone Burnett (Crazy Heart)
Best Original Screenplay: Mark Boal (The Hurt Locker)
Best Animated Short: Logorama
Best Documentary Short: Music by Prudence
Best Live Action Short: The New Tenants
Best Make-Up: Barney Burman, Mindy Hall & Joel Harlow (Star Trek)
Best Adapted Screenplay: Geoffrey Fletcher (Precious: Based on the Novel Push by Sapphire)
Best Supporting Actress: Mo'Nique (Precious: Based on the Novel Push by Sapphire)
Best Art Direction: Rick Carter, Robert Stromberg & Kim Sinclair (Avatar)
Best Costume Design: Sandy Powell (The Young Victoria)
Best Sound Editing: Paul N.J. Ottosson (The Hurt Locker)
Best Sound Mixing: Paul N.J. Ottosson & Ray Beckett (The Hurt Locker)
Best Cinematography: Mauro Fiore (Avatar)
Best Original Score: Michael Giacchino (Up)
Best Visual Effects: Andrew R. Jones, Joe Letteri, Stephen Rosenbaum & Richard Baneham (Avatar)
Best Documentary Feature: The Cove
Best Film Editing: Bob Murawski & Chris Innis (The Hurt Locker)
Best Foreign Language Film: El secreto de sus ojos (Argentina)
Best Actor: Jeff Bridges (Crazy Heart)
Best Actress: Sandra Bullock (The Blind Side)
Best Director: Kathryn Bigelow (The Hurt Locker)
Best Picture: The Hurt Locker
Reports suggesting Brooke Mueller has relapsed into a crack and alcohol problem have been rampant ever since the real estate agent checked into hospital last month (Jan10), and then spent time at the Two Dreams facility in North Carolina.
Gossips also felt sure the bout of bad health was triggered by the stress of her Christmas Day (25Dec09) fight with Sheen, which landed the actor behind bars - and led to him being ordered to stay away from his wife.
The couple briefly reconciled while she was in hospital in Los Angeles, but they're still estranged pending a court hearing.
Mueller tells In Touch magazine, "There are so many lies out there,” and her mother is keen to set the record straight.
She tells the publication that the 32 year old was taken to the hospital on 20 January (10) with a dangerous fever resulting from having her wisdom teeth removed. It had nothing to do with drink or drugs.
Moira Fiore says, "The infections and pneumonia are what caused the shutting down of her organs. Brooke was very sick."
And Fiore wants the gossip swirling around her daughter to stop: "This is ridiculous... There were tubes down her throat. How in the world would anyone in this position do drugs?"
The angry mum is also targeting tabloid reports suggesting Mueller attended rehab for drinking while pregnant with her 11-month-old sons, Bob and Max: "It’s so horrible to say (that). She would never put her boys at risk."
Mueller reportedly checked out of the Two Dreams on Thursday (04Feb10) after a week of treatment to reduce her stress levels.
What No Reservations needs is a smell-sensitive rat who can cook. Instead we get head chef Kate Armstrong (Catherine Zeta-Jones) a perfectionist who runs the kitchen of a swanky Manhattan eatery with an iron fist. Let’s just say she’s in desperate need of an attitude adjustment so in pops new sous-chef Nick (Aaron Eckhart) a free-spirited fellow who cooks by the seat of his pants. Soon he’s got the whole kitchen staff laughing and loving him way more than Kate. Nick tries to charm Kate too but she won’t have any of it. To top it off Kate unexpectedly becomes the guardian of her 9 year-old niece Zoe (Abigail Breslin) after her sister dies in a car accident. The understandably distraught Zoe is having a tough time and won’t eat any of her aunt’s highfalutin cuisine. The little girl only likes fish sticks—and as it turns out spaghetti a Nick specialty. Yes Nick finally melts Kate’s heart when he gets Zoe to eat a hearty bowl of spaghetti. You can see where this is going right? Love—and tomato sauce—conquers all. When you have two incredibly attractive people onscreen together you want the sparks to fly. Think Angelina Jolie and Brad Pitt in Mr. and Mrs. Smith. True those two were falling in love for real but still it makes for a more fulfilling and cinematically romantic experience. But alas it doesn’t always work out and in No Reservations’ case the love story between Zeta-Jones and Eckhart deflates like a fallen soufflé. On their own they each hold up well: Zeta-Jones is good at being steely but emotionally stunted when it comes to matters of the heart while Eckhart’s easy-going charm and great smile make his Nick an obvious choice for any woman. Get them together however and things sag like a wet noodle. Too bad. Breslin is her usual cute self playing it a little more somber than she did in Little Miss Sunshine but the little actress ought to be careful not to pigeon-hole herself into the “eccentric but affecting” kid role. No Reservations also has another knock against it: It’s a remake of the German film Mostly Martha a far more stellar—and original—effort. Natch. Turning a hit foreign film into a studio picture rarely works out; something always gets missed in the translation which for No Reservations is surprising since Mostly Martha writer/director Sandra Nettelbeck is listed as the co-writer. What Nettelbeck did with Mostly Martha is revolve her story around master chef Martha (played brilliantly by Martina Gedeck) and her quirks and anxieties over suddenly having to raise a child. The love story with the Italian chef is more a pleasant surprise than the driving force. But of course with No Reservations the romance is played up for that certain chick flick appeal with two people who have no chemistry. Maybe Nettelbeck was lured into Americanizing her original. For his part director Scott Hicks (Shine) is definitely capable enough to carve out what he can from this predictable set up even adding some flair to the kitchen scenes but he can’t quite push No Reservations past its banality.
Larry the Cable Guy: Health Inspector opens with a man scratching his plumber’s-crack re-using a cotton swab to clean his ear and wearing the sleeveless shirt he uses as a towel. Naturally this is Larry (the Cable Guy) a health inspector. Halfheartedly inspecting the local food joints he’s leading the life that suits him well. But when his boss (Thomas F. Wilson) assigns him a serious-minded female partner (Iris Bahr) his world is turned upside down--or at least made less comfy. Larry’s called in to investigate “some fartin’ Jewish folks” at a swankier restaurant and learns that it’s not an isolated incident. While Larry’s unorthodox methods manage to arouse the interest of a waitress (Megyn Price) with bowel habits that he adores his tactics arouse the ire of the restaurateurs he investigates and it costs him his job. Now he’s forced to do whatever it takes to prove his innocence. Even the D-listers here must’ve gone straight to confession upon accepting these roles to help cushion their bank accounts. Let’s start with Larry the Cable Guy (of the Blue Collar Comedy Tour “Git-R-Done” fame) who is one of the most successful stand-up comics today. He’s right in his element seemingly with fart blanche on toilet humor but to the unconverted he’s a little more than grating. Speaking of grating the (hopefully) affected voice of Bahr makes the movie mostly unlistenable in addition to being unwatchable. But take pity on her for this is no way to jumpstart a movie career. Tony Hale clearly still reeling from the potential cancellation of TV’s Arrested Development (on which he plays Buster) also lowers his star and integrity with an ambiguous character here. And Joe Pantoliano shows his face. The once great character actor reaches a new low with this one even if his performance isn’t all bad. Health Inspector masters the art of the fart. But more disgusting than the settings with which the farts are juxtaposed is the ad nauseam (pun intended) level of over-usage. So congratulations go to along with fart Yoda Larry the Cable Guy director Trent Cooper who makes his feature directorial debut. And might we add what a fart-tastic debut it is! But it’s not all farts ladies and gentleman--all forms of gross-out humor are exploited unlike ever before. On the er serious side the collection of running jokes adds to a few legit laughs. Cooper helms a story that naturally doesn’t work deferring instead to Larry’s natural um charisma. The script offers no segue into Larry’s stand-up persona but anyone who sees this here flick ain’t lookin’ for no dang Oscar winner. Clearly Health Inspector will appeal to Larry’s following but is not meant for those of sound mind.
Talk about pressure. When LAPD hostage negotiator extraordinaire Jeff Talley (Bruce Willis) has a bad day lives are lost--and it is after one particularly bad day that Talley decides he's had it with the job. Plagued by guilt he relocates his family and becomes the police chief of a sleepy northern California town. But it's about to be woken up. Corrupt accountant Walter Smith (Kevin Pollak) and his two kids--teenager Jennifer (Michelle Horn) and grade schooler Tommy (Jimmy Bennett)--are taken hostage in their house after a carjacking attempt by a trio of young punks goes awry. Talley is forced to step in once again as the hostage negotiator. Why you may ask since he is now just a lowly police man? Because it turns out Talley's family is being held captive by Walter's superiors who need to get something very important out of the house. They demand the seasoned Talley take control of the situation before things get really ugly. And they do get ugly.
I'm sure Willis would say he agreed to play yet another reluctant hero whose family is in danger because the concept was intriguing. But we all know he probably made Hostage for the money. However Willis is still an appealing actor and a tried and true action star. He infuses Talley with his usual quiet strong demeanor which inevitably turns tortured--and then revengeful--when things go badly. Another standout includes Ben Foster (HBO's Six Feet Under) who does a nice job as Mars the most demented and brutal of the three kidnappers. Not only is the cold-blooded Mars on the edge but he's also some kind of a super delinquent who's able to knock out police cars professional hit men and the like with ease. Scary what they teach kids these days. Willis' daughter Rumer also gets some screen time as Talley's sullen daughter--but since she doesn't get to say much the jury is still out on whether she's inherited any of her parents' acting skills.
Hostage unfortunately takes a good idea and ruins it. To his credit French director Florent Siri who is best known in his native country for crime thrillers seems to understand about building the tension. The Smiths' isolated fortress situated in the hills is a perfect place to piece together the action-thriller ingredients: the shell-shocked cop trying not to repeat his past mistakes; the novice in-over-their-heads kidnappers lead by a trigger-happy psychopath; the resourceful and brave young hostages on the inside; and the menacingly ominous outside influences. But Hostage ends up taking these well-placed elements and running them into the ground. The film starts to drag in its logistical inconsistencies. Why don't the corporate baddies just come in and blow everyone away from the beginning? They obviously have the means to do so. But no. We are instead subjected to Willis running around trying to outsmart everyone natch while having heartbreaking conversations with the precocious little boy inside the house. When things finally do come to a head we are left with a severely over-the-top overtly bloody climax.
Loosely based on the (rather lame) 1960 Rat Pack film dashing understated-but-cool thief Danny Ocean (George Clooney) orchestrates the most sophisticated elaborate casino heist in history less than 24 hours after being released from jail. In one night Danny's handpicked 11-man crew of specialists--including an ace card sharp (Brad Pitt) a young-but-masterful pickpocket (Matt Damon) and a demolition genius (Don Cheadle)--will attempt to steal over $150 million from three Las Vegas casinos owned by Terry Benedict (Andy Garcia) the elegant ruthless entrepreneur who just happens to be dating Danny's ex-wife Tess (Julia Roberts). To score the cash Danny will have to risk his life and risk his chance of ever reconciling with Tess. But if all goes according to his intricate nearly impossible plan Danny won't have to choose between his stake in the heist and his high-stakes reunion with Tess. Or will he?
The star wattage in this movie could solve all of California's electricity problems in one fell swoop. George Clooney easily passes himself off as suave mastermind Danny Ocean playing the role with understated class and elegance. Brad Pitt takes a similar arc as Rusty though he's slightly more dispassionate and professional than Clooney's visionary Ocean. Matt Damon is convincing as the inexperienced-but-talented pickpocket who's essential to getting in the vault. And Julia is simply Julia--glamorous and charming a smart cookie who is being wooed by the evil ruthless (and anal-retentive) casino mogul so elegantly portrayed by Andy Garcia. Affecting a Cockney accent and attitude Don Cheadle's portrayal of the demolition expert is a tour de force. Carl Reiner is absolutely hilarious as Saul Bloom an aging old-timer who comes out of retirement to infiltrate the casino as a debonair arms dealer. Elliott Gould Bernie Mac Scott Caan and Casey Affleck round out the cast nicely with inspired performances especially Gould's and Mac's.
Soderbergh cemented his reputation last year as a director of serious weight when both Traffic and Erin Brockovich were nominated for the Best Film Academy Award and garnered him two Best Director nominations---an unprecedented feat. Ocean's Eleven marks Soderbergh's departure from the serious to the seriously fun. This is one of the most stylish most elegantly filmed movies I have ever seen. Not only are all the actors beautiful but so are the locations clothes and shot selections. The speed and pacing of the flick belie the movie's length; Soderbergh clearly had fun making this movie. He shot this film very intimately often allowing the camera to stay close on the actors a tad longer than expected which lets their personas shine through--thus their personalities draw you into the movie as much as the caper itself. It's not often you see a movie where the direction has as much wit and cleverness as the plot itself. Ocean's Eleven makes no pretense to be something other than a jaunty cheeky exhilarating heist movie. So while the plot's not too deep all is forgiven considering the level of acting and direction.
Start with hard work a grueling arduous schedule and an industry already famous for fast living. Throw in lots of money and starstruck scantily dressed fans willing to do anything for a few moments with the men of their dreams and ... well you know. But there's more to "Backstage" than cognac bottles green leafy substances and female anatomy. Rappers eat sleep play fight discuss their inner struggles and admit to being moved to tears by "Good Will Hunting." Just don't expect the story of the girl who broke up the band -- the rivalries and conflicts are mostly low-key and a friendly paintball game supplies the only gunplay.
As major players in an image-conscious business the rappers and hip-hop impresarios profiled here do their fair share of posturing; at other times the conversations seem remarkably candid and revealing. Highlights include interviews with Jay-Z Beanie Sigel and DMX with some comic relief as hip-hop wannabes try to impress the touring rappers. Also noteworthy is the film's focus on music magnate Damon Dash and his high-decibel insights into management philosophy intellectual property and brand identity. (He is the producer after all.)
Documentary and music video director Chris Fiore chose to let the subjects of "Backstage" tell the story in their own words. Unlike many of his contemporaries he helped them out by editing miles of celluloid and tape into a well-structured comprehensible narrative. The film starts out loud and fast and keeps up the pace despite a detour into sex and drugs that lasts just a bit too long. Missing for the most part is the view from across the yawning gender gap -- little is heard from female hip-hop artist Amil despite her prominent billing in the credits.