The last season of Jersey Shore keeps chugging on, despite the fact that it premiered with numbers so low it would make Snooki’s neckline jealous. In tonight’s episode, “Merp Walk,” JWoww learns the full extent of her injury from last week’s club fight, Mike considers taking things to the next level, and Deena holds Meatball auditions now that her partner-in-meatball-crime Snooki has a bun in her oven. Hollywood.com got the chance to catch up with JWoww herself, Jenni Farley, at Comedy Central’s Night of Too Many Stars to talk about saying goodbye to Jersey Shore, what we can expect to see in the upcoming episodes, and her pick for the sexiest presidential candidate:
Hollywood.com: So Jersey Shore is coming to an end. How do you feel about this era coming to a close?
JWoww: It's definitely bittersweet only because we wanted to go out on top and we are. And we knew that we couldn't replace any of us so with all of us settling down and moving and with Snooki having Lorenzo, we knew it'd be our last time because we wouldn't bring anyone new. So we literally just went out with a bang. We knew it was going to be it, and we hit it hard.
Hollywood.com: Anything exciting coming up in the next few episodes?
JWoww: Deena's arrest is f***ing hysterical. It's hysterical. I can't wait for everyone to see it.
Hollywood.com: How was it saying goodbye to everyone?
JWoww: It's upsetting, you know. And we cried, we had a big cry after our last day. You know, it is bittersweet but we know that it's only the beginning. Even though we won't be living together as eight people, we'll still keep in contact.
Hollywood.com: With the presidential election coming up, if you had to pick who was the sexier candidate, who would you pick, Obama or Romney?
Jersey Shore airs Thursdays on MTV.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: MTV]
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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.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
Tamyra Gray may not have earned the title of American Idol after her shocking exit from the series last week, but she has become the very first contender to sign a music biz deal. MTV.com reports that 19 Entertainment, founded by show producer Simon Fuller--who has guided the careers of the Spice Girls and Annie Lennox--has picked up an option to manage the 23-year-old singer, once considered by both fans and the judges to be a shoo-in for one of the final slots. Gray's debut won't hit shelves until next year; finalists are barred from releasing any music until three months after the winner's CD is released, likely in September. The show's producers have three months after the Sept. 4 finale to pick up contracts on any of the 10 finalists, who will mount a U.S. tour in October and sing tunes from the show on a compilation album due later this year. Gray told MTV.com leaving Idol was "like stepping out of a bubble and not knowing what to do with yourself."
Country legend Johnny Cash was hospitalized Monday after suffering an allergic reaction to either food or medicine, The Associated Press reports. The Grammy-winning singer's manager, Lou Robin, said the 70-year-old Rock and Roll Hall of Famer may remain at Nashville's Baptist Hospital overnight, but that his doctors didn't think the problem was anything serious. "They're always cautious with any trouble he might have," Robin said. Cash suffers from autonomic neuropathy, a disease of the nervous system that makes him susceptible to pneumonia. He was hospitalized twice last fall for treatment of bronchitis.
American Pie actress Natasha Lyonne pleaded guilty Monday to a DUI charge, the AP reports. The 23-year-old actress will have her driver's license suspended and her car impounded for 10 days, has been fined $255, was sentenced to six months probation plus 50 hours of community service, and must take part in a Mothers Against Drunk Driving panel. Police arrested Lyonne around 2 a.m. on Aug. 28, 2001, after she crashed her rental car. The actress, who was driving with passenger Adam Goldberg (A Beautiful Mind), spent eight hours in the county jail before being released on $2,000 bond, charged with careless driving, leaving the scene of an accident and DUI.
Variety reports commercial and television director Matthew Penn, who's directed everything from Shaquille O'Neal hawking Radio Shack to Tony Soprano's therapy sessions, will make his feature directing debut early next year with The Root, a low-budget, Faustian drama about a chop shop operator whose relationship with a crooked police detective prompts him to try to get out of the stolen parts biz. The Emmy-nominated Penn, who directed the regional theater production of The Root, will direct David Strathairn, Gregory Hines, Karen Allen and Eli Wallach in the film.
Boot Camp returns this fall, but this time celebs will take on the mental and physical challenges set by the show's two former Marine Corps drill instructors. In a two-hour Fox special, Celebrity Boot Camp, the recruits--including rapper Coolio, onetime pop idol Tiffany, Married...With Children's David Faustino, ex-Milli Vanilli member Fabrice Morvan; Baywatch babe Traci Bingham, singer Vitamin C; Lorenzo Lamas; Kato Kaelin, Brady Bunch star Barry Williams and Price Is Right spokesmodel Nikki Schieler Ziering will be eliminated one by one until two are left to compete in a series of eight competitions called the "Gauntlet." Taped at the Camp Pendleton Marine Corps Base, the show will air on Sept. 30, according to Variety.
Grab your peroxide: ABC has greenlit a two-hour TV movie prequel to the 1997 feature film Romy and Michele's High School Reunion, Variety reports. The project, tentatively titled Romy and Michele: Behind the Velvet Rope, takes place in the early 1990s. The TV movie will recast the titular blondes, played in the film by Mira Sorvino and Lisa Kudrow, and follow them as they head to Hollywood after graduating high school. The teleflick, which is likely to air this coming season, may lead to a series.
A charred guitar set alight onstage by rock legend Jimi Hendrix could become the most expensive guitar ever sold when it goes up for auction in London on Sept. 24, Reuters reports. Hendrix's 1963 Fender Stratocaster is being offered for sale by Dweezil Zappa, son of rock guitarist Frank Zappa, who used it on his own 1976 album "Zoot Allures." London auction house Cooper Owen said the instrument was expected to fetch between $534,000 and $610,000. The Zappas had restored the guitar, which still bears the scars of flames, so it would play. Dweezil, who is selling the guitar to help fund the refurbishment of his father's recording studio, told the Cooper Owen Web site: "Just by looking at the guitar you can sense the history behind the music. It's very inspiring."