Actress Julianne Hough has reportedly moved on from her failed romance with U.S. TV and radio personality Ryan Seacrest by embarking on a new relationship with director Ari Sandel. The Footloose star was spotted getting up close and personal with a mystery man in a Los Angeles restaurant last week (ends19Jul13) and now TMZ.com has revealed her new beau is Academy Award winner Sandel.
The filmmaker, who won an Oscar in 2006 for his short film West Bank Story, was snapped leaving Hough's Hollywood home early on Saturday (20Jul13), when the blonde beauty turned 25, and heading into a flower store. A birthday bouquet of red roses were delivered to the star's pad shortly afterwards.
Hough parted ways with Seacrest, her boyfriend of two years, in March (13).
Whenever a relatively new writer gets hot in Hollywood, I'm always pleased. We've come a long way since the writer's strike of 2007 and, though it's still a highly competitive and often under-appreciated trade, this next piece of news brought a smile across this journalist's face.
Variety reports that Due Date writer Adam Sztykiel has sold a comedy pitch The Fight Before Christmas to Fox and the studio has immediately set the project up at Shawn Levy's (Date Night, Night at the Museum) 21 Laps production banner. Other than disclosing that Fight is a family-centered comedy, studio's keeping the logline under wraps. Levy may direct after he wraps Real Steel for DreamWorks, which is set to begin shooting next month.
Additionally, and more interesting in my eyes is the news that Sztykiel has been hired to re-write Lionsgate's The Game (not to be confused with David Fincher's 1997 mind-screw), an adaptation of Neil Strauss' novel The Game: Penetrating the Secret Society of Pickup Artists. The film centers on a community of pickup artists who offer their tips for seduction for the right price. Newcomer Ari Sandel will direct.
I think that The Game has huge R-rated potential, akin to what The Hangover and Knocked Up did for adult themed comedies. With the right lead in both of these new projects, Sztykiel's name should get a whole lot more recognizable in the near future (but no less hard to pronounce).
Source: Variety, Collider
Vince Vaughn never worked as a stand-up comedian but as an actor who struck gold making people laugh he clearly has an affinity for those who tell jokes and shout down hecklers for a living. This side-splitting travelogue documents what happens when Vaughn puts together a comedy version of Buffalo Bill’s Wild West Show. Instead of Annie Oakley and Sitting Bull proudly showing off their feats of skill you have Vaughn goofing around onstage with his buddies and four funnymen busting their butts to win over (occasionally hostile) audiences. And when they’re not trying to generate chuckles with bits about sex shopping and showers the comics must contend with life on the road—driving from city to city with Vaughn in a tour bus that doubles as a frat house on wheels and sharing hotel rooms too small for their fragile egos. At first though you wonder whether the film--and the tour for that matter--is just an excuse for Vaughn to get paid to have fun with Jon Favreau Justin Long Peter Billingsley and Keir O'Donnell in Saturday Night Live-ish skits (a spoof on Favreau’s roundtable gabfest Dinner for Five is money). Or visit places pivotal to his life and career such as the University of Notre Dame where he and Favreau became good pals while filming Rudy. But as the tour progresses Vaughn slowly but surely takes a backseat to the comedians who are trying desperately to make the most of the big break afforded them by their big-name benefactor. There’s no denying that Vaughn’s just as much a larger-than-life presence onstage as he is onscreen. Whether he’s getting his balls busted by Favreau or singing a duet with Dwight Yoakam Vaughn’s certainly comfortable working in front of a live audience. That said he knows his limitations. He wisely sticks to serving as the show’s emcee rather than pretending he’s the second coming of Chris Rock or Jerry Seinfeld. He’s also the face of the tour which means we get to see him in salesman mode trying to part the public from their entertainment dollars. You’re left with no doubt that Vaughn and the occasionally cranky fast-talking alpha males he plays are one and the same. As for the comics John Caparulo and Bret Ernst waste little time grabbing the spotlight. Fueled by nervous energy the foulmouthed Caparulo scores big laughs by machine-gun riffing on his very many shortcomings. Ernst’s “Guido jokes” are also made at his own expense and his hilarious recollection of roller staking as a kid ranks among the film’s most hilarious moments. It’s a tossup as to whether Caparulo and Ernst have the best rapport with audiences but both have bright futures ahead of them. Unfortunately Sebastian Maniscalco doesn’t project much in the way of personality and his neat-freak act just isn’t amusing. Egyptian-born Ahmed Ahmed is a one-trick pony. Yes there’s much humor to be found in his unsettling experiences as an Arab American—especially when he recalls being arrested—but he exhausts the topic so much that he really needs to find something else to take aim at. Anyone owning a YouTube digital camera could probably do just as good a job directing this documentary as Ari Sandel does. He takes a point-and-shoot approach to his subject--which is in contrast to Dane Cook’s stunt-filled series Tourgasm--but that doesn’t matter. This is a film that lives or dies in the editing room not on the road. As the film opens Vaughn naturally dominates the proceedings. And his skits with Favreau et al. are admittedly hysterical. He does quietly but noticeably fade into the background allowing the comics he hand-picked from L.A.’s Comedy Store their shot at glory. Sandel’s priority is to capture them in performance at their best and worst while revealing--through interviews and fly-on-the-wall footage--the trials and tribulations they face as unknowns who have yet out to set the comedy world on fire. To this end Sandel assembles a fun and intimate portrait of four men who during the course of one month bond over their desire to make people bust a gut laughing. And that’s never more evident when they hand out tickets to a show to Hurricane Katrina refugees who have set up camp in a park near Birmingham Ala. By the time the Wild West Comedy Show reaches its final destination of Chicago Vaughn seems exhausted but his compatriots have hit their stride. “We played 30 cities and we rocked all them ” Vaughn giddily declares. If Vaughn didn’t rock your city then the Wild West Comedy Show is definitely the next best thing to being there. Even better there’s no two-drink minimum.