Former model Janice Dickinson almost quit reality TV show The Surreal Life
just hours after walking through the door of the Los Angeles celebrity mansion
after taking offence to actor and housemate Bronson Pinchot's amorous
The bitchy socialite and author, who once dated Sylvester Stallone and Jack Nicholson, turned into a drama queen on the show's debut, which aired on July 10 after Pinchot started hugging her.
After telling the actor, "You can't grope me like that," Dickinson burst into
tears as Pinchot insisted he was just being friendly, adding, "You've got to
stop or I'm gonna leave. I quit. I gotta go."
Dickinson was then caught phoning a pal in New York, begging him to pick her
up. The diva was then persuaded to stay by rap star Sandra 'Pepa' Denton--another housemate.
The former model later explained her actions: "I don't like men uninvitedly
(sic) putting their hands on me and mauling, molesting or groping and I asked
him, 'Please don't touch me.'
"Bronson's creepy. It really rubbed me the wrong way... I'd rather sleep with
a homeless guy." But the actor insisted that he felt an instant attraction to Dickinson.
He said, "I believed in my heart Janice and I will hook up somehow. I liked
her hoarse voice and I liked her tough-ass thing. I think the sex would be
amazing...I never groped her."
Dickinson's 12 days in the Surreal Life house with Pinchot, Pepa, baseball
star Jose Conseco, reality TV queen Omarosa, model Caprice and motocross star
Carey Hart was filmed and will run on TV throughout the summer.
Article Copyright World Entertainment News Network All Rights Reserved.
British model Caprice, Pink's biker boyfriend Corey Hart, and Sylvester Stallone's ex Janice Dickinson will be among the stars of the upcoming new series of celebrity reality show Surreal Life.
The trio will join shamed former baseball player Jose Canseco, Salt-N-Pepa
star Sandi Denton, actor Bronson Pinchot and reality TV diva Omerosa
Manigault-Stallworth when the fifth season of the bizarre show debuts in
In the show, which is now in production, a group of celebrities are taped 24
hours a day while living together in a Hollywood Hills mansion.
Former Surreal Life stars have included Verne Troyer, Flavor Flav, Brigitte Nielsen and Vanilla Ice.
Article Copyright World Entertainment News Network All Rights Reserved.
Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."