'Old Spice Guy' Talks Winning On 'Weakest Link': Late Last Night
If you don’t know who the “Old Spice Guy” is, you better run home to your apartment and because you probably haven’t watched TV there in a while… so your cat is probably dead, your ferns are probably dead, your neighbors are definitely dead because you used to bring them groceries every night at 8. Think about those catastrophic losses, and reconsider the importance of knowing who the Isaiah Mustafa is. But in the meantime, watch this clip of him on Leno last night.
And Eva Mendez also talked to Leno about her new movie, The Other Guys, with Will Ferrell and Mark Wahlberg. In it, she has a love scene with Ferrell, and she explained what it’s like to get freaky in the bedroom with him. Turns out, he’s an Abe Lincoln fan!
Comedian Tommy Davidson told Jimmy Fallon his thoughts on staying in a condominium that was owned by a comedy club in West Palm Beach, that apparently, was haunted by Michael Jackson.
And in case you were wondering what Michael Keaton has been up to these days, it’s recovering from his crazy pet rabbit he had a few years ago.
Jon Stewart pointed out how John Kerry has a $7 million yacht that he hasn’t been paying taxes on. He’s avoided paying them by keeping his boat in Rhode Island, which has no sales tax. So yes, the idea of New Yorkers having to pay taxes on the soda they buy at the grocery store just became a more important issue.
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Oh, and hey, Scott Lively thinks “Adolf Hitler was a homosexual and filled his military with homosexuals, because they were more savage than natural men.” We’ve learned from that Shirley Sherrod incident, right?
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And Stephen Colbert said Bush’s tax cuts that affect 3% of the nation’s wealthiest people, will expire quite soon. He used his popular segment, “The Word,” to figure out the effects of this change. He also recommended a specific product that can work particularly well at stimulating the economy and lessening the deficit.
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Kevin Kline Talks 'The Extra Man': Late Last Night
Jimmy Fallon spoke to Kevin Kline about his new movie, The Extra Man, which is too smart for me… even though I met him when I was in sixth grade and my art teacher sent me out into the hallway for misbehaving and he promised me he’d never make a movie I was incapable of understanding! I’m sure Kevin’s a nice guy, but even my art teacher kept her promises…
And Jimmy also talked to Chase Crawford of Gossip Girl and Possession of Marijuana about his new movie, Twelve, about how 50 Cent shoots him. I’d consider that an honor, actually – to be shot by someone who’s been shot something like 9 times? That’s called “passing the torch,” my friend.
Jay Leno talked to Bill O’Reilly, who usually I can neither stand nor understand. But luckily, he didn’t talk about his political views. Instead, he spoke about what it was like to attend a baseball game with Geraldo Rivera and Glenn Beck and how he thinks Tony Hayward of BP should be punished.
Then O’Reilly talked about how he had to apologize for the way he covered the Shirley Sherrod story and how Lady Gaga is “groovy.” Disgust.
Jon Stewart pointed out how racist Shirley actually is! Like, tremendously racist. As in…oh, wait. That’s not bad at all. That’s quite nice, actually! So who do we blame for getting all caught up in racism and disgust and betrayal and mistakes? How about John Oliver?
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And Stewart proved he’s not racist by displaying his Christmas card and looking at Wyatt Cenac in the eye when he spoke.
The Daily Show With Jon StewartMon - Thurs 11p / 10cConversation About Racewww.thedailyshow.comDaily Show Full EpisodesPolitical HumorTea PartyAnd Stephen Colbert voiced his opinions of the whole Shirley Sherrod thing. He didn’t think the Obama administration has anything to apologize for, because it seemed like the only way to get her to stop telling such a long story was to fire her.
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Not content to let the lifeless zombies of 2004‘s Polar Express define his legacy as a pioneer of 3-D Christmas movies (a genre to which incidentally he remains the sole contributor) director Robert Zemeckis is back for another go at it and this time his inspiration isn’t just some fly-by-night Caldecott Medal winner; it’s Charles Dickens’ A Christmas Carol perhaps the most cherished piece of Christmas fiction of all time.
While other filmmakers have tackled Dickens’ most famous work before none adapted it in the way the author would have wanted it to be presented: as a big-budget three-dimensional motion-capture animated spectacle starring the legendary Jim Carrey. Thankfully for us Zemeckis stepped up to the plate.
For the dozen or so who are unfamiliar with A Christmas Carol’s simple yet powerful story a quick rundown is in order. On a snowy Christmas Eve in 19th-century London a notorious miser named Ebenezer Scrooge (played by Carrey) is visited by three ghosts (also played by Carrey): Christmas Past Christmas Present and Christmas Yet to Come. Together the terrifying apparitions conspire to teach Scrooge an unforgettable lesson about the folly of his avarice and the virtue of charity and compassion.
Unlike Zemeckis’ previous literary adaptation 2006’s Beowulf there isn’t a whole lot about A Christmas Carol’s tale of yuletide redemption that cries out for the 3-D treatment — nor does the star of Dumb and Dumber and Ace Ventura: Pet Detective seem especially suited to play the part of Scrooge. And yet both creative decisions prove surprisingly successful in this movie. Zemeckis’ 3-D animation is wondrous to behold and Carrey is simply terrific as the bitter old grinch.
The problem is Zemeckis can’t resist falling in love with his technology and his star; consequently A Christmas Carol overdoses on both. The first time the camera glides through the streets of Dickensian London or soars above its snow-covered skyline the experience is breathtaking like being plunged into a world of Thomas Kinkade paintings. (And I mean that in a good way — even the fiercest detractors of the Painter of LightTM’s mass-produced portraits have to admit they hold a certain romantic appeal.) But by the fifth or sixth time it devolves into tedious showmanship.
Similarly while Carrey’s total immersion into the Scrooge character is remarkable his manic mugging as the Christmas ghosts is all too often distracting. Don’t ask me what the Ghost of Christmas Present was talking about during his sequence; all he seemed to do was laugh like a drunken Viking and blather on with an exaggerated Scottish accent.
But in the end neither Zemeckis’ overreach nor Carrey’s hysterics can obscure the impact of A Christmas Carol’s timeless message. As with previous adaptations of the story I couldn’t help but tear up a little when Tiny Tim uttered his trademark closing line “God bless us everyone!” — even if he did kinda look like a cartoon zombie.
This documentary follows superstar Jerry Seinfeld as he returns to stand-up trying out all-new jokes on tour. Along the way he meets newbie and fiercely driven young comic Orny Adams who aces his gig at Montreal's classic comedy festival and lands a dream manager (Seinfeld's own George Shapiro). From the Gotham Comedy Club Standup New York Carolines and the Comic Strip to gigs on the Tonight Show and Letterman Comedian tracks the progress of many a talented stand-up comic famous and not so who follow their dreams and obsessions to bravely try to make it solo. A trove of master comics like Bill Cosby Ray Romano Jay Leno Garry Shandling and Chris Rock share their wisdom jokes and war stories throughout. Seinfeld's behind-the-scenes preparation to go before a large theater audience suggests that the comic is ultimately motivated by love--the immediate instant gratification love from a big live receptive adoring loud audience.
A film with such appealing and charismatic personalities as Jerry Seinfeld Chris Rock Garry Shandling Jay Leno Bill Cosby and lesser-knowns can't miss having immense appeal. Seinfeld at his peak conveys immense charm and humor. His humbling yen to return to his stand-up roots further endears. Some comics captured like funny guy Colin Quinn suggest that life in the funny lane is irresistible though not without speed bumps and soft shoulders. But Leno proclaims that if you don't do the stand-up you don't have it. A final segment that has Seinfeld making a big return to stand-up in an awesomely gorgeous venue suggests why the thrill of going it alone is never gone.
Director Christian Charles (who directed Seinfeld in his award-winnning Amex commercials) mans one of the two DV cameras that captured the action and delivers the goods. Direction is straightforward and focused allowing the stand-up comics megastars or otherwise to always hold center stage. Charles understands that camera tricks are redundant since his compelling subjects will do the trick. Film clocks in at a peppy 81 minutes and is propelled by a jazzy score.