Blossom and The Big Bang Theory star Mayim Bialik was involved in a serious car accident in Los Angeles on Wednesday, Hollywood.com has confirmed. LAPD spokesperson Richard French told Hollywood.com that the 36-year-old actress was driving in L.A. when a car with three tourists from Chile turned into her vehicle at Hollywood Boulevard. "Just before noon there was a party traveling northbound on La Brea, approaching Hollywood [Blvd.]," he said. "There were three people in the car. They turned westbound onto Hollywood Boulevard, and directly into her car. It was a near-head-on collision."
French also confirmed reports that the actress sustained a serious injury to her left hand. "She suffered severe lacerations to her left hand and thumb, and was transported to a local hospital where she was admitted for treatment," he said. "The three others suffered minor injuries and did not go to the hospital. There was no crime involved; [it was] just one of many accidents that happen throughout the city." TMZ reported earlier that Bialik may lose a finger.
UPDATE: Mayim Bialik has tweeted about the accident, reassuring fans about the prognosis of her hand and fingers. See below.
(husband typing) In pain but will keep all my fingers. If u wanna See pre accident me watch The Soup tonight lol #joelmchale @thesoup— Mayim Bialik (@missmayim) August 15, 2012
Laura Ackermann released the following update on Bialik's condition: "Mayim Bialik was in a minor car accident today. A representative close to her spoke with her and she is doing fine and will be returning to work tomorrow. She thanks everyone for their concern."
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[PHOTO CREDIT: Wenn]
(Reporting by Alicia Lutes)
Although dozens of movies are released every year, it makes sense that we only recognize up to ten in the Best Picture category at the Academy Awards. This is because generally, the vast majority of the movies released in a given year are pretty bad. Sometimes really bad. That's why America has the Razzie Awards: a recognition of the worst cinema of the past year. And in this world of widespread big screen garbage, it must really take a lot for a single individual to stand out among the rest. Ladies and gentlemen, Adam Sandler: the recipient of eleven Razzie Award nominations for 2011—a new record.
To be fair, Sandler is not always a propagator of bad movies. Over the years, he has treated audiences to some fun and interesting stuff (check the high end of the Adam Sandler Stupidity Scale for reference). But this year, what the world got from Sandler was...less of a treat. Sandler's 32nd Annual Razzie Award nominations come attached to his work in the films Jack & Jill, Bucky Larson: Born to Be a Star, and Just Go with It. Sandler earned nods in such categories as Worst Picture (as producers for both Jack and Jill and Bucky Larson) as well as for Worst Actor, Worst Actress (now that's transcendent), Worst Screenplay, Worst Ensemble and Worst Onscreen Couple, with multiple nominations in several of the categories.
Sandler's eleven nods in a single year more than doubles the previous record, set by Eddie Murphy in 2007 at the 28th Annual Razzie Awards, for his work in Norbit. John Wilson, head of the Razzies, tells Hollywood.com, "Sandler had a role, as an actor, writer or producer, in three of 2011's most critically reviled movies. Bucky, which Sandler co-wrote and co-produced, was both a box office bomb AND received a rare 0% Approval Rating at Rotten Tomatoes. Critics' opinions play a major role in how we select our nominees. Other factors in our process include financial info—what did the movie cost? How much was lost?—and what we call the "Razzie Pedigree" of a film; i.e., do the actors or filmmakers involved have a past history with our awards? On all of these criteria, Sandler's three films stood out as among 2011's 'Berry Worst.'" Wilson went on to add, "Showing that he has a sense of humor about himself would go a long way toward 'redeeming' Sandler in the eyes of moviegoers. Maybe he should follow in the hallowed footsteps of Sandra Bullock and Halle Berry, and show up—dressed as 'Jill'?—to accept any Razzies he or his films may 'win.'" Other noteworthy entries of this year include The Hangover Part II, nominated in the Worst Prequel, Remake, Spin-Off or Sequel category. The Twilight Saga: Breaking Dawn Part I was attached to eight nominations, Transformers: Dark of the Moon had six, and New Year's Eve five. But nothing tops the twelve nods for Jack & Jill, or the resounding eleven for multi-hyphenate Sandler. After the comedian's profession of his desire to create something honest and real during the video interview segment last night at the Oscars, it can be hoped that he'll lend his attention to more projects like Funny People and Punch Drunk Love. But it sure does feel like Jack & Jill 2: Pacino's Revenge isn't that far off from a possibility. Source: Razzies
The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.