Hollywood veteran Mickey Rooney has died, aged 93. The actor passed away on Sunday (06Apr14). The cause of his death has not been released.
Rooney's career spanned over nine decades. He started acting as a child and accumulated over 300 credits, including a series of films he made as America's boy next door, Andy Hardy.
In the 1938 film Love Finds Andy Hardy, he appeared opposite Judy Garland, who went on to become his frequent co-star. The following year they appeared in the movie musical Babes in Arms, which earned Rooney an Oscar nomination.
He accumulated three more Academy Award nominations for his roles in The Human Comedy (1943), The Bold and the Brave (1956) and The Black Stallion (1979).
His other film credits include A Midsummer Night's Dream, The Adventures of Huckleberry Finn, National Velvet, Breakfast at Tiffany's, and Requiem for a Heavyweight.
Rooney also racked up a number of television appearances over the years, and fronted The Mickey Rooney Show in the 1950s and Mickey in the 1960s.
In 1981, he won his first Emmy Award for his portrayal of a mentally ill man in TV movie Bill.
He also was handed two honorary Oscars in 1938 and 1983, and two Golden Globe Awards.
One of the first tributes posted on Twitter.com on Sunday night (06Apr14) came from Alec Baldwin, who wrote, "An old pal of mine is gone. One of Hollywood's rare gentlemen and a bientot (see you later) to Mickey Rooney."
The veteran's final years were marred by ill health and family squabbles over his fortune - in 2011 he was granted a temporary restraining order against his stepson Christopher Aber, amid claims he was being financially abused by unnamed family members.
Rooney's financial affairs were handed over to lawyers following the legal drama, which inspired the actor to champion legislation to protect the elderly.
Last year (13), the veteran star sold his house of many years and separated from his eighth wife Jan. He leaves behind his last wife and eight children.
This Sunday marks the highly-anticipated return of CBS's The Good Wife, and many of us have been practically itching with excitement. Season 5 has been nothing short of explosive, with every episode kicking off or going out (or both) with a bang. In case you need a refresher on all of the madness between Alicia Florrick, Will Gardner, and the rest of the gang, here's a little recap to help you mentally prepare for this Sunday:
It's [Still] All About Alicia & Will
This has been an excellent season for the former lovers. After some serious sexual tension last season, it looked like, if only for a moment, there was a chance that the Willicia reunion many of us had been hoping for was afoot. But then Peter started making goo-goo eyes at his wife again, and Alicia went and left the firm, and that was the end of that. They've spent the majority of Season 5 being awful to each other (mainly Will), fighting over clients and using their sexual and romantic past to get back at each other in the court room. It's made for some great TV, and we can only assume that things will get more heated as the season progresses.
Peter's in Trouble... But at Least He's Not the Babydaddy
The new episode will pick up with a focus on this whole stolen election scandal. Did Peter actually, truly, steal the election? And is his time as Illinois state Governor coming to an end? This is some serious drama, but at least we know he's not the father of Marilyn Garbanza's baby. That pregnancy storyline was positively frightening.
Grace Got Hot; This May Still Be An Issue
Amidst all of this political scandal and courtroom drama, let's not forget that little Grace Florrick... uh... blossomed this season. Thankfully, she's still got her head in the books (and in her Bible), but it's going to be interesting to see if this comes up in the plot again. Earlier in the season she ended up on that hot political daughters website that was actually hacking into her computer, and she was also a huge distraction to some members of Florrick Agos and Associates.
Will Alicia's Firm Survive?
Between her husband's scandal and the devious antics of her ex, Alicia Florrick's new firm is in a pretty awkward position. We've all been rooting for Florrick Agos; they're the underdog now that LG (previously known as Lockhart Gardner) is the big firm in town. But something tells us this David and Goliath battle will be playing out for some time.
The Only Thing You Really Need to Get Ready for Sunday
Seriously. The Good Wife "Thicky Trick" cast video is all you'll ever need in life. You're welcome.
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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
The morning after the Golden Globes, the Directors Guild of America heated up the awards competition by announcing its nominees for director of the year.
This year's DGA nods went to Globe winner Sam Mendes for "American Beauty,"Spike Jonze for "Being John Malkovich," Frank Darabont for "The Green Mile," Michael Mann for "The Insider" and M. Night Shyamalan for "The Sixth Sense."All are first-time feature-film nominees except for Darabont, who was nominated in 1994 for "The Shawshank Redemption."
The winner of the DGA is practically guaranteed a win for Best Director in the Academy Award race. In its 50-year history, only four winners have not gone on to win the Oscar; Anthony Harvey (in 1968 for "The Lion Winter"), Francis Ford Coppola (in 1972 for "The Godfather"), Steven Spielberg (in 1985 for "The Color Purple") and Ron Howard (in 1995 for "Apollo 13." The winner will be announced March11.
SMOKED 'LAMB': Anthony Hopkins' London house caught on fire Sunday, and 75 percent of the second floor was destroyed. Hopkins no longer lives in the residence; he actually gave it to his wife after they split in 1998, according to London's Sun. But she should not worry; firefighters still managed to save Hopkins' Academy Award for "The Silence of the Lambs."
ÜBERENGAGED: German supermodel Claudia Schiffer is officially off the market again; she's just become engaged to British boyfriend Tim Jeffries.
Jeffries, 37, proposed on one knee during a recent Caribbean holiday, and the model immediately accepted, newspapers reported Monday. The Sun said Schiffer, 29, was displaying her diamond engagement ring at a Golden Globes party over the weekend.
Schiffer was engaged for some six years to magician David Copperfield (they split in September), while Jeffries, an art-gallery owner, was married once to photographer Koo Stark, ex-girlfriend of Britain's Prince Andrew. They hope to marry later this year. No word whether Copperfield will make an appearance -- or disappearance.
THEIR TWO CENTS: The Golden Globes is always a good time to get some scoop, and the stars did some chatting at Hollywood honcho Mike Medavoy's annual pre-Globes party Friday in Los Angeles. According to the New York Daily News, winner Peter Fonda reportedly discussed sister Jane's separation from Ted Turner. "I see a very positive change in Jane now," he said. "When she told me she was separating, her entire face seemed to relax. I think she's going to be a much happier person as a result of this." He added that he hopes his sister will return to acting...
Nominee Kevin Spacey revealed that he had plans to see "Man on the Moon" and "The Hurricane" to catch Jim Carrey and Denzel Washington's respective performances so he'd be able to speak more intelligently to his fellow nominees at the awards.
"I screen-tested for 'Man on the Moon,'" The "American Beauty" star told the paper. "I'm one of the guys who went for it. Then Milos [Forman, the director] called and said he was going with . I understood completely. knew Andy Kaufman. I think he even channeled him, too. How could I competewith that?"
The party also brought a surprise late guest: President Clinton.
GOODBYE, DOLLY: At the Golden Globes on Sunday night, Cecil B. DeMille lifetime achievement award winner Barbra Streisand said she will no longer be doing concerts. The stage-shy Babs plans to do four scheduled concerts in Australia in March, "and maybe two more -- one in Los Angeles and one in New York before calling it quits on the concert stage."
"I just don't like it. I don't enjoy public performances being up on a stage,'' the 57-year-old star said. She also plans to concentrate on directing films, and has no current plans to act. Meanwhile, she and hubby James Brolin stay busy, taking road trips and walking into truck stops. How do the people react? Do they tell her she's like buttah? "They seem fine," Streisand responded.
QUICK TAKES: "American Beauty" picked up another accolade this morning, this time by the Broadcast Film Critics Association at its awards luncheon. The critics group had earlier named 10 top films but withheld its pick for the ceremony. The other contenders were "Being John Malkovich," "The Cider House Rules," "The Green Mile," "The Insider," "Magnolia," "Man on the Moon," "The Sixth Sense," "The Talented Mr. Ripley" and "Three Kings".
...Playwright Herb Gardner ("I'm Not Rappaport") has been named the recipient of the Writers Guild of America East's Ian McLellan Hunter Award, recognizing lifetime achievement in writing. The award is named in memory of WGAE Council member McLellan, who died in 1991. He will receive the prize at the guild's ceremony on March 5 ...
... Nicolas Cage's 1933 Ford hot rod sold for $77,500 at the Barrett-Jackson Classic Car Auction on Sunday. It was purchased by publishing magnate Robert E. Petersen for display at the Petersen Automotive Museum in Los Angeles. Elvis Presley's 1972 Lincoln Continental sold for $45,000, and Richard Carpenter, half the 1970s singing duo the Carpenters, got $70,000 for his 1957 DeSoto convertible ...
... Rosie O'Donnell will be back for this year's Grammys. The talk-show host will repeat her stint, which earned the awards their second-highest rating in six years, on Feb. 23 in Los Angeles.