Coyote Ugly star Piper Perabo tied the knot with director/producer Stephen Kay on Saturday (26Jul14), according to a U.S. report. Perabo married Kay, who works with her on TV series Covert Affairs, in New York City, a source confirmed to Usmagazine.com.
After the ceremony, they celebrated with family and friends at a reception where they were entertained by a jazz band.
Perabo, 37, got engaged to Kay in September (13).
No further details were released as WENN went to press.
Liza Minnelli surprised audiences at a New York bar by getting onstage and performing two musical numbers. The Cabaret star arrived at the Bemelmans Bar inside The Carlyle Hotel in New York to support her musician friends Billy Stritch and Jim Caruso, who have a Sunday night residency at the venue.
Minnelli took to the stage for an impromptu performance with her pal Michael Feinstein and an onlooker tells New York Post gossip column Page Six, "Liza and Michael joined Billy and Jim to play a couple of numbers, including 'I Love a Violin,' written by Liza's godmother, Kay Thompson."
The actress/singer reportedly loved the reaction from the crow, saying, "This is the best party in New York!"
Universal via Everett Collection
Somewhere inside of Pitch Perfect there exists the movie it wants to be. Buried beneath the scathing send-ups of the dreamer genre, there are actual dreamers. Ones we're charged to root for — after all, we are hinged to their story about "making it to regionals," or whatever — but that we can't. Because the film itself refuses to do so. At once, it's a celebration of the socially disbarred and a satire of all the sugar-coated entertainment that has been devoted to it... okay, mostly Glee. And while this marriage isn't necessarily doomed, too often does Pitch Perfect find itself torn between asking us to root for its heroes and asking us to laugh at its victims (the same people). We can't say for sure whether something was lost in translation from script to screen, or of Kay Cannon's original screenplay was laden with the troubles we find on the screen, but we're hoping that the upcoming sequel's new director, actress Elizabeth Banks, can figure out her animal better than first installment helmer Jason Moore could.
In order to do so, she'll have to know when the movie need to stop laughing at these people. And here's a good indicator: if it is laughing at them for being fat or gay, you've probably taken a wrong turn.
The film offers glimpses of its potential — loner Anna Kendrick identifying Brittany Snow's shared familiarity with David Guetta's "Titanium" as awe-inspiring (one of the film's better attempts at tackling a genre staple) — but undoes its own mission when it turns the trope battering in on its characters. Pitch Perfect sets up its underdog a capella clique as a group of eccentrics with whom we're supposed to relate: genuine talents unappreciated due to weight, race, sexual orientation, and a laundry list of personality defects. But just when you think the movie is on their side, it jumps right on in, poking fun at Rebel Wilson's character for her size and Ester Dean's for her homosexuality. And one might spout the defense, "But these girls are making fun of themselves!" Well, that's the problem. They think they have to.
Wilson's breakout character goes by "Fat Amy," underlining her self-assigned moniker with the rationale, "So twig b**ches like you [she's talking to Anna Camp] don't do it behind my back." Therein lies the film's defeat. It thinks that these girls have no shot at dignity, so they have to succumb to self-parody. This is not simply embracing a sense of humor about yourself (a valuable characteristic) but becoming the joke that everybody says you are because you don't see any other choice. And Pitch Perfect doesn't just limit this fate to "Fat Amy," but to its excessively marginalized gay character, Cynthia Rose (Dean).
Universal via Everett Collection
The joke about Dean? The same joke that has been assigned to gay characters since before the days of Three's Company, and that still, by some grace of ungodly ignorance, works its way into network television and blockbuster cinema today. Her sexual orientation is her punchline. For the length of Pitch Perfect, we're offered "hints" that Cynthia Rose is attracted to women — the way she dresses and carries herself are brandished as lesbian stereotypes, and we even get a scene of her groping fellow a capella band member Stacie (Alexis Knapp) for good measure. And then, finally, concrete evidence: "When I broke up with my girlfriend..." followed by a de facto rimshot from Rebel Wilson.
Of course, Pitch Perfect was a hit, and this is owed to a very simple, very convenient allowance made by its story: the singing. Yes, these girls can sing. And when they get up on that stage at the end of the film and belt their heroic ballads, it's as if the film is saying, "See? We were behind them all along!" But giving stars like Wilson and Rose solos doesn't retroactively make Pitch Perfect's mean-spirited attitude about their identities "good natured ribbing." We were still asked to look at Fat Amy as a fat girl first, swelling with laughter at her inability to run, her propensity for falling down, and — most riotous of all — the inscrutable idea that she might consider herself sexy. You can endorse this material all you like with defenses that Fat Amy and Wilson herself were on board with the gags, but the simple fact that the one overweight young woman in this movie feels no other course than to dominate her screen time with fat jokes is unforgivable. Some would call it wise advice to garnish an embarrassing faux-pas with some self-effacing humor; this is not how heavy people should made to be felt about the way they look.
In earnest, there's optimism attached to Banks' ascension into the director's chair. Although she has never handled a feature on her own, her comic sensibilities as an actress, and as a woman, might be more conducive to a little bit of respect for the young ladies at the center of this story. We can hope, anyway — with a wealth of talent in stars like Kendrick, Wilson, Dean, Camp, Snow, and the rest, and in a writer like Cannon, there's too much good to let the end product wind up so misguided.
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After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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The season four premiere of A&E’s Duck Dynasty was shocking. Not because of the content, which saw Robertson parents Phil and Kay renew their wedding vows, but because of the record-high ratings for the hour-long episode. The premiere attracted 11.8 million eyeballs, the most ever for an unscripted show on cable television.
Undoubtedly, television executives everywhere are already trying to decode and emulate Duck Dynasty’s success. Here are a few lessons the Robertson clan can teach these scrambling network honchos:
Leave New York and L.A.
Since so many TV shows take place on the coasts, it becomes refreshing to get a look at another part of the country. The Robertsons' Louisiana country living is a nice change of pace from frenetic New York City streets or sunny Los Angeles skies.
Do Smarter Dumb Humor
Duck Dynasty’s audience has grown dramatically in part because of one simple truth: it’s really funny. Unlike most non-scripted reality programs, however, Duck Dynasty is not a mean-spirited show. The Robertsons are obviously in on the joke, which makes the collaboration between family and editing all the sweeter.
Don’t Fear Faith
Faith is a large part of many people’s daily lives, yet manages to go almost wholly unmentioned on the small screen. Not so on Duck Dynasty, where the whole clan ends each episode with a mealtime prayer. There’s a difference between proselytizing and showing faith as an everyday part of life, and for a large part of the American audience the Robertson's forthrightness and humor about their faith make them all the more relatable.
The success of Duck Dynasty doesn’t mean audiences are looking for more “redneck” television shows, just that they’re looking for TV to portray a broader representation of American life.
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Elizabeth Hurley and Kate Hudson were among the glamorous guests at Sir Elton John's annual Breast Cancer Research Foundation gala in New York City on Wednesday (17Apr13). The pair walked the fuschia-coloured carpet for the Hot Pink Party at the Waldorf Astoria hotel in Manhattan, where British actress/model Hurley acted as the evening's emcee.
Hudson was on hand to present the Sandra Taub Humanitarian Award to Kay Krill, who heads retail company ANN INC., which is renowned for helping fund breast cancer research.
Sir Elton then thrilled revellers by performing some of his classic tracks at the charity bash, which was also attended by Hudson's Muse rocker boyfriend Matt Bellamy.
The years to come for Universal Pictures will be filled with speeding cars, grisly dwarfs, and a capella music. The studio announced at CinemaCon on Tuesday when we'll be seeing the follow-up features to some of its recent box office winners: the seventh chapter of the fan favorite franchise Fast & Furious, as well as the sequels to 2012's dark fairy tale adventure Snow White and the Huntsman and musically infused comedy Pitch Perfect.
While Fast 6 is still weeks away, Universal has already set a date, via The Hollywood Reporter, for Fast & Furious 7, the first entry since 2 Fast 2 Furious to be directed by someone other than Justin Lin. Saw helmer James Wan's Fast 7 has been set for July 11, 2014.
Meanwhile, the long-gestating Snow White and the Huntsman 2 and newly confirmed Pitch Perfect 2, which will employ the original's writer Kay Cannon and bump breakout star Rebel Wilson up to a more central role (alongside returning headliner Anna Kendrick), have been scheduled for 2015 releases.
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It's not about the money (money, money), it's about bringing the world more choral harmonies and glee club dance moves. Duh. Rejoice, all you Pitch Perfect fiends: Universal announced at CinemaCon in Las Vegas that Pitch Perfect 2 is a very real thing.
The sequel announcement couldn't have come at a more opportune moment (and you can bet that's just the way they planned it): Rebel Wilson just hosted the MTV Movie Awards where she and her Pitch Perfect pals delivered a highly anticipated reunion onstage. Then, the director's cut of Anna Kendrick's "Cups" video (below) hit the Web this morning. And we all thought it was arbitrary. Nope: marketing genius at work, folks.
The head of Universal also added that the original writer Kay Cannon will be returning, so you can expect the same chuckle-worthy lines from Wilson and the same snarky quips from Kendrick. Of course, the minds at Hollywood.com are so ahead of the curve, that we already picked the brains of the entire cast for their sequel ideas before the original Pitch Perfect even hit theaters. You're welcome.
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The American writer, best known for her series of books about fictional medical examiner Dr. Kay Scarpetta, is suing over allegations her multi-million dollar fortune has vanished.
She claims to be missing up to $40 million (£25 million) and has accused executives at New York-based company Anchin, Block & Anchin of mishandling her finances, making bad investment decisions and over-billing her.
The case has gone to court in Boston, Massachusetts and Cornwell was in attendance this week (beg14Jan13) when lawyers for the defence began detailing her spending habits in their opening arguments.
James Campbell, an attorney representing Anchin, Block & Anchin, claimed Cornwell spent the missing money herself and alleged the author and her partner, Dr. Staci Gruber, frittered away the fortune by lavishing $5 million (£3.1 million) on a private jet service and $40,000 (£25,000) a month on renting a luxury apartment in New York City.
He told the court, "Where did the money go? Ms Cornwell and Dr Gruber spent the money. You have to consider the large lifestyles involved, the spending habits, impulsive buying."
In the lawsuit, Cornwell acknowledges her struggle with bipolar disorder, and claims bosses at the firm were aware of her illness and abused her trust.
Cornwell's lawyer, Joan Lukey, argued, "This case is, at its core, about trust. There is no amount of money that is enough to properly compensate her for what Anchin, Block and Anchin did."
Angelina Jolie is said to be starring in a big screen adaptation of Cornwell's book series, playing the author's most famous character.
In the real world, copying somebody else's written material for your own personal gain is called plagiarism. In the movie biz, it's called adaptation.
Since 1940, the Academy Awards have distinguished the adapted screenplay in its own category, honoring films whose scripts were derived primarily from books, plays, and short stories. But the occasional Best Adapted Screenplay nominee can credit its source to other media — such is the case for this year's nod, the true story thriller Argo.
Ben Affleck's directorial feature, written by Chris Terrio, was actually born from a WIRED magazine article by journalist and film producer Joshuah Bearman in 2007. The piece, titled "How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran," was a chronicling of CIA operative Tony Mendez's unorthodox plan to retrieve a group of American diplomats from a hostage crisis in Iran in the late 1970s. Bearman penned the article following the declassification of the CIA documents describing the events.
Argo's company in this year's Best Adapted Screenplay category draw from more traditional sources: the scripts for Life of Pi and Silver Linings Playbook each comes from its eponymous novel, written by Yann Martel and Matthew Quick, Respectively; Steven Spielberg and screenwriter Tony Kushner cite the nonfiction book Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin as the source for their biopic Lincoln; and the story of Beasts of the Southern Wild writer/director Benh Zeitlin was inspired by his co-writer Lucy Alibar's own play, Juicy and Delicious. Heck, even Argo does accredit some hardcover material with the machination of its script alongside the aforementioned original article (Bearman's book The Great Escape, in which he expands on the topic, and Agent Mendez's own account of the event, his memoirs The Master of Disguise). The category has housed a great majority of projects with roots in the forms of book and play. But there are a handful of interesting outliers, spanning from 1931 all the way to the present...
Skippy (1931): Predating the separate Best Adapted Screenplay and Best Original Screenplay categories, the family-friendly Jackie Cooper starrer was adapted from the syndicated comic strip of the same name.
Mrs. Miniver (1942): The romantic drama about the dawn of World War II drew from a series of columns in Great Britain's The Times newspaper, wherein the titular character Kay Miniver was created.
Boomerang! (1947): The true story of this film noir was first chronicled in a Reader's Digest article by journalist Fulton Oursler (under the pen name Anthony Abbot).
Marty (1955):The classic romantic drama was the first of several films to be adapted from a teleplay — Paddy Chayefsky wrote both the big and small screen versions of the story.
I Want to Live! (1958): Another film noir drawn from true events, this film extrapolated its story about a woman on death row from letters penned by the basis and namesake for its main character, Barbara Graham. A second source for the movie came from a collection of newspaper articles from journalist Ed Montgoomery.
Lawrence of Arabia (1962): The life of British Army officer T.E. Lawrence was chronicled in this classic epic, thanks to the adaptation of the collective writings from the hero himself.
Pennies from Heaven (1981): Ever since Marty, a handful of films has earned nominations for adapting television movies to film; this was the first, however, to earn a nod for adapting a television miniseries (the 1978 BBC drama of the same name).
The Insider (1999): Another film drawn from a magazine article, this time from Marie Brenner's Vanity Fair piece "The Man Who Knew Too Much," about tobacco industry whistleblower Jeffrey Wigand, played in the film by Russell Crowe.
O Brother, Where Art Thou? (2000): Classing up the list a bit is this Coen Brothers comedy, which adapted its script from Homer's epic poem The Odyssey.
Ghost World (2001): The first film to earn a nomination for a script adapted from a graphic novel came from Daniel Clowes, who turned his own comic book Ghost World into this comedy-drama.
Shrek (2001): In the same year, this blockbuster animated film pioneered the category's nomination of a script with another type of source: picture book (William Steig's Shrek!).
American Splendor (2002): The brilliant comedic biopic drew its material from the works of subject Harvey Pekar and his wife and fellow comic book author Joyce Brabner (American Splendor and Our Cancer Years, respectively).
Before Sunset (2004): Richard Linklater's screenplay was considered an adaptation, due to its use of characters from the preceding film Before Sunrise, which was written by Linklater and Kim Krizan.
A History of Violence (2005): Another graphic novel adaptation — screenwriter John Olson brought John Wagner and Vincent Locke's A History of Violence to screen with this picture.
Borat (2006): It might surprise you to recall that the Academy recognized this bawdy film with a Best Adapted Screenplay nomination; the film was considered an adaptation of the character developed by Sacha Baron Cohen for his small screen venture, Da Ali G Show.
In the Loop (2009): In the same vein, Armando Iannucci transported his The Thick of It hero Malcolm Tucker to the big screen in this satirical film.
District 9 (2009): Cutting it a little close to home, this sci-fi drama/parable for human intolerance and oppression was actually adapted from another movie — a short film titled Alive in Joburg.
Toy Story 3 (2010): Borrowing the characters from the original Toy Story, a new assortment of screenwriters vied for the Oscar in this magnificent threequel.
[Photo Credit: Warner Bros; Fine Line Features]
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