Paramount via Everett Collection
It's hard to believe that it's been 25 years since Charlie Sheen's Ricky Vaughn emerged from the bullpen to the strains of "Wild Thing" to help the Cleveland Indians win a division title. Coming out during an era of more high minded baseball movies like Bull Durham and Field of Dreams, Major League was pure goofy fun… more interested in laughs than in the game's potential life lessons.
For many baseball fans, an annual viewing of Major League is as much a part of spring as Opening Day. As with Caddyshack, there are fans that can quote the movie's best lines from memory. Even if you have your own home shrine to voodoo god Jobu, here are some fun facts about the movie that you might not know:
1. Although the movie is set in Cleveland, the scenes inside the ballpark were shot at Milwaukee's old County Stadium. Bob Uecker, who played announcer Harry Doyle, has really worked in Milwaukee since 1971 as the play-by-play man for the hometown Brewers... a fact that writer-director David S. Ward didn't know when he cast him. He had based the casting strictly on Uecker's work on the sitcom Mr. Belvedere and in a series of Miller Lite commercials (if you look closely, that's the beer that Doyle is drinking in the movie).
2. Sheen really was a pitcher in high school for Santa Monica High. He now claims that he took steroids prior to doing the movie so that his fastball would be more realistic. Dennis Haysbert, who later became famous as President David Palmer on 24 and played Cuban slugger Pedro Cerrano, was a football and basketball player in high school before switching to fencing at the American Academy of Dramatic Arts.
3. Haysbert's hitting as Cerrano looked real because it was. Even though he didn't play baseball past Little League, Haysbert actually cleared the fences multiple times during filming.
4. Despite playing a speedy outfielder in the movie, Wesley Snipes was so slow that they ended up showing him running in slow motion in the film to provide the illusion of speed.
5. The original ending featured the scheming owner played by Margaret Whitton — the widow of the beloved former owner — as secretly being behind the team's winning, with her devious threats meant to bring the boys together. When test audiences hated it, they reshot it to keep her as the bad guy.
6. Entourage's Jeremy Piven shot multiple scenes for the movie, playing a bench player who likes to heckle the opposing team. When they started editing, they realized that the scenes didn't work, so they completely cut his character from the film.
7. Prior to making her film debut as Lynn Wells, the ex-girlfriend of Tom Berenger's character, Rene Russo was known primarily as one of the top models of the '70s. A Los Angeles native, one of Russo's classmates growing up was sitcom-star-turned-director Ron Howard.
6. Pete Vuckovich, who plays evil Yankees first baseman Clu Haywood, was actually a star Major League pitcher who won the American League Cy Young Award in 1982. Playing largely in games with a designated hitter, Vuckovich only rarely batted during his career.
7. According to Ward, during the celebration scene at the end where Corbin Bernsen's third baseman Roger Dorn punches Sheen for sleeping with his wife, Bernsen actually connected with the shot, leaving a welt on Sheen's face.
8. Neil Flynn, who went on to bigger roles on television as the Janitor in Scrubs and a suburban father in The Middle, plays one of the long-suffering Cleveland fans complaining about the state of the team.
9. Flynn and Stacy Carroll, who plays Dorn's wife who has revenge sex with Ricky, both also appeared in a short-lived TV show called Sable, which starred Russo as the girlfriend of a children's book writer who transforms into a superhero at night.
10. The song that plays at the beginning of the movie is "Burn On" by Randy Newman. Written in 1972, it is an ode to an incident in 1969 when the Cuyahoga River in Cleveland caught on fire due to an oil slick and other debris floating in the polluted water.
Lions Gate via Everett Collection
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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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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.
Rosie O'Donnell reveals in the August issue of her magazine Rosie that she has been depressed for years, according to Entertainment Tonight. She originally resisted taking medication, fearing it was a cowardly way to live, but has now been on antidepressants for two years. The talk show host said she was pushed over the edge by the Columbine shootings and a celebrity benefit she attended, where she found herself sobbing throughout the evening.
Singer Rick Springfield broke his arm during a performance at the MGM Grand hotel-casino in Las Vegas, The Associated Press reports. He treated and released Tuesday at University Medical Center. The singer fell from a 20-foot high beam that is used to lower him on to the stage in the show's last scene. In EFX Alive, Springfield takes the audience on a journey to the worlds of wizard Merlin, showman P.T. Barnum, illusionist Harry Houdini and sci-fi writer H.G. Wells.
A park honoring Theodor Seuss Geisel, a k a Dr.Seuss, will open in Springfield, Mass., on June 1, AP reports. The Seuss Heritage Park and National Memorial will feature 30 bronze statues of Geisel's literary characters including Horton, Thidwick the Moose and Cat in the Hat. Geisel's stepdaughter, Lark Diamod-Kates, designed the sculptures. Geisel died in 1991 at age 87.
To commemorate the comedienne's 90th birthday, the U.S. Postal Service will unveil a stamp honoring Lucille Ball, Reuters reports. The stamp will be the seventh in the Postal Service's Legend of Hollywood Series. Others have included Marilyn Monroe, James Dean, Humphrey Bogart, Alfred Hitchcock, James Cagney and Edward G Robinson. Ball, who was best known for her 1950's sitcom I Love Lucy, died in 1989 at the age of 78.
William Dail, the road manager for Insane Clown Posse, has pleaded guilty to disorderly conduct for choking an Eminem fan, AP reports. The fan apparently held up an Eminem T-shirt and chucked some M&M candies at two clowned-faced band members following an Insane Clown Posse concert in Omaha, Neb., in May. The 24-year-old man was taken outside where Dail then choked him until he blacked out. Dail agreed to plead guilty of one count of disorderly conduct and pay a $100 fine.
The West Wing creator Aaron Sorkin said in two magazine articles that his arrest in April was not due to a chronic drug habit but sporadic use, Reuters reports. Sorkin was arrested at a Burbank airport in April after airport employees found marijuana, crack and hallucinogenic mushrooms in his bag. Sorkin told TV Guide that he has broken his sobriety since 1997 by occasional drug use. He said he would smoke pot from time to time to relax, and likened it to having a martini at the end of a long day. Sorkin also said he used crack less than five times in the last two years. In a September issue of Talk magazine, Sorkin said he would used drugs after work to celebrate the pressure being off. "There's no way I could be writing high and not have people know it,"he said.
Robert Downey Jr. was back at work on Tuesday. Variety reports that the actor filmed a music video for the song I Want Love, the first single from Elton John's new CD Songs From the West Coast. Ed Limato, Downey's agent, said that the actor had received several important offers in film and TV roles.
A new biography of Natalie Wood claims the actress was raped as a teenager by an unnamed actor, the BBC reports. According to author Suzanne Finstad, Woods was 16 when she was raped by a "powerful, married movie star." Finstad chose not to name the actor so that people would focus on Wood's horror and trauma. She also added that Wood's mother conspired to keep the rape a secret. The book also details the events leading up to the actress' drowning in 1981 during a boat trip with actors Robert Wagner and Christopher Walken. Wagner has said there are many errors in the book and is upset that the inaccuracies have been published.
Director Steven Spielberg has decided to scale down his plans for a riding ring complex at his home in the Brentwood section of Los Angeles, Reuters reports. Neighbors initially objected to the plan, saying the 27,000-square-foot domed monstrosity would clash with the rustic style of the nearby homes. Spielberg reworked the plans and came up with a smaller dome-less version that has met with local approval. The stable will house four or five horses and be surrounded by a 6-foot high gate.
Mick Jagger will release his fourth solo album in November, Virgin Records has announced. According to Reuters, Jagger, 58, has been recording the album with Pete Townshend, Missy Elliott, Lenny Kravitz and Rob Thomas.
Michael Jackson's 30th anniversary all-star concerts at Madison Square Garden in New York sold out in less than five hours, AP reports. Michael Jackson: 30th Anniversary Celebration, The Solo Years will be Jackson's first with his brothers since the 1994 Victory tour in 1984. Other artists scheduled to appear are Whitney Houston, Gladys Knight, Ray Charles, Britney Spears, Ricky Martin and N 'Sync. Marlon Brando, Elizabeth Taylor, William Shatner, Quincy Jones, Kobe Bryant, Willem Dafoe and Macaulay Culkin will also pay tribute to the pop star.