Top Story: Indie Couple Coppola, Jonze Split
Director couple Sofia Coppola and Spike Jonze have decided to divorce, according to MTV News.com. The couple wed four and a half years ago after meeting in 1992. Since then, Coppola, 32, and Jonze, 34, have become indie film whizkids, with the succsess of Jonze's cult flicks Being John Malkovich and Adaptation and Coppola's Lost in Translation and The Virgin Suicides. Rumors of trouble in the marriage surfaced, however, in recent months, especially after Coppola's semi-autobiographical Translation was released. The L.A. Weekly recently observed that in the film, the "workaholic, emotionally absent photographer" husband, played by Giovanni Ribisi, of Scarlett Johansson's young wife Charlotte "reminds one of Coppola's husband."
Dead Musicians Reap Grammy Nods
Warren Zevon, George Harrison, and the Cashes picked up multiple posthumous Grammy nominations Thursday. Zevon, who died in September from lung cancer, gathered four nods including song of the year, while Harrison picked up three--two years after he, too, died of lung cancer. Country couple Johnny Cash and June Carter Cash, who died within months of each other earlier this year, landed four between them. Other deceased nominees included Rosemary Clooney, Celia Cruz, soul legend Sam Cooke and blues giant Muddy Waters.
Limbaugh Blames Politics for Drug Probe
In the drug investigation against him, Rush Limbaugh's attorney is accusing the prosecutor of having political motives in saying his client bought painkillers illegally, Reuters reports. In search warrants released Thursday, investigators alleged that Limbaugh engaged in illegal drug use and went "doctor shopping" for prescription painkillers. The controversial radio commentator has denied any wrongdoing. "What [the medical records] show is that Mr. Limbaugh suffered extreme pain and had legitimate reasons for taking pain medication," Limbaugh read on his radio show Thursday from his lawyer's statement. "Unfortunately, because of Mr. Limbaugh's prominence and well-known political opinions, he is being subjected to an invasion of privacy no citizen of this republic should endure."
Second Child Claimed Abuse in Old Jackson Case
Authorities investigating molestation allegations in 1993 against Michael Jackson spoke to a second child at that time who also claimed to have been molested, but no charges were ever filed, a retired sheriff told The Associated Press. Former Santa Barbara County Sheriff Jim Thomas said late Thursday the child was reluctant to testify and the case was abandoned. Apparently, the claims of molestation were not as severe as what was being alleged by the first boy, whose parent's settled a multimillion-dollar civil settlement with the pop superstar. The second child could have been used as a corroborating witness if the primary victim had testified in court, Thomas told AP.
Celebrate Christmas With Ozzy and the Gang
MTV will air The Osbourne Family Christmas Special Dec. 11 to give viewers a glimpse into the holiday season with America's favorite dysfunctional family, AP reports. Promising to take "holiday specials to a bizarre new level," the program was taped at the family home in Beverly Hills, Calif., and includes appearances by Jessica Simpson, newlyweds Dave Navarro and Carmen Electra, and the show-stopping reading of 'Twas the Night Before Christmas with Electra, matriarch Sharon Osbourne, OutKast's Big Boi, Eddie Griffin, Tracy Morgan, Anthony Anderson and Eva Mendes.
Wanda Yanked, Joe Millionaire Gets New Gig
Fox has pulled the plug on Wanda Sykes' Wanda at Large, according to The Hollywood Reporter. The series had a promising midseason start last March but fell in ratings this fall…Meanwhile, Joe Millionaire's first star Evan Marriott has a new gig as a game show host for the Game Show Network. The show Fake-a-Date will feature a contestant who will date two singles, one looking for love and the other who's hoping to win a luxury trip with his or her significant other, AP reports.
Role Call: Graham With Child, Thornton Turns on the Lights
Heather Graham has signed to do the independent feature Samantha's Child, also starring James Purefoy and Andy Serkis. According to The Hollywood Reporter, the film follows Samantha (Graham), who is unable to get pregnant and goes to a fertility clinic, where she is unknowingly impregnated with the Devil's DNA. Serkis (voice of Gollum in Lord of the Rings) portrays a priest who tries to stop Samantha from having the Devil's child…Billy Bob Thornton is in negotiations to star in the football drama, Friday Night Lights. Based on the book by H.G. Bissinger, the film chronicles the 1988 football season of the Odessa, Texas, Permian High Panthers, capturing the struggles and hopes of a financially troubled town that pins its dreams on the team's Friday night games. Thornton will play the team's coach, the trade paper reports.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.
February 08, 2002 2:07pm EST
Jonathan Cross (Chris Klein) is down and out in California when he runs into his old friend Marcus Ridley (LL Cool J) driving a pricey sports car and dripping in gold jewelry. As it turns out Ridley is making it big in an international Rollerball league and convinces Cross to do the same. Fast-forward four months into the future and Jonathan has become one of the biggest and most sought-after Rollerball stars. He's rich drives a nice car and is having a steamy relationship with his teammate Aurora (Rebecca Romijn-Stamos). From the looks of it Rollerball is a serious moneymaking operation: We are constantly shown million of dollars worth of currency going through money counters at record speed. And by the instant ratings numbers that appear on the organizer's monitors it's obvious that Rollerball fever has taken over the world. When conniving Rollerball creator Petrovich (Jean Reno) discovers that the ratings go through the roof when blood gets spilled things start to go very wrong. Cross and his teammates suddenly find themselves playing for their lives.
Chris Klein (American Pie 2) is Jonathan Cross the all-American Rollerball player but he underplays the role. You would expect a character in his position to have a certain amount of charisma and charm but Klein's delivery is a bit deadpan and lacking in attitude. His best pal Marcus Ridley is played by LL Cool J (Kingdom Come) who manages to add a bit of dimension to his otherwise underdeveloped character. In fact he may have been better suited for the lead. The only good part about model-turned-actress Rebecca Romijn-Stamos' (X-Men) role is that it didn't incorporate too many lines. Sounding like Natasha from Rocky and Bullwinkle you have to wonder what she was thinking with that accent which (contrary to the actress' recent statement on MTV that a bad accent is not necessarily bad acting) certainly is part of the acting and certainly is bad. Jean Reno (Just Visiting) was probably the most interesting character. He was all bad without a single redeeming quality which he at least pulled off with flair whether it was in his delivery or his elaborate fur coats.
Rollerball is director John McTiernan's (The Thomas Crown Affair) take on the 1975 classic directed by Norman Jewison. There is definitely enough action in Rollerball to keep viewers interested but the major problems lies within the characters' development-there isn't any. So while the action may keep your eyeballs glued to the screen momentarily you will find yourself indifferent to the characters their plight and what happens to them. Cross and Aurora's relationship for example is implied through one hastily done sex scene in the gym. Consequently when the evil Petrovich threatens to hurt her if Cross tries to leave the game we could care less because we don't really know her or how important she is to Cross. Being such an internationally renowned sport the accents which play a big part in the film are done too shoddily. The French accents go from Canadian to European within a sentence and that's only from the ones I could pick up. Who knows what other languages were massacred in the process?
In a lighthearted riff on Homer's epic poem set in the Depression-era South verbose
charmer Everett Ulysses McGill (George Clooney) and two dimwitted cronies (John
Turturro Tim Blake Nelson) break free from a Mississippi chain gang only to face
a long series of trials including a trio of seductive laundry-washing sirens
and a fearsome one-eyed Bible salesman (Homer's Cyclops of course creepily portrayed
by John Goodman). Unlike the original Ulysses Everett also must contend with
pursuing cops Southern-friend politicians and the KKK if he is to prevent his
less-than-faithful former wife (Holly Hunter) from marrying a rival suitor.
Leading goofs Clooney Turturro and Nelson gamely get into the Three
Stooges-ish tone of the piece with Clooney in particular delivering a
winking self-mocking turn that must be his broadest screen performance to
date. Nelson ("The Thin Red Line") is also a riot as a mild-mannered yokel
for whom every slow-moving thought requires visible effort. Disappointingly
Coen veterans Goodman Hunter and Charles Durning have less to sink their
teeth into than in previous outings with the brothers.
Writer-director Joel and writer-producer Ethan Coen rack up yet another enjoyable
romp featuring all of their signature elements - playfully stylized camerawork
offbeat music colorful characters distanced by dripping irony. Evoking the road
comedies of the '30s and '40s this easygoing comic adventure has an old-fashioned
flavor and (for a Coen picture at least) a relative lack of graphic violence
that links it to the brothers' underrated 1994 Frank Capra homage "The Hudsucker
Proxy." Amusing as it is however "Brother" rarely achieves the same hilarious
heights as previous Coen laughers such as "Raising Arizona" and "The Big Lebowski."