Well this is perfectly boring. Kelly Preston just signed on as Victoria Gotti, wife of John Gotti (not to be confused with his daughter Victoria) in the upcoming biopic about, well, the Gottis. Why boring? Let's consider the fact that her real-life husband, John Travolta, will play John Gotti and that we've seen enough of this couple all over tabloids for years. Now they're going to be playing mob husband and wife, but really, it just seems a little lazy.
Then there's the aspect that Preston's acting is pretty vanilla for the most part. Even when she got to be a little interesting and, dare I say it, slutty in Jerry Maguire, she's still decidedly Preston-ish. But hey, maybe they were looking to find someone vanilla. Gotti: Three Generations already got Travolta and they recently added Lindsay Lohan as the junior Gotti's wife, Kim. Maybe they've got enough personality, character, insanity or whatever you want to call it with those two.
The flick also recently added director Barry Levinson to replace Nick Cassavetes, which is a bit perplexing. Any way you slice it, this film is looking to be an strange mix of people; maybe that will work to its advantage, or maybe it will be just as hodgepodge as it looks to be now.
Source: NY Post
Animation particularly when it comes out of the Disney/Pixar stable is one of those areas of filmmaking that regularly inspires the phrase "They don't make them like they used to." In the case of Toy Story 3 however it's more accurate to say "They have never made them like this." It's certainly not unheard of for an animated film to be good for a Pixar film to be great or for the third film in a trilogy to be outstanding (though that's the rarest of the three) but in the case of Lee Unkrich's film the sheer degree at which it exceeds at all three is not just rare it's unprecedented.
Eleven years have elapsed since Woody (Tom Hanks) Buzz (Tim Allen) and all of Andy's favorite playthings had their last adventure -- rather 11 years have elapsed since Andy stopped playing with his toys. Buoyed by Woody's never-failing devotion the gang is all optimistic that Andy will elect to bring them with him to his first year of college but as that fateful empty-nest day approaches it becomes clearer and clearer that the only toy that will be making the trek to school is Woody. The rest are all by a series of unfortunate events consigned to live out their remaining days at Sunnyside daycare. Things are actually looking up for the neglected entertainers until they realize just how careless the ankle-biters are when it comes to playing with toys.
Unfortunately there is no escape in sight for the lovable personalities Pixar has been refining for over a decade. Lotso Huggin' Bear (Ned Beatty) runs a tight ship at Sunnyside; the new toys are just going to have to be sacrificed to the aggressive toddlers so the old veterans can have a relaxing time with their more mature counterparts. Eventually Woody catches wind of what kind of life his old pals are being forced to live and Toy Story 3 quite brilliantly becomes a riff on classic prison escape movies as Woody seeks to breach Lotso's security measures and bring his bunch back to Andy where they belong. And while this on-the-run chunk of the film is some of the most thrilling material Pixar has ever delivered it's also some of the most touching.
Unlike most sequels not a moment of Toy Story 3 feels artificial. There's no sense that Pixar decided to make a third film because it knew that the box office would gladly support another entry; no sense that this is a cash grab (unlike a certain green ogre's most recent trip to the big screen). All of those typical sequel pitfalls are carefully avoided by a swelling sense of finality. Toy Story 3 isn't just another adventure with these characters -- there is in fact no doubt that this is their final adventure their final hoorah together. Director Lee Unkrich and screenwriter Michael Arndt meticulously lead the audience along with bated breath the entire time culminating in a life-or-death scenario for the toys that is more heartfelt and genuine than most live-action films can ever muster.
It's astonishing how the creative team at Pixar can make you forget that what you're watching is all a bunch of digital wizardry. Maybe it's the 3D this time around maybe it's that this is the studio's most accomplished technical feat to date (there are single shots at a landfill that pack in richer detail than the entirety of the pioneering first film) that makes Toy Story 3 such an immersive experience. Or maybe it's simply because Pixar treats its property which is ostensibly for children with the utmost sincerity. The result is an overwhelming success the rare kind of film that were it a human being would be your best friend.
One could reasonably make the case that Toy Story 3 is the single best animated film ever made. I wouldn't outright agree with such grandiose claims but it's certainly not a baseless proposition that you'd be laughed at for bringing up. However with part three now tucked under Pixar's belt one could present an even better case that Toy Story is the best film trilogy ever made -- a claim I am far more comfortable signing on the dotted line for.
On Emmy night the only place filled with more glittery winged statuettes than the trophy room at the ceremony was HBO’s annual after party, thanks to a series of sweeping victories – 26 in all – by the pay cable network’s programming, including the miniseies John Adams, the telepic Recount, the drama In Treatment and the comedy Entourage.
West Hollywood’s Pacific Design Center served as the epicenter for HBO’s bash, converted into a swanky, sprawling blue-green Brazillian-themed party palace as a sea of stretch limos deposited an increasingly starry contingent of Emmy-toting actors, writers, directors and producers, as well a dozens of famous faces from film and television.
Appropriately for a glitzy blowout filled with free-flowing champagne and low-cut gowns, the gang from Entourage led the party pack: Adrian Grenier greeted In Treatment star Gabriel Byrne at the door and congratulated him on his Emmy victory effusively, along with Curb Your Enthusiasm’s Ted Danson and Mary Steenburgen; Kevin Dillon and Jerry Ferrara huddled up with the show’s upcoming guest star Jamie-Lynn Sigler, the only member of The Sopranos family on hand; Kevin Connelly belied up to the bar alongside Stacy Keibler; and dapper Jeremy Piven worked the room with a stogie in one hand and an Emmy in the other before DJ RAVIDRUMS invited him to the platform high above the dance floor to play the drums for an appreciative crowd of stars that included the show’s sexiest guests, Emmanuelle Chriqui, Malin Akerman and Carla Gugino who swayed to the Piv’s beat.
The octogenarian “Mr. Warmth” himself, Don Rickles, held court at a table by the door alongside his shiny Emmy, circled by a crowd filled with HBO’s comedy superstars Larry David, Bill Maher, Cynthia Nixon, Jeff Garlin and Flight of the Conchords' Jemaine Clement and Brett McKenzie. Baby mama Amy Poehler parked her pregnant frame in a nook near the outdoor patio overlooking a specially created candlelit “pond” while hubby Will Arnett fetched food for her.
John Adams executive producer Tom Hanks and his wife Rita Wilson cruised in with the latest addition to his already impressive trophy mantle, and Hanks told Hollywood.com that even with his abundance of awards each honor had special significance to him. Looking at each honor, “you go back and remember all of the people that were working on it with you,” Hanks said.
The Hanks fam slipped out early, just missing the miniseries’ Emmy-winning stars Paul Giamatti and Laura Linney, and as the night wore on the celebrity wattage only increased, with appearances by Jamie Foxx, Kevin Spacey, Teri Hatcher, Felicity Huffman, Michael C Hall, Susan Sarandon and Tim Robbins, Tina Fey, Denis Leary, Mary-Louise Parker, John Krasinski, Hayden Panettiere, Sally Field and Lost-ies Daniel Dae Kim, Harold Perrineau, Jr. and Michael Emerson.
The party raged on into the wee hours – even Los Angeles Mayor Antonio Villaragosa took a turn on the drums! – and even after spending hours squeezed into her Christian Laboutin shoes all day, Kate Walsh danced the night away as long as she could. “I’ve gotta work tomorrow,” she lamented, “but not too early.”
More than 800 000 people disappear off the streets every year. In Captivity it's a top fashion model Jennifer Tree (Elisha Cuthbert) who falls prey to a sadistic mind capable of many creepy ways of torturing her both physically and mentally. It turns out this guy Ben (Pruitt Taylor-Vince) has been watching her long before he drugs and kidnaps her. As he puts her in a dank and dark cell she learns that he has kept a close eye on her personal life and has been in her apartment many times. The only thing keeping her sane is her friendship with a young guy named Gary (Daniel Gillies) who's being held in the cell next to her. But little comfort that is. After being strapped to a table and tortured with worms rats gas and other devices Jennifer is forced to drink down an eyeball shake. Things go downhill from there. Poor Elisha Cuthbert. You would think she would have had her fill with being kidnapped after playing Kim Bauer in her breakout role in 24. The model is snatched so quickly and so early in the film it's hard to develop any sympathy for her but even still she doesn't seem like she deserves much. In fact all Cuthbert really does is scream. She hugs her teddy bear for some emotional thumb-sucking moments but most of the time she just screams. Pruitt Taylor-Vince is always creepy even when playing a sympathetic character (he has that roving eye thing) while Gillies is handsome in that kind of greasy grungy way but a far stretch from the hero type. It would be nice if someone anyone could be even remotely sympathetic in Captivity beside the dog. Perhaps the teddy bear—and the rat. Director Roland Joffe has done some decent movies. He trotted Patrick Swayze to Calcutta for City of Joy and Jeremy Irons and Robert De Niro to the Amazon in The Mission. He even got an Academy nomination directing his first feature film The Killing Fields. The question is: What happened? Captivity is a mess beginning with a nonsensical plot and ending with a twist you can figure out 10 minutes into it and may even be obvious after watching the trailer. The film is also unusually light on gore (except for the eyeball smoothie) and boring two things you definitely don’t want if you’re trying to make a horror film. Unfortunately Captivity will be remembered more for its controversial billboard campaign which had to be toned down more than anything else.