The Double Jeopardy star, 41, graduated from the University of Kentucky in 1990 with a degree in French but is keen to further her educational achievements.
Judd has taken a step back from acting in recent years, preferring instead to concentrate on her political and humanitarian activism.
Now the star has proved she is taking her interests seriously by enrolling at Harvard's John F. Kennedy School of Government, signing up to study the institution's Mid-Career Master in Public Administration course.
The programme is designed for people wanting to take on a career in public service or non-profit sectors, according to the school's website.
Judd's publicist, Cara Tripicchio, reportedly confirmed her enrolment to the school's Harvard Crimson newspaper.
Judd is currently a Global Ambassador for YouthAIDS, which promotes AIDS prevention and treatment, and has long campaigned on women's rights issues.
The Xena: Warrior Princess star was offered a pubic wig for her first full-frontal nude scenes - but, with one co-star keen to display all onscreen, she admits the pressure's on to go au naturale.
She says, "I haven't worn it yet... I was like 'have you got a red one?' We have one just in case.
"We have one person in the cast who insists on being naked... I think that person thinks it will surprise the person they're acting opposite.
Lawless plays Lucretia in the period epic, which will hit U.S. TV screens early next year (10), and performs her first full-on sex scenes with British actor John Hannah, who she insists was the perfect co-star.
She tells EW.com, "I couldn't have had a better partner... You have to make the unsexy look incredibly sexy.
But the actress insists the sex scenes were anything but pleasant: "It's the first time I had to do a sex scene; I try to think of myself as a modern woman but, honestly, I went home and had to go straight to bed. It was so stressful.
And she insists Spartacus will be a must-watch for lusty women as the newcomer, Andy Whitfield, has a terrific body, which he shows off in the mini-series.
She adds, "There's full frontal male nudity. You see plenty, trust me. I'm a little traumatised.".
Maura Tierney is begging ER bosses to kill off her character before the long-running show comes to an end, but they are refusing to let Dr. Abby Lockhart die.
Network bosses recently announced ER will end after one more season, and Tierney is keen to go out with a bang.
But she claims network chiefs want her character to live on, despite her pleas.
She tells AOL Movies, "I want them to kill me. And they won't. They refused to kill Abby."
Meanwhile, Tierney applauds the decision to call time on the hugely successful medical drama, adding, "I think it's a great thing for the cast and the crew. And I think it is a great thing that (creator) John Wells and all the rest of the writers know that's it's ending and have time to prepare for it and finish it in a way that's thoughtful."
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Nearly 30 years after an infectious plague ravaged Scotland and forced the closing of the nation’s borders the plague recurs in London--prompting the government to send a crack team of commandos into Scotland to locate and retrieve the cure if indeed there is one. Of course it’s not as simple as all that. The hordes of crazed and in some cases cannibalistic survivors of the plague are more than willing to give a (very) warm welcome to these interlopers led by the foxy and fierce Eden Sinclair (Rhona Mitra). Meanwhile back in Merrye Olde England the virus is continuing to spread but some of the powers-that-be don’t seem altogether concerned about that being more preoccupied with protecting their image sullied as it already is. In short it’s every man and woman for himself and herself--survival of the fittest 21st-century style. It’s also derivative and not necessarily in a negative way of such sci-fi classics as John Carpenter’s Escape from New York and George Miller’s Mad Max trilogy--replete with appropriate nods and in-jokes from Marshall who clearly has a great respect and affection for those who came before. Sigourney Weaver may not lose any sleep but Milla Jovovich might. As the one-eyed two-fisted ferociously fit action heroine Eden Sinclair Mitra stakes her claim to become the next cult heroine and there’s plenty of room left here to accommodate Eden’s potential future adventures. It’s always nice having Bob Hoskins around even if only for an extended cameo appearance as Eden’s down-to-earth boss Bill Nelson. Hoskins has played some heavies in his time but here he’s one of the good guys. Alexander Siddig no stranger to science-fiction given his Star Trek: Deep Space Nine stint plays the (rightly) worried Prime Minister and the ever-scowling David O'Hara plays his ruthless aide-de-camp amusingly and ironically named Canaris (World War II buffs will get the reference) who really is the power behind the throne. Adrian Lester Nora-Jane Noone Darren Morfitt and reliable Sean Pertwee play members of Eden’s assault team--shades of James Cameron’s Aliens--although few of them are in one piece by the end credits. Such are the perils of being an actor in this sort of film. Another “old-school” favorite Malcolm McDowell provides expository narration (a lot of it) and his own brand of tasty British ham (sliced just right) to his role of the scientist Kane who has forsaken science--and society--for a more medieval motif in a world gone wild. Like Hoskins McDowell hasn’t much time onscreen but there’s something pleasing about having him here. This is a film that favors style over substance but there are opportunities for the actors to strut their stuff in spirited fashion. As bruised bloodied or beheaded as the actors get they all seem to be having fun.
Without question Neil Marshall is one of the fast-rising talents in the fantasy genre--a genre he has clearly studied well. He brings a keen insight and manages to “borrow” elements and inspiration from other films in a way that doesn’t insult those films doesn’t diminish his own work and--more importantly--doesn’t insult the audience some of whom will surely recognize those inspirations and nods (Doomsday is filled with them). This is however one of the more cold-blooded efforts of Marshall’s young career. It’s about an inhumane future and the film is suffused with that emotional resonance--or lack thereof. The humor such as it is is blunt and bloody and the irony no less smoothly rendered. Nevertheless this promises slam-bang action and it certainly delivers. In an era where so many horror and science-fiction films are cut to achieve a PG-13 rating often to the detriment of the end result Doomsday is bloody proud to go for that R rating!
When eccentric writer/director John Waters made the subversive but colorful Hairspray in 1988—about a plus-sized girl and her dreams to dance as she breaks taboos in the early ‘60s—he probably thought it would be chalked up as another of his cult favorites. But here we are reviewing the latest Hairspray incarnation a movie version of the smash hit Broadway musical based on the 1988 offbeat classic. Funny how things work. The story is pretty much the same: The bubbly Tracy Turnblad (Nikki Blonsky) a big girl with big hair and an even bigger heart wants to dance on Baltimore’s TV dance show The Corny Collins Show. Her mother Edna (Travolta) isn’t too keen on her daughter’s aspirations only because she doesn’t want to see Tracy hurt. But against all odds Tracy wows them on and off the TV screen squashing the reigning princess Amber Von Tussle (Brittany Snow) finding love with the local hunk Link (Zac Efron)—and fighting for racial equality on the hippest dance party on TV. Tracy is the cornerstone to making Hairspray zing—and every actress who has played her has nailed it in her own way. Ricki Lake gave us a good start as the original; Marissa Jaret Winokur won a Tony playing her on Broadway. Now we have brilliant newcomer Nikki Blonsky a former ice cream parlor employee who beat out several hundred girls to win the role. Her happy-go-lucky Tracy quite literally lights up the screen every time she appears and you find yourself grinning like a fool the whole time she is shimmying and shaking. Let’s hope she isn’t just a one-trick pony. The supporting cast is also very appealing. Michelle Pfeiffer who once again gets to use those lovely pipes of hers is perfectly unctuous as Velma Von Tussle Amber’s scheming mother and the TV station manager. Queen Latifah adds her certain joie de vivre as Motormouth Maybelle the host of Corny Collins’ “Negro Day.” Also good are Amanda Bynes as Tracy’s lollypop-eating best friend Penny Pingleton and Elijah Kelley as the groovin’ Seaweed Penny’s forbidden love. The one drawback is Travolta as the oversized Edna. He does a fair job as the caring mom who is reticent to let her daughter go out into the big bad world. We can even see the old Travolta we know and love come alive when Edna dances. But because the actor simply looks so very wrong in latex and lipstick it takes away from the performance. No one can really surpass the late Divine the original Hairspray’s Turnblad matriarch who did it au naturel. Directing a movie like Hairspray is basically a no-brainer and choosing Adam Shankman to helm is as good a choice as anyone else. He is certainly not known for his cinematic genius having directed fluff such as Cheaper by the Dozen 2 and The Pacifier but he understands the bubblegum appeal of a bee-bopping musical. Fueled by catchy tunes from the Broadway show plus a few new ones created just for the movie Shankman orchestrates the big song and dance numbers—of which there are plenty—in such a way to get you moving in your seat every time. He also frames his talent in their more personal character-driven songs with a steady hand. I just wonder what John Waters would have done with it. Maybe a little more dog poop? In any event forget about Chicago and Dreamgirls--Hairspray is the perfect popcorn movie musical that will get everyone dancing and singing the way Grease did a generation ago.
High-ranking officials in former President Bill Clinton's administration are attempting to pull the plug on a new 9/11 TV miniseries over alleged inaccuracies.
Former Secretary of State Madeleine Albright and Clinton advisor Douglas Band are among the group of politicians who have written to Walt Disney boss Robert Iger, urging him to fix damning items in The Path to 9/11 or scrap the project completely.
The TV special, which is scheduled to air on Sunday and Monday, features Harvey Keitel as FBI agent John O’Neill.
Disney executives, who are airing the show on sister network ABC, are keen to point out the two-parter is a dramatization inspired by official interviews, investigations and documents, but Clinton's aides insist the miniseries contains factual and damaging errors.
Band wrote, "It is unconscionable to mislead the American public about one of the most horrendous tragedies our country has ever known."
While Albright has objected to a scene which alleges she insisted on warning Pakistan officials about a planned air strike on Afghanistan--something she claims never happened.
She fumes, "The scene as explained to me is false and defamatory."
The politicians have yet to see the miniseries, as Disney bosses have blocked their requests for a screening.
Band has also objected to TV ads for the miniseries, which he says suggests Clinton wasn't paying enough attention to the threat of terrorism.
He concludes, "It is a fictitious rewriting of history that will be misinterpreted by millions of Americans."
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Bruce Willis will star in a fourth Die Hard movie, if the studio can come up with a script he likes.
Eleven years after the last installment, Die Hard: With a Vengeance, the star is keen to reprise the most recognizable role in his long career--John McClane.
He says, "I'd like to see Die Hard 4 happen. If they get the script right, yes, I'd consider it."
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Towne’s film is a noble but ultimately flawed attempt to adapt author John Fante’s highly regarded 1930s novel (the screenwriter discovered it and befriended the author while researching Chinatown and spent over three decades trying to bring it to the screen). It tells the tale of wannabe writer and second generation Italian American Arturo Bandini (Colin Farrell) who comes to the sunny Sodom-by-the-Sea to seek fame and fortune by penning the Great American Novel and collides with a headstrong sharp-tongued Mexican waitress Camilla (Salma Hayek)--a far cry from the beautiful blonde of his romantic fantasies. But she too isn’t looking for an Italian--she longs to marry a WASP and shed her Latin identity. The two tangle--and become entangled--with each other as they try to make their dreams come true in the misnamed City of Angels. It’s a potent premise--a racially charged romance set against a vivid Day of the Locust-style backdrop--that gets off to a stylish start but quickly gets bogged down in a morass of too-familiar oh-so-soap opera sentiment. Looking perfectly fit for a fedora Colin Farrell attacks his role with an abundance of passion wit and verve and the strength of his performance carries the film through many of its rockier trails. As well Salma Hayek practically radiates sensuality AND a keen intelligence in one of most fully realized performances to date. The two strike some very palpable sparks--fireworks even--during both their amusing verbal sparring matches and their highly charged sex scenes (yes both her caliente curves and his bad boy beefcake are on full--and full frontal--display to strong effect). Both performers lift the film to heights it might otherwise not have achieved but are let down by the film’s lugubrious pacing and pat uninvolving third act. Idina Menzel (of Rent fame) pockets nearly every scene she’s in as an eccentric woman obsessed with Farrell’s character delivering a performance that deftly spins its initial quirky comic appeal on a dime into a more moving note of tragedy and sympathy. Towne’s abilities behind the camera--in films such as Tequila Sunrise and Without Limits--have often taken a back seat to his stellar reputation as one of Hollywood’s finest living screenwriters. Still his directorial gifts are considerable as he proves again in Ask the Dust. He adroitly visualizes the Bunker Hill district of Los Angeles circa 1939 with the aid of a masterful set built in the unlikely locale of South Africa and his lengthy rehearsal process and trust of actors helped concoct great chemistry between Hayek and Farrell. Where he really trips up is in the editing: the film plays like a screenwriter’s full version if his own final draft. The lack of nips and tucks in the cutting room slows the pace and progression to a fault resulting in scenes that play too long and turgidly. After the too-slow march to the inevitable end you’ll feel like you’re the one who should be brushing the dust off as you leave the theater.
Litigious Tom Cruise is sure to be all fired up by the brains behind irreverent cartoon series South Park after a recent episode poked fun at his religious beliefs and his sexuality.
The movie hunk has been keen to protect himself from allegations he's secretly gay by waging war with tabloids and publications who make claims against him.
And now he's at the center of an outrageous South Park episode, during which his animated double refuses to come out of a closet after a meeting with his hero, Scientology founder L. Ron Hubbard, who criticizes his acting skills.
In the hilarious episode, Cruise's ex-wife Nicole Kidman and fellow Scientologist John Travolta attempt to coax him out of the closet.
Kidman's animated double says, "Don't you think this has gone on long enough?
It's time for you to come out of the closet... You're not fooling anyone."
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