The magical R-rating is both a gift and a curse to Adam Sandler's signature brand of lowbrow humor. In That's My Boy the comedian returns to the dim-witted roots that made him a star in early outings like Billy Madison and Happy Gilmore (complete with high-pitched mushmouth accent) but with a ramped up "ew" factor. Unrestrained Sandler piles on as many expletives and gross-out scenarios as a two-hour movie can hold — and it works out quite well. With costar Samberg nailing the disgusted straight man role Sandler's penchant for acting like a fool is enhanced by the sick stylings of director Sean Anders (Sex Drive) and only occasionally teetering into truly offensive territory. Laughs aren't guaranteed but the movie provokes (which is a big step up from Jack and Jill).
Back in the '80s Donny had a secret relationship with his teacher Ms. McGarricle that resulted in a son Han Solo (he's a middle schooler what do you expect?). The torrid affair put McGarricle in jail Donny into celebrity tabloid spotlight and Han Solo in the hands of a tween father. Thirty years later everyone's screwed up: Donny (Adam Sandler) is a drunk on the brink of jail time for tax evasion McGarricle's still in jail and Han Solo (Andy Samberg) now "Todd " is a successful number-cruncher with severe social issues. On the weekend of Todd's wedding Donny reenters his life hoping to bring revive their relationship and reunite him with his mother — that is on camera so Donny can make $50 000 from a gossip TV show and stay out of the slammer. Posing as Todd's long-lost best friend Donny stirs up trouble becoming buddies with Todd's friends and family and acting like a imbecile.
The wedding setup is overdone but always prime for comedy: plenty for a numbskull to screw up logical progression (there's a wedding at the end!) and a bachelor party scene to squeeze in the most disgusting bits and have them make sense. That's My Boy makes the most of its conventions — including what we all know and expect from a Sandler comedy — by continually one-upping itself. After a night of heavy drinking at the local strip club/omelette bar that results in do-it-yourself ear piercing and robbing a convenience store with Vanilla Ice Todd returns home to expel the night's worth of drinking all over his fiancee's wedding dress. Then he makes love to the dress. Then his fiancee (Leighton Meester) wakes up to find the dress. Then it goes even further than one would care to imagine. Grossed out yet? Amazingly lower-than-low brow material is handled with clever timing and great delivery. It's just that the foundation is bodily fluids.
That's My Boy falters when it throws in gags that serve zero purpose to the story. Strange racist humor a mentally retarded bar patron played by Nick Swardson (a Sandler mainstay) random allusions to Todd Bridges' drug habits — barrel-scraping one-offs that have nothing to do with the movie. At two hours the movie needs slimming and the fat is apparent. Thankfully the main ensemble goes to great lengths to make the hard R comedy click with Sandler and Samberg playing well off each other (although Samberg doesn't have the making of a leading man after this movie) and SNL alums like Will Forte Rachel Dratch and Ana Gasteyer driving by to bring the funny. Even Vanilla Ice's extended cameo fits the anything-goes tone playing a version of himself that befriended Donny in his celebrity days. Now he works at an ice skating rink.
After a few lame ducks That's My Boy is a return to form for Sandler. It wavers in quality but it has energy and color. A cash-in this is not and for any Sandler fan with a stomach for hardcore bathroom humor it's a must-see.
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.
To those only vaguely familiar with The Lovely Bones Alice Sebold’s bestselling novel about a murdered teen who observes her family — and tracks her killer — from beyond Peter Jackson might seem like an odd choice to direct the film adaptation. Why would the visual effects maestro who orchestrated such grand spectacle in films like King Kong and the Lord of the Rings trilogy be attracted to Bones’ somber reflective subject matter wherein nary an orc or a goblin can be found?
Shortly after the film's opening moments Jackson’s definitive answer arrives in the form of the “in-between place ” a breathtaking limbo where our wide-eyed heroine 14-year-old Susie Salmon (Saoirse Ronan) arrives after her life is cruelly cut short by a next-door neighbor and closet predator named ominously enough Mr. Harvey (Stanley Tucci). Susie’s experience of the afterlife as a sort of spiritual way-station featuring elements of both heaven and hell (but mostly heaven) is a veritable CGI playground for Jackson one in which he can employ all of the digital tools in his vast arsenal in the service of a powerful affecting story.
And what a gorgeous playground it is. As Susie journeys through her wondrous netherworld — sometimes alone sometimes accompanied by a perky young spirit guide named Holly (Nikki SooHoo) — Jackson serves up a succession of exquisitely rendered landscapes for her to explore from placid spring meadows to boundless Alpine slopes to lush green forests. Jackson knows all too well that the issue of life after death especially when considered in regards to those who left us too soon is fertile emotional ground. With the help of an irresistibly expressive Ronan he mines it shrewdly.
Back on Earth unfortunately The Lovely Bones takes the form of a poorly-constructed deeply unsatisfying police procedural. Frustrated by the authorities’ inability to find the killer Susie's anguished father (Mark Wahlberg) mounts an investigation of his own aided occasionally in Ghost-like fashion by his daughter’s unseen hand. Tension rises as the mystery unravels — Jackson having drawn us in with his shamelessly manipulative handiwork has us by the emotional short-hairs so much so that we’re willing to overlook the film’s gap-laden storyline redundant narration underdeveloped supporting characters and a generally underwhelming Wahlberg. We just want payback damnit.
But when The Lovely Bones’ moment of truth arrives Susie abruptly changes her mind effectively turning almost every preceding plot point into an infuriating red herring and depriving us of the emotional release Jackson so steadfastly prepared us for. What we’re left with ultimately is an experience akin to taking a shot of morphine and watching someone play the videogame Myst for two hours (a span that might very well be reduced to 45 minutes if the film’s copious slow-motion shots were all played at normal speed). And once the anodyne buzz wears off the comedown is agonizing.
The morning after the Golden Globes, the Directors Guild of America heated up the awards competition by announcing its nominees for director of the year.
This year's DGA nods went to Globe winner Sam Mendes for "American Beauty,"Spike Jonze for "Being John Malkovich," Frank Darabont for "The Green Mile," Michael Mann for "The Insider" and M. Night Shyamalan for "The Sixth Sense."All are first-time feature-film nominees except for Darabont, who was nominated in 1994 for "The Shawshank Redemption."
The winner of the DGA is practically guaranteed a win for Best Director in the Academy Award race. In its 50-year history, only four winners have not gone on to win the Oscar; Anthony Harvey (in 1968 for "The Lion Winter"), Francis Ford Coppola (in 1972 for "The Godfather"), Steven Spielberg (in 1985 for "The Color Purple") and Ron Howard (in 1995 for "Apollo 13." The winner will be announced March11.
SMOKED 'LAMB': Anthony Hopkins' London house caught on fire Sunday, and 75 percent of the second floor was destroyed. Hopkins no longer lives in the residence; he actually gave it to his wife after they split in 1998, according to London's Sun. But she should not worry; firefighters still managed to save Hopkins' Academy Award for "The Silence of the Lambs."
ÜBERENGAGED: German supermodel Claudia Schiffer is officially off the market again; she's just become engaged to British boyfriend Tim Jeffries.
Jeffries, 37, proposed on one knee during a recent Caribbean holiday, and the model immediately accepted, newspapers reported Monday. The Sun said Schiffer, 29, was displaying her diamond engagement ring at a Golden Globes party over the weekend.
Schiffer was engaged for some six years to magician David Copperfield (they split in September), while Jeffries, an art-gallery owner, was married once to photographer Koo Stark, ex-girlfriend of Britain's Prince Andrew. They hope to marry later this year. No word whether Copperfield will make an appearance -- or disappearance.
THEIR TWO CENTS: The Golden Globes is always a good time to get some scoop, and the stars did some chatting at Hollywood honcho Mike Medavoy's annual pre-Globes party Friday in Los Angeles. According to the New York Daily News, winner Peter Fonda reportedly discussed sister Jane's separation from Ted Turner. "I see a very positive change in Jane now," he said. "When she told me she was separating, her entire face seemed to relax. I think she's going to be a much happier person as a result of this." He added that he hopes his sister will return to acting...
Nominee Kevin Spacey revealed that he had plans to see "Man on the Moon" and "The Hurricane" to catch Jim Carrey and Denzel Washington's respective performances so he'd be able to speak more intelligently to his fellow nominees at the awards.
"I screen-tested for 'Man on the Moon,'" The "American Beauty" star told the paper. "I'm one of the guys who went for it. Then Milos [Forman, the director] called and said he was going with . I understood completely. knew Andy Kaufman. I think he even channeled him, too. How could I competewith that?"
The party also brought a surprise late guest: President Clinton.
GOODBYE, DOLLY: At the Golden Globes on Sunday night, Cecil B. DeMille lifetime achievement award winner Barbra Streisand said she will no longer be doing concerts. The stage-shy Babs plans to do four scheduled concerts in Australia in March, "and maybe two more -- one in Los Angeles and one in New York before calling it quits on the concert stage."
"I just don't like it. I don't enjoy public performances being up on a stage,'' the 57-year-old star said. She also plans to concentrate on directing films, and has no current plans to act. Meanwhile, she and hubby James Brolin stay busy, taking road trips and walking into truck stops. How do the people react? Do they tell her she's like buttah? "They seem fine," Streisand responded.
QUICK TAKES: "American Beauty" picked up another accolade this morning, this time by the Broadcast Film Critics Association at its awards luncheon. The critics group had earlier named 10 top films but withheld its pick for the ceremony. The other contenders were "Being John Malkovich," "The Cider House Rules," "The Green Mile," "The Insider," "Magnolia," "Man on the Moon," "The Sixth Sense," "The Talented Mr. Ripley" and "Three Kings".
...Playwright Herb Gardner ("I'm Not Rappaport") has been named the recipient of the Writers Guild of America East's Ian McLellan Hunter Award, recognizing lifetime achievement in writing. The award is named in memory of WGAE Council member McLellan, who died in 1991. He will receive the prize at the guild's ceremony on March 5 ...
... Nicolas Cage's 1933 Ford hot rod sold for $77,500 at the Barrett-Jackson Classic Car Auction on Sunday. It was purchased by publishing magnate Robert E. Petersen for display at the Petersen Automotive Museum in Los Angeles. Elvis Presley's 1972 Lincoln Continental sold for $45,000, and Richard Carpenter, half the 1970s singing duo the Carpenters, got $70,000 for his 1957 DeSoto convertible ...
... Rosie O'Donnell will be back for this year's Grammys. The talk-show host will repeat her stint, which earned the awards their second-highest rating in six years, on Feb. 23 in Los Angeles.