Comedienne Joan Rivers is clearing out the Connecticut mansion she sold last year (13) by auctioning off everything from furniture to fine art. The acerbic funnywoman has listed more than 150 items for officials at Christie's auction house in New York to place under the hammer during an interiors sale on 1 and 2 April (14).
Among the lots include a pair of white-painted palm trees estimated at $5,000 (£3,125), a modern upholstered bed in pink linen, which is valued at $3,000 (£1,875), and a collection of animal horn trophies which is expected to raise $2,000 (£1,250).
A portion of the proceeds will be donated to an undisclosed charity.
Rivers offloaded the country home for $4.4 million (£2.75 million) in 2013.
Much like the somber melodies that float throughout its 105-minute runtime, Inside Llewyn Davis will remain lodged in your head weeks after you and the film first meet. With Oscar Isaac's "Fare thee we-e-ell..." ringing daintily in your ears, you'll shuffle out from the grasp of the Coen Brothers' wonderland of gray, but you won't soon be able to relieve yourself of what is arguable the pair's best film yet. Llewyn's is a story so outstandingly simple — he's a man who's s**t out of luck, and not especially deserving of any. He wakes up, loses his friend's cat, plays some music, and wishes things were better. And yet his is the Coens' most invigorating and deftly human tale yet.
Llewyn Davis makes the bold, but practical, choice of never insisting that we love its hero. He's effectively a jackass, justifying all the waste he has incurred with the rudeness he showers on the majority of those in his acquaintance. But Llewyn Davis isn't the villain here, either. The villain is the industry, and all the uphill battles inherent to its machinations. The villain isn't Llewyn's substantially more successful contacts — an old pal Jim (Justin Timberlake) and new fellow couch-surfer Troy (Stark Sands), but the listening public that prefers their saccharine pop to his dreary drips of misery. The villain isn't Llewyn's resentful old flame Jean (Carey Mulligan), no matter how many volatile admonitions she might shoot his way, but the act of God surrounding their unwitting adherence to one another. And it's not even the cantankerous and foul Roland Turner (a delightfully hammy John Goodman), but the endless, frigid open road of which each man is a prisoner (if the film has one flaw, it's that this segment carries on just a bit too long, but that might very well be the point). The villain is the cold.
Call it all a raw deal. But the real dynamism isn't in the challenges that happen outside Llewyn Davis, but in the determined toxicity brewing inside as he meets each and every one.
But this isn't the Coen Brothers' Murphy's Law comedy A Serious Man — we don't watch a chaotic pileup of every imaginable trick that the devil can manage to pull. Llewyn is steady throughout, not burying Llewyn deeper but keeping him on the ground, with the fruit-bearing branches forever out of his reach. In its narrative, Llewyn Davis is as close to natural life as any of the filmmakers' works to date. Perfectly exhibited in a late scene involving a trip to Akron, Llewyn isn't a cinematic construct, but the sort of person we know, so painfully, that we are very likely to be... on our bad days.
Still, working in such a terrific harmony with the grounded feel of Llewyn himself, we have that Coen whimsy in their delivery of 1960s New York City — rather, a magic kingdom painted in the stellar form of a 1960s New York City. And not the New York City we're given by the likes of Martin Scorsese or Woody Allen. Closer, maybe, to Spike Lee or Sydney Lumet, but still a terrain unique to moviegoers. A New York that's always recovering from a hostile rain, and always promising another 'round the bend. One that flickers like a dying bulb, with its million odd beleaguered moths buzzing around it against the pull of logic. There is something so incredibly alive about the Coens' crying city; this hazy dream world's partnership with half-dead, anchored-to-earth portrait like Llewyn is the product of such sophisticated imagination at play.
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And to cap this review of one of the best features 2013 has given us, it's only appropriate to return to the element in which its identity is really cemented: the music. Without the tunes bobbing through the story, we'd still likely find something terrific in Llewyn Davis. But the music, as beautiful as it is, is the reason for the story. As we watch Isaac's hopeless sad sack drag himself through Manhattan's winter, past the helping hands of friends and into the grimaces of strangers, as we struggle with our own handfuls of nihilistic skepticism that any of this yarn is worth the agony (or that our attention to its meandering nature is worth the price of a ticket), we are given the rare treat of an answer. Of course it's all for something. Of course it's all about something. It's about that beautiful, beautiful music.
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The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Roy Horn publicly describes attack for the first time
Roy Horn, one-half of the illusionist duo Siegfried & Roy, described for the first time his memories of being mauled by a tiger in an interview with Maria Shriver that aired Wednesday on the NBC special, Siegfried & Roy: The Miracle. Asked by Shriver what he was thinking at the time, Horn answered: "Dear God, let this be just a bad nightmare." Horn also told Shriver he remembers having a near-death experience on the operating table. "I saw a bank of white light, and then I saw all my beloved animals ... For a moment I stepped out of my body," said Horn, who now uses a motorized wheelchair. The magician was attacked by a 380-pound tiger named Montecore during a live performance at The Mirage hotel-casino in Las Vegas. The 7-year-old tiger bit into Horn's neck and dragged him off stage--until a show employee broke the animal's grip using a fire extinguisher.
Walters exits 20/20
Barbara Walters is giving up her role as co-host of the ABC newsmagazine show 20/20 after 25 years--and 740 interviews. Walters, 72, became a fixture on 20/20 in 1979 when she joined forces with then-host Hugh Downs. She has since interviewed the famous and infamous, including Richard Nixon, Michael Jackson, Erik and Lyle Menendez, Margaret Thatcher, Moammar Gadhafi, Monica Lewinsky, Bing Crosby, Robin Givens and Mike Tyson, Elton John and Ronald Reagan. But the veteran anchor says she is not retiring. "I'll be doing specials that I can pick and choose. I might even do an interview for 20/20 from time to time," Walters tells The Associated Press. "But in terms of anchoring 20/20--I'm done." Elizabeth Vargas will step in to replace her at the anchor desk next to John Stossel. On Friday, Walters will host a two-hour retrospective of many of her past interviews with 20/20. Then on Sept. 24, ABC will air Walters' last interview, a conversation with Mary Kay Letourneau, the former sixth-grade schoolteacher who went to prison for having sex with a student.
Johnny Ramone dies at 55
Ramones' guitarist Johnny Ramone died today following a five-year battle with prostate cancer, Reuters reports. He was 55. According to the group's Web site, Ramone died in his sleep at 3:03 p.m. at his Los Angeles home, surrounded by his wife, Linda Cummings, relatives and friends. Ramone, whose was born John Cummings, performed with the Rock and Roll Hall of Fame punk band from its initial concert at New York City's Performance Studio March 30, 1974 to its 2,263rd and final show at the Lollapalooza festival at the Irvine Meadows Amphitheater Aug. 6, 1996. Ramone is survived by his wife and his mother. His body will be cremated during a private ceremony.
Zeta-Jones' stalker to stand trial
Superior Court Judge Patricia M. Schnegg yesterday ordered a woman accused of stalking actress Catherine Zeta-Jones to stand trial, the AP reports. Dawnette Knight, 33, was arrested June 3 at her Beverly Hills, Calif., home and pleaded not guilty to one account of stalking and 24 counts of making criminal threats. The judge ordered Knight held on $1 million bail and to return to court Sept. 27 for arraignment. The charges involve more than 24 letters sent to Zeta-Jones's husband, actor Michael Douglas. In one letter, Knight said: "We are going to slice her up like meat on a bone and feed her to the dogs." In another letter, she allegedly apologized, claiming she had been in love with Douglas. Dwight's case had been halted July 30 pending a psychiatric evaluation after she suffered from an overdose of barbiturates, but a judge found her mentally competent to stand trial.
Madonna goes to Israel for spiritual guidance
Following her concert tour Re-Invention, Madonna (or should we say Esther, her given Hebrew name) is heading to Israel for a little spiritual cleansing, Reuters reports. The pop diva, whose itinerary was kept under wraps for security reasons, arrived at a luxury hotel in Tel Aviv late Wednesday to join about 2,000 fellow Kabbalists from the Los Angeles-based Kabbalah Center to celebrate the start of the Jewish New Year. The Catholic-bred singer's interest in the religion has raised some controversy among some ultra-Orthodox Jews who are afraid the growing popularity of the movement among non-Jews is nothing more than a trend that demeans their religious beliefs. But Madonna has said she takes the belief in Jewish mysticism very seriously and is irritated by accusations. Madonna's schedule was to also include a visit to graves of Jewish sages in northern Israel as well as shrines such as the flashpoint Rachel's Tomb on the edge of Bethlehem, traditional burial place of the biblical matriarch Rachel, Reuters reports.
Bobby Brown heads to Bravo
Cable network Bravo has ordered 10 one-hour episodes of Being Bobby Brown, a reality series about the troubled singer. The show, set to debut in the second quarter of next year, will chronicle the R&B singer's efforts to clean up his life after his numerous run-ins with the law. Brown's wife Whitney Houston will appear, as well as his children from their marriage and previous relationships. "Being Bobby Brown will allow the public to see Brown outside the context of a pop icon and bad boy, rather, they'll witness an artist striving to clean up his life for his future and the future of his family," Bravo president Lauren Zalaznick said.
John Lennon musical in the works
Lennon, a musical about the former Beatle John Lennon's life, is set to open on Broadway next summer, in time for the 25th anniversary of his murder at the hands of a crazed fan, Variety reports. The project will include such post-Beatle songs as "Imagine," "Instant Karma," "Give Peace a Chance," "(Just Like) Starting Over" and "Whatever Gets You Through the Night." The play was written and will be directed by TV veteran Don Scardino. No cast is set as yet.
Kennedy Center honors John, Beatty
Elton John and Warren Beatty will be among six entertainers to receive the annual Kennedy Center honors this year, the center told Reuters on Wednesday. The other recipients will be the husband-and-wife team of actors and producers Ossie Davis and Ruby Dee, soprano Joan Sutherland, and composer and conductor John Williams. The 2004 honorees will be feted at a gala performance in the Kennedy Center's Opera House on Dec. 5.
Kit Bowen contributed to this report.