Evidently, Charlie Sheen is winning at something. During an interview in Playboy's August issue, ex-Goddess Bree Olsen gives the former Two and a Half Men star props for being amazing in bed. She says, "He's intelligent, he's charismatic, he's super funny, and he's good in bed. I mean, he's had a lot of practice." Well practice makes perfect I suppose. The 24 year-old porn star has been featured in over 250 porn films, yet he's supposedly the one who's had a lot of practice. Interesting. Olsen continues to sing Sheen's praises by stating, "He's just a rock star. He's a powerhouse. He is a very sensual and sexual person, and when I was with him I felt as if we had become one together, because he's just so sexually enticing." I think we now know who to thank for that incredibly large ego of his. But I guess the highest form of a sexual compliment would be from a porn star, right?
While Olsen has insisted in the past that she, Charlie, and other former Goddess Natalie Kenley, all slept in the same bed, she now admits to Playboy that there alleged ménage à trois was mostly just dramatic storytelling. When asked about all three of them being in bed together Olsen confesses, "That was a lie. I didn't even know her....okay, all of us got together, I think, twice." Olsen also reveals that there were never any slumber parties between the three of them as well: "They did their thing together, and Charlie and I did our thing together. And we had two different beds. She and I would go to whichever bed, and he would pick. You know, 'Where am I sleeping tonight?'" It's like a dirty game show or something -- which Goddess is behind door number one?!?! Now neither Olsen or Kenley are sleeping with Sheen. Bree claims that his obsession with his national tour ended up overwhelming their relationship. Right, because before then it was just so normal and healthy.
Source: Huffington Post
The age-old debate over fate vs. free will has been and always will be a tough theme to crack in any medium but with the benefits of modern filmmaking technology the theory can be explored in ways that Philip K. Dick never imagined. However when one relies too heavily on spectacle to tell a story a piece of cerebral science fiction can quickly become just another action extravaganza. In this day and age there’s a fine line between the two; The Matrix walked that tightrope with style and grace while Next never found its footing in the first place. Fortunately the precious work of novelist Dick has for the most part been treated with respect by Hollywood (the aforementioned Nic Cage dud notwithstanding) but that doesn’t necessarily mean movies based on his stories are completely faithful to his vision.
Case in point: George Nolfi’s directorial debut The Adjustment Bureau an adaptation of Dick’s short story “Adjustment Team.” The film stars Matt Damon as David Norris a successful businessman and rising political candidate who after a chance encounter with the girl of his dreams (Emily Blunt) loses a crucial election. He happens to run into her on a Manhattan bus the following week before finding his office swarming with masked men who are “adjusting” everyone inside. Richardson (John Slattery) the man in charge captures Norris who unsuccessfully flees the scene after seeing behind “a curtain he wasn’t even supposed to know existed” as the enigmatic figure puts it. From that point on Norris must live with the knowledge that he (and we for that matter) is not in control of his own life. Rather the choices he makes fit perfectly into “The Plan” that’s been written by “the Chairman”.
In relation to my earlier statement I have to say that Nolfi’s picture looks stunning but his natural urban aesthetic doesn’t overpower the story. Sleek contemporary production design and elegant costumes characterize the high-concept story and the wraithlike agents who shape our destinies. Topically we’re dealing with some heavy material but Nolfi and editor Jay Rabinowitz move the action along at a brisk pace that keeps you engaged and entertained without having to try. The film is properly proportioned as a chase thriller romantic adventure and sci-fi fantasy and thankfully no component overshadows another.
Setting the film in the world of politics and big business helps make its larger-than-life revelations a bit more accessible (as do appearances from Michael Bloomberg Jon Stewart and Chuck Scarborough) while providing sub-text about the corruption involved in elections and campaigns (there are conspicuous shades of The Manchurian Candidate in the movie) but the writer-director often tries too hard for broad appeal. For a film with existential implications as severe as they are here the dialogue is at times hokey and superficial. Dick’s source material is far more abstract and Nolfi for the sake of commercial success panders to the palette of soccer moms and mallrats.
What’s worse is his unwarranted exposition of the Bureau a shadowy organization whose major allure is anonymity. Some secrets are best kept and less can be so much more when crafting a mysterious atmosphere; Nolfi reaches that level of magnetic curiosity but squanders it as he reveals the truth about the Bureau and its grand scheme. On the other hand he brushes over the technical lingo between agents Harry Mitchell (Anthony Mackie) McCrady (Anthony Ruivivar) and others without explanation perhaps hoping that the ambiguous terminology will fool you into thinking that his script is smarter than it really is.
Even though Nolfi’s allegorical conclusions are uncomfortably ham-fisted the chemistry between Damon and Blunt alone is enough to enchant you; this is one highly watchable cinematic pairing that should be revisited as soon as possible. Their innocent relationship blossoms organically and together they make it seem as natural on screen as it is for their star-crossed characters. Even if you have a hard time believing in higher powers or manipulative Orwellian forces you’ll have faith in David and Elise’s fated relationship one of the most captivating couplings I’ve seen on the big-screen in some time.