The Star Wars actress recently ended her run on the New York stage in her one-woman show Wishful Drinking, which is based on her book of the same name about her early struggles in Hollywood.
But Fisher has now become entangled in an ugly dispute with her producer, Jonathan Reinis, who she claims owes her $60,000 (£37,500) for her time in the show. She also alleges he failed to keep a promise to move the production from the non-profit Studio 54 theatre, which is owned by the Roundabout Theater Company, to a "first-class Broadway house" at the end of last year (09).
In an email to New York Post columnist Michael Riedel, Fisher writes, "As you can imagine, Jonny seems to be a bit cranky, which I figure is why he still hasn't paid me the remaining money he owes me. For whatever reason, (he) was unable to get (the move) done. I don't know why, since I was told there was plenty of theatre availability. So, his rights reverted back to me under our contract.
"Trust me, there are a lot of things in the contract I wasn't thrilled about. But I fulfilled my obligations, didn't miss one show and made a lot of money for my producer - from which I'm assuming he ultimately plans on making a donation to the Roundabout Theater Company. This isn't the first time I've had to force Jonny to fulfil his obligations under our deal. I hope he'll comply in this circumstance soon. This whole thing doesn't have to get ugly."
Reinis' attorney, Ronald Feiner, has responded to Fisher's claims, contending the Studio 54 theatre is a "first-class" Broadway house because shows performed there are eligible for Tony awards.
Feiner also insists Fisher should be grateful to Reinis for the play's success and alleges the actress is the one who hampered the production, by failing to agree to a tour.
He adds, "(My client) should not be dismissed by Carrie Fisher in this way. He took her show from nothing - it had no sets, no video, it had nothing - and turned it into a hit.
"It is our belief that she owes us a substantial amount in lost profits from what could be a lucrative tour. We have offers from Australia, Canada and theatres around the United States, but we are unable to close the deal because she will not perform the show."
Did you know there are scientifically documented cases of very young children who had spontaneous memories of things and people and places they could never possibly have known about? Apparently The Return’s screenwriter Adam Sussman discovered this phenomenon and created the character Joanna Mills (Sarah Michelle Gellar) a young woman who since she was 11-years-old has been having disjointed flashbacks of some horrible attack she never experienced herself. She flashes regularly on a dank bar paintings of seahorses and ends up hiding from a man who calls her "Sunshine.” And who knew hearing Patsy Cline on your radio would spell supernatural trouble? The best part is when Joanna has one of these episodes she ends up cutting herself. Needless to say the girl’s a tad screwed up. Eventually Joanna finds herself inexplicably drawn to La Salle Texas where she finally starts to piece together the murder mystery that has been plaguing her for so long. Thank god! Someone just needs to hand Sarah Michelle Gellar a Coke and a smile. Forget about being a scream queen Gellar has become the queen of depression with the two Grudges and now The Return under her belt. She has actually made an art form of sad teary-eyed stares in the mirror sinking onto a bed with head in hand and general malaise. She also plays scared pretty well but deep down you know at any moment Gellar can get all Buffy the Vampire Slayer on whoever is threatening her especially as the tough Joanna. But the actress has to be getting tired of all this despair so let’s hope she decides to move on. The other Return cast members really aren’t worth mentioning except for a brief appearance by Sam Shepherd as Joanna’s dad. One can only imagine he did this for some extra cash. The Return is one of those cases in which the trailer makes the movie look a hell of a lot scarier than it really is which is probably why the studio didn’t pre-screen it for critics. It’s a marketing ploy of course pitching a thriller with an established horror actress attached--except this time they are messing with their built-in audience. Reminiscent of the truly creepy What Lies Beneath The Return may have a few jumps and bumps here and there but as a ghost story there isn’t any oomph. Maybe it has something to do with the ultra-depressive main character who isn’t nearly developed enough. We aren’t invested in what happens to Joanna or the woman periodically possessing her so she can solve her murder. The Return doesn’t measure up to its expectations lulling us instead of thrilling us.
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).