Jerry Lewis had a serious health scare last night. The legendary comedian/actor was rushed to the hospital in NYC just before he was supposed to take the stage to give Tom Cruise a Friars Club award on Tuesday, according to the New York Post. The 86-year-old actor, who has Type 1 Diabetes, reportedly collapsed due to low blood sugar.
Lewis had been set to take the stage to present Cruise with the Friars Club Entertainment Icon Award and as well as accept the Applause Award himself. But, Chairman of the Friars Foundation Ambassador Joseph Zappala reportedly told the audience that prior to the event, Lewis got sick and went to the hospital. He also added that Lewis was expected to make a recovery.
According to the Post, after his trip to the hospital last night, Lewis supposedly returned to his hotel to rest. "I am sorry Jerry couldn't be here tonight, but I know he is going to be fine," Cruise stated when accepting his award later on in the evening.
Not only does Lewis have Diabetes, but he has battled prostate cancer, pulmonary fibrosis, and has a history of heart disease. Hollywood.com has yet to hear back from Lewis' reps.
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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.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
Mr. Deeds really went to town this weekend, inheriting $37.6 million at the box office.
Lilo & Stitch held on in second place with an animated $22.2 million. Minority Report slipped to third with $21.6 million.
While Minority beat Lilo by $417,000 last weekend, after a full week in theaters Lilo was leading by about $2 million in cumulative gross. Now after 10 days, Lilo is $4.3 million ahead of Minority.
Scooby-Doo took fourth place with $12.2 million, bringing its cume to nearly $124 million. The Bourne Identity was fifth with $10.8 million.
The weekend's other wide opening, Hey Arnold! The Movie, had nothing to shout about in sixth place with $6 million.
Ticket sales were up nearly 13 percent from this weekend last year. Key films -- those grossing $500,000 or more -- took in $138.1 million versus last year's $122.6 million.
THE TOP TEN
Columbia and New Line's PG-13 rated comedy Mr. Deeds kicked off in first place, laughing all the way to the bank with an ESTIMATED $37.6 million at 3,231 theaters ($11,637 per theater).
Directed by Steven Brill, it stars Adam Sandler and Winona Ryder. It was produced by Sid Ganis and Jack Giarraputo and executive produced by Sandler and Joseph M. Caracciolo.
Mr. Deeds' average per theater was the highest for any film playing in wide release this weekend.
"We're delighted," Sony Pictures Entertainment worldwide marketing & distribution president Jeff Blake said Sunday morning.
"This is the kind of high powered opening that Adam is known for, particularly in the summer. It's very close to what The Waterboy (the weekend of Nov. 6-8, 1998 opened to) $39.4 million. It went on to do $161 million (in domestic theaters). And it's not that far from Big Daddy, which (the weekend of June 25-27, 1999 opened to) $41.5 million and went on to do $163.5 million."
In addition to those comparisons, another interesting comparison that can be made from the record books is to Sandler's last film, New Line's Little Nicky. After opening to a quiet $16.1 million the weekend of Nov. 10-12, 2000, it wound up with a domestic theatrical cume of just $39.4 million -- not much more than Deeds took in for its first weekend. With Columbia's Deeds opening Sandler is clearly back on the box office fast track.
"Adam is really a franchise in and of himself," Blake said, noting that Deeds' production cost was a relatively modest -- at least by big summer movie standards -- $55 million.
"Obviously, that's a number you can feel really good about," Blake added. "What we feel even better about is that we've got his next three movies. His animated film, Adam Sandler's 8 Crazy Nights, which opens at Thanksgiving, had a teaser trailer attached to Mr. Deeds. Punch-Drunk Love, which is the Revolution film that got such good notices at Cannes, will be a year-end release. And next June for another big summer release there's Revolution's film Anger Management with Jack Nicholson (starring with Sandler). So not only is (Adam Sandler) a great business to be in, we're in it pretty heavily."
Reflecting on Sony's sizzling hot summer at the box office, Blake also pointed out that Spider-Man, which in its ninth week has just dropped out of the Top Ten, is now at about $395.7 million and on its way to "somewhere between $400-410 million" in domestic theaters.
Hollywood handicappers are talking about Spider-Man as a likely bet to be the year's biggest grossing film. "I don't think there's going to be any question (of that)," Blake observed. "With all due respect, as good as the rest of the market is, I don't see any $400 million (films out there)."
Sony's summer success should get its next major shot in the arm from Columbia's launch this Wednesday (July 3) of Men In Black II at about 3,300 theaters and 6,000 or more screens. The film's 88 minute running time (including about seven minutes of end credits) will enable theaters to run it five or six times a day, greatly enhancing its grossing potential.
The original Men In Black's first weekend in theaters was July 4-6, 1997 with $51.07 million at 3,020 theaters ($16,910 per theater). With July Fourth falling on a Friday that year, the film's opening gave it a six day cume of $84.1 million. It went on to gross $250.1 million in domestic theaters.
"We're certainly opening on very close to 6,000 screens -- probably over 6,000 by Monday," Blake said. "Well, 6,000 screens times five or six shows a day, that's pretty good! You've got to figure you've got (at least) 30,000 shows a day no matter how you place it. I think it's going to be fun. It should be a good weekend for us."
Beyond Men In Black II, Sony has another high profile sequel on deck in Stuart Little 2, opening July 19. The first Stuart Little opened to $15 million the weekend of Dec. 17-19, 1999 and went on to gross $140 million in domestic theaters.
Buena Vista/Disney's PG rated animated family appeal feature Lilo & Stitch showed strong legs in its second week, holding on to second place with an ESTIMATED $22.2 million (-37%) at 3,222 theaters (+31 theaters; $6,899 per theater). Its cume is approximately $77.8 million.
Written and directed by Chris Sanders, it was produced by Clark Spencer. Its original score is by Alan Silvestri.
20th Century Fox and DreamWorks' PG-13 rated sci-fi fantasy thriller Minority Report tumbled two rungs in its second week to third place with a less thrilling ESTIMATED $21.63 million (-39%) at 3,001 theaters (theater count unchanged; $7,208 per theater). Its cume is approximately $73.5 million.
Directed by Steven Spielberg, it stars Tom Cruise.
WARNER Bros.' PG rated family comedy Scooby-Doo slid one peg to fourth place in its third week with a calmer ESTIMATED $12.22 million (-50%) at 3,447 theaters (theater count unchanged; $3,545 per theater). Its cume is approximately $123.8 million.
Directed by Raja Gosnell, it stars Freddie Prinze Jr., Sarah Michelle Gellar, Matthew Lillard, Linda Cardellini and Rowan Atkinson.
Universal's PG-13 espionage thriller The Bourne Identity fell one rung to fifth place in its third week with an okay ESTIMATED $10.81 million (-28%)) at 2,663 theaters (+20 theaters; $4,060 per theater). Its cume is approximately $72.5 million, heading for $85 million.
Bourne had the lowest percentage drop of any film in the Top Ten this weekend.
Paramount and Nickelodeon's PG rated animated feature Hey Arnold! The Movie arrived in sixth place to a dull ESTIMATED $6.0 million at 2,527 theaters ($2,374 per theater).
Directed by Tuck Tucker, the film is based on the hit Nickelodeon cartoon series. With the movie having reportedly cost only about $4 million to make, neither Paramount nor Nickelodeon should be hurt by its not-so-lively launch.
"We're a little disappointed," Paramount distribution president Wayne Lewellen said Sunday morning. "It's below our expectations, but we didn't have a great deal invested in the film either. It's not like we're going to be hurt financially, but certainly we were expecting a great deal more and had anticipated making a lot of money versus sort of getting out of it even."
Paramount's PG-13 rated thriller The Sum Of All Fears dropped two slots to seventh place in its fifth week with an uneventful ESTIMATED $4.83 million (-38%) at 2,486 theaters (-551 theaters; $1,941 per theater). Its cume is approximately $105.3 million, heading for $120-125 million in domestic theaters.
Directed by Phil Alden Robinson and produced by Mace Neufeld, it stars Ben Affleck and Morgan Freeman.
Warner Bros. and Gaylord Films' PG-13 rated drama Divine Secrets of the Ya-Ya Sisterhood slid one rung in its fourth week to eighth place with an unexciting ESTIMATED $4.01 million (-33%) at 2,187 theaters (-143 theaters; $1,851 per theater). Its cume is approximately $55.3 million.
Directed by Callie Khouri, it stars Sandra Bullock, Ellen Burstyn, Fionnula Flanagan, James Garner, Ashley Judd, Shirley Knight, Angus MacFadyen and Maggie Smith.
MGM's R rated World War II drama Windtalkers plunged three spots to ninth place in its third week with a slow ESTIMATED $3.6 million (-45%) at 2,529 theaters (-369 theaters; $1,473 per theatre). Its cume is approximately $33.3 million.
Directed by John Woo, it stars Nicolas Cage.
Rounding out the Top Ten (but virtually tied for ninth place) was 20th Century Fox and Lucasfilm's PG rated franchise installment Star Wars: Episode II - Attack of the Clones, down one orbit in its seventh week with a quiet ESTIMATED $3.56 million (-31%) at 1,801 theaters (-306 theaters; $1,977 per theater). Its cume is approximately $286.1 million, heading for $300 million in domestic theaters.
Star Wars: Episode I - The Phantom Menace took in $431.1 million in domestic theaters. Its worldwide total (domestic plus international) was $923 million.
Directed by George Lucas, it stars Ewan McGregor, Natalie Portman and Hayden Christensen.
This weekend also saw the arrival of Lions Gate Films' R rated comedy Lovely & Amazing to a hopeful ESTIMATED $96,000 at 8 theaters in New York and Los Angeles ($12,000 per theater).
Written and directed by Nicole Holofcener, it stars Catherine Keener, Brenda Blethyn and Emily Mortimer.
"We expand July 19 to about 125 screens for the next wave," Lions Gate president Tom Ortenberg said Sunday morning.
United Artists' R rated satiric comedy Pumpkin opened via MGM Distribution to a not very funny ESTIMATED $30,000 at 8 theaters ($3,776 per theater).
Directed by Adam Larson Broder and Tony R. Abrams, it stars Christina Ricci, Hank Harris and Brenda Blethyn.
20th Century Fox's PG-13 rated comedy The First $20 Million Is Always The Hardest kicked off poorly, finding that for it the first $20,000 is the hardest. The film took in only an ESTIMATED $2,354 at 2 theaters in Los Angeles ($1,177 per theater).
Directed by Mick Jackson, it stars Adam Garcia, Rosario Dawson, Jake Busey and Enrico Colantoni.
There were no national sneak previews this weekend.
On the expansion front this weekend Gold Circle Films and HBO's PG rated romantic comedy My Big Fat Greek Wedding widened again via IFC Films in its 11th week with a still sexy ESTIMATED $1.9 million (+9%) at 493 theaters (+49 theaters; $3,930 per theater). Its cume is approximately $19.3 million.
Directed by Joel Zwick, it stars Nia Vardalos and John Corbett.
Miramax's PG rated comedy The Importance Of Being Earnest added theaters in its sixth week with an unimportant ESTIMATED $0.46 million (-14%) at 208 theaters (+7 theaters; $2,187 per theater). Its cume is approximately $4.9 million.
Directed by Oliver Parker, it stars Rupert Everett, Colin Firth, Frances O'Connor, Reese Witherspoon, Judi Dench and Tom Wilkinson.
Think Film's R rated dark comedy The Dangerous Lives of Altar Boys went wider in its third week with an unexceptional ESTIMATED $0.2 million at 125 theaters (+49 theaters; $1,810 per theater). Its cume is approximately $0.6 million.
Directed by Peter Care, it stars Kieran Culkin.
Key films -- those grossing more than $500,000 -- took in approximately $138.12 million, up 12.63 percent from last year when they totaled $122.65 million.
Key films were down about 12.43 percent from the previous weekend of this year when they grossed $157.73 million.
Last year, Warner Bros.' opening week of A.I. Artificial Intelligence was first with $29.35 million at 3,242 theaters ($9,054 per theater); and Universal's second week of The Fast and the Furious was second with $20.05 million at 2,723 theaters ($7,365 per theater). The top two films one year ago grossed $49.5 million. This year, the top two films grossed an ESTIMATED $59.8 million.