The Tony Award winner and her husband Darren Goldstein announced they were expecting a second child in December (11), however, the 41 year old refused to let her bulging belly get in the way of her dream - taking the stage in one of her favourite musicals.
In the spring, Finneran (12) put on her best dress and donned a pair of high heels to win the part of evil orphanage manager Miss Hannigan, and Annie director James Lapine insists she nailed it.
He tells New York Magazine, "It was pretty hilarious. She kind of knocked our socks off. She'd really done her homework."
Finneran gave birth to a baby boy this summer (12), but she has wasted no time in getting back on her feet - her first performance is set for 3 October (12).
Finneran is already a mother to one-year-old Ty Michael.
Tony Award winner Finneran gave birth to the couple's son, Ty, in February (11) and now she is pregnant with a sibling for the tot.
She tells People.com, "Life could not be better right now. The idea that our 10-month old is going to be a big brother is simply thrilling!"
The actress wed Damages star Goldstein in August, 2010.
Most drug movies glamorize the use and/or distribution of narcotics before telling the ugly truth about the addiction or jail time that follows and the shady figures that inhabit society’s underbelly. Taking characters from point A to point B and finally to their lowest point is a formulaic but effective storyline that shows how substance abuse destroys lives. It worked for Blow Scarface and The Basketball Diaries but in Limitless director Neil Burger ignores that successful blueprint and essentially says “Do drugs kids! They’ll help you! And don’t worry it’ll all work out in the end!”
Of course a more familiar narrative precedes this self-serving unorthodox conclusion and it could’ve worked if Burger navigated the story with more focus. The film begins when struggling novelist and all around slob Eddie Morra (Bradley Cooper) who has a permanent case of writer’s block runs into his drug-peddling-ex-brother-in-law in Manhattan (what are the odds?) This slimy fellow gives him an experimental pill called NZT that clears its users mind and helps them focus. When he ingests it his long-gestating novel is completed in a matter of hours and his grimy apartment is made-over to look like a room at the Ritz Carlton. The pace of the picture picks up quickly as Eddie climbs New York City’s social and corporate ladders acquiring wealth power women and the attention of greedy entrepreneurs ruthless gangsters and assassins who want the drug themselves.
The high-concept premise presented storytelling potential as expansive as the title suggests but Limitless is hampered by a series of discrepancies that render it silly and disjointed. Some of the smaller ones are relatively insignificant and won’t hinder the experience but others (such as the lethal effects of the drug which conveniently don’t apply to our protagonist) defy the internal logic that screenwriter Leslie Dixon sets up. It’s also hard to ignore how useless a handful of the sub-plots are. Abbie Cornish’s character starts out as motivation for Cooper’s but her relevance lessens as the stakes are raised and Eddie slips further into the worlds of finance and crime. The same can be said of the Russian gangster whose arc begins when he lends Eddie some capital for an investment and ends in a pulpy bloodbath. Burger leads you to believe that these side-stories will have greater impact on the bottom line but by the time the film wraps it becomes clear that they’ve collectively convoluted the plot.
It is however entirely possible that the filmmakers’ goal was to make a movie that mimics the incoherent mind-bending state that hallucinogens induce and in that sense Limitless works. Burger builds on that idea by visualizing the effects of NZT with unusual camera techniques including abrupt changes in color editing tricks that revisit the action in reverse (sort of) and a great time/spatial elapsing effect that literally pulls the viewer through Eddie’s lengthy drug coma. The dizzying display of surreal imagery is the films greatest gimmick designed to draw your attention away from its weaknesses.
At its core Limitless is about excess: excess of knowledge power money etc. and fittingly excess is one of its biggest problems. The filmmakers force too much upon their movie from unnecessary fight scenes to sexual encounters with metropolitan socialites that ironically water down its potency instead of giving it more edginess. Like any drug it starts out as something refreshing and stimulating but when you come down you’re stuck wondering where the last few hours went.
Finneran, 39, was honoured with the trophy for Best Performance by a Featured Actress in a Musical for her role in Promises, Promises and she paid tribute to her partner during her acceptance speech, revealing they are set to walk down the aisle.
Dedicating the award to her beau, she told the audience, "(He) asked me to marry him."
And the actress was lucky to have Goldstein by her side to share her big moment at the ceremony in New York City - because he was due to shoot a commercial out of town.
She says, "He almost missed tonight because he had this huge commercial but I said that's fine, we both have to work, but I'm glad he's here."
It was Finneran's second Tony Award win - she previously took home a prize for her stint in 2002 play Noises Off.
In the late 19th century Dr. Gabriel Van Helsing (Hugh Jackman) a misunderstood monster hunter is summoned to Transylvania to ferret out Count Dracula (Richard Roxburgh) and kill him once and for all. When Van Helsing gets to the small village where the vampire was last spotted he discovers he also must contend with Dracula's three seriously twisted vampire brides Dracula's angry henchman/werewolf--and a lovely gypsy princess named Anna Valerious (Kate Beckinsale) who is hell-bent on eradicating Dracula and his bloodsucking kind for slaughtering her entire family. Oh and let's not forget Frankenstein's Monster (Shuler Hensley) who holds the key to Dracula's evil master plan--something about releasing his minions of unborn bat-like children from their goo-filled cocoons so they can wreck havoc on the world. Yuck. Sounds like our resident monster stomper and his sword-swinging gal pal have their work cut out for them. If Van Helsing does manage to kill all his monster foes does that mean he's out of a job?
Jackman has the whole antihero thing down pat. He adequately embodies the younger more virile Van Helsing dishing out as much pain and torture as he can on the undead--but the Aussie actor isn't given nearly as much meat to chew on as he did say delving into the complicated Wolverine in X-Men. Instead the monster hunter is relegated to carrying big weapons wearing a big hat and muttering something about having bad dreams to a past he can't remember. Same goes for Beckinsale. The British actress was oh-so-cool on the other side of the fence playing the chic vampire Selene in Underworld cutting her way through a myriad of werewolves. As Van Helsing's heavily accented female counterpart Anna however she just runs around with her sword blurting out such pathetic dialogue such as "Dracula took everything away from me and now I'm alone in the world" while Roxburgh's Dracula--who can't hold a candle to other far more charismatic Draculas before him--wails about being so very alone as his luscious brides hang upside down in front of him. Give me a break. At least Australian actor David Wenham (The Lord of the Rings) provides much-needed comic relief as Van Helsing's sidekick Carl a Catholic friar who doesn't much like playing hero.
With the requisite dark mood and tone action sequences and snazzy CGI-creations including the winged vampire brides and formidable werewolves you can see exactly where writer/director Stephen Sommers (The Mummy) spent Van Helsing's nearly $150 million budget. But even all the bells and whistles can't tie together the film's vacuous nonsensical mumbo jumbo as Sommers attempts to bring classic movie monsters together in the same movie. Maybe in a tongue-in-cheek Abbott and Costello movie it could work but as a serious action-packed thriller clearly Dracula Frankenstein and the Wolf Man do not need to meet. On top of that Sommers steals from other movies as well such as recent films Underworld (the whole vampire vs. werewolf conflict) and The League of Extraordinary Gentleman (Van Helsing defeats a rather familiar-looking Mr. Hyde at one point). Whatever originality there is in the film leaves you either scratching your head--Dracula has kids?--or rolling your eyes--Anna needs to kill Dracula so her nine-generations of family can reunite in Heaven? Please.
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).