Actress Teri Reeves has filed for divorce from her husband. The Chicago Fire star separated from her husband, Jonathan, in September (13), and she is now requesting to deny him the right to file for support, according to legal documents obtained by TMZ.com.
The couple wed in 2005 and has no children.
The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
When the premiere episode of NBC’s new drama Chicago Fire came to a close, I can’t say that I wasn’t disappointed — disappointed because I actually found myself not hating the show. Let me explain: it’s not that I was truly rooting against it, it’s just that I had already come up with a handful of negative review headlines too fantastic to pass up:“Chicago Fire Will Make You Stop, Drop, and Roll Your Eyes”
“Chicago Fire Is All Smoke and Mirrors”
“Chicago Fire — Give It the Axe, NBC”
“Chicago Fire — Hose It Down, NBC”
“Chicago Fire — The Cubs of Television Shows”Such a missed opportunity. Still, it’s not as though the series doesn’t have its kinks. Set in some major North American city (I wanna say Sheboygan?), the pilot introduces us to the beehive that is the focal firehouse, complete with a team that makes it highly evident that the setting has a pulse.
The atmosphere of the firehouse is palpably alive, thanks to the range of characters and relationships found within. At the center of the series are devoted, cares-too-much paramedic Gabriela (Monica Raymund), eager newbie Peter Mills (Charlie Barnett), and feuding colleagues Casey (Jesse Spencer) and Kelly (Taylor Kinney), both torn up over the recent loss of a fellow firefighter. Individually, Casey and Kelly deal with their own respective problems (marital separation and some undisclosed illness), but are driven to keep one another aware of the ever present animosity shared all throughout the episode.
Other major characters include a stoic Batallion Chief Wallace Boden (Eamonn Walker), grappling with a decision to play out the rest of his career in the quiet, apparently “fire-free” community of Deerfield, but seems unprepared to leave his cherished professional family behind — especially in light of at least two divorces weighing him down emotionally. Also in management, the compassionate District Chief Lynn Fitori (Merle Dandridge), enveloped in an ostensibly secret affair with one of her subordinates.
The rest of the team consists of acerbic paramedic Leslie (Laurie German), whose homosexuality is introduced via a prank at the expense of newcomer Mills, plus hard-on-his-luck griper Herrmann (David Eigenberg), firehouse shlamazel Otis (Yuri Sardarov), motor mouth Cruz (Joe Minoso), and losing-his-edge Mouch (Christian Stolte). And that’s the team.
It seems imperative to mention the lot of them — even those whose roles in the pilot are far from extensive — since it is the character of the firehouse community that keeps the episode afloat. The action sequences — fire rescues and attendance to injured parties — might have somewhat of an edge over a lot of what we see on police procedurals, but aren’t unique enough to sustain a program. The individual relationships — Casey’s and Kelly’s stubborn enmity or Casey’s strained marriage with wife Hallie (Teri Reeves) — might build over time, but also don’t offer a great deal of standout appeal. What makes Chicago Fire’s pilot work is the flavor of its bullpen.
The camaraderie, as evidenced by the low notes — the communal mourning of a recently deceased firefighter (whose widow also seems to be set up as a recurring character) and the entire team’s union in a hospital waiting room after another is injured on the job — as well as the high ones — the gang goofs on punching bag Otis, pranks newcomer Mills, dines on Casey’s home cooking, and travels together to watch Chief Boden take on the police officer who stole his ex-wife in a traditional firefighters versus cops boxing match — is vivid; enough to believe that these people work, play, and survive together.
Of course, the flaws of the pilot might only be for lack of opportunity to flesh them out adequately, as is the hazard of an introductory episode in nature. We might see more character imbued in the personal relationships, more impressive turns for the action sequences, and more remarkable depth drawn into the individual members of the squad overtime. But for now, the show does have one thing going for it, and it’s enough to encourage a return for at least the second episode.
And it’s such a shame, too. “Stop, Drop, and Roll Your Eyes” would have been hilarious.
[Photo Credit: Matt Dinerstein/NBC]
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