There was a point at which hosting The Tonight Show was tantamount to being on top of the world. When Johnny Carson hosted the show from 1962 until 1992, he became a national icon. But the landscape isn't so centered on the comedy standby anymore, and it shows. Just take a look at the massive pay cut imposed on the show's current host, Jay Leno. NBC representatives confirmed to the Wall Street Journal that Leno did, in fact, take a 50 percent pay cut followed by 20 employees being cut from his Los Angeles staff. And as brutal as it seems, it's all part of the late night game.
Leno is sharing the late night audience with competition like Jimmy Kimmel Live, The Late Show With David Letterman, Conan on TBS, and The Daily Show companion The Colbert Report on Comedy Central. It's no longer just a battle of the big-time network shows and their chuckle-worthy hosts, and while Tonight is still at the top, its share is significantly smaller thanks to the bevy of other choices. Accordingly, NBC has adjusted the budget.
Reportedly, Leno's pay cut to $15 million dollars cuts the show's annual $100 million budget by 20 percent, which makes sense when considering that Tonight's ad revenue has decreased by 37 percent in the last five years.
And in the face of all this downsizing and decreasing budgets, Leno is not only accepting a lower salary, but he's signed on to stick around until May 2014. (Though, how much money could he really need? If he gets desperate, he can always just liquidate his absurdly large collection of old cars.) But this acceptance of a less profitable late night is an interesting one: Leno, despite retiring, unretiring, and creating plenty of Team Coco animosity, has been the host for just over 20 years. Yet, when it comes time to take a cut, he accepts it and re-ups on his contract.
Could Louis C.K.'s melancholy, dark look at the shelf-date of a comedy career on his show Louie be coming eerily true? Does there come a point in a comedy career in which a comedian must realize that they simply must take what they can get, even if it's not exactly what they want? Of course, there's always the option that Leno simply loves doing The Tonight Show and he'd rather stick around for less money than throw his lot in somewhere else.
Still, he can't rest too comfortably. NBC was mum on the question of Leno's longevity at Tonight. He already retired from the series once, and NBC's not sure when it will happen again. NBC's entertainment chief Robert Greenblatt tells WSJ, "I'm sure there will be a day when these guys — Letterman and Leno — wake up and say, 'It's time for us to exit gracefully.'" That day apparently isn't today, but with heavy cuts and the constant undermining of the late night game by online and DVR viewership, the time for a graceful exit may be sooner rather than later. Follow Kelsea on Twitter @KelseaStahler [Photo Credit: NBC] More: Watch Kristen Bell Out-Host Jay Leno on 'The Tonight Show' - VIDEO Jay Leno's 20th Anniversary: 20 Memorable Moments From Our Partners:Relive Ryan Reynolds' Sexiest Looks — GALLERY(Celebuzz) John Mayer Involved in Ponzi Scheme Lawsuit: Report(Celebuzz)
There are two ways to judge Dan Rush's directorial debut Everything Must Go. You can look at the film itself and/or you can grade star Will Ferrell’s performance. To explain my rating I would give the actual film 4 stars while Ferrell’s performance earns a solid 5. Since they go hand in hand the average represents my rating: 4.5 stars.
The film follows Ferrell as a recovering alcoholic who relapses
after losing his job. He comes home to find that his wife has left him and
put all of his stuff on their front lawn prompting his decision to live on his yard. But local laws prohibit that (and some
neighbors don’t approve) so he is forced to turn the whole thing into a yard sale within
five days. If you can spot the metaphor between the things on the lawn
and his troubles congrats! You’ve cleared Metaphors 101. We’ll cover
similes next week. Anyway living on the lawn causes Ferrell to look
back and ponder over his life decisions. Helping him along the way is
newcomer Christopher Wallace (Biggie’s son) the precocious child that
helps teach him a lesson. Again a more overused cliche couldn’t be
found but it’s done right and Wallace is a joy to watch on screen.
Rebecca Hall as the pregnant neighbor who befriends Ferrell while he's camping on the lawn is a pleasant surprise as well holding her own against the star's incredible energy.
On Ferrell’s performance: It's by no means revolutionary for the craft of acting but is a breakout turn for the funny man. A more traditional dramatic actor could’ve lazily walked through the script and come out fine on the other end but Ferrell's portrayal is stark raw and real. You know the Will Ferrell scream? Imagine someone doing that not because it's funny but because it's their only means of expressing emotion. That’s what he does in this movie. He took the energy he employs in his comedies to reach new manic heights and channeled it into the darkest corners of the human psyche. The closest thing we can compare it to is Stranger Than Fiction since it's his only other dramatic role worthy of note (in that it's something most people know about and can compare to) but that film had a strong narrative hook that took care of all the whimsy so Ferrell could just be “normal.” Everything Must Go doesn’t have the benefit of that hook so Ferrell jumps headfirst into the pits of human emotion. I highly doubt it’ll garner him any award nominations but it was pleasing to see that he can actually act. And in hindsight it makes the crazy Ferrell that much funnier.
Onto the actual film: a fairly standard black comedy and that is by no means an insult. Standard can be good as long as it’s handled well and director Rush treads through the narrative carefully. The story jumps around a bit as the characters get the inspiration they need to move on to the next plot point awfully quickly but that affords cinematographer Michael Barrett more time to capture the beautiful South West landscape. Though there isn’t anything amazing about the film it is solid movie executed really well. A refreshing change of pace for Ferrell and a delightfully dark change of mood in the doldrums of the summer blockbuster.
Power producer Neal Moritz’ (Green Hornet Fast & Furious) company is called Original Film which is ironic because he hasn’t made a truly unique motion picture in some time. His latest effort Battle: Los Angeles isn’t groundbreaking by any stretch of the imagination but packs enough punch to leave you saying “Thank you sir may I have another?”
Jonathan Liebesman (The Texas Chainsaw Massacre: The Beginning) directs this massive movie about a race of aliens colonizing our planet but as the title suggests the action is centered on the City of Angels. Instead of watching the world at war we witness the American military’s last stand on the West Coast by following a single squad of soldiers on the ground as they fight their way through the city to pick up scattered civilians before the Air Force levels Los Angeles. 2nd Lt. William Martinez (Ramon Rodriguez) leads the troop but is too young to be calling the shots in a cataclysmic event like this. Thank heavens Squad Sgt. Michael Nantz (Aaron Eckhart) was called back in for one last mission because it doesn’t take long for the rest of the battalion to realize that the reluctant hero is their best chance for survival.
It’s a good thing that Liebesman and his technical crew are on the top of their game in Battle: LA because most of the other aspects of the production are just downright foolish. Writer Chris Bertolini took the framework from a handful of classic war movies and applied them to his script resulting in highly predictable scenarios and a pace that marches to the beat of past genre entries like Independence Day and Black Hawk Down. His dialogue filled with military jargon and 5th grade humor is quite literally laughable at some points while the thinly crafted characters are all token “team members” that you’ve seen before in films like Jarhead from the soon-to-be-father who’s not sure if he’s going to make it back to his wife to the new recruit/virgin who’s too young to die to the guy with the chip on his shoulder. We get brief glimpses of their back-stories in the first twenty minutes of the movie but as Nantz says during his Bill Pullman moment when the tide begins to turn “none of that matters now.”
What does matter is that Battle: Los Angeles is a roaring thrill ride that barely lets up from start to finish. From the moment the soldiers hit the streets they’re thrust into a tense and gritty survival situation that vaguely mirrors the urban environments in which our Marines are currently engaged in the Middle East. Liebesman uses handheld cameras and close-ups to capture the calamity of combat giving the picture a documentary quality that helps it find some semblance of individuality. Though his actors aren’t required to do much acting (save for Michael Pena whose small role as a dedicated father stands out) and the script as stated is noticeably sub-par capturing their facial expressions as hovercrafts blow fighter jets out of the sky brings out emotion that most of them wouldn’t be able convey in a more traditional performance.
As I continue to heap praise upon the film’s technical achievements I must also note editor Christian Wagner’s chaotic cuts that heighten the soldier’s state of paranoia and the overall sound design of the picture. Until we get up close and personal with one of the aliens Liebesman doesn’t show us much; we have a hard time seeing them because they move so fast but we can hear their quick movements and the affect is quite unsettling much like the performances from Michelle Rodriguez Ne-Yo and a slew of the films co-stars.
Whether or not the filmmakers originally intended on making a movie that was more than the average alien invasion flick is neither here nor there. Is it a rehash of the most exciting moments in War of the Worlds or Red Dawn? Sure it is but it’s also an electrifying film that manages to be engrossing and entertaining in spite of its flaws.
Pretty people just don’t understand—you’re not safe anywhere and all the sadists are after YOU! As the two geniuses in The Hitcher Grace (Sophia Bush) and her boyfriend Jim (Zachary Knighton) learn real quickly a cross-country trek to New Mexico in a beat-up car is especially risky. During their first night out on the open road it’s raining cats and dogs when they almost run over a man (Sean Bean) who’s standing aimlessly in the middle of the street his car apparently broken down. The young couple decides against lending him a helping hand with it pouring down rain and all. Bad move. When they stop for gas later Jim and Grace cross paths with the man who goes by the name of John Ryder. He asks the couple if he might hitch a short ride with them to a local motel. This time they oblige. Bad move. One aspect the studio must’ve loved about The Hitcher: Being shot primarily in a car the cast cannot feasibly be more than three deep—four tops. That also means that said cast must wear the tension well if the camera is to be on them throughout. Bush (TV’s One Tree Hill) the movie’s biggest asset as far as its target audience is concerned shrieks well and most importantly is smokin'. And when it comes time to fight back she doesn’t look so bad doing it even if there’s scant giggling in the theater at the now clichéd image of a weapon-wielding hot chick. As the hugely sadistic villain Bean (GoldenEye the LOTR movies et al) is more than adequately creepy. There’s something to be said with most of The Hitcher’s viewers’ inability to recognize him because an A-list movie star just wouldn’t work in this role. Obscurity aside Bean his face lurking around every corner will simply creep the crap out of the young audience. As for Knighton he seems and looks like the garden-variety up-and-comer and try as I might there’s nothing wrong with his biggest role to date—except a scene of um tug-of-war that is tough to watch or look away from. Veteran actor Neal McDonough also pops in with a brief role as a sheriff caught in the proverbial crosshairs. These days it’s tough to come up with anything new in a horror film—so directors just don’t bother. Save for neo-horror maestro Eli Roth there’s no originality to be seen especially when seemingly 99 percent of horror movies are remakes and when they’re not remakes they’re Primeval or Turistas. The Hitcher is much better than those two but director Dave Meyers truly eliminates most of the psychological aspect of the original 1986 Hitcher in exchange for a polished contemporary feel. Of course Meyers is one the most renowned music video directors of the past several years so it's no surprise when he mistakes volume for thrills; in fact the decibels will be the chief reason for almost all of the audience’s screaming. Not that there aren’t scary moments however. The writers Jake Wade Wall (When a Stranger Calls) and Eric Bernt (Romeo Must Die) actually get the film off to a brisk smooth start but they ultimately turn John Ryder into more of a Terminator-like character and ask for too many leaps of faith and suspensions of disbelief—again not that their intended audience won’t indulge them. At least the studio had the guts to retain the intended 'R' rating!