Two and a Half Men star Jon Cryer wed TV presenter Lisa Joyner in a romantic ceremony in Mexico on Saturday.
The happy couple married at the Chapel at Pueblo Bonito Sunset Beach in Cabo San Lucas, Mexico, with the 40-year-old bride dressed in a champagne satin Monique Lhuillier gown.
The 41-year-old actor's rep says, "They're very, very happy."
The couple started dating in late 2005--a year after Cryer divorced his first wife, Sarah Trigger, mother of his 6-year-old son Charlie.
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Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
Considering that the morning signified the official start of the annual race for awards season gold in Tinseltown, the Hollywood Foreign Press Assocation could have just used a starter’s pistol at the beginning of their announcement of the 63rd Annual Golden Globe Awards.
Instead they opted for something a little more glamorously apropos, with stars Kate Beckinsale, Mark Wahlberg and Steve Carell announcing the winners at a pre-dawn ceremony at Beverly Hills’ luxe Beverly Hilton Hotel.
But the race was indeed on, and on the film side the gay-themed Western drama Brokeback Mountain broke ahead of the pack early on with seven nominations, including Best Motion Picture--Drama, Ang Lee for director, Heath Ledger for actor, Michelle Williams for supporting actress, screenplay, score and original song.
Also faring well among the 2005 film crop were writer-director Woody Allen’s Match Point; the first-a-film, then-a-musical, now-a-film-musical The Producers; and George Clooney’s Good Night, and Good Luck, each with four nominations. Clooney not only received individual nods for co-writing and directing the film, he also scored a best supporting actor nomination for his turn in the political potboiler Syriana.
Or was the nominee “Jorge Clooney,” as his friend and frequent co-star Wahlberg purposely mispronounced it when he made the announcement?
Meanwhile, over on the television side, Desperate Housewives wasn’t desperate at all, leading all comers with five total nominations, including individual Best Actress in a Television Series--Musical or Comedy nominations for stars Marcia Cross, Felicity Huffman, Eva Longoria and last year’s winner, Teri Hatcher. Huffman also fared well on the film side, garnering a nomination for Best Performance by an Actress in a Motion Picture--Drama for her turn as a preoperative transsexual in Transamerica.
And while HBO continued its long trend of dominating the TV nominations with a total of 17 due to such multiple-nominated series as Entourage, Curb Your Enthusiasm, newcomer Rome and the miniseries Empire Falls, the pay cable net was suddenly feeling the breath of a traditional network on its neck: ever-emergent ABC was just one shy of HBO’s tally with 16 nominations, thanks to such second-year staples as Desperate Housewives and Lost as well as newbies Commander In Chief and Grey’s Anatomy.
Seen On the Scene
Even though it was 5:30 a.m. in Los Angeles, Access Hollywood’s Maria Menounos looked like she hadn’t missed a second of her beauty sleep as she prepared to do a live shot for her other gig, the Today Show. “I don’t mind getting up so early,” she whispered to Hollywood.com seconds before she went live, joining the phalanx of journalists, photographers and videographers and the small army of anxious celebrity and studio publicists who turned out for the announcement. “It’s a test of my endurance.”
The celebrity presenters were also looking impossibly chic for the ungodly hour, especially Beckinsale, in a shimmery black satin Monique Luhllier gown more suited for the cocktail hour. Two of the stars were well rewarded for rising early: Carell snared his first-ever Golden Globe nomination for Best Performance by an Actor in a Television Series--Musical or Comedy for his role as the winningly doltish boss on The Office, while Wahlberg shared in Entourage’s nomination as Best Television Series--Musical or Comedy as the co-creator and executive producer of that show.
After Beckinsale announced Entourage’s nomination and looked back at the still cool and collected Wahlberg expectantly, the actor took the podium and said dryly “I think because I’m American she expected me to be jumping up and down.”
Hollywood.com asked Wahlberg if he was jumping up and down on the inside, and he let us in on an inside secret. “You know what? She snuk the information to me, and to Steve about his nomination, earlier,” he revealed. “And she said ‘Isn’t that what you Americans do, jump up and down? I was going to do a little Ben Affleck-Matt Damon imitation, but I didn’t know if people would get it.”
“I was hoping for like the Running Man or some kind of something,” a clearly disappointed Beckinsale told Hollywood.com. “Because Americans can go either way with that. Sometimes they can go a little nuts. But it is a little early.” Still, the actress, nominated last year for her turn in The Aviator, confessed she almost got caught up int the celebratory spirit herself. “My daughter’s best friend’s dad [Harry Gregson-Williams] was nominated for The Chronicles of Narnia [for Best Original Score], so I almost made a noise in there--Whoo-hoo!--but I didn’t.”
Meanwhile, the usually “on” Carell showed his softer side, taking a break from TV interviews to dial his wife on his cell phone, quietly enjoying a sweet, congratulatory exchange away from the limelight.
Wahlberg--who was frequently distracted on stage by his silently vibrating cell phone with calls from Jeremy Piven (nominated for Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television) and the real life inspiration for Piven’s character Ari Gold, as well as his Four Brothers co-star Terrence Howard (nominated for Best Performance by an Actor in a Motion Picture--Drama)--said he did not plan to send any congratulatory tokens to his Entourage posse. “Hopefully, since I got them all the job, they’ll send me a gift,” he suggested.
When asked how hard he thought he and his boys would be partying on Golden Globe night, notorious among awards shows for its free-flowing champagne and cocktails, he had a quick reply: “It depends on if we win or not!”
Click here for the complete list of nominations.
December 11, 2003 1:48pm EST
Remember that movie about a high school geek who gets the most popular girl in school to be his girlfriend to boost his own image only to discover that fitting in isn't worth sacrificing his individuality? Or was that a Saved by the Bell episode? Love Don't Cost a Thing is the latest teen comedy to follow that formula to a fault: Alvin Johnson (Nick Cannon) is an outcast teen with no style and he's ready to do anything to shed his nerdy image. Even his father (Steve Harvey) an old-school ladies' man wishes the boy would get out and socialize more. So when the popular Paris Morgan (Christina Millian) wrecks her mother's Cadillac Escalade Alvin an amateur mechanic offers to fix the vehicle and pay for the parts if she will pretend to be his girlfriend for two weeks. A haircut and several Sean John warm-up suits later Alvin becomes "Al " an ultra-smooth guy who's "got all the 411s." Of course Paris starts to fall for Al who's too busy keeping up his "big pimpin'" facade to notice. But after alienating everyone close to him including his childhood friends stylin' Al learns a valuable lesson about being himself.
Cannon's performance in Love Don't Cost a Thing falls short of the impressive one he delivered in the musical drama Drumline--his first lead role in a feature film. Here it's impossible to sympathize with the 23-year-old Cannon's clownish character even when he is needlessly bullied by jocks. With his crazy uneven Afro and spastic walk even Molly Ringwald's goody-good character Samantha in Sixteen Candles might be tempted to point and laugh. But while the movie's hero doesn't score many points other characters do notably Al's gal pal Paris played by songwriter/actress Millian who has written songs for Ja Rule and appeared as a guest on several TV shows including Charmed and The Steve Harvey Show. She delivers a very sincere performance as the "frappuccino with hips " and although audiences should despise her character for prostituting her popularity and lying to just about everybody Millian manages to morph Paris into a likeable personality--and we can't help but go along for the ride. But mustachioed comic Harvey steals the show as Al's loveable father Clarence a man who still boogies to his 8-track collection and gives his son very valuable life advice including how to open a condom wrapper using only one hand.
Writer/director Troy Beyer's Love Don't Cost a Thing is so visually horrendous that it should have been called This Film Didn't Cost a Thing. Beyer who directed the dire 1998 comedy Let's Talk About Sex and penned the even worse 1997 B.A.P.S. doesn't much improve her track record in 2003. Her guidance here including sound light and action is so amateurish that the film seems unfinished. An outdoor party scene for example is so dark it's difficult to make out the characters on screen and in another scene inside the school the sound is so muffled the character's lines are barely audible. Beyer's screenplay adapted from the mind-numbingly bad 1987 comedy Can't Buy Me Love doesn't help matters either; most of the characters remain as shallow and label-obsessed as they were 15 years ago. And while there have been countless Hollywood films revolving around the same theme many have done so successfully including the aforementioned oldie Sixteen Candles and more recently The New Guy.