The La Bamba star regularly tweets his favourite recipes to followers online and now he's hoping to bring his hobby to TV.
He tells WENN, "I have judged on (cooking show) Iron Chef a couple of times and I'm actually developing a show for me and my wife, Yvonne, who is a make-up artist... It was her idea.
"It's a reality cooking show which will be a lot of fun. It's still in the works and would bring together a lot of different passions of ours. I love to cook and I'm a co-owner of a restaurant in Manhattan, The Tribeca Grill. I've been a big foodie for a long time."
And he hopes to kick off the new venture by cooking up his favourite dish for the cameras: "My signature dish is my ribs. I grew up in Texas and I love to grill and so over the years I've developed my own rib recipe.
"They tend to be pretty kick a** and they leave an impression! I marinate them and do a little something, something and add a lot of love and they end up being pretty tender. They're always a hit."
Sacha Baron Cohen has demonstrated his ability to completely disappear into roles with his cult hit films Borat and Bruno. Cohen’s next big character will be just as flamboyant, but this time based in reality. He just signed on to play Freddie Mercury in a Queen biopic.
The Queen and Frost/Nixon scribe Peter Morgan is handling the script, though no director or other cast members have been announced (but since it’s a Morgan script Michael Sheen is expected to play a role). Robert De Niro’s Tribeca Productions and GK Films are producing. The film has the complete cooperation and blessing of Mercury’s estate and the three remaining members of Queen. And if parts of that sentence were a surprise to you then you should know (spoiler alert) Mercury is dead. He succumbed to AIDS in 1991 while the band was still going strong (end 19 year old spoilers).
Let the wild speculation about a potential Oscar nomination begin! Cohen's playing a musician in a biopic that has a disease and we all know the Academy only needs those three things to hand over a statue. It worked for Jaime Foxx, Jeff Bridges (kinda, sorta as Crazy Heart was a faux-biopic) and almost did for Joaquin Phoenix, so it’ll be interesting to see at least whether or not this portrayal will be as successful.
Alternate/shameful headlines considered for this piece: Borat to become a Queen; Baron Cohen Now ‘Under Pressure;’ Borat to exclaim ‘I am a Champion, very nice!y;’ Queen: Cultural Learning of the Band to Make Benefit for Cohen’s Quest for Oscar; Boratian Rhapsody; Mercury Rises For Baron Cohen. You can see why we didn’t use these. You're welcome.
The outrageous Bruno star is to portray one of rock's most flamboyant characters in a film about the Radio Gaga hitmaker's rise to the top of the world's charts.
The film will reportedly lead up to Mercury's show-stopping appearance at Live Aid in 1985.
According to TheWrap.com, the project will be produced by Robert De Niro's company Tribeca Productions and is set to start shooting next year (11).
Mercury died from AIDS-related bronchial pneumonia in 1991.
Quirky comedies like Juno and Little Miss Sunshine have proven to be big hits with American audiences. They pull very few punches and deliver hearty, truthful humor thanks to their base in realistic scenarios. I'll take Sideways or Sunshine Cleaning over The Hangover any day of the week, so I'm very happy to hear that Anchor Bay Films has acquired the indie comedy Meet Monica Velour.
The film stars Kim Cattrall as an aging porn star living in a trailer park and fighting a losing battle against her asshole ex-husband for custody of their young daughter. Dustin Ingram's Tobe, a collector of rare artifacts of American pop-culture including, but not limited to vintage pornography, enters her life after a chance encounter at a dive bar and an unlikely friendship is born.
I saw the film at it's world premiere at the Tribeca Film Festival and can say that, like the fore mentioned sleeper hits, it's got a heart of gold and enough laughs to entertain the masses. My only hope is that distributor Anchor Bay will be able to give Monica Velour a theatrical release because Cattrall gives a great performance the likes of which we have never seen from the Sex and the City starlet and Ingram cements himself as the new Jon Heder. Read my review for the film here and keep your eyes open for the lighthearted comedy - you won't regret it.
Source: The Wrap
In a dream scenario for Mob-story fans, Deadline yesterday reported that Al Pacino and Joe Pesci are now circling The Irishman, the drama that Martin Scorsese and Robert De Niro have been working on based on the book I Heard You Paint Houses, which chronicles the tale of hitman Frank "The Irishman" Sheeran.
Steve Zaillian wrote the script. The film is being developed at Paramount by De Niro and Jane Rosenthal's Tribeca Productions.
Per Deadline, The Irishman is one of a couple projects that Scorsese is considering next.
De Niro and Pacino worked together in both Michael Mann's Heat and the more recent Righteous Kill. They of course also starred as father and son, although had no screen time together, in The Godfather Part II. Pesci and De Niro have appeared together in Scorsese's Goodfellas, Casino and Raging Bull.
Back in April, De Niro spoke to MTV about the project, saying, "It's a very simple, terrific story about [mobster Frank Sheeran], who supposedly killed [Jimmy] Hoffa and Joe Gallo and so on."
"Steve Zaillian wrote the first script, which is terrific," De Niro told MTV. "The other part, Eric [Roth] is supposed to do it. And we're hoping to move these things together."
Continuing, he explained his and Scorsese's vision for the film at the time: "We have a more ambitious idea, hopefully, to make it a two-part type of film or two films. It's an idea that came about from Eric Roth to combine these movies using the footage from Paint Houses to do another kind of a [film that is] reminiscent of a kind of 8 ½, La Dolce Vita, [a] certain kind of biographical, semi-biographical type of Hollywood movie -- a director and the actor -- based on things Marty and I have experienced and kind of overlapping them."
Click here for the full story
Writer Paul Haggis' Honeymoon With Harry, considered by many to be one of the best unmade scripts in Hollywood, is again showing signs of life after years of false starts. Deadline reports that Robert De Niro and Bradley Cooper sat down at De Niro's Tribeca Production offices two weeks ago to read the lead roles in a run-through organized by New Line. Now, director Jonathan Demme (Jimmy Carter Man From Plains, Silence of the Lambs) is circling the project for his next feature, meaning Haggis' script may finally be gaining the momentum it needs to enter development.
In what Deadline calls a "James Brooks-style look at two characters who loathe one another but are stuck together at a time when each is in desperate shape," Cooper read the role of a "formerly self-centered womanizing booze-hound who changed his ways when he met a girl and fell in love." De Niro read as "the girl’s father, who recognizes himself in the young man, and tries to break them up." The two get engaged anyway, but the girl dies tragically just before their wedding day, leaving the groom to go on their honeymoon alone, where he drowns his grief in booze. There, he runs into his would-be father-in-law, who has come to spread his daughter's ashes on the beach.
New Line and producer Mike Karz began developing the project, which has both comedy and drama elements, in 2004, when the studio bought an unpublished novel by Bart Baker, and assigned screenwriter and director Paul Haggis (In The Valley of Elah, Crash) to write the screenplay. Haggis eventually signed on to direct as well, and had Vince Vaughn and Jack Nicholson lined up to star. Unfortunately, the project fell apart amidst the chaos of the New Line shakeup in 2008 and the 2007-2008 writer's strike.
Luckily, Cooper became interested in the project, and brought his pal De Niro (with whom he just wrapped production on The Dark Fields) onboard as well. Though no deals have yet been made, it looks like Honeymoon With Harry may finally be edging towards development. With its stars attached and Demme circling to direct, it's beginning to sound like we'll actually get to see what all the fuss is about one day.
The former The Sopranos star ran Studio Dante from a theatre in Manhattan's Chelsea district with his wife, Victoria, and the couple has sold the property for a reported $4.15 million (£2.7 million).
The news comes one week after the Imperiolis listed their TriBeCa neighbourhood townhouse for $7 million (£4.7 million), after temporarily moving to the Michigan city with their three kids while the actor films U.S. TV drama Detroit 1-8-7.
And Imperioli, who plays a Detroit detective on the series, admits he's considering making the relocation permanent if the show does well.
He tells the New York Post, "It is a big decision, but a great opportunity. I am really loving where I am living (while filming the new series). There is really a lot to discover there.
"We are doing 13 episodes. That will bring me to the holidays. I think in the fall, we will have a better idea of how we are doing in the ratings and if it looks like it is going to have legs."
As the Sundance TriBeca SXSW and Cannes Film Festivals wrap up in the first half of every year a handful of films generate enough positive reviews that we in the entertainment news industry instinctively begin to discuss their respective Oscar prospects. It seems a bit silly – talking about award-worthy movies whilst the studios that produce and/or purchase them are simultaneously throwing their most expensive and often most odious fare at the multiplex. It’s also a futile practice as even more high-quality motion pictures inevitably hit theaters in the months that follow rendering many early hopefuls stale by comparison.
Despite loads of buzz and thumbs up from national critics Lisa Cholodenko’s The Kids Are All Right may suffer the aforementioned fate and end up being too little too soon. The film which centers on the dilemma that Nic and Jules a lesbian couple living in California face when the sperm donor who fathered their children enters their lives at their kids’ request is enjoyable entertainment for adults and will be easy to digest for most audiences. My problem with the movie is that it was too easy to digest. With material that touches on a hot topic like gay marriage I feel like I should’ve been questioned or challenged by the narrative. During press interviews Cholodenko stated that her goal was to craft a personal tale about the strengths weaknesses and ups and down of being a part of a family and avoid a sociopolitical connotation (she succeeds in this task) but I believe that she missed a golden opportunity to create an important dialogue about identity marriage fidelity and the state of homosexuality in America. Without debate I just couldn’t get emotionally involved in the story.
That’s not to say that I couldn’t get involved in the characters. As Nic and Jules Annette Bening and Julianne Moore bring caring warmth to their characters that only real-life Moms can. Though they both exhibit unappealing traits (Nic often knocks back one too many and is somewhat forceful with her kids while Jules has a brush with heterosexuality that nearly ends their relationship) and are in their own ways selfish human beings they mean well and represent an idyllic if alternative pair of parents. The teenagers or rather the actors who play them are actually more remarkable than the predicament that they find themselves in. Mia Wasikowska well known to the masses as the star of Tim Burton’s billion dollar Alice In Wonderland and Journey to The Center of The Earth’s Josh Hutcherson portray the titular Kids Joni and Laser with plenty of personality but they also know how to convey a sense of vulnerability (that undoubtedly is the result of a fatherless upbringing) that defines them. They each have subplots that expand on their social shortcomings and provide more screen time but ultimately take the story nowhere.
It’s Paul (Mark Ruffalo) the carefree restaurateur unknowing father of two and catalyst of the film’s drama who gets my sympathy. He goes from laid-back bachelor to likable new father to victim of circumstance in under two hours all because of his awkward attraction to Jules. The demonization of man didn’t sit right with me especially because Paul’s feelings for Jules are not only reciprocated but multiplied by her own eagerness to engage in a risky affair with him. Paul pays the ultimate sacrifice by losing out on his relationship with the children he never knew while Jules gets little more than the silent treatment. He’s ostracized by women who have their own issues to work out and by teenagers who are too young to fully understand the complexity and reality of the situation. That’s what I call the short end of the stick.
The Kids Are All Right wraps up relatively neatly rewarding moviegoers with a warm dramedy that doesn’t bite as hard as it should. There are plenty of elements in the story that could’ve been focused on in a more contemplative film – the consequences of one’s actions the composition of the nuclear family in the new millennium etc. – but instead it’s a personal tale of love falling apart and the act of forgiveness aiding its characters in putting it back together. I enjoyed the picture because of its well-written dialogue unique brand of humor and down-to-earth performances but feel that like the Kids it’s just All Right. With two critically adored actresses who have seven combined Academy Award nominations between them the film will certainly attract an audience but even with an Oscar ceremony that encompasses ten Best Picture nominees I think it’s too early to tell if it will eventually strike gold.
The 'Mortal Kombat' Video Goes Too Far - Mixing Realism with Fantasy
This week a new viral video took the movie and video-game blogging worlds by storm, as the director of last year’s terrible remake Fame unleashed a multimillion-dollar proof of concept on the world, hoping to drum up fan support to get Warner Bros. behind him and his team to direct a full-on Mortal Kombat remake. The result was astoundingly terrible -- a cheesy, over-the-top send-up that I hope to God is tongue-in-cheek, because if it isn’t, well, let’s just say it’s no Dark Knight. More interesting than its wooden acting and worse dialog, however, is the fact that one of the short film’s subplots involves describing a character, Reptile, as suffering from Harlequin syndrome, a very real and very deadly disease that kills children in infancy. During the exposition for this character, we are treated to a number of still photos that eagle eyed Cinematical writer John Gholson noticed were actual photos of suffering infant children.
You see where this is going? I’m not going to go off on director Kevin Tancharoen, because I think Gholson says it all quite eloquently. What I’m curious about is where we, the audience, should draw the line at this sort of behavior. In the '70s, it was common for horror filmmakers, especially foreign-financed genre pictures, to include brutal animal mutilations to cement the reality of their films. But we put a stop to that nonsense pretty quickly (no animals were harmed in the making of this editorial).
A few years ago, MGM shelved a terrible film titled The Poughkeepsie Tapes, which the studio had already started advertising, because of a number of bad reviews streaming out of a single screening (after a rather successful Tribeca Film Festival premiere, where it was acquired). The movie itself was quite awful, but worse than the film's quality was its content. The Poughkeepsie Tapes is a mockumentary, presenting itself to be authentic (to capture the whole Blair Witch vibe) but uses audiences' weak memories of a very real series of murders in Poughkeepsie, New York, between 1996 and 1998 to convince them that they had heard about this story somewhere on the news. The result? Google "Poughkeepsie Murders." One result from the front page is an actual news story; the rest is movie promotion…for a movie rotting on a shelf somewhere.
When is it okay for studios to cash in on very real death and suffering to get a cheap emotion out of an audience? Is it all right for us to enjoy being repulsed by images of dying infants? Is it acceptable to set your sleazy horror movie in the time and place of a real series of brutal murders to scare people? If it really happened is it fair game? And what about a film like Remember Me, which pulls out the mother of all emotional cheap shots in the final moments in order to give an ending to a film that otherwise didn’t have one? Are the studios justified in using real tragedy to drop coin in their coffers?
As a writer, I find this to be the lowest form of storytelling. When you have to derive emotional power from someone else’s pain, you’ve failed. One of the things we love about the movies is that, for better or for worse, it’s not real. It’s all a show. And no matter what happens to the people on screen, they get to get up, wash off the fake blood and go home. Showing pictures or muddying the memory of those that didn’t? It’s as low as it gets.
The actress briefly dated Hoffman in 1998, but the couple drifted apart as Dunst's career rocketed with the release of the web-slinging superhero movies.
She was romantically linked to a number of rockers, including British star Johnny Borrell, drummer Fabrizio Moretti and, most recently, Rilo Kiley's Jason Boesel, but insiders insist the actress has given up dating rock stars and wants someone more stable in her life.
A source tells the National Enquirer, "Kristen's career soared, but privately she was self-destructing. She dated a string of bad boys and her life spiralled out of control."
Dunst is now working to clean up her image after a stint in a rehabilitation centre in 2008, and she has now reconnected with 29-year-old Hoffman.
The pair was spotted cuddling at an event for New York's Tribeca Film Festival earlier this month (May10) and the actress has allegedly vowed to give up her penchant for partying to make her new relationship with clean-cut Hoffman work.
The insider adds, "Jake hardly drinks at all. Kirsten does best when she's with a strong, solid and level-headed guy, like Jake."