The F-18 has dropped its payload: Charlie Sheen has sued his former employer Warner Bros., and Two and a Half Men showrunner Chuck Lorre for $100 million. He’s also suing on behalf of the show’s cast and crew, though none have actually joined Sheen as parties to the lawsuit. (Read the suit here.)
In a document filed Thursday, Sheen laid out a detailed accusation that sought to portray his downfall as a scheme orchestrated by Lorre to push him from the hit show. Lorre’s motivation was an “egotistical desire to punish” the actor, the suit says.
“Chuck Lorre,...
In a document filed Thursday, Sheen laid out a detailed accusation that sought to portray his downfall as a scheme orchestrated by Lorre to push him from the hit show. Lorre’s motivation was an “egotistical desire to punish” the actor, the suit says.
“Chuck Lorre,...
- 3/10/2011
- by James Hibberd
- EW - Inside TV
Kick-Ass
Extras include:
Ass-Kicking BonusView Mode: synchronous with the feature film, this multi-media presentation incorporates video and audio commentary, behind-the-scenes clips and illustrative graphics with co-writer/producer/director Matthew Vaughn, plus cast and crew providing an all-access perspective on Kick-Ass (Bd-exclusive)CommentaryDocumentary: A New Kind of Superhero: The Making of Kick-Ass (Bd-exclusive)Featurette: It's On! The Comic Book Origin of Kick-AssGallery: The Art of Kick-AssMarketing archive
The Ghost Writer
Extras include:
Interview with Roman PolanskiThe Cast of The Ghost WriterThe Ghost Writer: Fiction or Reality?: an interview with author Robert Harris
A Prophet
Extras include:
CommentaryDeleted ScenesRehearsal FootageScreen Tests[Read More...]
The Breakfast Club Blu-ray
Extras include:
Commentary by Judd Nelson and Anthony Michael HallSincerely Yours - a 12-part look back on the film, with in-depth segments on each of the charactersThe Most Convenient Definitions: The Origins of the Brat Pack
Road to Perdition Blu-ray
Extras include:
Intro to the...
Extras include:
Ass-Kicking BonusView Mode: synchronous with the feature film, this multi-media presentation incorporates video and audio commentary, behind-the-scenes clips and illustrative graphics with co-writer/producer/director Matthew Vaughn, plus cast and crew providing an all-access perspective on Kick-Ass (Bd-exclusive)CommentaryDocumentary: A New Kind of Superhero: The Making of Kick-Ass (Bd-exclusive)Featurette: It's On! The Comic Book Origin of Kick-AssGallery: The Art of Kick-AssMarketing archive
The Ghost Writer
Extras include:
Interview with Roman PolanskiThe Cast of The Ghost WriterThe Ghost Writer: Fiction or Reality?: an interview with author Robert Harris
A Prophet
Extras include:
CommentaryDeleted ScenesRehearsal FootageScreen Tests[Read More...]
The Breakfast Club Blu-ray
Extras include:
Commentary by Judd Nelson and Anthony Michael HallSincerely Yours - a 12-part look back on the film, with in-depth segments on each of the charactersThe Most Convenient Definitions: The Origins of the Brat Pack
Road to Perdition Blu-ray
Extras include:
Intro to the...
- 8/3/2010
- by josh@reelartsy.com (Joshua dos Santos)
- Reelartsy
This lovely lot here at the 'matical (editorial note: we don't call it that) is in the middle of cooking up an extensive feature involving our favorite geeky and nerdy characters of filmdom, and although we've already got a considerable list assembled, we'd like your help in suggesting some characters that we may have overlooked.
Now, the only flat-out exception we've come up with so far is Peter Parker, because he turns into Spider-Man, which in turn trumps all of his dweebier qualities (besides, we already gave superheroes their due). He's not a hero for embracing his nerdiness, which is exactly what we are looking for in a character of this caliber.
But beyond your Anthony Michael Halls and your Napoleon Dynamites, your Max Fischers and George McFlys, which bully magnets are you most partial to? Help a brother or two out on this, please, or else... the wedgie terrorists win.
Now, the only flat-out exception we've come up with so far is Peter Parker, because he turns into Spider-Man, which in turn trumps all of his dweebier qualities (besides, we already gave superheroes their due). He's not a hero for embracing his nerdiness, which is exactly what we are looking for in a character of this caliber.
But beyond your Anthony Michael Halls and your Napoleon Dynamites, your Max Fischers and George McFlys, which bully magnets are you most partial to? Help a brother or two out on this, please, or else... the wedgie terrorists win.
- 1/20/2010
- by William Goss
- Cinematical
Blu-Ray Rating: 3.5/5.0 Chicago – I usually don’t agree with suggestions that certain movies need to be seen twice to be appreciated. If a movie doesn’t work on first viewing, then it simply doesn’t work. Having said that, watching Clint Eastwood’s “Changeling” a second time on Blu-Ray made me appreciate the final product significantly more than my disappointed reaction to it in theaters.
What struck me about the first time I saw “Changeling,” starring Oscar-nominee Angelina Jolie, John Malkovich, Jeffrey Donovan, Colm Feore, Amy Ryan, and Jason Butler Harner, was the disjointed storytelling in the film and the way the black and white themes don’t play into Eastwood’s strengths as a director.
Angelina Jolie stars in Clint Eastwood’s Changeling
Photo credit: Anthony Michael Rivetti
Eastwood has always been at his best when his films deal with gray areas of behavior and morality. “Unforgiven,” “Mystic River,...
What struck me about the first time I saw “Changeling,” starring Oscar-nominee Angelina Jolie, John Malkovich, Jeffrey Donovan, Colm Feore, Amy Ryan, and Jason Butler Harner, was the disjointed storytelling in the film and the way the black and white themes don’t play into Eastwood’s strengths as a director.
Angelina Jolie stars in Clint Eastwood’s Changeling
Photo credit: Anthony Michael Rivetti
Eastwood has always been at his best when his films deal with gray areas of behavior and morality. “Unforgiven,” “Mystic River,...
- 2/12/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Samuel L. Jackson, who just might be the best actor working in American movies, delivers another suggestive, mesmerizing performance in "The Caveman's Valentine". The film -- an impressive second effort from Kasi Lemmons, whose "Eve's Bayou" displayed a fine instinct for narrative and complex characterizations -- is a highly unusual attempt to marry heavy dramatic material to a mystery-thriller format. While this marriage has its ups and downs, "Valentine" is an utterly fascinating film that probably would not work without Jackson.
The actor has developed enough of a following to attract moviegoers when "Valentine" opens next month. So with careful nurturing by Universal Focus and word-of-mouth reaching serious moviegoers and mystery fans, the film should far surpass "Bayou" at the boxoffice.
The film is based on a 1994 Edgar Award-winning novel by George Dawes Green, who adapted to the screen his tale of a paranoid schizophrenic in Manhattan who finds himself playing detective to solve a murder. The film is somewhat reminiscent of "The Fisher King" and George C. Chesbro's 1989 mystery novel "Bone", in which a homeless, mute man in Manhattan holds the key to a string of vicious killings.
Jackson plays Romulus Ledbetter, once a promising, Juilliard-trained musician and composer -- only his mind has deteriorated so badly he lives in a park cave and believes a powerful foe he calls Stuyvesant monitors his every move from the Chrysler building. When Romulus, known to everyone on the street as Caveman, discovers the corpse of a young man apparently frozen to death in a tree outside his cave on Valentine's Day, he grows convinced the man was murdered.
Police dismiss his ranting. So he must fight his mental illness to pull together a convincing enough case against the man he believes is the killer, a prominent art photographer named David Leppenraub (Colm Feore in a eerily quiet, forceful performance).
To be sure, the entire story is an exercise in suspended disbelief. An audience is asked to buy, among other things, that Romulus' daughter (Aunjanue Ellis) just happens to be a cop, that Romulus' musicianship and contacts from his previous "sane" life enable him to gain entry to penthouse suites and upstate art gatherings, that a yuppie lawyer Anthony Michael Hall) would befriend a filthy street person and that Leppenraub's own sister (Ann Magnuson) would go to bed with him.
But we do buy all these things, thanks largely to Jackson's multidimensional, charismatic acting. With his hair in dreadlocks and bulky winter clothes hanging from his body, he shuffles through city streets as if expecting an attack from his nemesis at any moment. While Romulus' illness has the upper hand, he understands he is ill. He understands he must fight with all his mental strength to hold onto what little clarity he possesses to sort out clues and interview witnesses.
Lemmons has created a visually arresting landscape to depict Romulus' "brain typhoons." Flashing colored lights that emanate from the Chrysler building roll over Romulus in waves. Scenes from his past pop up as visions filtered through a damaged mind: His wife, as her younger self (Tamara Tunie), appears to him, acting as a kind of Greek chorus to question his motives and challenge his actions.
Production designer Robin Standefer and cinematographer Amelia Vincent beautifully capture the fragmented, often frightening world of schizophrenia. Caveman is obsessed with "angels": Standefer and Vincent render these visions as images of brown male bodies turning into moths in a vaguely Moorish interior.
The balancing act between the movie's genre trappings and its stylized portrait of mental disintegration is dazzling to behold even when it doesn't quite work. In the movie's third act, it collapses completely when Romulus morphs into a combination of Sherlock Holmes and Perry Mason. But Lemmons' filmmaking has pulled us too far into Romulus' fascinating world for this to do the movie much harm.
THE CAVEMAN'S VALENTINE
Universal Pictures
Universal Focus and Franchise Pictures present a Jersey Shore production in association with Arroyo Prods.
Producers: Danny DeVito, Michael Shamberg, Stacey Sher, Scott Frank, Elie Samaha, Andrew Stevens
Director: Kasi Lemmons
Screenwriter: George Dawes Green
Based on the novel by: George Dawes Green
Executive producers: Samuel L. Jackson, Eli Selden, Julie Yorn, Nicholas Clermont
Director of photography: Amelia Vincent
Production designer: Robin Standefer
Music: Terence Blanchard
Co-producers: Michael Bennett, James Holt, Jonathan Weisgal
Costume designer: Denise Cronenberg
Editor: Terilyn Shropshire
Color/stereo
Cast:
Romulus Ledbetter: Samuel L. Jackson
David Leppenraub: Colm Feore
Moira Leppenraub: Ann Magnuson
Arnold: Damir Andrei
Lulu: Aunjanue Ellis
Sheila: Tamara Tunie
Cork: Peter MacNeill
Bob: Anthony Michael Hall
Running time -- 105 minutes
MPAA rating: R...
The actor has developed enough of a following to attract moviegoers when "Valentine" opens next month. So with careful nurturing by Universal Focus and word-of-mouth reaching serious moviegoers and mystery fans, the film should far surpass "Bayou" at the boxoffice.
The film is based on a 1994 Edgar Award-winning novel by George Dawes Green, who adapted to the screen his tale of a paranoid schizophrenic in Manhattan who finds himself playing detective to solve a murder. The film is somewhat reminiscent of "The Fisher King" and George C. Chesbro's 1989 mystery novel "Bone", in which a homeless, mute man in Manhattan holds the key to a string of vicious killings.
Jackson plays Romulus Ledbetter, once a promising, Juilliard-trained musician and composer -- only his mind has deteriorated so badly he lives in a park cave and believes a powerful foe he calls Stuyvesant monitors his every move from the Chrysler building. When Romulus, known to everyone on the street as Caveman, discovers the corpse of a young man apparently frozen to death in a tree outside his cave on Valentine's Day, he grows convinced the man was murdered.
Police dismiss his ranting. So he must fight his mental illness to pull together a convincing enough case against the man he believes is the killer, a prominent art photographer named David Leppenraub (Colm Feore in a eerily quiet, forceful performance).
To be sure, the entire story is an exercise in suspended disbelief. An audience is asked to buy, among other things, that Romulus' daughter (Aunjanue Ellis) just happens to be a cop, that Romulus' musicianship and contacts from his previous "sane" life enable him to gain entry to penthouse suites and upstate art gatherings, that a yuppie lawyer Anthony Michael Hall) would befriend a filthy street person and that Leppenraub's own sister (Ann Magnuson) would go to bed with him.
But we do buy all these things, thanks largely to Jackson's multidimensional, charismatic acting. With his hair in dreadlocks and bulky winter clothes hanging from his body, he shuffles through city streets as if expecting an attack from his nemesis at any moment. While Romulus' illness has the upper hand, he understands he is ill. He understands he must fight with all his mental strength to hold onto what little clarity he possesses to sort out clues and interview witnesses.
Lemmons has created a visually arresting landscape to depict Romulus' "brain typhoons." Flashing colored lights that emanate from the Chrysler building roll over Romulus in waves. Scenes from his past pop up as visions filtered through a damaged mind: His wife, as her younger self (Tamara Tunie), appears to him, acting as a kind of Greek chorus to question his motives and challenge his actions.
Production designer Robin Standefer and cinematographer Amelia Vincent beautifully capture the fragmented, often frightening world of schizophrenia. Caveman is obsessed with "angels": Standefer and Vincent render these visions as images of brown male bodies turning into moths in a vaguely Moorish interior.
The balancing act between the movie's genre trappings and its stylized portrait of mental disintegration is dazzling to behold even when it doesn't quite work. In the movie's third act, it collapses completely when Romulus morphs into a combination of Sherlock Holmes and Perry Mason. But Lemmons' filmmaking has pulled us too far into Romulus' fascinating world for this to do the movie much harm.
THE CAVEMAN'S VALENTINE
Universal Pictures
Universal Focus and Franchise Pictures present a Jersey Shore production in association with Arroyo Prods.
Producers: Danny DeVito, Michael Shamberg, Stacey Sher, Scott Frank, Elie Samaha, Andrew Stevens
Director: Kasi Lemmons
Screenwriter: George Dawes Green
Based on the novel by: George Dawes Green
Executive producers: Samuel L. Jackson, Eli Selden, Julie Yorn, Nicholas Clermont
Director of photography: Amelia Vincent
Production designer: Robin Standefer
Music: Terence Blanchard
Co-producers: Michael Bennett, James Holt, Jonathan Weisgal
Costume designer: Denise Cronenberg
Editor: Terilyn Shropshire
Color/stereo
Cast:
Romulus Ledbetter: Samuel L. Jackson
David Leppenraub: Colm Feore
Moira Leppenraub: Ann Magnuson
Arnold: Damir Andrei
Lulu: Aunjanue Ellis
Sheila: Tamara Tunie
Cork: Peter MacNeill
Bob: Anthony Michael Hall
Running time -- 105 minutes
MPAA rating: R...
- 1/19/2001
- The Hollywood Reporter - Movie News
Anthony Michael Hall's surprisingly self-assured comic performance gives "Into the Sun, '' an airborne knock-off of "The Hard Way, '' an amiably satirical edge, although this action comedy ultimately doesn't have enough dash or flash to guarantee much of a boxoffice impact. However, the film's comic assets should play well on the small screen, making its video future look considerably brighter.
Hall plays Tom Slade, an almost casually egotistical Hollywood star who attaches himself to Air Force pilot Paul Watkins (Michael Pare) to do research for an upcoming role. Watkins, a no-nonsense type, is immediately put off by Slade's New Age-speak and by the star's uncanny ability to master new tasks with ease.
This portion of the film, further enlivened by Terry Kiser's hilarious impersonation of Slade's agent, is the best, with Hall's offhanded self-absorption well set-off by Pare's effectively limned fuming straight man.
However, when Watkins finally gives in and takes Slade on an F-16 patrol, the two are shot down by enemy aircraft over an unfriendly Arab country, and the comedy begins to play second fiddle to the action elements. And while the flying sequences are authentic enough, the activity on the ground never compensates for the diminishing laughs with any punch of its own.
The movie goes so far as to set up an American turncoat (Linden Ashby) flying for the Arabs, but his conflict with Watkins isn't an analogous match for Slade's.
Also given that the fleetingly glimpsed Arabs in the film come in two varieties -- brutal and greedy -- the film has left itself open to charges of ethnic insensitivity. Deborah Maria Moore as Watkins' in-service girlfriend and Brian Haley as a fellow pilot add to the film's generally accomplished acting credits.
INTO THE SUN
Trimark
A Trimark/Hess-Kallberg Production
Producers Kevin M. Kallberg, Oliver G. Hess
Director Fritz Kiersch
Story and screenplay John Brancato, Michael Ferris
Editor Barry Zetlin
Director of photography Steve Grass
Music Randy Miller
Production designer Gary T. New
Casting Jack Jones
color
cast:
Tom Slade Anthony Michael Hall
Paul Watkins Michael Pare
Mitchell Burton Terry Kiser
Major GoodeDeborah Maria Moore
Running time -- 100 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
Hall plays Tom Slade, an almost casually egotistical Hollywood star who attaches himself to Air Force pilot Paul Watkins (Michael Pare) to do research for an upcoming role. Watkins, a no-nonsense type, is immediately put off by Slade's New Age-speak and by the star's uncanny ability to master new tasks with ease.
This portion of the film, further enlivened by Terry Kiser's hilarious impersonation of Slade's agent, is the best, with Hall's offhanded self-absorption well set-off by Pare's effectively limned fuming straight man.
However, when Watkins finally gives in and takes Slade on an F-16 patrol, the two are shot down by enemy aircraft over an unfriendly Arab country, and the comedy begins to play second fiddle to the action elements. And while the flying sequences are authentic enough, the activity on the ground never compensates for the diminishing laughs with any punch of its own.
The movie goes so far as to set up an American turncoat (Linden Ashby) flying for the Arabs, but his conflict with Watkins isn't an analogous match for Slade's.
Also given that the fleetingly glimpsed Arabs in the film come in two varieties -- brutal and greedy -- the film has left itself open to charges of ethnic insensitivity. Deborah Maria Moore as Watkins' in-service girlfriend and Brian Haley as a fellow pilot add to the film's generally accomplished acting credits.
INTO THE SUN
Trimark
A Trimark/Hess-Kallberg Production
Producers Kevin M. Kallberg, Oliver G. Hess
Director Fritz Kiersch
Story and screenplay John Brancato, Michael Ferris
Editor Barry Zetlin
Director of photography Steve Grass
Music Randy Miller
Production designer Gary T. New
Casting Jack Jones
color
cast:
Tom Slade Anthony Michael Hall
Paul Watkins Michael Pare
Mitchell Burton Terry Kiser
Major GoodeDeborah Maria Moore
Running time -- 100 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 1/27/1992
- The Hollywood Reporter - Movie News
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