Born and raised in Compton, California, Anderson is the son of a career film extra and her entrepreneur husband. As a toddler, he accompanied his mother to several film sets, and by the time he was four years old, he knew acting was his destiny. While pursuing his career, Anderson continued his education, attending the High School for the Performing Arts, where he earned first place in the NAACP's ACTSO Awards with his performance of the classic monologue from "The Great White Hope." That performance and his dedication and talent, earned him an arts scholarship to Howard University. After college, Anderson was eager to return to Los Angeles to pursue acting.
Anthony Anderson and Alvina Stewart arrives at the 23rd Annual Screen Actors Guild Awards (SAG) 2017 held at The Shrine Auditorium Media Complex - Los Angeles, California, United States - Sunday 29th January 2017
The Barbershop gang are back once again. Having had to team up with Angie's ladies salon to be able to stay afloat, the Barbershop is no longer a man only zone and not all of Calvin's customers are happy having to share but they make it work.
Sharing the salon floor is the least of the towns problems, ever more frequently their streets are being overrun by gangs fighting for territory, new corner boys and customers. Calvin and the residents who love their town and want it returning to its former state, decide to take matters into their own hands.
Barbershop: The Next Cut is the forth film in franchise which includes a spinoff called Beauty Shop. The film was directed by Malcolm D. Lee who directed the hugely successful 'The Best Man' series of films.
Nene Leakes announced she is leaving ‘The Real Housewives of Atlanta’ earlier this week but what’s up next for the reality star?
Nene Leakes will no longer be appearing on The Real Housewives of Atlanta. The 47-year-old reality star announced the news on Tuesday (30th June) yet she already has plans to move on to a game show, To Tell the Truth.
NeNe Leakes will be a panellist on To Tell the Truth.
Layers of real life and movie history combine cleverly in this postmodern horror film, which just might be too knowing for its own good. But at least it's an unusual approach to the genre, offering a twisted retelling of a legend while aiming for some emotional resonance along with the usual violent nastiness. It's also directed with an unusually artful eye by first-time filmmaker Alfonso Gomez-Rejon.
It was a series of unsolved murders in a small town on the Texas-Arkansas border in 1946 that inspired the 1976 movie of the same name, which screens here annually on Halloween. But this year, the screening is accompanied by a copycat murder, which escalates into a full-on rampage. Everything seems to centre around Jami (Addison Timlin), a teenager whose boyfriend was the first victim. After her parents died, she was raised by her straight-talking grandmother (Veronica Cartwright), who continually urges her to take charge of her life. So with the local cops unable to solve the case, Jami teams up with the local library archive clerk Nick (Travis Tope) to get the whole history of these past events. Meanwhile, a Texas Ranger (Anthony Anderson) arrives to head up the official investigation.
Screenwriter Roberto Aguirre-Sacasa gleefully blends fact, fiction and the movies together into a heady mixture of horror movie cliches and shockingly realistic grisliness. In other words, this is both a fictional sequel and a playful true-life drama at the same time, which makes it feel eerily like the Scream franchise. Although this film never becomes a pastiche, and the characters are so likeable that we genuinely root for them to survive the killing spree. Timlin brings the right amount of plucky stubbornness to her role, even if it's unlikely that a witness-victim would be quite so gung-ho about doing her own police work. And there are nice turns from veterans like Cartwright, Ed Lautner (as a stubborn cop) and the late Edward Herrmann (as a nutty preacher) to add some weight.
Continue reading: The Town That Dreaded Sundown Review
Celebrities and business people are snapped on the red carpet at the 2013 BET Honors. Among them is funnyman Cedric The Entertainer who, as usual, makes a grand entrance by waltzing up and down the carpet in front of the step-and-repeat. 'Avatar' star Laz Alonso and Anthony Anderson from 'All About the Andersons' also make appearances.
The Departed is based on the Hong Kong blockbuster Infernal Affairs, in which a cop goes undercover in the mob while the mob places one of their own as a mole in the police force. In Scorsese's version, the scene shifts to Boston, where mob boss Frank Costello (Jack Nicholson) puts loyal-from-boyhood employee Colin Sullivan (Matt Damon) through police training. As Sullivan rises through the ranks, Special Investigations Unit chiefs Queenan (Martin Sheen) and Dignam (Mark Wahlberg) recruit rookie Billy Costigan (Leonardo DiCaprio) to get "kicked off" the force and do time to gain Costello's confidence.
Continue reading: The Departed Review
Scary Movie 3 sticks with the program: mind-bogglingly dumb characters hustle their way through spoofs of the industry's most popular recent films. It's no mistake that the roasted movies -- in this case: Signs, The Ring, and 8 Mile -- all pull in huge money and attract a young audience.
Continue reading: Scary Movie 3 Review
Last year's kiddie secret-agent comedy "Agent Cody Banks" was a stupid movie that got by on clever charm. It starred Frankie Muniz (from "Malcolm in the Middle") as a junior-high James Bond who had to get over his fear of talking to girls in order to complete his mission and save the world from some contrived evil.
The picture got a enough mileage out of Muniz's amusing believability as a secret agent on training wheels and out of its tongue-in-cheek twists (to keep his parents in the dark, the CIA did his homework and housework while he was on assignment) to balance out a lot of slapdash screenwriting -- so all in all, it squeaked by as good family fun.
But the rushed-into-production sequel "Agent Cody Banks 2: Destination London" is twice as stupid and without even an infinitesimal hint of the cleverness that kept the original afloat.
Continue reading: Agent Cody Banks 2: Destination London Review
There are exactly two funny performances in "Malibu's Most Wanted" -- a one-joke comedy about an over-privileged white-boy wannabe rapper -- and neither of them are by top-liner and co-writer Jamie Kennedy.
Expanding on a two-bit sketch character from his self-titled WB network variety show, Kennedy plays B-Rad G (nee Brad Gluckman), a pathetic poser "from the 'Bu," where "everybody's strapped with a nine" (nine-iron, that is) and "most of the time the police won't even come through" (because the town is pretty much crime-free).
Being from a straight-laced political family, Brad has become such an embarrassment to his father's gubernatorial campaign that daddy (Ryan O'Neal) hires two Juilliard theater graduates to play gangstaz, kidnap the brat and drop him in Compton to scare the imaginary "ghetto" out of him.
Continue reading: Malibu's Most Wanted Review
If only Jim Carrey's uninhibited and completely unhinged, sweet-and-sour insanity was by itself enough to carry a movie, it might not matter so much that the plot of the Farrelly Brothers' "Me, Myself and Irene" is nothing but an undercooked on-the-run road movie.
Full of crooked cops and rich, double-crossing ex-boyfriends, it's a dim bulb script the boys had shelved ages ago and dusted off last year only after a couple post-"There's Something About Mary" projects fell through.
Sustained only by its outrageousness (breast milk gags, anyone?) and Carrey's hammy physical humor, the movie does have its fair share of laughs. But between guffaws there's nothing to keep the uneven "Irene" from collapsing under its own dead weight.
Continue reading: Me, Myself & Irene Review
A movie that preaches dishonesty, trickery and manipulation as the keys to romantic happiness, "Two Can Play That Game" is populated by pathetically shallow "players" of both sexes and very talented actors trapped by their skin color in a tired genre of self-perpetuating stereotypes.
"Two Can Play" is about a successful black ad executive (Vivica A. Fox) who thinks her man, a successful black lawyer (Morris Chestnut), may be running around on her. Her solution for shaping him up (rather than confronting him and having an adult conversation or just leaving to find someone better) is to launch into a 10-day plan that includes breaking up, not returning his calls, making sure he sees her with other men, going to his house, getting him hot, then leaving, and a whole litany of other vindictive head games.
Of course, all of this is meant to be risqué and amusing, but in fact it just makes the movie's heroine look like the kind of shrill, immature, self-centered strumpet whom no man in his right mind would want to be saddled with.
Continue reading: Two Can Play That Game Review
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