Elaine Stritch

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Morrissey Pays Tribute to "Demented Genius" Elaine Stritch


Elaine Stritch Morrissey

Morrissey is one of numerous high profile stars to pay tribute to the late actress Elaine Stritch, who died on Friday at 89. The singer, who recently released his new album World Peace Is None Of Your Business, was close friends with Stritch and wrote about the actress in his autobiography.

Elaine StritchElaine Stritch has been remembered by her friend, Morrissey

Stritch was an icon on both stage and screen and recently starred as Alec Baldwin's on-screen mother in 30 Rock.

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Remembering Elaine Stritch - Actress, Comedian, Modern Day Rebel


Elaine Stritch Alec Baldwin

Elaine Stritch, the Broadway star and all-round kick-ass lady, passed away on Thursday at the age of 89. Stritch was known for her long and storied Broadway career. Stritch started her Broadway career with Loco in 1946, but was only given minor and understudy roles for several years before having getting what would turn out to be her big break with Noel Coward’s Sail Away in 1961. She was originally cast as the leading lady’s understudy, but replaced her full time, when it turned out that the other actress’ voice was too operatic for the part.

Elaine Stritch
The actress is survived by seven nieces and nephews and their families.

Since then, Stritch has been dropping truth bombs on stage, film and television. Her best known recent stage work was at the New York Public Theater in 2001 and on Broadway in 2002 with Elaine Stritch on Liberty – a one-woman show, which received rave reviews and earned the Tony for Best Special Theatrical Event. TV fans may recognize her as the the sharp-tongued mother of Alec Baldwin’s Jack Donaghy. She won her third Emmy award for that one.

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Stella by Starlight Benefit Gala

Liza Minnelli, Elaine Stritch and Bernadette Peters - Eighth Annual Stella by Starlight Benefit Gala held at Espace - New York City, NY, United States - Monday 10th June 2013

Liza Minnelli, Elaine Stritch and Bernadette Peters
Liza Minnelli, Elaine Stritch and Bernadette Peters
Liza Minnelli
Liza Minnelli, Elaine Stritch and Bernadette Peters
Liza Minnelli, Elaine Stritch and Bernadette Peters

TFF Elaine Stritch: Shoot Me

Elaine Stritch and Hunter Ryan Herdlicka - 2013 Tribeca Film Festival - 'Elaine Stritch: Shoot Me' - Arrivals - New York City, New York , United States - Friday 19th April 2013

Elaine Stritch and Chiemi Karasawa
Elaine Stritch
Elaine Stritch and Chiemi Karasawa
Elaine Stritch, Elizabeth Hemmerdinger and Chiemi Karasawa
Elaine Stritch and Hunter Ryan Herdlicka

Opening night of 'Elaine Stritch At The Carlyle: Movin' Over And Out' at the Cafe Carlyle

Michael Feinstein, Martin Short, Elaine Stritch and Bernadette Peters - Opening night of 'Elaine Stritch At The Carlyle: Movin' Over And Out' at the Cafe Carlyle - Reception - New York City, United States - Tuesday 2nd April 2013

Elaine Stritch performs during the opening night of 'Elaine Stritch At The Carlyle: Movin' Over And Out'

Elaine Stritch - Elaine Stritch performs during the opening night of 'Elaine Stritch At The Carlyle: Movin' Over And Out' at the Cafe Carlyle - New York City, NY, United States - Tuesday 2nd April 2013

Elaine Stritch
Elaine Stritch
Elaine Stritch
Elaine Stritch
Elaine Stritch

Opening night of 'Elaine Stritch At The Carlyle: Movin' Over And Out'

Robert Osborne - Opening night of 'Elaine Stritch At The Carlyle: Movin' Over And Out' at the Cafe Carlyle - Arrivals - New York City, NY, United States - Tuesday 2nd April 2013

ParaNorman Review


Excellent
The most surprising thing about this lively 3D stop-motion adventure is the way it never talks down to children. It recognises that kids like to be scared at the movies, and that they have a more sophisticated understanding of adults and relationships than we give them credit for. As a result, it's a movie that's both hilariously silly and genuinely creepy. And the superbly written and voiced characters will appeal to young and old viewers alike.

It's set in the sleepy town of Blithe Hollow, a tourist village cashing in on its grisly history of 18th century witch trials. This is where Norman (Smit-McPhee) lives, which is a bit annoying since he can speak to the ghosts which are lurking everywhere. His parents (Mann and Garlin) dismiss this as a childhood fantasy, while his boy-obsessed teen sister (Kendrick) just ignores him. At school, the class bully (Mintz-Plasse) makes his life miserable, and just when Norman thinks things can't get worse, his vagabond uncle (Goodman) tells him that he's the next in line to make sure the town's legendary witch doesn't enact her curse on the 300th anniversary of her death.

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Romance & Cigarettes Review


Grim
John Turturro's dream project Romance & Cigarettes is a gutter-style jukebox musical with chutzpah to spare and which doesn't know when to quit. It's all here: Singing garbagemen! Catfight in a SoHo lingerie store! Hot-to-trot Kate Winslet as a scorchingly foul-mouthed Irish hussy. Toe-tapping Christopher Walken in full strutting peacock mode, driving an old Detroit beater with a license plate reading "BoDiddley." A wife screaming at her husband, recently discovered cheating, "I trim your nose hair!" Family, infidelity, and a basketful of pop tunes for everyone to sing along to -- Ute Lemper to Connie Francis to Bruce Springsteen to James Brown to Tom Jones to....

Somewhere in all Turturro's chaos is a story about Nick Murder (James Gandolfini), a blue-collar schlub with a stolid wife, Kitty (Susan Sarandon), and a trio of slightly cracked daughters -- Constance, Baby, and Rosebud (Mary-Louise Parker, Aida Turturro, and Mandy Moore, respectively) -- who function partially as a junior set of Furies but are mostly there to bash out songs in the backyard as part of the three-piece bubblegum garage band they've formed. In short: Nick's a two-timing bastard who's stepping out on the wife with Tula (the previously mentioned Irish hussy), a fact Kitty doesn't take to overly well, and numerous friends and family get dragged into their scuffle and forcing everyone to occasionally bust out in song.

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Small Time Crooks Review


Excellent
Woody Allen always does his best work when he's both in front of and behind the camera. Small Time Crooks give us Woody once again as the star, once again making us laugh by proving that he and only he knows how to deliver the exact and peculiar cadence of his written humor.

An unabashed comedic fable, Small Time Crooks presents Woody as Ray Winkler, an ex-con living in a New York rathole and scraping by as a dishwasher. His wife Frenchy (Tracy Ullman) does nails by day, gives Ray a whole lot of lip by night. And when Ray comes home with a new "master plan" that promises to make them rich so they can retire to Florida (the dream to end all dreams in Small Time Crooks), Frenchy becomes a reluctant partner.

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Broadway: The Golden Age, By The Legends Who Were There Review


OK
Self-indulgent to a fault and brusquely shoved together without much of a sense of rhythm, Broadway: The Golden Age is on the surface the five-year-long quest by filmmaker Rick McKay (Elaine Stritch at Liberty) to interview pretty much every Broadway luminary he could get his hands on, all for the purposes of limning the glory that was Broadway's "Golden Age." Now it's no surprise that you interview a bunch of aging actors/actresses who are in this particular demographic they're going to tell you that things today are rather awful, and in their day, were much, much better. What makes Broadway as engaging as it is would be the fact that McKay's interviewees are able to back up those claims with some rather illuminating anecdotes - and not just all of the "you could go to the automat and get a muffin and coffee for 15 cents" variety, though there's plenty of that as well.

Although McKay - whose irritating narration, the usual guff about moving to New York from Indiana and just how exciting it all was, brackets the film - never really posits what exactly he's on about with "The Golden Age," two things quickly become clear: The time period he and his subjects want to talk about is Broadway theater from the 1930s to the 1950s, and that period really would have been something to behold. The cavalcade of interviewees all point to not just the embarrassment of riches that were around then in terms of both the material (Lerner & Lowe and Rodgers & Hammerstein were like musical hit factories, not to mention the new dramatic work being produced by the likes of Tennessee Williams and Arthur Miller) and the talent, but another very simple factor: It was cheap. In a time of $480 The Producers tickets, it's partially nice but mostly infuriating to know that not so long ago it could cost less to go to a Broadway show than the movies.

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Autumn In New York Review


Weak
No matter how shrewd, wealthy, or debonair a man can be, in a Hollywood drama, he is always humbled by love. Richard Gere is no exception to this rule, and for the second time in a year, he is typecast in yet another implausible romantic lead. Why even bother establishing his character? Like always, he's successful, powerful, and sexy, yet unable to curb his womanizing ways. Only this time it's not Julia Roberts as the flamboyant prostitute or eccentric altar ditcher, but a weepy Winona Ryder, who is half his age and happens to be dying of a rare heart disease. Sound like a winner? It isn't.

Autumn in New York, directed by Joan Chen (Xiu Xiu: The Sent Down Girl), is the recycled love story of a man who has it all but nobody to share it with. The tacky promo, "He taught her how to live, she taught him how to love," basically explains the plot in a nutshell. Flourishing Manhattan restaurant owner Will Keane (Gere) sees something in the beauty, wit, and innocence of young Charlotte (Winona Ryder), despite the fact that he dated her deceased mother in the past. On the flip side, Charlotte has merely a year to live and is not afraid to die because she has nothing truly worth living for. The two find sustenance in one another, but as all love stories go, they endure trying times. Winona is either too young or too sick, and he can't control his libido or escape his shady past. So they're meant for one another, but how long can it last?

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Krippendorf's Tribe Review


Grim
Hey kids! Ever think about embezzlement as a source of fun and profit? Well, Krippendorf's Tribe can teach you how: the easy way, through misappropriating government grants!! Watch in amazement as Richard Dreyfuss invents a lost tribe and lectures about it endlessly. Thrill to Jenna Elfman's greedy bitch of a backstabber (who towers above her costar)! You'll laugh your ass off (or not) as a pig runs around the backyard! Does the fun ever start?

Screwed Review


Terrible
Rarely does a film like Screwed come across my desk: a film so utterly easy to insult, from its title on in, that writing the review is an absolute piece of cake. Somehow, the producers of this film chose the title Screwed over such options as Ballbusted, Foolproof, and Pittsburgh, probably hoping to attract a teenage crowd with its would-been-risque-if-not-for-the-likes-of-S.F.W. title and its screwball Norm-MacDonald-needs-better-work antics. Sadly, this marketing technique will probably succeed and result in, well, a lot of people feeling screwed.

Screwed concerns a butler (Norm MacDonald) and a chicken wing vendor (David Chapelle) who team up to try to, well, screw a bitter old hag out of five million dollars. Needless to say, the plan goes south, and the two have to run all over Pittsburgh (which is obviously not really Pittsburgh) to get away with their perfect crime. Norm sleeps with some girl in a bit part that should have been bigger, David convinces good old Norm to fake his death with the help of a mortician (Danny DeVito), and all the while we watch the hag bitch and gripe, not really caring

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Monster-In-Law Review


Grim
Since it's propped up by most of the same jokes and plotdevices as any other comedy about obnoxious in-laws ("Meetthe Parents," "TheIn-Laws," "MickeyBlue Eyes"), there's really only one questionto answer about "Monster-in-Law": Is it worth 10 bucks to watchJennifer Lopez and Jane Fonda retread the same sitcom territory recentlytrampled twice by Ben Stiller and Robert De Niro?

The short answer is "No."

But while hardly original and certainly predictable, "Monster-in-Law"does have some good chuckles -- although few of them come from Lopez, whogives a shrug-worthy performance as an off-the-shelf romantic-comedy heroine,tailored with all the sweetly quirky foibles that Hollywood thinks willmake gorgeous actresses seem like everyday gals who can't find a man.

In this case Lopez plays a struggling artist and officetemp with a dozen part-time jobs (dog walker, receptionist, caterer), whononetheless has her own roomy, sunny, well-decorated beachfront apartmentin Venice, California.

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Elaine Stritch

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