Gary Cole - The Bronze Premiere at the SilverScreen Theater at the Pacific Design Center on March 7, 2016 in Los Angeles, CA. at SilverScreen Theater at the Pacific Design Center - Los Angeles, California, United States - Tuesday 8th March 2016
In 2003/04 Hope Annabelle Greggory was one of America's sweethearts. She was one of the Gold medal hopefuls at the 2004 Rome Olympics and up until the very second that she took to the bar, she was thought to be the clear winner; however when Hope makes a costly stumble it puts an end to her professional career and she wins only a bronze medal.
In the years following, Hope finds herself becoming something of a minor celebrity, appearing on dancing shows but when her celebrity status is soon to be overshadowed by a new gymnast Maggie Townsend who looks to gain all the glory once bestowed to Hope.
Will Hope put her pride to the side in order to help Maggie win the gold?
Continue: The Bronze Trailer
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
Gary Cole - Photographs from 'An Evening with the Cast of Veep' which was held to celebrate the fourth season premiere of the hit HBO series and was held at the Paley Center for Media in New York City, New York, United States - Tuesday 7th April 2015
Melissa McCarthy is clearly in a rut: the title character in this film isn't very far removed from her previous roles in The Heat and Identity Thief. Yes, Tammy is another chubby slob who is on the road to some sort of epiphany, and along the way she realises that simply running a comb through her ratty hair might make her look more human. At least the film has a seriously strong supporting cast who almost make it worth a look.
Tammy (McCarthy) is sacked from her job at a fast-food outlet on the same day she discovers that her husband (Faxon) is having a fling with a neighbour (Tony Collette). In a childish rage, she runs home to her parents (Allison Janney and Dan Aykroyd) and then decides to keep running, taking her grandmother Pearl (Sarandon) along for the ride. Pearl has a dream to see Niagara Falls before she dies, but she's just about as immature as Tammy is, so they immediately start getting into trouble. Their antics include a series of incidents involving a jet-ski, flirting and more with a father and son (Gary Cole and Mark Duplass), robbing a burger joint and attending a raucous 4th of July party at the home of Pearl's wealthy cousin (Kathy Bates).
Tammy is even less worldly wise than McCarthy's previous variations on the character: she has never even attempted to grow up, so reacts to everything like a toddler. Aside from not being remotely funny, this is deeply annoying from the start. And even the characters around her don't laugh - they roll their eyes in exasperation. Then after establishing her as a relentless loser who brings misfortune on herself, the script (written by McCarthy and her real-life husband Ben Falcone, who also directs and appears as Tammy's boss) contrives to make Tammy sympathetic by portraying her as some sort of a victim. Meanwhile, she of course slowly begins to look less cartoonish simply because she changes her shirt and takes a shower along the way.
Continue reading: Tammy Review
Fred (Marsden) is a slacker whose parents (Cole and Perkins) finally force him out of the house. With some help from his sister (Cuoco), he gets a job interview and a mansion to housesit. But any promise is upended when he meets a talking rabbit named EB (voiced by Brand), who would rather be a rock drummer than follow his destiny as the Easter Bunny. Meanwhile on Easter Island, a disgruntled chick named Carlos (Azaria) is plotting a coup against EB's father (Laurie).
Continue reading: Hop Review
When war breaks out, the Nomura family is enjoying a happy middle-class life in 1940s L.A. All that changes when the internment order arrives, and soon Mom (Judi Ongg), Dad (Masatoshi Nakamura), older brother Lane (Leonardo Nam), and younger brother Lyle (Aaron Yoo) find themselves in a drafty barracks in the middle of a desert somewhere in the American west. While most everyone tries to adapt with dignity, the volatile Lyle, who has been robbed not only of his baseball scholarship but also his beloved jazz music, simmers with rage. He's even more outraged when he learns that Lane has volunteered to fight with the 442nd division, the famous all Japanese-American unit that went on to glory in European fighting. Why would Lane want to fight for the same army that has machine guns trained on him day and night in the camp?
Continue reading: American Pastime Review
Jud Taylor's rendition adds two new characters, an American writer (Gary Cole, with a moustache!) and his wife (Patricia Clarkson, without a moustache), who are lazing about in Cuba while our fisherman is out at sea. Cole is obviously a metaphor for Hemingway himself, and while it does serve to break the monotony of spending the entire movie out on the water, the addition is perplexing and a bit jarring.
Continue reading: The Old Man And The Sea Review
The Brady Sequel gets a lot raunchier, too, with a major subplot about Greg and Marcia's seemingly inappropriate budding love affair, and plenty of innuendo outside of that. The primary plot concerns a stolen artifact, which just so happens to be residing in the Brady residence. When Carol's first husband Roy (Tim Matheson), presumed dead, shows up looking for it, havoc breaks loose. Turns out he's a thief and will do anything to get it; along the way he fiddles with that old-fashioned Brady do-gooder spirit, telling Peter he has to "lie, cheat, steal, or kill" in order to make it in "the big house."
Continue reading: A Very Brady Sequel Review
The latest from Sam Raimi (For Love of the Game) is a muddled thriller, filled with tired clichés and some of the worst casting in years. Raimi, along with screenwriters Billy Bob Thornton and Tom Epperson, try so hard to create a "serious" psychic chiller that the film is practically drained of any excitement.
Continue reading: The Gift (2000) Review
Can somebody please stop Ben Stiller?
Since becoming a box-office draw with "There's Something About Mary," the guy has been a horrendous ham, devouring scenery with an eye-bugging, eyebrow-stitching schtick so stale and predictable that his last dozen movies have all included the same gag: slow-motion scenes of Stiller madly mugging while dancing, or running, or playing the titular game of schoolyard pain and humiliation in "Dodgeball: A True Underdog Story."
The only variation in his on-screen persona is that sometimes he's an irritatingly neurotic, hapless chump ("Along Came Polly," "Envy," "Meet the Parents") and other times he's an irritatingly arrogant, mock-sexy-pouting, self-obsessed moron ("Starsky & Hutch," "Zoolander").
Continue reading: Dodgeball: A True Underdog Story Review
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