Janeane Garofalo and Lisa Edelstein - Photo's from the launch party for BRAVO'S first scripted series 'Girlfriends' Guide to Divorce' The party was held at the Crosby Hotel in New York City, New York, United States - Thursday 20th November 2014
Sometimes a marriage can feel so bad as to feel like you’re not even in one anymore. And sometimes they feel like that because you’d completely forgotten you’d got married in the first place. Sound impossible? Actress Janeane Garofalo and writer and The Big Bang Theory producer Rob Cohen managed to do just that, after it was revealed that Cohen’s plans for a new matrimony couldn’t go through until his current one had ended.
What current one though? According to the New York Post the pair did in fact get hitched 20 years ago in – where else – that most romantic of environments, Las Vegas. After a skin full, and then presumably another skin full as well, Garofalo and Cohen – who were dating at the time – decided to go down the aisle at Vegas. “Rob and I got married, for real, which we had to have a notary dissolve not 30 minutes before we got here tonight,” Garofalo said as she turned up for a reunion for The Ben Stiller Show. “We were married for 20 years until this evening.”
She added, “We got married drunk in Vegas . . . We dated for a year, and we got married at a drive-through chapel in a cab. [We thought] you have to go down to the courthouse and sign papers and stuff, so who knew? We were married, and apparently now that [Rob] is getting married for real, his lawyer dug up something.” Though their marriage has been referenced in the past, it’s long been considered a joke between the two still-close friends, and not a real … y’know… thing. Think again.
Continue reading: Janeane Garofalo Married Big Bang Producer, But Forgot All About It
Ratatouille is an intricate dish, infused with energetic and amusing storylines that are all fully cooked and complementary to the film's rich visual look. It's easily the best Pixar creation next to The Incredibles; arguably it's even better. No surprise that Ratatouille is written and directed by Brad Bird, the same mastermind behind The Incredibles. Bird excels at integrating thematic elements that will entertain the youngest and oldest members of the audience alike.
Continue reading: Ratatouille Review
The show is pure genius and pure simplicity: Larry Sanders (Garry Shandling) is a late night talk show host on an unspecified network in the post-Carson era. Each week we were treated to the behind-the-scenes antics that go on before such a show can get on the air five nights a week: At its slapstick simplest we have Carol Burnett fleeing spiders by climbing on Larry's back. At its smarmy sickest, we have Larry's agent (Bob Odenkirk) selling him down the river so he can move on to greener pastures: Namely one Jon Stewart, a guest host for the show who became a running theme in later years as a cheap, network-approved replacement for the skewing-too-old Larry.
Continue reading: The Larry Sanders Show: Not Just The Best Of... Review
Like The Aristocrats' Paul Provenza, Solomita is also a comedian who figured he'd take a stab at directing a documentary, and for his topic he figured he'd pick, well, himself and his pals from Boston. According to Solomita, at the time, there was no comedy scene anywhere in the country except for L.A. and New York (pity Chicago's Second City, founded in 1959, which merits no mention here at all). But thanks to a Chinese restaurant in Boston, good old Beantown got on the map as a comedy venue, too.
Continue reading: When Stand Up Stood Out Review
You will not find a worse movie in Walt Disney's animated canon than The Wild. At the very least, the hyperactive abomination helps us understand why the once-mighty studio shelled out $7.4 billion to acquire Pixar Animation Studios earlier this year. Pixar is a proven hit factory, an imagination emporium responsible for the lucrative Toy Story adventures and the Oscar-winning superhero smash The Incredibles. If The Wild represents all that remains in Disney's think tank, it's now painfully clear that the Mouse House needs Pixar like a table needs legs.
Wild is a high-impact cartoon, the kind that catapults its characters head first into rocks, trees, and other animal's rear ends every time we expect a joke but are met with silence. Like its immediate predecessor, Chicken Little, this meaningless cartoon assumes kids will roar their approval so long as things move extremely fast, crash with teeth-shattering force, and pass gas. Parents lose twice - they must pay hard-earned cash to enter and then endure 90 minutes of noise.
Continue reading: The Wild Review
But forget about September 11th for a moment and consider this: Is there ever a good time to release a film that endorses bribing airline personal for tickets to carry a suitcase containing a ticking nuclear bomb onto a plane? The answer is easy. Pre- or post-September 11th, there is no appropriate time for a comedy this poorly conceived. Big Trouble is irresponsible filmmaking; it doesn't even justify the space for an explanation. But since reviews are my business, let me try to sort out this movie's mess.
Continue reading: Big Trouble Review
Remember that great Z-grade 1969 protest picture "Brothers Divided," about the conjoined twins drafted to serve in Vietnam?
No? How about the blaxploitation classics "Venus De Mofo" and "The Foxy Chocolate Robot?" Or the tree-hugging girlie biker flick "The Eco-Angels"? Or the midget Gidget movie "Teenie Weenie Bikini Beach"?
Those don't ring a bell? Surely you've seen at least one of the 427 movies directed by schlock filmmaker Morty Fineman over the last 38 years, right?
Continue reading: The Independent Review
Never before have I seen a movie try so hard to be deliberately awful -- and succeed so wildly -- as "Wet Hot American Summer," a nickel-budget sketch-comedy spoof of early '80s teen sex-at-camp romps like "Little Darlings" and "Meatballs."
Created by veterans of cable "Saturday Night Live" knock-offs "The State" and "Upright Citizens' Brigade," it's a loose jumble of too-obvious jabs at the genre through stock characters in grossly under-rehearsed vignettes that are absentmindedly filmed and edited together without rhythm and apparently at random.
You've got your dorky virgin (Michael Showalter) making an ass of himself for the unattainable girl (Marguerite Moreau). She prefers the inimical, self-styled stud in the jean jacket (the under-appreciated Paul Rudd in the movie's only truly funny performance). He, in turn, prefers the company of your ubiquitous pubescent sluts in tube tops.
Continue reading: Wet Hot American Summer Review
Thanks to all the is-it-or-isn't-it-blasphemy controversy surrounding "Dogma," writer-director Kevin Smith has added a tongue-in-cheek disclaimer to the opening of this renegade ribbing of the Catholic church that is so amusing ("...God has a sense of humor, just look at the platypus") it will have audiences in stitches even before the first line of dialogue.
Whether or not you'll think the movie stays this funny will depend on how sensitive you are about your position on the religious yardstick, your threshold for soapbox pontification and what it takes to gross you out.
Smith, the maverick Generation X satirist responsible for ragtag underground hits "Clerks" and "Chasing Amy," makes no bones about testing the limits of irreverence and good taste in this ironically snappy and smart-mouthed theological deliberation.
Continue reading: Dogma Review
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