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Video - Kylie Minogue Was Stunning In White At The 25th Annual GLAAD Media Awards - Part 6


Kylie Minogue looked dazzling in white as she smiled at the paparazzi and chatted to some reporters on the red carpet at the 25th Annual GLAAD Media Awards in New York. The singer has long been an advocate for LGBT causes among her many humanitarian ventures.

Continue: Video - Kylie Minogue Was Stunning In White At The 25th Annual GLAAD Media Awards - Part 6

25th Annual GLAAD Media Awards - Arrivals

Lee Tergesen - 25th Annual GLAAD Media Awards held at the Waldorf Astoria Hotel - Arrivals - New York, New York, United States - Sunday 4th May 2014

Lee Tergesen

No One Lives Review


OK

Clearly designed to be as grisly as humanly possible, this movie combines a brutal central character with a very flimsy premise. And the result is actually rather good fun simply because it's so over-the-top. While happily indulging in every gross-out cliche they can think of, the filmmakers may play it far too straight but they also give horror fans exactly what they want.

There's even the hint of a back-story, as an unnamed man (Evans) drives through the American Northwest with his reluctant girlfriend (Ramsey), who is furious over an affair he had. When they stop in a small town for the night, the televisions are full of stories about the hunt for kidnapped heiress Emma (Clemens). And they inadvertently become the target for a gang of violent burglars (Tergesen, Magyar, Olivo, Knapp and Clay) who have just killed an entire family. But the driver isn't a man to mess with, and when the thugs discover Emma hidden in his car, she warns them that he's a psychopathic maniac who won't leave any of them alive.

From here the movie essentially becomes an extreme slasher horror from the killer's perspective, as director Kitamura merrily indulges in the most grotesque torture and carnage he can think of. And it's so bloodthirsty that we can hardly stifle our laughter. There's also a level of soapy psychological tension to go along with the physical nastiness, which gives the actors something to work with. Evans prowls through each scene with unblinking ferocity, deploying whatever he finds on the gang's farm (oh look, a wood-chipper!). Meanwhile, the goons reply by having a vicious power struggle between Tergeson's cool-headed leader and Magyar's trigger-happy meathead.

Continue reading: No One Lives Review

ABC's 'Red Widow' Red Carpet Event at Romanov Restaurant Lounge

Lee Tergesen - ABC's 'Red Widow' Red Carpet Event at Romanov Restaurant Lounge at Studio City - Studio City, CA, United States - Tuesday 26th February 2013

Lee Tergesen
Lee Tergesen

Picture - Lee Tergesen , Tuesday 12th June 2012

Lee Tergesen Tuesday 12th June 2012 The premiere after party for 'Rapture, Blister, Burn' held at Heartland Brewery

Picture - Kristin Rohde and Lee Tergesen , Tuesday 12th June 2012

Lee Tergesen - Kristin Rohde and Lee Tergesen Tuesday 12th June 2012 The premiere after party for 'Rapture, Blister, Burn' held at Heartland Brewery

Picture - Beth Dixon, Amy Brenneman, Kellie... , Tuesday 12th June 2012

Amy Brenneman and Lee Tergesen - Beth Dixon, Amy Brenneman, Kellie Overbey, Virginia Kull and Lee Tergesen Tuesday 12th June 2012 The premiere after party for 'Rapture, Blister, Burn' held at Heartland Brewery

Generation Kill Review


Excellent
In their seven-part Iraq War miniseries adaptation of Evan Wright's book Generation Kill, David Simon and Ed Burns roll up a quiverful of arrows to fire off at various topics, ranging from the rampaging adrenaline of young men at war to the supreme idiocy of the invasion itself. However, the bright and gleaming theme running through most of these hard-bitten episodes has the filmmakers illustrating an age-old military maxim: Soldiers are often much more likely to be killed by the decisions of their submoronic leadership than they are by actions undertaken by the enemy. When that enemy is as pathetic a force as Saddam's Republican Guard, and the American officer corps obsessed more with the idea of taking Baghdad at warp speed than properly clearing the territory they're pushing through (both points made time and again in this series), that maxim is even more true than usual.

Wright was a Rolling Stone reporter who somehow got himself embedded in the First Recon Marine unit that was frequently at the very point of the entire American military machine rolling into Iraq in 2003. In the capable hands of Simon and Burns, his story of these turbo-trained alpha-male hunter-killers becomes something unlike most any other film project about the war. It opens in the sands of Kuwait, with the platoons tussling in the sand like overgrown boys, primed with teeth-bared intensity to launch themselves at Saddam's forces; only, in the manner of Jarhead, that great battle never quite seems to come.

Continue reading: Generation Kill Review

Monster (2003) Review


OK
Thank God that Monster, the fictionalized story of serial killer Aileen Wuornos, wasn't made back in the 1990s, when filmmakers just couldn't fetishize mass murder enough. Wuornos's story would have been "loosely adapted" so that they could have cast someone attractive in the role, there would have been a slick grunge soundtrack and plenty of hipster humor amidst the bloodletting. That's not to say that movies haven't stopped their love affair with the serial killer, but Monster shows that it is possible to make a gripping, yet still dispassionate and non-exploitative film on the subject.

Wuornos is famous not just for the fact that she killed seven men in Florida in 1989 and 1990, but for being pretty much the only female serial killer of note in recent American history. A troubled girl who had been on her own since she was 13 and had survived by prostitution, Wuornos claimed, up until her execution in 2002, that she had acted in self-defense each time. Writer/director Patty Jenkins's script manages to show how self-serving and untrue this story ultimately became while at the same time acknowledging how Wuornos's past and profession led to her killing spree. There's a wonderful moment in a dingy biker bar where a self-pitying Wuornos is consoled by her friend Thomas (Bruce Dern), a Vietnam veteran; they take turns volleying variations on "What choice did I have?" back and forth in an attempt to escape culpability for any of their actions.

Continue reading: Monster (2003) Review

Shot in the Heart Review


Terrible
Here's another made for HBO movie that clearly aspires for cinematic splendor, circling the actors in dizzying tracking shots. Shot in the Heart overcompensates for the small screen. Since it's largely told in scenes where death row inmate Gary Gilmore (Elias Koteas) and his younger brother Mikal (Giovanni Ribisi) discuss their family history and right-to-die ethics across the table from each other, such grandiose flourishes ring false. I much preferred the non-flashy functionality of HBO's recent Conspiracy (the nazi board room meeting to discuss the Final Solution to the "Jewish problem," starring Kenneth Branagh) because at least it was willing to follow the boxed-in rules of TV conventions. Shot in the Heart feels overcooked.

In the allegory-seeking hands of director Agnieszka Holland (Total Eclipse), no opportunity is resisted for family dinner flashbacks where sinister dad Sam Shepard knocks over the turkey and throws young Gary around the room. Religious fervor is represented through wide-eyed mania in Shepard's resident madman and Amy Madigan's Carrie-tinged Mormon mother. More interesting are the prison scenes (shades of Oz), where Ribisi and Koteas are boxed in by walls of glass, steel, and wire frames. Unfortunately, the two ferociously talented lead performers are encouraged to conform to Actor's Studio emoting--Koteas can't keep still, Ribisi's hands are constantly kneading handy props (and, barring that, are continually rubbing away thinly veiled tears).

Continue reading: Shot in the Heart Review

Bark Review


Terrible
Peter's got a big problem: His wife is barking!

That uproarious setup gives way to a black comedy -- if you can call it that -- that is so bizarrely unfunny that it's a miracle stars like Lisa Kudrow, Vincent D'Onofrio, and Hank Azaria ever agreed to do it. Maybe they didn't see the script.

Continue reading: Bark Review

Wayne's World 2 Review


Grim
Gotta love those references to An Officer and a Gentleman. Having Chris Farley channel depressed pilot-in-training Richard Gere during the tear-soaked line, "I got no place else ta go-ho-hooooooooo," is almost worth the price of admission right there. Too bad that Wayne's World 2 is mostly just mining the same pop culture terrain as its far more worthy predecessor. It was a surprise to see that Mike Myers and Dana Carvey were able to take their "two guys on a couch" cable access rock 'n' rollers through even one feature length adventure, with enjoyable detours to an Alice Cooper concert as well as a playful game of street hockey. Queen's "Bohemian Rhapsody" was instantly embraced by a generation of kids who didn't even know Freddy Mercury from Adam -- poor bastards. Hasn't anyone seen Highlander? Jesus Christ, what the hell's wrong with the kids of America, anyway? Don't answer that.

Wayne's World 2 opens with our dynamic duo still running their own show, though they've moved from their basement to a warehouse. Good for them, right? But when smarmy record producer Bobby Cahn (Christopher Walken, coasting but still The Man) steps in to make life miserable and steal Wayne's lovely girlfriend Cassandra (Tia Carrere, who still can't act but is still One Hot Tamale), Wayne is told in a vision by Jim Morrison(!) that he should stage a rock concert in Aurora, Illinois. Waynestock, of course. "If you book them, they will come." This will bring Cassandra back and, no doubt, provide a sense of meaning in Wayne's slacker life. Right? Right? Uh... maybe.

Continue reading: Wayne's World 2 Review

Monster Review


OK
Thank God that Monster, the fictionalized story of serial killer Aileen Wuornos, wasn't made back in the 1990s, when filmmakers just couldn't fetishize mass murder enough. Wuornos's story would have been "loosely adapted" so that they could have cast someone attractive in the role, there would have been a slick grunge soundtrack and plenty of hipster humor amidst the bloodletting. That's not to say that movies haven't stopped their love affair with the serial killer, but Monster shows that it is possible to make a gripping, yet still dispassionate and non-exploitative film on the subject.

Wuornos is famous not just for the fact that she killed seven men in Florida in 1989 and 1990, but for being pretty much the only female serial killer of note in recent American history. A troubled girl who had been on her own since she was 13 and had survived by prostitution, Wuornos claimed, up until her execution in 2002, that she had acted in self-defense each time. Writer/director Patty Jenkins's script manages to show how self-serving and untrue this story ultimately became while at the same time acknowledging how Wuornos's past and profession led to her killing spree. There's a wonderful moment in a dingy biker bar where a self-pitying Wuornos is consoled by her friend Thomas (Bruce Dern), a Vietnam veteran; they take turns volleying variations on "What choice did I have?" back and forth in an attempt to escape culpability for any of their actions.

Continue reading: Monster Review

Monster Review


Good

Curvy, leggy, drop-dead gorgeous Charlize Theron ("The Italian Job," "Mighty Joe Young") has always had the chops to play deeper and more challenging roles than the girlfriends and temptresses she's been making a living from since her cat-fighting sexpot debut in "2 days in the Valley." But to date few in Hollywood have seen past her looks.

That's about to change.

The actress has made an astonishing physical and quintessential transformation to play leather-hearted truck-stop prostitute and serial killer Aileen Wuornos in the riveting, bleak and exceptionally intuitive biopic "Monster," and I guarantee she'll be taken seriously from now on.

Continue reading: Monster Review

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