Lyle Lovett

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Farrah Fawcett Foundation

Lyle Lovett - Farrah Fawcett Foundation Presents First Annual 'Tex-Mex Fiesta' Benefitting Stand Up to Cancer: Event Honors Jaclyn Smith, Lipstick Angels and Advaxis, Inc. at Wallis Annenberg Center for the Performing Arts, Beverly Hills - Los Angeles, California, United States - Wednesday 9th September 2015

Lyle Lovett
Lyle Lovett

Farrah Fawcett Foundation Presents First Annual 'Tex-Mex Fiesta'

Lyle Lovett - Farrah Fawcett Foundation Presents First Annual 'Tex-Mex Fiesta' Benefiting Stand Up To Cancer at Wallis Annenberg Center in Beverly Hills - Beverly Hills, California, United States - Wednesday 9th September 2015

Lyle Lovett
Lyle Lovett

Angels Sing - Trailer


Christmas is a time for family, although there are those who would argue it is an over-commercialised capitalist holiday. One of these people is Michael Walker (Harry Connick, Jr.) who cannot stand Christmas. When their rent runs out, they are forced to find a new house. Michael stumbles across the perfect family home, with the owner intent on selling the house to a family - as long as they uphold the long-running neighbourhood tradition of putting on a tremendous and bombastic Christmas light display. Michael is faced to live up to the tradition and learn to love Christmas again, all so that he can help his family and bring love and light to the world.

Continue: Angels Sing - Trailer

Celebrities At The 'The Late Show With David Letterman'

Lyle Lovett - Celebrities including star of Superbad and Arrested Development Michael Cera and American country singer-songwriter Lyle Lovett at the Ed Sullivan Theater for 'The Late Show With David Letterman' - New York City, New York, United States - Monday 25th August 2014

Lyle Lovett
Lyle Lovett
Lyle Lovett

2013 Riverkeepers Fishermens Ball

Lyle Lovett, Cheryl Hines, Robert Kennedy Jr and Kerry Kennedy - 2013 Riverkeeper's Fishermen's Ball at Pier 60 - New York City, United States - Tuesday 16th April 2013

Lyle Lovett, Cheryl Hines, Robert Kennedy Jr and Kerry Kennedy
Robert Kennedy Jr and Lyle Lovett
Robert Kennedy Jr and Lyle Lovett
Lyle Lovett
Lyle Lovett, John Mcenroe and Robert Kennedy Jr
Lyle Lovett and John Mcenroe

Celebrities At The Ed Sullivan Theater For 'The Late Show With David Letterman'

Lyle Lovett Monday 27th February 2012 Celebrities at The Ed Sullivan Theater for 'The Late Show with David Letterman'

Lyle Lovett
Lyle Lovett
Lyle Lovett
Lyle Lovett
Lyle Lovett
Lyle Lovett

The Open Road Trailer


Watch the trailer for The Open Road

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The Player Review


Extraordinary
From the master of independent cinema, Robert Altman, comes the blackest of satires, The Player. Postmodern, intelligent, suspenseful, funny, brilliant. All of these very useful adjectives apply to this film. There is no way around it: The Player is great.The Player, as I stated, is a black satire from the director of Short Cuts, M*A*S*H, and Nashville. It follows Griffin Mills (Tim Robbins), a villain we love to hate, and, ironically, our main character. Mills is getting postcards. Each one is a threat on his life, and telling others, due to the fact that his position as a studio exec is threatened by up-and-coming producer Larry Levy (Peter Gallagher), is a threat on his career.At the beginning, Mills is charismatic, even likable. But he's quickly shown for the snake that he is. In the words of Tim Robbins, who deserved but was not even nominated for an academy award for his role, "he's manipulative, he's a son of a bitch." It's true, it's all true.The threatening postcards lead him to believe that a writer is sending them. A rejected writer. However, in the cruel industry of movies which kills more ideas than WWII killed people, this does not narrow it down. What does narrow it down is one of the more bizarre moments of the film. He's in the hot tub with Bonnie, story editor and girlfriend (and, by, the way, the only moral character of the movie), when he asks her about his own life. However, unable to formulate it into his own life, he explains it through movies. He gives her a pitch, asks her how long it will be before the writer-in-question becomes dangerous, and she narrows the selection of writers down by providing a five-month time period before danger arrives.Using this, he selects David Kahayne, hack-writer of the bubonic plague of Hollywood: the unhappy ending. David's what movie people call "unproduced", a writer who's a member of the WGA (Writer's Guild of America, which holds a fairly good monopoly on writers in Hollywood) but who hasn't sold a script. He calls his girlfriend June Gudmundsdottir (Gretta Scacchi, pronounced good man's daughter) and finds out where to find him. The surprise there, of course, is that his nickname is, according to June is "the dead man".Kahayne is in Pasadena, enjoying himself at the Rialota watching The Bicycle Thief. Mills confronts him about the postcards, and, in a fit of rage, kills him in a parking lot. Of course, fitting with the Hollywood that it satires so well, he didn't kill the right person. And now, Griffen Mills is being investigated by the police, is falling in love with June, is trying to secure his position as head of the studio, and, on top of it all, fearing for his life.The movie is artistically brilliant and interestingly postmodern. In a very ironic way, the ending is the beginning: a pitch by the mysterious psychotic writer of a movie called The Player, about the events you have just seen. It references itself: naming the record for a tracking shot in an American motion picture (formerly held by Orson Wells' Touch of Evil) while breaking it. Having a main character from D.O.A. being asked if he remembers the film. Talking about eliminating the writers from the artistic process the day after Mills has murdered the writer.There normally isn't much I can say about a film. In my life, there are maybe ten films I could go on and on about, and you have the luck to hopefully see this one. It makes statements. It predicts things. It was ironic at the time it came out and is ironic now.For instance, Griffin Mills is quoted as saying "movies are art, now more than ever" while, at the very same time in the real world, movies were flocking back to the existence of the art film. It is sheltered in a unique ambiguity: June discovers the Mills killed her boyfriend and doesn't care. The good are punished, the bad survive: Bonnie is fired and left for proverbial dead while June and Mills live happily ever after.This is the film for movie buffs. It makes you stop and think about what speeds in front of your face at 24 frames a second. It states things about the industry in a uniquely detached manner, where people talk about all the dark things of the industry as if they were drinking cappuccinos.For instance, another quote by Griffin Mills, asshole producer but satiric god, addresses the elements needed in a modern studio film: "Suspense, laughter, violence. Hope, heart. Nudity, sex. Happy Endings."It is brilliant. It is one that you have to own. It is the movie to watch.

Short Cuts Review


Good
While one could argue that Robert Altman's 1993 film Short Cuts was simply an updating of his 1975 classic Nashville, with a much higher quotient of star power and slightly more prurient subject matter - an attempt to keep the once iconic filmmaker from straying into the shadowy irrelevance like so many of his '70s peers - and while that argument could very well be true, that doesn't deprive Short Cuts of any of its power, or disprove the fact that it's ultimately a better film.

Spinning together a series of short stories from the master of the form, Raymond Carver, Altman takes some 20-odd Los Angelenos and twists their lives together seemingly just for the fun of how their individual little lives play out and connect up, like a puppetmaster who can't stop adding new puppets to his repertoire. To flesh out his tapestry of early '90s Southern California life, Altman has a fine batch of actors and actresses, including everyone from the best of their generation (Jennifer Jason Leigh, Robert Downey Jr) to the solidly respectable but not terribly exciting choices (Julianne Moore, Matthew Modine, Madeleine Stowe) to oddly effective musician stunt casting (Lyle Lovett, Tom Waits, Huey Lewis) to one lordly presence (Jack Lemmon).

Continue reading: Short Cuts Review

The New Guy (2002) Review


Unbearable
When the screenwriter responsible for one of the worst movies of one year directs an equally miserable film the following year, you'd have a hard time believing it was just coincidence. But Ed Decter, writer of the horribly unfunny Freddie Prinze Jr. clunker Head Over Heels, takes the directing reins for the first time with the remarkably lame teen comedy The New Guy.

The premise is simple: a high school ugly duckling named Dizzy (Road Trip's DJ Qualls) turns it around and starts fresh at a new school, strutting like a badass and making a new personality for himself as a guy named Gil. The supposedly funny twist is that he gets his education in cool while hanging at a prison, taking lessons in toughness from Eddie Griffin (wasted in his short appearance), learning how to dance like a hipster from Horatio Sanz (also wasted), and getting a makeover from the stereotypical cross-dressing cons in the pen. In each scene, Decter and screenwriter David Kendall (big blame goes to him too) want to get right to the funny immediately - the only problem is that each attempt results in a vacant black hole.

Continue reading: The New Guy (2002) Review

Fear And Loathing In Las Vegas Review


Good
You might be tempted to dismiss Fear and Loathing in Las Vegas as a curiosity, an attempt to exploit the pockets of fame enjoyed by Hunter S. Thompson and director Terry Gilliam.

When I first saw the film in 1998, that's what I did.

Continue reading: Fear And Loathing In Las Vegas Review

The New Guy Review


Grim

For its first 20 minutes or so, the big-geek-on-campus comedy "The New Guy" gets by on a semi-fresh twist of tiresome teen clique themes and a well-cast lead. DJ Qualls -- the 98-lb. walking weakling punchline from 2000's "Road Trip" -- plays a bottom-of-the-food-chain bully magnet who changes high schools and reinvents himself as a wiry, uber-cool bad ass.

But as soon as the kid gets comfortable with his new studly status (insert stock scenes of trampy cheerleaders here) and we've seen Qualls' entire comical cool-jerk repertoire, the movie plum runs out of ideas and putters along on fumes until the closing credits.

Lazy and simplistic, when "The New Guy" isn't beating long-dead genre horses (Qualls feels guilty, for about two minutes, about dissing his "real" friends for the in crowd), it's a blender-edited mish-mosh of abridged plot points. Our hero apparently teaches everyone in his new school to get along, but we don't see how he does it. Before long campus hotties are hanging off the arms of dorks, overweight guys and other former outcasts. No explanation there either. Qualls' dad (Lyle Lovett) and former school counselor (Illeana Douglas) think his new style and attitude are signs of a drug problem, but that story angle is abandoned after about 30 seconds.

Continue reading: The New Guy Review

Cookie's Fortune Review


Excellent

"Cookie's Fortune," an ode to the charms and afflictions of smalltown Southern life from superlative director Robert Altman, opens, appropriatelyenough, with a leisurely, cinematic stroll around Holly Springs, Miss.,introducing the players in what will become a sympathetic satire of DixieGothic manners and mores.

We see sheriff's deputies with nothing to do but drivearound shining their spotlights here and there and talking unceasinglyabout fishing. We meet purse-lipped old maid Camille Dixon (Glenn Close)as she tenaciously directs a rehearsal of Oscar Wilde's "Salome,"which she has rewritten as a church morality play. We meet her slow-witted,obedient sister Cora Duvall (Julianne Moore) who is frustrating Camillewith her strenuous over-acting as the play's wanton lead.

Continue reading: Cookie's Fortune Review

Lyle Lovett

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