Country music has long been associated as a storytelling journey, but the evolution of the country sound has been made most obvious not by the music but by the image. There was a time when arenas would sparkle from all the rhinestones and when stetsons were a must-have. Then Johnny Cash brought his man in black phase into the mix, and with it a rebellion that few had seen before amongst those of that genre. Pretty soon it was all about carving out your own niche, fixing your own trademark look; whether it was Kenny Rogers and his white three-piece suits, or Tanya Tucker with her 'badgirl' catsuits and tight pants. Pictures from the mutation of country music throughout the last eight decades are perhaps some of the most telling because something about the looks of these country stars had as much of an impact as the music itself.
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 - 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
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.
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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
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).
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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
When I first saw the film in 1998, that's what I did.
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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," 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
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