Elizabeth Marvel, Maryann Plunkett, Jay O. Sanders, Jason Butler Harner, Annette O, Toole, Michael McKean, Jackie Hoffman and Dakin Matthews - Elizabeth Marvel, Maryann Plunkett, Jay O. Sanders, Jason Butler Harner, Annette OToole, Michael McKean, Jackie Hoffman and Dakin Matthews Monday 1st October 2012 attending the benefit reading of 'A Thurber Carnival' to celebrate the opening of the Pearl Theatre, held at The Pearl Theatre
John Larroquette, Angela Lansbury, Candice Bergen, Donna Hanover and Michael McKean - John Larroquette, Candice Bergen, Angela Lansbury, Michael McKean, Corey Brill, Donna Hanover and cast Sunday 1st April 2012 Broadway opening night of Gore Vidal's 'The Best Man' at the Gerald Schoenfeld Theatre - Curtain Call.
Hunter Parrish, Blair Underwood, Cynthia Nixon and Michael McKean - Hunter Parrish, Blair Underwood, Cynthia Nixon, Michael Mckean Friday 30th March 2012 The Drama Desk Awards Luncheon held at Sardi's Restaurant
Yasen Peyankov, Kate Buddeke, Michael McKean, Robert Maffia, Jane Alderman and Cliff Chamberlain - Yasen Peyankov, Kate Buddeke, Michael McKean, Robert Maffia, Jane Alderman and Cliff Chamberlain New York City, USA - Opening night after party for the Broadway play Superior Donuts held at the Redeye Grill-Press Room. Thursday 1st October 2009
Annette O'Toole and Michael McKean - Annette O'Toole and Michael McKean New York City, USA - 53rd Drama Desk Awards held at the F.H. LaGuardia Concert Hall at Lincoln Center - Pre-Party. Sunday 18th May 2008
Michael McKean and Harold Pinter - Michael McKean & wife Annette O'Toole Opening night of Harold Pinter's 'The Homecoming' at the Cort Theatre on Broadway - Opening night of Harold Pinter's 'The Homecoming' at the Cort Theatre on Broadway - Afterparty Sunday 16th December 2007
She's Having a Baby is a pleasant comedy, but PTA is an absolute gem and one of the 1980s' most overlooked movies, a mixture of human drama and dizzying goofiness that qualifies it for timeless status. I should know. A co-worker and I continually quote lines from this 17-year-old movie. At this point we could audition for a remake.
Continue reading: Planes, Trains & Automobiles Review
But Brady -- the movie -- does everything right, balancing faithfulness with the original film with rib-jabbing at its family-friendly kitsch. The catch: The Bradys are updated to the 1990s, but they haven't changed a bit. The plot itself -- about a plan to put a mini-mall in place of the Brady block -- is a throwaway. It's just an excuse to set us up with endless Brady antics, from Cindy's tattling to Peter's voice changing, to Johnny Bravo. If all this means something to you, the film will be nothing short of hilarious. If it's meaningless to you, just look at what you missed!
Continue reading: The Brady Bunch Movie Review
For the rest of you, Guestian movies are mockumentaries that usually send up some peculiar topic (community theater, dog shows), star a troupe of the same handful of very talented comedy actors (with a heavy Second City bias), are for the most part improvised, are always directed by Christopher Guest, and are typically hilarious. Also, they all apparently have three-word titles. Yes, Guestian films follow a formula, but yet they end up being some of the most original, creative movies I ever get to see. And, A Mighty Wind, while not the best of Guest's trio of ensemble comedies, is no exception; it's definitely Guestian all the way.
Continue reading: A Mighty Wind Review
Continue reading: This Is Spinal Tap Review
If the farcical title for actress-turned-director Melanie Mayron's Slap Her, She's French doesn't scare you away, there's a chance the worn-out premise will. Don't let it. With tongue planted firmly in cheek, Mayron and her bubbly cast of newcomers deliver a delectable little treat that's sunny, funny, and far more intelligent than you'd expect.
Continue reading: Slap Her, She's French Review
Writer-director Christopher Guest -- king of the mockumentary genre -- returns to his musical oddball roots in "A Mighty Wind," a "This Is Spinal Tap" for the 1960s folk-pop crowd.
As amusingly deadpan as 2000's dog-show-spoofing "Best In Show" and 1997's community-theater send-up "Waiting for Guffman" -- and featuring many of the same actors -- Guest's new film is similarly quirky, ironic and inexplicably endearing as it follows the preparations for a big concert featuring the reunions of several aging, corny, melodiously mellow fictional folk bands that were never as harmonious off stage as they were on.
It's a picture packed with wonderfully pokerfaced performances from the likes of Michael McKean, Harry Shearer, Eugene Levy, Catherine O'Hara, Bob Balaban, Fred Willard, Parker Posey and Guest himself -- most of whom play washed-up but unnervingly (sometimes unnaturally) chipper singer-songwriters. It features a steady stream of Guest's hilarious non-sequiturs (references to Shetland pony polo leagues and a low-budget record label that saved money by not putting holes in the center of its LPs) that are sure to please fans of his other flippant flicks.
Continue reading: A Mighty Wind Review
As a director, Clint Eastwood has one of the sweetestdeals in Hollywood. He gets to make big budget films with no interferencefrom the suits at Warner Bros., the studio with which he has a relationship.
If Clint wants a long movie, he makes a long movie. IfClint wants to dedicate a whole scene to Clint playing apologetic regret,he dedicates a whole scene to it. As such his movies tend to be self-indulgent,and "True Crime" is definitely self-indulgent.
It's also peppered with glaring "yeah, right!"moments, like the scene in which a 23-year-old Oakland Tribune reportersuccumbs to the considerably aged and pickled Eastwood "charm."
Continue reading: True Crime Review
Making fun of its own light comedy clichés (like its must- stop- the- girl- from- marrying- the- wrong- guy finale) could have added an extra layer of laughs to a movie like "The Guru" -- if it wasn't entirely dependent on those same clichés to drive its plot.
Amiable, boy-faced Indian actor Jimi Mistry (seen in the imports "East is East" and "The Mystic Masseur") plays an enthusiastic immigrant named Ramu Gupta who comes to America with wide-eyed dreams of stardom, born of his jones for the movie musical "Grease." But through a series of screwball misunderstandings, he's soon being celebrated by Manhattan's trendy elite as "the Guru of Sex" -- a spiritual healer who tells the people what they want to hear: nookie makes good therapy.
Ramu gets all the sexual philosophy that's making him famous (he's soon appearing on "Sally Jesse Raphael") from a good-hearted porno actress (Heather Graham) he met when he mistakenly wandered into the wrong kind of audition. But in one of those ham-fisted movie mix-ups that could be corrected with a single line of dialogue, she thinks she's advising him on how to overcome performance anxiety and become an X-rated stud, and therefore shares her innermost sexual secrets.
Continue reading: The Guru Review
The grumpy Goth teenager played with questionable credibility by Leelee Sobieski in "My First Mister" is, at first, an amusingly caustic cuss. We see the world through her contempt-filled eyes and take on her dark sense of humor as she complains in a matter-of-fact voice-over about life, the universe and everything.
Her name is Jennifer, but she prefers just "J." She's excessively pierced, quite premeditated in her anti-social disposition, and her mordant streak (she writes suicide notes on paper airplanes and throws them into public places) inspires weird social experiments. One day, just to see what will happen, she stomps into a suits-and-cardigans store for middle-aged squares and applies for a job -- decked out, mind you, in full rebel-girl regalia from her black lipstick to her Doc Marten's.
So imagine her surprise when the fuddy-duddy manager, played by the forever self-mocking Albert Brooks, hires her on a whim as the store's stock girl. A sardonic loner himself, Randall (she calls him "R") grows on "J" by countering her periodic verbal thrusts of sarcasm with droll, derisive parries -- and a friendship begins to form.
Continue reading: My First Mister Review
His scripts have never been all that solid -- just clever and creatively ironic -- and the habitual, but somehow forgivable, faults of his other movies (massive plot holes, easy outs the characters are too dumb to take) are all the more conspicuous in this old script pulled out of mothballs for the writer's directorial debut.
But, like most of Williamson's work, "Tingle" is a guilty pleasure, the kind of dumb fun picture people loathe to admit they like.
Continue reading: Teaching Mrs Tingle Review
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