Nathan Lane - Celebrities attend "The People v. O.J. Simpson: American Crime Story" red carpet event at The Theatre at Ace Hotel. at The Theatre at Ace Hotel - Los Angeles, California, United States - Tuesday 5th April 2016
Scott Wittman, Jackie Hoffman, Marc Shaiman , Nathan Lane - 2015 Primary Stages Gala held at 583 Park Avenue - Arrivals. at 583 Park Avenue, - New York City, New York, United States - Tuesday 17th November 2015
The 'Modern Family' Season 5 finale (episode 24) saw Mitchell and Cam finally marry after episodes of arguing about budgets, decorations, guests and being moved from venue to venue.
Modern Family Season 5 finale saw Mitchell and Cam tie the knot! The couple have been desperately trying to compromise on wedding decorations and guests for the last few episodes with the budget becoming an issue. However, they finally managed to make it official after four venue changes, a ruined dress and another nearly ruined marriage!
Eric Stonestreet stars in Modern Family as Cam.
Here's a recap - warning: contains spoilers!
Continue reading: Modern Family Recap: Mitchell & Cam Tie The Knot In Season 5 Finale
Tom Hanks will have to beat Tom Sturridge should he want to win the Tony Award for Best Actor.
Tom Hanks has been nominated for a Tony Award for his role as late tabloid reporter Mike McAlary in Nora Ephron's Lucky Guy. The play, written by Ephron before she died last June, follows McAlary's life and career as he goes from ambitious reporter to Pulitzer Prize winning columnist. The play took six nominations in the announcement this week, including the big one - Best Play.
"She [Ephron] was nominated for a few other things throughout her career, but I think that because she was at heart perhaps the most quintessential of all New Yorkers," Hanks told the Wall Street Journal after the announcement "...to have this happen in the town that she viewed as her celestial home, that she would have probably been cowed into silence. Which would have been rare for Nora."
Hanks is one of the most decorated actors in the world, having won two Oscars for Best Actor for Philadelphia and Forrest Gump and Emmy Awards for his television series' Band of Brothers and The Pacific. Though the latter awards were for producing credits, Hanks still holds the statuettes and a Tony Award win would see him complete the 'grand slam' of awards. One man to have already achieved the same feat is Al Pacino, who won the Academy Award for Best Actor in 1992 for Scent of a Woman. He went on to win Tonys for Does A Tiger Wear A Necklace? and The Basic Training of Pavlo Hummel, later winning an Emmy for his role in the HBO movie You Don't Know Jack. Jeremy Irons, Liza Minnelli, Christopher Plummer, Vanessa Redgrave, Maggie Smith and Geoffrey Rush are others to have won an Oscar, Emmy and Tony award. Whoopi Goldberg has all three awards, PLUS a Grammy award.
Continue reading: Tony Awards: Can Tom Hanks Complete Grand Slam Of Major Awards?
While it's too uneven and corny to be a classic, it's still a lot of fun.
After the King disappears, his daughter Snow White (Collins) is raised by her conniving step-mother (Roberts), who plots with her right-hand man (Lane) to steal the kingdom from Snow. Then handsome Prince Alcott (Hammer) arrives and shakes things up, immediately falling for Snow, which sends the queen into even crazier fits of jealousy. She sends Snow into the woods to be eaten by a mythical beast, but Snow instead befriends a gang of dwarf bandits (Povinelli, Klebba, Saraceno, Prentice, Gnoffo and Woodburn), who teach her how to fight back.
Continue reading: Mirror Mirror Review
In 1968, Brooks was at the top of his game. He was also at the very beginning of it: The Producers was his first feature film, and you can track the quality of his movies on a steady decline which stretches from the awesome Blazing Saddles (1974) to the middling Spaceballs (1987) to the awful Dracula: Dead and Loving It (1995), Brooks' last appearance behind the camera.
Continue reading: The Producers (2005) Review
One of Disney's greatest achievements, this is to my knowledge the only animated film to be turned into a Broadway musical. (Beauty and the Beast doesn't count, since that film had prior life outside the Disneyverse.)
The Lion King is primarily memorable because it's not based on a fairy tale or a children's story, and thus avoids the cliches that saddle so many Disney flicks. There's no "love conquers all" message, no moral about how trying hard will make everything come out OK. In fact, for much of its running time, The Lion King says the exact opposite: Hakuna Matata means "no worries," right? It's in the past, so let it go. But The Lion King also tells us that we can learn from the past, that tyrants should be overthrown, and that we should own up to our mistakes in the end.
This also makes The Lion King one of Disney's most adult movies. Though it's rated G, it features numerous scenes of peril and death -- with lion cub Simba orphaned after his uncle kills off his dad to usurp the throne and title of king of the jungle. But that too is part of the famed Circle of Life. Ashes to ashes, dust to dust. Simba runs off to live in the jungle -- gettin' real, ya know -- stricken with guilt that he (thinks he) killed his father. Eventually he returns home to showdown with evil uncle Scar, who has been ruling the jungle with an iron fist, disrupting the Circle of Life.
The Lion King is one of Disney's last great 2-D creations, with computers aiding in some truly stellar moments such as the wildebeest stampede. Lots of perspective shots and moving cameras make this one of the genre's most film-like movies.
If there's anything annoying about the film, it's the singing, young Simba sounds like a young Michael Jackson. On the new song added to the just-out DVD release of the movie, the atrociously vapid "Morning Report," he sounds like a castrato Michael Jackson. You almost don't want him to succeed, but thankfully, Simba eventually grows up and is replaced, voice-wise, by Matthew Broderick. By way of other extras, there's a whole second disc of goodies, including an extensive selection of making-of footage, a deleted scene or two, an alternate first verse of "Hakuna Matata," a special home theater audio mix (sounds good), and about a bazillion kid-friendly features like games and singalongs.
The Lion King has rightfully spawned one of the most enduring industrial complexes ever to come from an animated cat. Way to go, Disney.
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Ah, the majesty.
Fans of "Stuart Little," the classic E. B. White's children's book about a congenial little mouse with a wind-up red roadster, would be wise to avoid "Stuart Little," the mostly in-name-only big screen adaptation featuring Michael J. Fox's voice emanating from a computer-animated Stuart.
Nearly everything delightful about the book is erased or painted over here with near-plotless kiddie fare, predictably zany adventures and deliberately ham-fisted acting from a wildly talented cast (Geena Davis, Hugh Laurie, Jeffrey Jones, Allyce Beasley, Estelle Getty, Julia Sweeney), entirely wasted on a Saturday morning cartoon script.
Ironically co-written by M. Night Shyamalan (the writer-director of "The Sixth Sense"), the story opens with Mr. and Mrs. Little on their way to an orphanage to pick out a kid for no explored reason. Won over by the home's least likely resident -- a talking mouse named Stuart with a miniature wardrobe and a pithy personality -- they take him home, where his new brother George (Jonathan Lipnicki from "Jerry Maguire") gives him the cold shoulder and the family cat (voiced obnoxiously by Nathan Lane) tries to eat him.
Continue reading: Stuart Little Review
For a long time I've had a theory that the musical genre couldn't survive the cynicism of modern audiences except as a ironic in-joke, like the "South Park" movie or as a post-modern homage, like Woody Allen's "Everyone Says I Love You."
I couldn't have been more wrong -- and leave it to Kenneth Branagh, a writer-director-actor who has made his name revitalizing old (old, old!) school entertainment -- to prove it by bringing back the kind of weightless musical delight that carried Fred Astaire and Ginger Rogers to stardom.
For his new adaptation of Shakespeare's "Love's Labour's Lost," Branagh has re-imagined the buoyant romantic comedy as a classy, corny, 1930s movie musical, complete with uplifting dance numbers and a catalog of favorite big band ditties sung with great enthusiasm (if not great skill) by a quality cast of cheerful actors clearly having the time of their lives.
Continue reading: Love's Labour's Lost Review
The cameo-driven, "Mission: Impossible 2"-spoofing, movie-within-a-movie, pre-title sequence of "Austin Powers in Goldmember" is the funniest five minutes to date in this spy comedy franchise. Then Mike Myers shows up and ruins everything.
Still trapped in a skit-comedy frame of mind all these years after leaving "Saturday Night Live," his short attention span has made the "Austin Powers" movies little more than a string of brief, loosely-related set pieces which are often 98 percent setup and 2 percent punch line.
Myers goes miles out of his way to make a reference to the 1983 song "Mr. Roboto" by the band Styx, for example. Then he spends nebulously unfunny gaps between such gags to make fleeting mentions of the plot, which in this case concerns Dr. Evil -- Myers cueball goofball homage to James Bond's maniacal bald nemesis Blofeld -- teaming up with an scabby Dutch roller-disco owner named Goldmember whom Evil has transported from the 1970s.
Continue reading: Austin Powers In Goldmember Review
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