Rebecca Romijn at the 53rd Annual Academy Of Country Music Awards 2018, held at MGM Grand Garden Arena at the MGM Grand Hotel & Casino in Las Vegas. This year's big winners were Chris Stapleton, Miranda Lambert and Brothers Osborne - Las Vegas, Nevada, United States - Sunday 15th April 2018
Rebecca Romijn at the Stella McCartney Autumn 2018 Presentation held at S.I.R. Studios in Los Angeles. The event was a special showcase debuting Stella's 2018 Autumn collection launch and was chock full of Hollywood stars wearing her designs - Pasadena, California, United States - Tuesday 16th January 2018
Rebecca Romijn and Husband Jerry O'Connell arrives at the 23rd Annual Screen Actors Guild Awards (SAG) 2017 held at The Shrine Auditorium Media Complex - Los Angeles, California, United States - Sunday 29th January 2017
Rebecca Romijn seen with Jerry O'connell at the 23rd Annual Screen Actors Guild Awards (SAG) 2017 held at The Shrine Auditorium Media Complex - Los Angeles, California, United States - Sunday 29th January 2017
Jon Tenney and Rebecca Romijn starred in the series, which failed to bring in significant audience numbers during it's run
TNT have decided to end King & Maxwell after one season, with the series failing to build-up a considerable following as it progressed. As first reported by The Hollywood Reporter, the Jon Tenney and Rebecca Romijn-starring show failed to match the success of some of the network's heaviest hitters, despite averaging a respectable 3.1 million total viewers throughout the series run.
Romijn and Tenney starred in the series
Originally launched in June as part of the network's summer schedule, the drama's 10 episode run could not cement it a place in TNT's long-term plans. The announcement, which was made public on Friday, 20 September, came a day after it was announced that the network had ordered Steven Bochco's Murder in the First to series. The upcoming show, which will air in summer 2014, is presumed to be the replacement series for the departing King & Maxwell.
Continue reading: TNT Give 'King & Maxwell' The Axe After One Season
Another week, another detective show on TNT.
Earlier this week TNT rolled out its latest offering – King & Maxwell, to join its already abundant list of buddy cop shows. Franklin & Bash. Rizzoli & Isles,and now this. If you’re thinking the network is going for the formulaic, you’d be right. There’s definitely a lot of formula at work here, not to mention some questionable production values. But as a summer show, King & Maxwell also has a few things going for it.
For one, the script shows promise. It’s based on a detective series by David Baldacci and there’s a lot of plot to go around. In the case of the pilot, perhaps a bit too much plot, as the episode does feel rushed toward the end. The show’s stars – Rebecca Romjin and Jon Tenney also manage to make the best of what they’ve got, which in this case is a somewhat cheesy script, which does, none the less grant them a number of opportunities to engage in some banter.
Some backstory on the two main characters: they’re both former Secret Service agents turned private investigators. For the opener, they're after the murderer of Sean's friend and mentor, a lawyer representing an accused killer. This brings them (of course) into conflict with some FBI agents, at the start of what feels like it will be a tense relationship with the law at best. There’s also some mild will-they-won’t-they action going on, so that might be something to look out for in the upcoming episodes, as we get to know the characters and their relationship. If you’re willing to invest the time and energy into a show, which at this point seems created mostly to fill an empty time slot that is.
Wesley Deed's life is perfect. He is a fifth generation Ivy League graduate, trained by his father to be a businessman and trained by his mother to be a gentleman. He is engaged to a beautiful woman, Natalie and he has his entire life mapped out for him.
Continue: Good Deeds Trailer
Cast as The Eternal Earth Mother in Hunter Hill and Perry Moore's Lake City, Sissy Spacek is a one woman universe -- tilling the soil, pushing wheelbarrows, filling the cupboards, sitting on the porch, and staring pensively at the sunset or gazing at the eternal landscape. She is not channeling her characters in Badlands or The River so much as going back to the source -- Linda Arvidson's stoic pioneer women from the old D.W. Griffith two-reelers (all that is missing is waiting for her effeminate husband to reel in the fish). She lives alone and leads a hard life keeping her farm together in rural Virginia and even though local gas station attendant and part-time guitar picker Roy (Keith Carradine) pines for her, Spacek's Maggie Pope keeps to herself and tend to her chores.
Continue reading: Lake City Review
Without too much regret, I can say that X-Men will be palatable to fans and newbies alike. It's not a great film, but it will probably follow the arc of the Superman and Batman movies -- tons of sequels of variable quality until an abrupt and dismal end a decade later.
Continue reading: X-Men Review
And not "fake," like some butt-kissing movie actress, but really fake. Simone (or S1m0ne, as Niccol sharply titles the film) is the perfect pixilated creation of a Microsoft-age mad scientist, who's created his flawless CGI actress specifically for floundering moviemaker Viktor Taransky (a truly entertaining Al Pacino). Viktor needs a hit badly and the lead actress on his new feature -- played by Winona Ryder, in a painfully ironic appearance -- has just stormed off his new movie due to "creative differences." Nine months later (human gestation period, if I'm not mistaken) Simone is born to take her place. And since our obsessive inventor has quickly died from an eye tumor, contracted from too much computer use(!), only Viktor knows the true secret of his new lead actress.
Continue reading: Simone Review
Femme Fatale is an exception to this to this rule. There is no question that Brian De Palma's latest is a steaming pile, and you can smell smug all over what he thinks are clever film techniques (split screens, operatic slow motion, etc). But just before I started throwing stuff at the screen in a show of displeasure, something magical happened--I laughed. And once I started laughing at Femme Fatale, I couldn't stop. The resentment felt for losing two hours of my life to this confused, badly acted, illogical, exploitative jewel heist-cum-meditation on fate was replaced with the giddy revelation that I had become involved in a cinematic experience on par with Paul Verhoeven's Showgirls.
Continue reading: Femme Fatale Review
That also explains director Nick Hamm's jackhammer approach to his material. He knows he's working with a cheesy campfire story, the kind best whispered to terrified boy scouts in the dead of night. But he's sadly unaware of when enough is enough, and his final act becomes a series of ludicrous scientific explanations offset by cheap jolts to our nervous system.
Continue reading: Godsend Review
There's an idea behind remaking old movies that weren't that great in the first place: Instead of screwing up a classic, make a better version of a failed film. Witness, for example, Steven Soderbergh's smarter, snappier Rat Pack-less retread of "Ocean's Eleven," which got several times the cinematic mileage of its predecessor.
But this concept seems to be lost on flash-bang action director John McTiernan, whose vacuous, pure-noise-and-atmosphere update of 1975's "Rollerball" -- a cautionary, futuristic parable of extreme sports bloodlust -- is so devoid of substance it almost defies description.
Rollerball is a ferocious team sport -- part roller derby, part motocross, part World Wrestling Federation -- played in fictionalized and extremely corrupt Central Asian nations. The sport's biggest star is virtuous pall-American import Jonathan Cross (Chris Klein), who has just discovered the league owners are rigging the games for more violence because spilt blood spells ratings for their TV networks.
Continue reading: Rollerball Review
Beneath the uncanny, inevitable and seemingly shrewd facade of the movie-biz farce "Simone" -- about a computer-generated actress taking Hollywood by storm because nobody knows she's not real -- lies a plot cobbled together from largely flat and uncreative moments.
The brainchild of inventive and otherworldly writer-director Andrew Niccol ("Gattaca," "The Truman Show" screenplay), who plucked the picture's concept out of the film industry's paranoid collective subconscious, "Simone" stars Al Pacino as Viktor Taransky, a washed-up and somewhat neurotic director whose last chance at making a big studio film has just walked off the set along with his petulant leading lady (Winona Ryder in a cameo).
But just as he envisions his career going off a cliff, a dying wacko computer genius and Taransky fan (Elias Koteas) brings the director a computer hard drive containing the culmination of his life's work: a program that creates a near-perfect, completely malleable, realistic simulation of beautiful girl. Called Simone (a contraction of Simulation One), in the confines of a computer she can walk, talk, flirt and cry with a single keystroke. She has a database of famous actresses' best performances to draw from for mannerisms and moods. She's utterly at Taransky's control and, of course, her fabricated "performances" can be digitally inserted into any scene of his movie, any way he chooses.
Continue reading: S1m0ne Review
Date of birth
6th November, 1972
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