Slash's family call him by his nickname rather than his birth name, Saul Hudson, because it's ''more exciting'' than his real name.
Slash's family call him by his nickname because it's "more exciting" than his real name.
The former Guns N' Roses guitarist was born SAUL HUDSON in England, but even his close family use his adopted moniker, because it reflects his larger-than-life rock persona.
When asked how his family refer to him, the 'By The Sword' rocker said: "They definitely call me Slash. It's hard to explain why that is.
Continue reading: Slash's Family Use Nickname
The zesty, scandalous plot device at the center of the film and the sole reason the movie became a fairly big hit in 1993 can be summed up in one line: "Suppose... I were to offer you one million dollars for one night with your wife." And yes, that surface exposition is intriguing in its glossy, high-concept way. But in truth, the appeal of that tantalizing conundrum gets lost in a muddle of a screenplay that really is not about that spicy million-dollar offer, but rather a tepid, long-winded story of a relationship tested by temptation. In theory, the material could work. In practice, Indecent Proposal is a bland, melodramatic sit.
Continue reading: Indecent Proposal Review
Seymour Cassel and Jacqueline Bisset - Seymour Cassel and Jacqueline Bisset Los Angeles, California - AFI Film Festival 2008 - Che premiere at Grauman's Chinese Theater - Arrivals Sunday 2nd November 2008
Rocker Slash's longstanding stage name was coined by veteran character actor Seymour Cassel.
The former Guns 'N Roses guitarist, who now plays in Velvet Revolver, was born Saul Hudson and has been a friend of Cassel's son since childhood.
Cassel decided to name the then-teenage, wannabe musician Slash - because he was so struck by the scheming youngster.
Slash explains, "It was a nickname that Seymour Cassel used to call me. I used to be (and) I'm still good friends with his son, Matt, so I used to hang out over at their house and he always used to call me Slash.
"Basically, he says it was because I was always in a hurry and I was always scheming, I was always hustling, this and that. He always saw me on the go, on the fly.
"So he used to call me Slash and it just stuck. My friends started calling me that and it just became a permanent nickname."
Relax... It's Just Sex, on the other hand, is a more humble affair that presents seven or eight obvious gay stereotypes--lipstick lesbians, drama queens, muscle boys--and then tries to subvert them one by one with a whole lot of turbulent plotting and endless talk, some of it bitchily amusing but most of it, well, just talk.
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Manna From Heaven is the story of a Buffalo family who one day discover $20,000 "raining from heaven," wisely decide to split it up, and then go on their merry ways. A decade or so later, every last one of them has grown up to be a loser, having squandered his or her (mostly her) share of the loot. The lone exception is Theresa (Ursula Burton... well of course the good one is going to be played by a Burton sister!) who has become an ash-on-the-forehead nun. In fact, Theresa becomes convinced that the 20 grand of so long ago was not a gift but a loan, and that they must now "pay it back."
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Amusing enough, and a quick read. And Fast Sofa, the movie, keeps the guts of this road trip intact -- enough to realize that our pal Rick is on a real road to nowhere. Jake Busey makes for a creepy and considerably miscast hero, though Jennifer Tilly's wanton Ginger is enough fun for the both of them. Stealing the show, however, is Crispin Glover, as a shut-in sophisticate named Julian who tags along on the latter half of Rick's abortive journey. His outfit alone is reason enough to rent the tape.
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Good movies about baseball make the game look like a lot of fun, sharing the enthusiasm and energy of the players. 61* doesn't do that. It does contain intense sequences of ball playing, but the main goal here is examining the overworked life a ballplayer must live in order to receive his short 15 minutes of fame. This movie allows us to take part in that experience, both positive and negative.
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Set in the fishing town of New Bedford, Massachusetts, a beautiful middle-aged Portuguese woman, Celia Amonte (Sofia Milos) uses her day job as a seamstress to support her teenage daughter Vicky (Emmy Rossum) in the house she shares with her mother-in-law (Lupe Ontiveros). At night, she sings and dances at a local restaurant to a more somber beat, using her music as an expression for the loss she feels over her husband's death. Even seven years after his death, Celia feels she could never love another, despite Vicky's attempts to set her up on various online dates. When an English drifter and professional gambler named Charlie (Jason Isaacs) rolls in town to clean out the local casino, he quickly becomes taken with Celia and tries every trick in the book to con his way into her heart.
Continue reading: Passionada Review
Too many crooks spoil "The Crew," and I'm not talking about the "grumpy old mobsters" played by Richard Dreyfuss, Burt Reynolds, Dan Hedaya and Seymour Cassel in this withering wiseguy comedy.
I'm talking about the throng of sardine-packed subplots that rob these good actors of all their quality screen time.
This facetious foursome play mobsters retired to South Florida who wind up in the middle of a drug war by trying to keep the run-down hotel they live in from going condo in the wake of all the Porsche-driving 20-somethings moving to town.
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When Walt Tenor (Greg Kinnear) decides he wants to become an actor, he tries to convince his twin brother Bob (Matt Damon) -- his conjoined twin brother -- to move out to Hollywood with him by saying, "You could be my stunt double!"
Yes folks, "Stuck On You" is another cheeky comedy of good humor and questionable taste from the Farrelly Brothers ("Kingpin," "There's Something About Mary" and "Shallow Hal"), and yes, folks, they get a surprising amount of mileage out of jokes like that one -- rim-shot-quality punchlines given winkingly ironic sparkle by the wily writing-directing team's laughing-with-not-laughing-at sensibilities.
There's the scene in which Walt walks his shy sibling over to a pretty blonde in a bar, then takes over the seduction himself when Bob blows it -- and ends up bringing the girl home (Bob tries to ignore their moaning from the other side of a makeshift curtain). There's Walt's "one-man" stage show about Truman Capote, in which Bob tries to slouch as inconspicuously as possible behind Walt's back.
Continue reading: Stuck On You Review
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