It is becoming increasingly rare that we see Jack Nicholson onscreen, so even the possibility of him signing to play Robert Downey Jr.'s father in "The Judge" is a big deal.
There was a time when I thought of Nicholson and De Niro as the twin titans of American movie acting, and it seemed like they worked constantly. Age being the demanding master that it is, both men have slowed down in recent years and there are far fewer interesting roles written that they are right for, which could also be a big factor in why we see less of them.
De Niro has responded by cornering the market on the whole "hardass father" archetype, playing it for comic effect in the "Meet The Parents" series and playing it closer to real in the excellent "Silver Linings Playbook" or in "Being Flynn." Nicholson has responded by simply taking fewer roles. He was great in "The Departed," but "The Bucket List" felt to me like one of the easiest paychecks of his career.
"Any Day Now" is one of those films that's been creeping steadily along the festival circuit since the spring, quietly amassing critical goodwill and prizes. The Tribeca, Chicago, Seattle, Woodstock and Outfest festivals may not command much attention individually, but when a film manages to walk away with the Audience Award from all of them, it clearly has something going on.
Though I'd repeatedly heard the title on the fringes of various festival reports, I hadn't really clocked to what it is or what it's about -- not having had an opportunity to see it on my side of the pond -- until the film's newly released trailer landed in my inbox.
Culling what one can from the music video for "Breathing Underwater," Canada's Metric is a popular band and performs and popular events, and deserve to anyhow. It would also be exhausting to be them.
That seems to be it.
"Breathing Underwater" is from Metric's "Synthetica," released in June; the album is getting a deluxe re-release this month, with five acoustic tracks tacked on. The shiny new version will be out Nov. 20 via digital retail and Dec. 4 at brick and mortar.
I haven't read Matthew Quick's novel, but I can see why David O. Russell was drawn to the material, and it feels like both the most commercial thing he's ever made and the most personal. After all, Russell is as well known for his on-set difficulties with anger as he is for the films themselves, and I'm sure there are people who have worked with him who would be happy to call him crazy. "Silver Linings Playbook" is about embracing whatever madness drives us, and it certainly seems like Russell is a guy who manages to make the most of his gifts no matter what his demons.
Pat (Bradley Cooper) has been in a mental hospital under court order for eight months as the film opens, and it's time for him to go home. His mother Delores (Jacki Weaver) comes to get him, and right away, we get a sense that something terrible happened to land him in there in the first place. Pat is determined to stay out, to rebuild his life, and when he speaks of his wife Nikki (Brea Bee), it's apparent that he believes they are going to get back together. It may not be that easy, though, and in the flashbacks we see, their relationship ended with a shocking act of violence on the heels of a betrayal, and while Pat may believe he's got a future with Nikki, it's pretty obvious he's fooling himself.
After six seasons of "Little People, Big World," Matt and Amy Roloff seemingly rode into the syndication sunset in 2010, happy to work on their massive farm near Portland, Oregon and watch their four kids flutter out of the nest. But TLC has announced that the Roloffs are returning to the series grind with "Little People Big World: Wedding Farm" (premiering Tues. Nov. 13 at 9:00 p.m.), a six-episode series following the couple's decision to get into the wedding industry. Amy talked to HitFix about why she and Matt took on yet another endeavor, how they've managed to stay married for 25 years, and why she refuses to renew her vows on TV, even though they have the perfect venue right in their own backyard.
Hayden Panettiere has a top 40 country hit, but is it real? In an art-imitates-life-imitates-art way, Big Machine Records, home to such artists as Taylor Swift, released “Telescope,” a song Panettiere’s character, Juliette Barnes, sang on the ABC series “Nashville.”
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I finally got around to watching The Hollywood Reporter's Actor Roundtable this morning, an annual gathering of top names in the awards race and always a solid, informative, open chat. Participating this year was Alan Arkin ("Argo"), Matt Damon ("Promised Land"), Jamie Foxx ("Django Unchained"), Richard Gere ("Arbitrage"), John Hawkes ("The Sessions") and Denzel Washington ("Flight").
Much of the discussion revolved around what fame and the business has meant on a deeper level for the actors, their socio-political invigoration as a result of being public figures and how fear still feeds them even in times of success. And for Damon, who took off at an early age ("Good Will Hunting" landed when he was 27-years-old), it was jarring to witness what the transition to stardom really meant.
Are you prepared for the end of the world? No? Well, most people aren't -- unless they're preppers. To kick off the second season of the NatGeo show "Doomsday Preppers" (Tues. Nov. 13, 9:00 p.m. ET), I sat down with some preppers -- Jay and Holly Blevins, Braxton and Kara Southwick and professional prepper (and show advisor) Scott Hunt -- to find out what keeps them up at night (not as much as you'd think). "There are a lot of grasshoppers jumping around, tweeting, Facebooking, all sorts of things, and the ants are planning, storing and doing just fine," Hunt explained. Here are ten things you may not have known about some seemingly normal families who just may have a lot more dehydrated stew in their possession than you do.
When Matthew Perry's new NBC sitcom "Go On" debuted back during the Summer Olympics, I wasn't entirely sure what to make of it. On the one hand, it seemed a better vehicle for Perry than "Mr. Sunshine" (Yay) did, and the writing seemed to take the idea of a grief support group seriously. On the other, the pilot felt an awful lot like the first episode of "Community," a niche comedy representing a creative direction NBC was openly desperate to get away from, and the pilot, while tasteful in its comedy, also wasn't incredibly funny. Could this possibly work, or would this be yet another high-concept sitcom trying to forget its premise as quickly as possible?
Are the Disney and Pixar animation brands beginning to merge into each other? Josh L. Dickey is asking the question, as he notes that Pixar's tradition-focused summer hit "Brave" seemed to borrow significantly from the classic Disney storybook, while Disney's current smash "Wreck-It Ralph" is a hi-tech, pop-savvy firecracker that seems more informed by the contemporary Pixar model of crossover entertainment. (Dickey also wonders if "Ralph"'s box office performance would be even more impressive if it had been released under the Pixar label.) Are the twin houses going to borrow more from each other from here on out, or should Disney be mindful of preserving its more old-school identity? With their next film a Hans Christian Andersen fairytale adaptation, perhaps the overlap is temporary. [Variety]