Before you learn anything else, you'd better learn Grandma's rules. No playing in the house. No feet on the sofa.
"Swimfan" is a movie so bad, so uninspired and so tirelessly predictable that it had to be made. It is the logical conclusion of every single stalking-via-technology movie you have ever seen.
Imagine a crime drama with a star- studded cast, an intriguing plot and provocative themes. Now take that image and smash it into a brick wall repeatedly for hours and hours.
The scratch was conceived, like all good ideas and many great people, by accident. A kid had his record player blaring a tad too loud; his ma yelled at him; he stopped the record by hand and pushed it back and forth absentmindedly while pretending to listen to her.
We live in a culture that worships celebrities and in a world where it can at times be difficult to discern truth from reality.
With the wounds from the terrorist attacks of last Sept. 11th still slowly healing, it is fitting to look back at some of the more public and controversial responses to this tragedy.
Without question, the events of Sept. 11th prompted an emotional outpouring, so it is only fitting that those emotions spilled out onto the medium that perhaps expresses them best: art, and more specifically, photography.
On Sept. 11, 2001, our nation was forever altered. The events that occurred that day touched the lives of every American.
Tattooed with an awkward, nervous grin and a shuffling, insecurity-reeking delivery, Jimmy Fallon absorbs criticism like a sea sponge, turning any detractor into a 300-pound bully picking on a 5-year-old girl on crutches. And while singing Halloween jingles in the key of Dave Matthews normally leads elsewhere than iconic canonization, Fallon has engineered a coup in the hearts of adolescents, offering amusingly pleasant humor to be taken as gospel. Jimmy Fallon: Average Underachieving Comedian has thus exploited his Oh-Gee cuteness and pop culture panache to metamorphic heights, developing into Jimmy Fallon: Comedic Future, who ubiquitously flouts his shtick on a TV terrain with borders ranging from the Weekend Update to an MTV circus while remaining nearly critic proof. Now, as follows in the Comedic Future trajectory, Fallon delivers his obligatory amalgamation of musical fluff and stand-up with "The Bathroom Wall," an album that succinctly mirrors the essence of Fallon's career: mildly delightful but utterly toothless. Fallon's underdog appeal crowned him antihero for college audiences before his first "Nomar" cry, and his live routine overtly aims to appease that cult following through commentary on the college experiences.
"Lost In Space," Aimee Mann's latest album, speaks to anyone who has ever stood witness to the demise of a relationship.
What kind of lunatic would suspend a gig as leader of one of the world's most successful bands in order to join a group of relatively unheard-of upstarts?
What kind of lunatic would suspend a gig as leader of one of the world's most successful bands in order to join a group of relatively unheard-of upstarts?
Forget Roc-A-Fella. Forget Murder, Inc. Forget Bad Boy. The Cream Team is the Dream Team of hip hop.
"Lost In Space," Aimee Mann's latest album, speaks to anyone who has ever stood witness to the demise of a relationship.
Forget Roc-A-Fella. Forget Murder, Inc. Forget Bad Boy. The Cream Team is the Dream Team of hip hop.
Tattooed with an awkward, nervous grin and a shuffling, insecurity-reeking delivery, Jimmy Fallon absorbs criticism like a sea sponge, turning any detractor into a 300-pound bully picking on a 5-year-old girl on crutches. And while singing Halloween jingles in the key of Dave Matthews normally leads elsewhere than iconic canonization, Fallon has engineered a coup in the hearts of adolescents, offering amusingly pleasant humor to be taken as gospel. Jimmy Fallon: Average Underachieving Comedian has thus exploited his Oh-Gee cuteness and pop culture panache to metamorphic heights, developing into Jimmy Fallon: Comedic Future, who ubiquitously flouts his shtick on a TV terrain with borders ranging from the Weekend Update to an MTV circus while remaining nearly critic proof. Now, as follows in the Comedic Future trajectory, Fallon delivers his obligatory amalgamation of musical fluff and stand-up with "The Bathroom Wall," an album that succinctly mirrors the essence of Fallon's career: mildly delightful but utterly toothless. Fallon's underdog appeal crowned him antihero for college audiences before his first "Nomar" cry, and his live routine overtly aims to appease that cult following through commentary on the college experiences.
Do not go to see Jennifer Aniston in "The Good Girl" if you want to watch a warm, fuzzy love story.
Thirty minutes: the length of time it takes to deliver a pizza, or the running time, with commercials, of an average television show.
Oedipal complexes are usually the subject of dark and disturbing works that chronicle dysfunctional relationships between mothers and sons. "Psycho" and "The Manchurian Candidate" were two such films, traversing the twisted territory of incest and exploring the depths of perversity. Who doesn't shutter whenever Norman Bates mutters the word mother or when Raymond Shaw becomes a pawn in his mother's sadistic game of political manipulation? "Tadpole" does not approach the Oedipal complex from this standard angle, but instead follows the route of "The Graduate" and explores its comedic possibilities. Oscar "Tadpole" Grubman (Aaron Stanford) is a 15-year-old student who loves Voltaire, speaks fluent French and considers girls his own age beneath him. Upon returning home from school for Thanksgiving break, he plans to reveal his feelings to the object of his affections, his stepmother (Sigourney Weaver). Now this plot easily could have been mishandled and allowed to slip into the realm of the disturbing, converting Grubman from Benjamin Braddock into a Hitchcock-esque paragon of psychosis. But "Tadpole" deftly handles these problematic possibilities and manages to maintain our sympathy with the hapless protagonist. It is revealed that Grubman's real mother is French and that his father (John Ritter) is caring, but out of touch with his son's emotions. Grubman is thus searching for emotional validation, and he finds solace in attempting to please his stepmother.
Boxing, known as the sweet science, is also known in Hollywood to be the ticket to a sweet movie. From such classics as "Raging Bull" and the "Rocky" series to the recent story of boxing legend Ali, the art of pugilism has enthralled audiences.
