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Review: Joaquin Phoenix Gets It On with His Computer (Scarlett Johansson) in “Her”

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Spike Jonze’s “Her” created a lot of buzz over the weekend. Jonze (real name Adam Spiegel, of the Spiegel Catalogue family) has only made three other features in the last 15 years: “Being John Malkovich,” “Adaptation,” and “Where the Wild Things Are.” So “Her”– with Joaquin Phoenix, Rooney Mara, Amy Adams, and the voice of Scarlett Johansson — was bound to be of interest anyway. It was the closing night film of both the New York and Hamptons film festivals.

“Her” explores old school boy meets girl movie themes in a high tech world, finding new depths (and failure) in advanced virtual romance. Phoenix is a mustachioed bespectacled Everyman named Theodore Twombly in some future time whose job is writing compelling personal letters. Imagine a moment when that skill is so marketable, it affords this expert a slick apartment with elegant Los Angeles views! He’s really good at penning them; so emotionally resonant, they are a far cry from Hallmark cards.

It comes as a surprise then, that with real women, as in Catherine played by Rooney Mara, he’s somewhat at a loss, not really able to communicate tenderness. Lonely, estranged from his wife and unable to connect with sexkitten (the voice of Kristen Wiig), he starts up a relationship with the O. S. “Samantha” who he can engage by putting a button-like plug in his ear. They talk sex, travel, double date, and experience system failure.

In the department of odd relationships, this one goes almost as far out as Ryan Gosling and the blow up doll in Lars and the Real Girl. But in many ways Her is a logical extended vision of anyone who wonders how electronics are affecting the generation that devotes more passionate attention to their iPhones than with one another.

The movie’s final image is Theodore–having had some unexpected closure with “Samantha,” catalyzing a satisfying finale with Catherine, seated beside his gal pal played by Amy Adams, a deeply felt reminder that even in an age of depersonalizing technological advance, human touch rules.

Oscar material? A long shot at best. But does that matter? “Her” is a charmer for the key demo. Oscar voters may not relate to it. But I suspect a lot of other people will.

Sir Ian McKellen Approves: Trudie Styler Scores an Off Broadway Hit with “The Seagull”

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No less than Sir Ian McKellen gave tonight’s opening of “The Seagull” off Broadway his stamp of approval. Sir Ian has appeared in “The Seagull” five times, and in Chekhov’s “Wild Honey” on Broadway. He pronounced Max Stafford Clark’s new production at the Culture Project-45 Bleecker Street as his “favorite” so far. The New York Times also gave the production and star Trudie Styler high marks. They’re all correct.

With Sting front and center, Sir Ian a row behind, director Paul Haggis in the house, and a very theater centric crowd for opening night, Styler more than acquitted herself as Isobel–renamed for this Irish translation by Thomas Kilroy. The play is only for a month at the Culture Project, so hurry down there. Styler, trained at the Royal Shakespeare Company, is an absolute hit.

Sting said to me at the small dinner after opening night: “I ruined Trudie’s career when she met me.” That was over 30 years ago. “She was a real actress, and she left it all,” he said. “Now she’s back.”

The rest of the cast is superb too. http://cultureproject.org/current/seagull/

Chief among them are two “legacy” actors: Amanda Quaid, daughter of Randy, is superb as the renamed Mary (from Masha); and Alan Cox, son of Brian, is perfect as Aston, her lover with fickle tastes.

The Kilroy transition from Russia to Galway, Ireland is especially interesting. Chekhov adapts easily and almost seems more natural in this environment. His snappy and snappish play seems more rueful than ever. Styler plays rage to humor to irony with superior timing. Her character’s ability to connect with everyone except her own son is really ironic, too, considering in real life she has four children and two stepkids, all of whom adore her.

And what a month for the Gordon Sumners– Sting had his triumphant 10 shows at the Public Theater followed by Styler’s success tonight. And let me tell you–he will be in the audience most nights this month, cheering Trudie on. Bravo!

 

Where’s Mariah’s Album? She Sends Facebook Message to Fans

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Mariah Carey took a spill in June, and her album was postponed indefinitely. When I saw Mariah backstage at the MLB Central Park show in July, she showed me her gigantic bruise. She was a mess. Now word is that Carey, who’s just hooked up with manager Jermaine Dupri, is gearing up for some action. Here’s the note she put on Facebook this weekend:
Hiiii lambs!!

I’m so happy to be able to catch up with everybody here on Facebook. The last three months of my life have not been easy. Getting through this injury has been the toughest experience of my life. It took me three months to get to this point but thank God I was able to recover and get my arm back. It’s a huge deal, it should have taken eight months and even my doctors can’t believe it. It’s been a long journey, the physical therapists have been incredible and I am very grateful to all of them for helping me.

When people expected me to go “Here I am, I’m back and everything’s great!”, it didn’t happen because my hand was still in tremendous pain and it took this long for it to heal. I’ve been working day and night, and it took a lot of rest (though I did sneak in to the studio a couple o’ times!) but I can finally say that I am on my way to a full recovery.

There’s a lot of excitement that I’m going to reveal to you very soon, and sooner than you know it, you’re going to understand why but more than that, you’re going to feel what I’ve been feeling for the past- not three months- but three years.

This is, to me, one of the most important albums I’ve ever made in my life. If you’re a lamb, a fan, or just a human being that needs to feel good, happy, sad, miserable, joyous… “I gotcha” (said like Roc- you haven’t heard how he says it yet but you will soon, it’s a complete+total classic!)

Oscars: The Negative Campaigning Starts Early, with “Gravity” and “Captain Phillips”

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It’s that time of the year. Academy Award buzzed movies are opening. And with them comes the negative campaigning. To wit: the New York Post is leading the charge against Paul Greengrass’s “Captain Phillips.” And “Gravity” is being attacked for its bad science. Can these movies be destroyed by all this? I don’t think so.

First “Captain Phillips”: some members of the Maersk Alabama’s crew have filed a screwy lawsuit, claiming that the real Capt. Phillips purposely ignored warnings and steered them into pirate infested waters. This makes no sense whatsoever. It also has nothing to do with the movie, which is exciting and beautifully produced. Back in 2009. there were plenty of interviews with the crew, especially Shane Murphy, who is depicted in the film.

Murphy and many of the crew came to the New York Film Festival last month for the premiere. They all sang Capt. Phillips’ praises. I think it will come out that the dissident crew members weren’t paid for their stories by the production company. But until then, we’ll have to endure the accusations.

As it happens, a friend of mine and I shared a cab with Shane Murphy and his wife on the opening night from the screening to the party at the Harvard Club. We asked Murphy all about the movie’s veracity. He said, “The movie’s very good. It’s funny to see five days compressed into two hours. But mostly, they’ve got it.” He did NOT say, Listen, Phillips tried to kill us and himself so one day there would be a movie.

As for “Gravity”: who cares if the science is bad? The 3D is amazing, the actors are great, and it’s damn exciting. You want to re-enact the whole thing and see if it works?

What’s next? That the man who wrote “12 Years a Slave” was a volunteer, that he did it all to write a book, and was only down south for 6 months in 1841. That nothing in “Mandela” is right, that Nelson Mandela came and went from Robbens Island by helicopter. How about “American Hustle”? Is there enough time to get all the ABSCAM people together so they can rat it out? And so on.

50 Shades of Weird: Charlie Hunnam Exit from Movie is Shrouded in Mystery

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And so it was announced that Charlie Hunnam dropped out of playing Christian Grey in “50 Shades of Grey.” No adequate explanation. But did you know that Hunnam and director Sam Taylor Wood Johnson share the same manager? And that Cynthia Pett-Dante of Brillstein Management also manages Sam Taylor Wood Johnson’s very very young husband, actor Aaron Johnson?

Also Hunnam, it was announced in July, was going to be in “Triple Nine” with Cate Blanchett and Christoph Waltz. The John Hillcoat thriller was supposed to start shooting before the end of the year. But then Hunnam got “50 Shades” and was, according to my sources trying to exit that film. Or he actually did leave it for “50 Shades.”

All of this is very mysterious indeed. “Sons of Anarchy” finishes shooting next month. “Grey” was set to start right after that. It’s not exactly Shakespeare. Hunnam could easily have gone from one to the other. Was he really spooked by fans demanding someone else as Grey? And now can he go back to “Triple Nine”? And who will get handcuffed to “50 Shades of Grey” next?

If I were Jackie Collins, I’d be writing the book about this right now.

“Captain Phillips” Scores a Solid Number 2 this Weekend with $25 Million

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Tom Hanks as “Captain Phillips” is a hit. The Paul Greengrass thriller will finish at number 2 this weekend with around $25 million. Oscar noms are forthcoming. Our LEAH SYDNEY loved it. Here’s her glowing review:

Sony’s “Captain Phillip” is heart throbbing, heart pounding and heart stopping from beginning to end.  Director Paul Greengrass, (‘United 93,’) is true to his genius kinetic filmmaking.  We all know the story by now:  Tom Hanks stars as Richard Phillips, the Captain of an American cargo ship, who was taken hostage for five days in the isolated waters of Somalia.

No one does thrilling better than Greengrass, he could film the yellow pages and make it exciting, and the movie is expertly engrossing from beginning to end.  And no one does ordinary man faced with extraordinary challenges better than Hanks.  The scene where he is rescued and being examined by an army medic, so not a spoiler we all how it ends, will be etched in moviegoers’ memories forever. His delayed reaction of what he just endured is acting gold and the impact is shattering.

Kudos to noted casting director Francine Maisler for finding the unknown actors who play the Somali pirates, Barkhad Abdi and Faysal Ahmed; they are just terrific.  The intense, tight screenplay by Billy Ray is just right. And the score by Henry Jackman keeps you riveted as well.

‘Captain Phillips,’ with its perfect craftsmanship in every facet of it’s making, is a true American hero story for the ages.

True Blood Star Rutina Wesley Headed to Important Off Broadway Play

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EXCLUSIVE She’s been playing Tara Thornton on “True Blood” since day one. Now I’m told that the intensely talented Rutina Wesley is coming to off Broadway this fall. Wesley has signed on for Charles Fuller’s new play at the Cherry Lane Theater. She will co-star with Grantham Coleman in “One Night,” the much anticipated play from the author of “A Soldier’s Play”– known to movie fans as “A Soldier’s Story.”

Initially another actress signed to play opposite Coleman. But when Fuller’s son unexpectedly passed away, the play’s schedule changed. The actress dropped out. Enter Coleman’s intrepid manager Jason Spire. He suggested Wesley, another client. And the play was saved.

Wesley first cut her teeth on Broadway in The Vertical Hour opposite Julianne Moore and then wowed audiences with her performance at the Public Theatre in “In Darfur.”

She won raves two seasons ago at MCC during “The Submission” directed by Walter Bobbie.

Last year during her hiatus Wesley starred in two films—one called “Last Weekend” starring Patricia Clarkson and the other- “Angry Little Gods” is opposite Mark Webber and supposed to be released by The Weinstein Company next year.

This seems like a great move considering “True Blood” is entering into its final season  on HBO.

Paul McCartney Exclusive: New Song Criticizes Those Who Try to Rewrite His Past

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Paul McCartney has an excellent new album hitting stores and downloading systems on Tuesday. “New” is a lame title for a solidly constructed album produced by Giles Martin (son of George), Ethan Johns (son of Glyn) and Mark Ronson (stepson of Mick Jones). The album hasn’t been written about much because review copies really just arrived at the end of last week.

There are lots of good songs on “New” including a very catchy potential single called “Looking to Her.” But the song that jumps out the most is called “Early Days.” In it, McCartney seems actually angry that journalists and other experts are trying to rewrite his Beatles history.

He sings:

Now everybody seems to have their own opinion/Who did this and who did that

But as for me I don’t see how they can remember/When they weren’t where it was at

 And they can’t take it from me if they try/I lived through those early days

Maybe at 71 years old, McCartney is going to write a memoir–something he needs to do. Much has been written about him but there’s a lot to set straight about his collaborations with John Lennon, and his tussles with Yoko Ono. If McCartney were honest in a book, it would cause a sensation. Certainly in this song for once we get an idea of his feelings about reading all kinds of stuff about the Beatles propagated by friends and enemies.

I hope I’ll have some audio clips soon from “New.” But like Elton John’s new “Diving Board,” McCartney’s new recording presents a veteran star at the top of his game. McCartney still rocks like no one else even half his age.

WATCH PAUL MCCARTNEY’S JIMMY KIMMEL SHOW CONCERT IN OUR HOME PAGE VIDEO VIEWER

Early Days

They can’t take it from me if they try

I lived through those early days

So many times I had to change the pain to laughter

Just to keep from getting crazed

 

Dressed in black from head to toe

Two guitars across our backs

We would walk the city roads

Seeking someone who would listen to the music

That we were writing down at home

 

But they can’t take it from me if they try

I lived through those early days

So many times I had to change the pain to laughter

Just to keep from getting crazy

 

Hair slicked back with Vaseline

Like the pictures on the wall

Of the local record shop

Hearing noises we were destined to remember

We willed the thrill to never stop

 

May sweet memories of friends from the past

Always come to you, when you look for them

And your inspiration, long may it last

May it come to you, time and time again

 

Now everybody seems to have their own opinion

Who did this and who did that

But as for me I don’t see how they can remember

When they weren’t where it was at

 

And they can’t take it from me if they try

I lived through those early days

So many times I had to change the pain to laughter

Just to keep from getting crazed

I lived through those early days

I lived through those early days

 

 

Mel Gibson’s Personal Recession: Private Church Hit Hard by Record Breaking Divorce

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Times are tough in Mel Gibson‘s personal recession: For years and years Mel Gibson kept parking tax free millions in his private Malibu church. By 2011, the Holy Family church–which is not part of the arch diocese and doesn’t acknowledge the Pope as the leader of the Catholic Church– was claiming over $68 million in total assets. All of it came from Gibson’s AP Reilly Foundation, according to federal tax filings.

But times have changed. In 2011, Gibson had to give half of everything he had in the world to his ex-wife Robyn. The total was reported at $425 million. That included two Malibu properties. Robyn’s name was removed from A P Reilly as an officer.

Today I received the church’s 2012 tax filing. Gibson’s donation to AP Reilly — he’s always the only donor to the foundation — is significantly smaller than ever before. Gibson put only $146,269 into A P Reilly last year. It’s clear that his finances have changed. He no longer has the flexibility of hiding his money in the tax free foundation.

And it’s not just the divorce: Gibson has not starred in a regular Hollywood blockbuster

But Holy Family still claims total assets overall at almost $70 million– not bad for a church that has few families. AP Reilly did claim a massive depreciation however– $1,606,579. For the first time, also, they list no salaries, and only $60,000 for miscellaneous expenses like legal fees and insurance. There’s no mention for the first of  landscaping. It’s not clear if anyone is mowing the lawn !

 

Tony Bennett Dedicates Song to Lady Gaga at Sold Out Radio City Show

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Tony Bennett keeps it short and to the point. He performed a stellar one hour and ten minute show at Radio City Music Hall on Friday to a totally sold out crowd. And I do mean sold out: even the rafters, all the balconies, were full.  Bennett, 87, did not disappoint. He has no physical set, per se. Just his four piece jazz combo– including Harold Jones on drums and Lee Musiker on piano.

Bennett stands in the spotlight at the center of this clutch. He does not turn on the video screens hanging to the left and right. You are listening to Tony Bennett, so you better pay attention. The entire ensemble is just about dwarfed by Radio City’s enormous stage. They took up maybe a third of the length. And it didn’t matter. They filled the room.

There were a couple of celebrities who came to see Tony: Cicely Tyson, Dr. Westheimer, Patrick Stewart. Writer Gay Talese and wife Nan, publisher extraordinaire, were also in the audience. Otherwise, it was just fans. They gave Bennett a standing ovation after every song. He clapped back at them. Sometimes he danced, did a little jig or a bossa nova during an instrumental interlude. The place went crazy.

Tony dedicated a song to Lady Gaga and mentioned their duets jazz album would be out “right after the first of the year.” He dedicated “The Way You Look Tonight” to his wife, Susan. He said, “I’ve been singing for 50 years,” then added, “60 to tell the truth” and cradled his face in his hands and shook his head.

Is it possible? I go to see Tony Bennett because I love his voice and demeanor. But I also go the way people seek out magicians’ tricks. How does he do it? What’s really going on? His voice is maintained at the highest level. Raspy? A little. But he holds the melody and caresses it. If it tries to leave, he coaxes it back into something wonderful.

When he started “One for My Baby (And One for the Road)” I thought, hmmm, Sinatra. Then Tony gripped the melody the way a fisherman pulls a taut line, reeled in the fish and wrestled it to the ground. The changes he made were breathtaking and, of course, not the least bit showy. When he was done, the audience jumped to its feet. Bennett exclaimed, “That’s jazz.”

It sure was.