Category: Actresses (Page 135 of 258)

Killer Movie

Ever since 1996’s “Scream,” it’s been tough for filmmakers to do subtle parodies of the horror genre without being greeted with a bored “it’s been done.” Kudos to Jeff Fisher, then, for deciding to take a slightly different approach by mocking reality TV and horror movies but managing to get a few laughs without sacrificing the scares. (He has the right resume for it: he used to work on “The Simple Life.”) Although “Killer Movie” can’t be called a groundbreaking scary-movie entry, it has a wittier-than-average script and a strong cast, including Nestor Carbonell (“Lost”) as a sleazy agent who looks sharp but doesn’t think twice about sacrificing morality in favor of a big paycheck, Kaley Cuoco (“The Big Bang Theory”) playing the middle ground between Paris Hilton and Lindsay Lohan, and Leighton Meester (“Gossip Girl”) in what can only be described as a glorified cameo.

The premise of the film involves a reality-show director – played by Paul Wesley, late of ABC Family’s “Fallen” – who gets drafted for a gig covering a high school hockey team in White Plains, ND, but ends up battling with the show’s executive producer (Cyia Batten), who’d rather go sensational and focus on the death of the team’s former coach, who had just gotten out of prison after having had his murder conviction overturned. It will not surprise you that the coach’s death soon becomes only one of many within White Plains, but you probably will find yourself unexpectedly impressed by Cuoco’s performance in the film, which gives one hope that she may yet have a film career ahead of her…not that we’re hastening the end of “The Big Bang Theory,” you understand. Beyond the blood, what keeps the film moving is the decision to intersperse interview footage with the characters between scenes. Though there’s a decent amount of typical horror stuff here, it’s those bits which raise “Killer Movie” a bit above the ordinary.

Click to buy “Killer Movie”

Blossom: Seasons 1 & 2

Although “Blossom” is often viewed as a kitschy punch-line of early ‘90s television (“Tonight, on a very special ‘Blossom’”), the series actually contains some unique elements which make it surprisingly easy to respect its accomplishments. With that said, however, while most of the girls like to watch “Blossom,” only some of the boys do. And given that the first episode is all about the titular character getting her period for the first time, you can’t really blame the guys for that.

When “Blossom” premiered on NBC in 1991, Mayim Bialik had already done a fair amount of sitcom work (most notably on “Webster”), but she was riding on the high of having played the younger version of Bette Midler’s character in “Beaches” and ready to break out. Enter Don Reo, who provided her with the opportunity to play Blossom Russo, a teenage girl living with her father and two brothers. What was perhaps most exceptional about the series was Bialik herself: a girl who looked, dare I say it, real. She was cute, but she wasn’t gorgeous, which meant that you could imagine that guys would want to date her, but unlike a lot of teenage TV characters, you didn’t watch the show and find yourself thinking, “How can a girl who looks like this ever be without a date?” The character of Blossom was also an impressive tightrope walk, as she came across as a very original spirit (particularly with her sense of fashion) while still going through the same things that all teenage girls go through.

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Heroes 3.15 – In Blood We Trust (All Others Pay Cash)

Tonight’s episode began not with the resolution to the cliffhanger but, rather, with Nathan making a phone call to…who? At first, I thought, “Oh, it’s Mama,” but, no, that would’ve been too obvious. And we knew it wasn’t Tracy, since she was on the plane. Then I had a crazy thought: maybe it’s Papa, already back from the dead. It wasn’t, of course: it actually was Mama. But, hey, a Robert Forster fan can dream, can’t he?

The post-crash sequence quickly showed that last week’s cliffhanger was a big waste of everyone’s time, as every single hero got out alive, but once the gang got on the run, it looked like things were going to get very interesting very quickly, especially when Matt went all white-eyed. But, suddenly, the jets flew over and bombed the shit out of the crashed plane, and I groaned. Really, “Heroes” writers? You think having a couple of big, loud jets flying by and dropping bombs is somehow going to draw attention away from the plane crash that happened a few minutes before…? And my groaning turned into moaning with the funny-for-all-the-wrong-reasons scene of tranced-up Matt busting into a trailer just to hunt down paper and a writing utensil. Fortunately, Ando was there to provide a couple of legitimate laughs, most notably at an airline operator’s lack of knowledge about the whereabouts of the state of Arkansas.

It was a shame to see Daphne get shot down, though I was disappointed that we didn’t get to see a great deal of Matt’s emotional reaction beyond his turning the soldiers against themselves. I’m sure, however, that we’ll see him start to grow darker with his power usage in upcoming weeks as he extracts his revenge.

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Hey, Whedon-ites, who’s ready for “Dollhouse”?

Check out the new trailer (which also pimps its sister show, “Terminator: The Sarah Connor Chronicles”), then let me know what you think. I’ve seen the first episode – more details on that coming soon – and I liked it but wasn’t in love with it. Will the illustrious Ms. Dushku be able to live up to the show’s premise and produce a different performance for each new personality she’s imprinted with? I’m in “wait and see” mode, personally, but it’s Joss Whedon, so I’m hopeful.

Savage Grace

Tom Kalin unleashed “Swoon,” his unsettling, arthouse take on the Leopold and Loeb murder case (the same crime that inspired “Rope” and “Compulsion“), way back in ’92. He then disappeared from the world of features for 16 years, and has now returned with this film, based on a lesser-known, yet equally perverse, true crime. “Savage Grace” traces the society-driven, globe-hopping antics of the Baekelands – Brooks (Stephen Dillane, “John Adams”), Barbara (Julianne Moore), and their son, Tony (Eddie Redmayne) – from the 50s through the early 70s. From the very beginning, it’s obvious that Brooks has to put up with a lot. Barbara is theatrical, obnoxious, clingy and probably bipolar, and the last thing she needs is a child. As Tony grows up, the mother-son bond tightens and he seems to inherit some of her nastier traits. Before long, Brooks can’t take it anymore and runs off with Tony’s girlfriend (really, you can’t blame him), leaving mother and son to inflict heaping helpings of emotional damage on one another – a situation that eventually ends in twisted tragedy. What’s most interesting is how, rather than cover snippets of time from the 20-plus year long haul, Kalin instead chooses a handful of pivotal days from the timeline to focus on.

“Savage Grace” isn’t anywhere near as hypnotizing as “Swoon,” and yet it’s hardly a bad film – just a deeply unpleasant one. What was Kalin’s goal in making the piece and how much of it is true? Regardless of intent, he’s ultimately created a cautionary tale about the pitfalls of being wealthy and bored – an ugly combination destined to go sour. It’s also a must-see for fans of Julianne Moore, as she once again proves that she’s willing to go the distance for whatever material she signs on to help interpret.

Click to buy “Savage Grace”

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