Tag: Neil Patrick Harris (Page 2 of 4)

A day at the TV Land Awards

Cast Of The Love Boat

The TV Land Awards are not an “and the winner is…” kind of award show extravaganza. They’re more a series of honorary nods to the very popular shows of television’s illustrious, time-killing past with an emphasis on glitz. And so a bunch of us media types were invited to add to the hub-bub at the Sony Studios back lot on a breezy April, waiting on a red carpet for whichever celebrity was escorted to our assigned spots, with those from famed print and broadcast outlets obviously getting the first dibs. In the case of this lowly pixel stained wretch, I felt honored to chat with a few really terrific performers who, each in their own way, had made quite an impression on me personally.

That most definitely applies to Jane Leeves, the comedically gifted actress best known as Daphne, Niles Crane’s Manchester-born one-true-crush and eventual wife from “Frasier.” After confessing that I’d had a crush of my own on her since before her famed “Seinfeld” turn as “Marla, the Virgin” her response was typically blunt-yet-charming. “I’m not that old!”

“Neither am I!,” I blurted. (I later learned that Ms. Leeves birthday was the following day. My own birthday was two days prior. I guess age was on both of our minds.)

Aside from being no non-TV star herself, Ms. Leeves was there to promote her now show, coincidentally to be aired on TV Land in a rare foray into original programming, “Hot in Cleveland.” The show teams Leeves with Wendy Malick (“Just Shoot Me”) and Valerie Bertinelli (“One Day at a Time”). The three play “very L.A.” career women with show business-related backgrounds of various types. (Leeves plays an “eyebrow plucker to the stars.”) Feeling a bit aged out of the L.A. game, they attempt a trip to Paris, but instead find themselves marooned at the home of the Rock and Roll Hall of Fame. They quickly realize that beautiful, middle-aged women who can refer to celebrities by their first name are actually in fairly short supply in the midwestern metropolis and they decide to stay and be big fish in a smaller glamor pond. Betty White costars as a neighbor, perhaps a wacky one. Cue the glib comparisons calling this a “younger ‘Golden Girls.'”

Nevertheless, fans of Ms. Leeves should rest assured that her character is no retread of Daphne Moon. “She’s focused her whole life on her career and has forgotten to have a life. She’s the sort of smart aleck, wise-ass of the group, so it’s very different.”

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Then, perhaps feeling a bit star-struck, I went with the fallback question I frequently steal from our esteemed Will Harris. What project has she done that she doesn’t feel has gotten enough attention.

“It’s my cooking, quite frankly.”

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NPH to dance with “Smurfs”

On the list of movies I really think are not great ideas, like, say “Battleship,” a “Smurfs” film is probably up there. On the other hand, it looks like the upcoming film will be testing the theory that anything with Neil Patrick Harris is worth a look, even a truly smurfed up movie. And, considering that we’re on the precipice of Oscar Weekend 2010 and the power of a certain blue-creature filled science fiction film, well, there’s only one video to play.

American Idol: stretching big D

Last night marked episode 6 of Season 9 of “American Idol” on Fox, and the auditions this time were held in Dallas, Texas. Of course, Ryan Seacrest kept saying they were returning to Dallas for the third time, the city where they had found so many previous hopefuls and talent. But all they did was show clips of Kelly Clarkson’s audition back in 2001 and a few other contestants nobody remembers. Seriously guys, that was a huge stretch, and there was no need to harp on it. So you found Kelly there, big freaking deal.

On to the auditions, and the guest judges this time were Neil Patrick Harris (NPH) and Joe Jonas. I’m yawning as I write this…give me more Katy Perry! Actually NPH was pretty funny, but Joe…I don’t think he said a word beyond “yeah” a few times. Way to go, kid.

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Celluloid Heroes: Eight Musicals of the 21st Century

A funny thing happened this decade — the once dying genre of live-action movie musicals seems to have returned to the movie repertoire. As the decade closes, I can think of exactly two major westerns, but I keep remembering musicals that I should consider for this piece (including the mostly well-regarded French musical “Love Songs,” which I forgot to see before writing this, je suis désolé).

As a lifelong fan and a nearly lifelong tough critic of musicals, I love most of these films. However, this list is not so much a traditional “best of” and I’ve included one choice I definitely don’t like. (It won’t be hard to guess which.) These are musicals that I think contributed to the development of this polarizing and hard to pull off genre. They don’t hark back to times gone by or try to recapture a past glory that will never return, but actually take us into the future. That’s important now that musicals seem to have a future.

“Dancer in the Dark” (2000)

Earlier this year, the brilliant but often irritating Danish director Lars von Trier shocked hard-to-shock European festival audiences with graphic sexual violence in “Antichrist.” Back in 2000, all he needed to divide audiences was some really intense melodrama and an approach to making dark musicals partially borrowed from TV creator Dennis Potter (“Pennies from Heaven,” “The Singing Detective”).

Featuring a literally once-in-a-lifetime lead performance by singer-songwriter Björk as a young mother ready to sacrifice everything to save her son’s failing eyesight, “Dancer in the Dark” is maybe the most emotionally potent story of parental love I’ve ever seen. As a musical, it’s strange and arresting.

Like the Potter television shows and movies and “Chicago,” further down the list, the musical numbers take place in the mind of the lead character. In this case, however, it is particularly poignant as our heroine is a fan of musicals who, though she is gradually going blind, is attempting to appear in a community theater production of “The Sound of Music.” Below, she musically confesses her situation to a smitten Peter Stormare (yes, the guy from “Fargo”). Lumberjacks or not, “Seven Brides for Seven Brothers” sure seems like a long time ago.

Moulin Rouge” (2001)
As the non-musical Pixar films became the dominant template for animation and the musical form lost its last apparent movie bastion, big studios began to experiment with musicals starring humans. Unfortunately for me, the first and still one of the most popular of this decade’s high profile film musicals was Baz Luhrmann’s beautifully shot, amazingly designed, dull-witted, and over-edited “Moulin Rouge.”

Yes, this musical fan is not a fan of the musical that’s been credited with resurrecting the genre. Why? A couple of sequences work, but on the whole I expect the funny parts of a movie to make me laugh and, even more important, I like to see the movies I’m seeing. As far as I can tell, Luhrmann simply doesn’t have the confidence in this film to allow us time to view the arresting images he’s worked so hard to craft, nor does he permit time to actually see the hard work his dancers and actors put in. Editor Jil Bilcock is expected to do all the performing instead.

As for what Luhrmann and his arrangers did with the various classic songs they threw into a musical Cuisinart, the less I say about it the better. At the risk of sounding like a fogey (or a member of an 18th century Austrian court), too many notes. Way, way, way, too many notes. See if you disagree.

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Sundance and stuff

* The Sundance Film Festival, easily the second most influential film festival in the world, both for better and for worse, unveiled its 2010 schedule this morning. Anne Thompson takes a close look at the impact of Jim Cooper, who is now running the festival after the departure of Geoff Gilmour. At the one and only Sundance I attended back in 2005, I heard a number of catty, though possibly not inaccurate, remarks to the effect that Gilmour had gone a bit Hollywood in a somewhat James Lipton-esque way. Apparently, things are changing and change is often a good thing.

* Paul Thomas Anderson’s new film is supposedly not about Scientology and, therefore, Philip Seymour Hoffman will not be playing a variation on L. Ron Hubbard. Still, sounds cool. Boy, I wish I had time to check out Anderson’s last film and huge creative departure, “There Will Be Blood,” a second time right now. Jason Zingale’s review might have been short of adoring, but that one has really stayed with me. P.T. Anderson might not be the second coming of Orson Welles, but then, Welles wasn’t exactly the second coming of John Ford either.

* Roman Polanski isn’t going to be set free this week, but he is going to the Milky Way — the name of his digs in the swanky Swiss ski resort town of Gstaad.

* Rupert Everett, who made a bit of history a decade or so back as the first borderline A-list actor to be openly gay, has warned younger actors not to follow suit in new book promo interview in The Guardian. Personally, I’d advise gay performers to take his words with a gigantic grain of salt. Everett is a first rate actor I always enjoy watching but he has, to put it kindly, a big mouth and has said many really questionable things over the years while also saying some really smart things. Not being gay or a famous thespian, I’m perhaps not qualified to judge, but being out sure hasn’t hurt Neil Patrick Harris any lately. I guess the real test will be if the highly accomplished ex-Doogie is  ever allowed to play a more or less serious romantic lead opposite a female.

Nikki Finke has the thoughts of “coming-out PR guru” Howard Bragman:

There may well have been other reasons Rupert didn’t become the leading man he imagined himself going to be. But this isn’t about your bank account. This is about your soul.

* Bloody Disgusting has word that the remake of Alfred Hitchcock‘s “The Birds” is getting a change of directors and will be heading in a direction that will be, yes, more bloody and disgusting.

* In Michael Powell’s horror classic, “Peeping Tom,” a silent-film era cameraman is driven to become a serial killer by the bizarre, fear-inducing experiments performed on him as a child by his psychologist father. A linguist named d’Armond Speers might have been less cruel than the dad in the movie, but speaking only Klingon to his son for the first three years of his life seems like it’s taking some kind of risk. Fortunately, as passed along by Geoff Boucher, it appears the kid turned out normal, linguistically speaking, anyhow. That’s good. Still, I wonder what the word in Klingon is for “meshugeneh.”

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