Drew Information:

Drew Blyth Barrymore (born February 22, 1975) is an American actress, film producer and film director. She is the youngest member of the Barrymore family of American actors and granddaughter of John Barrymore. She first appeared in an advertisement when she was eleven months old. Barrymore made her film debut in Altered States in 1980. Afterwards, she starred in her breakout role in E.T. the Extra-Terrestrial. She quickly became one of Hollywood’s most recognized child actresses, going on to establish herself in mainly comic roles.

Following a turbulent childhood which was marked by drug and alcohol abuse and two stints in rehab, Barrymore wrote the 1990 autobiography, Little Girl Lost. She successfully made the transition from child star to adult actress with a number of films including the unsuccessful Poison Ivy, Bad Girls, Boys on the Side, and Everyone Says I Love You. Subsequently, she established herself in romantic comedies such as The Wedding Singer and Lucky You.

In 1995, she and partner Nancy Juvonen formed the production company Flower Films, with its first production the 1999 Barrymore film Never Been Kissed. Flower Films has gone on to produce the Barrymore vehicle films Charlie’s Angels, 50 First Dates, and Music and Lyrics, as well as the cult film Donnie Darko. Barrymore’s more recent projects include He’s Just Not That into You, Beverly Hills Chihuahua, and Everybody’s Fine. A recipient of a star on the Hollywood Walk of Fame, Barrymore appeared on the cover of the 2007 People magazine’s 100 Most Beautiful issue.

Easy, big fella!

Alright Yankees, time for that playoff choking reflex to kick in…NOW! CC Sabathia pitched a gem on three days’ rest and Alex Rodriguez continued his improbable playoff tear to lead New York to a 10-1 win tonight, grabbing a commanding 3-1 series lead in the process.

A huge clunker for the Angels in this one, especially coming off an emotional come-from-behind win in extras Tuesday. Starter Scott “No Command” Kazmir was his wild self, walking four and giving up four runs in just four innings. Rodriguez and Melky Cabrera had three hits apiece for the Yankees, who tacked on five runs in the last two innings to make it pretty, pretty embarrassing.

Of course, we’ve seen New York blow bigger ALCS leads than 3-1 — if you need a refresher, pop in the terrific romance-comedy “Fever Pitch” and relive the magic of the Yankees’ 2004 collapse, all the while enjoying the acting stylings of screen legends Jimmy Fallon and Drew Barrymore.

Any shot the Angels have at making a comeback starts Thursday, when Allan James Burnett (12-9, 4.04) and John Lackey (11-8, 3.83) square off in Game 5.

We all like Cliches. In fact, they’re probably the second best category things come in. They’re safe. They’re familiar. They save us valuable time from having to analyze data and/or make our own inferences (which gives us infinite more time to watch youtube SNL skits satirizing the President’s Nobel Prize win or start a glogster account!). These broad, common themes weave across various demographics and allows us to feel some feigned sense of unity (which, intrinsically, is good, I suppose), while denying the alleged uniqueness with which we’re endowed. Plus, it usually has a sick beat.
It is why we, as a society, love Jay-Z more than Black Thought, Kings of Leon more than Band of Horses, Jessica Biel more than Mila Kunis. Though, with alarming regularity, people will insist they dislike cliches so much, almost, to the point of hate (in essence, its almost cliche to hate cliches).

This brings us to the best category, non-cliches that are cliche. Things that appear to be different than the well-worn adages, but, in actually, fit into a niche of a counter idea. This may seem confusing because it is… An example: Martin Scorsese is a celebrated director who makes, largely, cliche films. They’re startling in-depth and gripping, straight-forward, seen-before characters that occupy a well-covered world. Sam Mendes makes non-cliche cliche films. Unusual circumstances that, while implementing some twists and turns in plot, largely follow a theatrical arc that’s easy to follow and is quite logical and expressed in cliche films, with, perhaps, a wrinkle (i.e.: unfamiliar characters… the ravages of war in a war where there’s no real action in his “Jarhead”). While Radiohead is great, Modest Mouse is better (ironically, Radiohead started out in the latter of this comparison half a decade ago and Modest Mouse is slowly moving to the former). While Common is great, Wale is better. Zooey Deschanel is great, but Ellen Page is better. Dreamworks is great, but Focus Features is better. These “non-cliche cliche” things are usually what “hipsters” and “alternatives” flock to before the masses (and once the masses flock to it turning it from “non-cliche cliche” to just “cliche” they’ll reject it like Mutumbo did weak jump shots in the 90s).

To further muddle things, almost in dichotomy to this second concept of non-cliche cliche is the non-cliche non-cliche. They’re the things that not only don’t fit the typical fare, but are largely unique to anything before and very few things after. It’s what made a poor, wretched fool of Franz Kafka (go ahead and wikipedia him) during his life and a genius after he was dead (True savants will argue that this is the true reward of the artist, but I’d venture that Ol’ Kafka would rather have gotten some while he was still alive). Our modern day “Kafka’s” are, but not limited to: Wes Anderson and Lupe Fiasco. The hardest thing about this group is distinguishing from the innate genius/intelligence and utter garbage.

Oh, and I intentionally didn’t put the accent mark over the word cliché… take that conformity

“If there is anything the nonconformist hates worse than a conformist, it’s a non-conformist who doesn’t conform to the prevailing standard of non-conformity”
- Bill Vaughan

Ask me who my favorite actress is and it varies from season to season. But Drew Barrymore has always been high on my list. A couple things I love about her:

* She’s been through tough times, but has fought through it

* She makes the best out of being in the spotlight

* She’s down to earth and always herself

* She has the cutest personality ever

* She’s not the best actress in the world, but she’s pretty captivating on the big screen… no matter what movie she’s in.

I recently saw this article online and thought I’d share it with you. It’s Drew and photography combined – what could be better? Click on the photo to read the article and see the photos she took with a film camera.

]]> http://nealbinnyc.wordpress.com/2009/10/06/drew-barrymore-on-directing-and-bondage/ Tue, 06 Oct 2009 01:39:48 +0000 nealbinnyc http://nealbinnyc.wordpress.com/2009/10/06/drew-barrymore-on-directing-and-bondage/

From the new Entertainment Weekly…
Drew on directing…

Drew Barrymore

from www.brisbanetimes.com:

Drew Barrymore promotes Whip It. Photo: Evan Agostini, AP

“Well, I’m all for bondage,” Drew Barrymore says, a big smile on her face.

Sit down with Barrymore for a conversation and it is likely she will offer up a colourful quote or two … or 10, even when she is suffering a horrid case of flu.

It has been a busy month for the actress-producer and now director.

Barrymore has been travelling North America promoting her new comedy-drama, Whip It, the 34-year-old’s directorial debut, and somewhere along the vast media tour she picked up a bug.

There was talk that this interview in a Manhattan hotel would be cancelled, but Barrymore, keen to spread the word about Whip It, a film she spent the last three years making, is battling on.

She has a black and white striped woollen scarf wrapped around her neck and a litre cup of fruit juice in her left hand.

“I always wanted to direct so this is a very wonderful moment for me,” Barrymore says.

“I’ve found something very personal and got to put my whole heart into it.

“So, right now I’m just focused on this and I hope to fall in love with something in the future that I love nearly as much as I loved this.

“I spent every day of my life for the past three years making it.”

The bondage comment came up when the conversation turned to whether someone walking into a theatre without doing research may presume Whip It is about whips and leather. If they do, they will be disappointed.

The only leather that audiences see in Whip It are on the boot rollerskates laced to the legs of Barrymore and her mostly-female cast, including Oscar-nominated Ellen Page, Juliette Lewis, Saturday Night Live comedian Kristen Wiig, rapper Eve and New Zealand stunt woman-turned actress, Zoe Bell.

“No, ‘whip it’ is a roller derby term,” Barrymore explains, hopefully ending the confusion.

“It is when you grab one girl and whip her around the track.”

It is not a surprise the phenomenally successful Barrymore, whose 50-plus films as an actress and eight as a producer have made more than $US2.4 billion at the box office, chose Whip Itas her directorial debut.

Based on the novel and screenplay of Shauna Cross, a roller derby star in Los Angeles, Whip It lives up to the girl power theme of Barrymore’s recent projects and the focus of the film production company she started in 1995, Flower Films.

Page stars as Bliss Cavendar, a teenager stuck in a truck stop town in Texas and forced by her mother (Marcia Gay Harden) to participate in beauty queen pageants.

Her life changes when she finds a flyer promoting a roller derby league in the nearby city of Austin.

Cavendar tries out for the league, shows plenty of talent, is given the moniker Babe Ruthless and becomes the new star of the league.

“It is a film about roller derby,” Barrymore says.

“It is a film about family and friendship.

“It is a mother-daughter love story and the journey you take in trying to find out who you are.”

Whip It made its debut last month at the Toronto Film Festival and the critics have largely applauded Barrymore’s direction.

“The movie is miles more intelligent than most of the cream-of-wheat marketed to teenage girls,” America’s best known film critic, Roger Ebert, wrote.

“Funnier, more exciting, even liberating. In her debut as a director, Barrymore shows she must have been paying attention ever since Spielberg cast her when she was five (in ET: The Extra-Terrestrial).”

Page, the 22-year-old Canadian actress best known for her Oscar-nominated role in the 2007 comedy Juno, also receives plenty of plaudits from critics. Barrymore says she had her eye on Page for the role of Bliss three years ago.

“She was always my dream to play the part,” Barrymore says.

“I actually asked her to do it before she did Juno. I always knew she was the person and I was just fortunate she agreed to do it.

“We became like soul mates through the process.”

Barrymore also became close to the other cast members during months of rollerskating practice to prepare for the role.

Most had not been on skates since their teen years.

Barrymore was keen to avoid using stunt doubles, which meant plenty of bruises and spills for her cast who lived up to their roller derby monikers.

Barrymore’s character has the nickname “Smashley Simpson”, Bell was “Bloody Holly”, Lewis “Iron Maven”, Eve “Rosa Sparks” and Wiig “Maggie Mayhem”.

“We had several injuries and thank God we were able to get up and walk away from them,” Barrymore says.

“It is a tough, dangerous sport and you have to admire what these derby girls go through, but we really wanted to learn the sport so we could film us doing it.

“I just hate when you see a bad wig, a bad stunt double and a bad edit. It looks and feels fake.

“That is really us out their skating our tails off.”

The prize for best skater went to the diminutive Page, who as a Canadian, grew up on ice skates.

“Zoe Bell is an incredible athlete, Juliette Lewis sold it like nobody’s business, but Ellen trained for three months and became better than some of the derby girls on the track,” Barrymore says.

“She really is someone you don’t want to mess with on the track.

“I tried the best that I could.

“I trained the best that I could. I skated as fast as I could. I took the falls the best I could. It’s up to the viewer.”

As the latest famous member of the Barrymore acting dynasty, Barrymore’s life, which has involved multiple stints in drug rehab and a suicide attempt, has been covered daily by the tabloids.

It was Steven Spielberg who launched Barrymore to stardom, casting her in ET as Gertie when she was five years old.

The fame, coupled with a rocky home life with father John and mother Ildiko, led her to smoke cigarettes at the age of nine, drink alcohol at 11, smoke marijuana at 12 and snort cocaine at 13.

While countless other child stars failed to emerge as successful adults in Hollywood, Barrymore has become one of the industry’s most powerful members.

She earned a reported $US15 million for starring in the 2007 comedy Music and Lyrics and produced and starred in the twoCharlie’s Angels films in 2000 and 2003, which went on to earn a combined $US510 million at the box office.

Barrymore knows why she has survived and blossomed while others in her position self-destructed.

“I just think it is a matter of discipline, making it happen for yourself and not expecting everything to fall in your lap because it doesn’t,” Barrymore explains.

“You really have to go out there and create your own destiny and do all the work it takes to do that.

“I’ve approached everything with a sort of discipline and 1,000 per cent.

“Giving your life over to something is what it takes to make something.”

Whip It opens in Australia on October 8.

AAP

Drew Barrymore: Tongue Stud = No Sex

Giving some tongue

Style and Beauty

Tongue Stud

Hello Kitty

How to Travel Naked

Taking Crazy Pills

Microsoft Certification

How to Lead A Double Life

How to Plan for College

How to Plan an Exotic Vacation

After all that Disney nonsense for the last post it’s time for a change of pace and tone don’t you think? I’ve been mulling over some clever methods to celebrate the occasion of my 300th post then came to my senses and realised a more conventional idea would be easier to construct, especially since I could incorporate coverage on two pictures I’ve caught recently that I don’t have the time to craft full blown reviews for. Hopefully this will all make sense as you read through. So here we go, a traditional top ten of a particular genre and I’ve decided to kick off with my beloved horror as one of the ten actually got a very limited re-release this week and I caught it at my local cinema last night - the divination is clear. These are my personal favourites, they are not necessarily the best films in the genre, the most influential, the most popular – they are my favourites for a variety of reasons that I will attempt to eviscerate. So draw the shades, light the candles, clutch your holy symbol to your heart pounding chests and let’s begin….

You have to have a Bela Lugosi on your list or you simply don’t know what you’re talking about right? This was has it all, the original cliches, the over-acting, the gothic atmosphere and architecture, the sense of cinema history being made – can you imagine that people actually fainted during this chillers original run back in 1931? I like the absences, the lack of a church choir or other ominous musical mood on the scratchy soundtrack with the Counts reveal, a sign of its 1930’s pedigree as film hesitantly embraced the recent advent of sound.

Likewise a Karloff is mandatory. The original of course is a close run thing but it’s the pathos in this one, the 1935 sequel that appeals more to my sensibilities. That’s Elsa Lancaster as the bride, she was married to Charles Laughton dontchaknow…

So, it was a digital projection of ‘The Thing‘ that I  saw last night and it was magnificent. I’ve never seen on the big screen, in full scope and with the new colour palette it was like seeing it for the first time. The visuals shimmer and glistened quite unlike even the Blu Ray copy I have sitting on my shelf, I don’t think I’ll ever get bored of watching this movie. Most of the effects stand up although the Albert Whitlock mattes of the alien ship don’t pass muster and the crab/spider head moment did generate a few laughs from the audience. No matter, it has that Morricone score, the paranoia, terrific pacing that slowly turns the thumbscrews until that ending. It was this movie that got Dean Cundey the DP job on ‘Jurassic Park’ by the way, demonstrating his ability to meld live action with SFX and photograph imaginary creatures so convincingly. Apocalyptic crimson bliss.

Do I have to repeat myself? I should hope not. I’ll just add a recent observation I picked up that the steadicam shots of Danny riding his tricycle from behind are counterpoised with the steadicam shots of Jack coming toward the camera and it almost recoiling away from him in the film. Or maybe someone’s over thinking things again.

Hmm, I do wonder if the next one will actually come to fruition with Ridley at the helm. The original remains the textbook SF/horror mash-up which remains unsurpassed on a panoply of levels, the feminist subtexts, the corporate machinations, the use of ‘alien’ as metaphor, the blend of genre with the old dark house motif  transported to some star system several hundreds of years hence. Or maybe mere decades. ‘I admire its purity’ indeed…

The film’s not up so you’ll have to make do with this extended trailer which has its own cultural value. ‘Psycho‘ is the ultimate ‘entry’ film – hear me out - in that any fledgling horror fan will inevitably stumble across it in some way in any horror film compilation book worth reading. Intrigued after years of watching badly made, exploitation driven trash the fledgling cineaste takes a look at ’Psycho‘ and for want of a better word gets an education on how exactly how a proper film is constructed, how expectations are manipulated, twisted and feigned. Once you’ve had that realisation you never go back and you start looking at and admiring other films, not just horror and genre films, for their craftsmanship or lack thereof. The next thing you know you’re shelling out over £500 a year on going to the cinema and at least equal that on film related paraphernalia. Welcome to my world. The shower scene is obviously one of the all time great montages in cinema and it ushered in a whole sub-genre – its effect on subsequent movies is incalculable. It’s an over used word but there is no other to match it – masterpiece.

I’m going to cheat and lump the first three of the dead trilogy into one, ’Night‘, ‘Dawn‘ and for me the underrated ‘Day‘, they are all equally valid in my book. Why did I elect to use the above trailer? Because it is funny. It doesn’t sound like the new one ‘Survival Of The Dead‘ like ‘Land’ and ‘Diary’ is any good either which is a real shame, I think Romero really needs to think about doing something else. Horror cinema as political and social comment doesn’t come any more potent and they are just sheer, havoc strewn glee with plenty of quotable lines and moments. You know you’ll get along with someone just fine when you casually drop your zombie outbreak plans into conversation and they reply in the affirmative instead of looking at you like you’re insane. Me? Oh, I’ve got a short dash to the Thames then it’s off to Greenland in the first boat I can liberate.

You also have to have a Vincent Price in a dodgy B movie chiller don’t you? This is one of my guilty favourites I guess, I find that opening genuinely unsettling and immersive purely because of its guerilla, claustrophobic sheen, the trailer eleborates on this in a couple of moments. Knocked out in a few days? Sure. Cutting corners due to the miniscule budget? Naturally. Terrific fun? Absolutely. Like others the problem I find with most of the recent horror releases (by recent I mean in the past two decades) is that they are so polished, so professional and consequently so soulless. Have you seen the latest ‘Friday 13th’ movie yet? The catering budget could have probably been used to put together a couple of AIP films like this which are several hundred times more fun, warts and all. The best podcast on B-Movie shenanigans can be found here, it’s a regular favourite on itunes etc and as usual comes highly recommended.

Again I’m repeating myself from previous posts but there is no better embeddable clip out there although the whole film is up in HD on youtube. Nice. And finally a quiet little clip from Japan:

I mean just what the FUCK is going on here? Yes, I was shocked at the ending the first time I saw it just like everyone else – a perfect and wholly earned ending I have to add – but it was always this sequence that freaked me the fuck out. It’s the build up to that gruesome denouement which makes this not only Miike’s best film for dare I say it its maturity, the reigning in of his trademark shock tactics until the final reveal but also its sly dig at the continuing patriarcial oppression in the orient. It’s horrible but didn’t our hero, well, kind of deserve it? In the film world that is, not the real world of course. I’m not a psycho.

OK so I’m a psycho, what a charming trilogy of images…<sigh>…I’m going to hell. Of course I’ve missed some classics but that’s the nature of lists. I’d have loved to have included a Hammer, specifically this which is my favourite, ‘Salem’s Lot‘ will always have a place in my heart for scaring me as a kid even though its TV origins are a little laughable now and ‘Texas Chainsaw‘ is a shame but ten is ten, even when its, um, twelve. And of course this and the first sequel. OK, I hate lists now…

Tod Browning is not a name that is often uttered in the same breath as the elite horror filmmakers of yore, the Cronenbergs, the Carpenters, Whales, Cravens and Romeros. A quick scan through Browning’s CV however (Christ they really knocked ‘em out in those days huh? Sixty films in twenty years) reveals a number of essential entries into the genre back in the fertile thirties . His career was effectively destroyed by a crippling alcoholism compounded with the release of one of cinema’s most controversial and daring movies – ‘Freaks‘ – which remained banned in a number of countries for decades and I think only getting its first VHS release in the early nineties. As I mentioned before I caught his film ’The Devil Doll‘ in Paris in a newly restored print and as much as I’d love to divulge how this was a magnificent cinematic experience, a film text equal to the luxurious environs of central Paris, an undiscovered masterpiece worthy of illumination I cannot tell a lie – this was a bad movie.  Taking into account its 73 year pedigree this was still extraordinarily clunky in dialogue, quite a shock given that it has the likes of Erich Von Stroheim on the writing chores not to mention the likes of Cedric Gibbons and Franz Waxman rounding off some of the behind the screen talent. It’s not a total loss, the vision of this transvestite killer is quite surreal to behold and certainly marks the film as somewhat unique for its period and the primitive mattes of the dolls going about their nefarious business has some attraction for the film connoisseur but that’s about it. The bolted on romance thread is terrible and seems to have been developed only to give the movie a 70 minute running time. By the way that’s Lionel Barrymore in the lead, brother of John and grand uncle of Drew, one of those Hollywood dynasties like the Fonda’s and Huston’s whose progeny continue to work in the film business. Certainly the best black and white transvestite telepathic dwarf revenge murder picture I’ve seen all year though.

The thirties was a rich period in horror film history, possibly superior to the 1970’s renaissance with the likes of ‘White Zombie‘, ‘Mark Of The Vampire‘, ‘Dr Jekyll & Mr Hyde‘, ‘The Mystery Of The Wax Museum‘, ‘The Old Dark House‘ all terrorising audiences not to mention the original ‘Frankenstein‘, ‘The Mummy‘, ‘Dracula‘ and ‘The Wolf Man‘ (which gets yet another remake early next year) establishing the tropes and traditions that have embedded themselves in popular culture for the past eighty years. I’m not sure why that era released such a crop of movies, a prelude to the horrors of the Second World War perhaps? Who knows? I do know that if these movies hadn’t scared the bejesus out of the likes of Ray Bradbury, John Landis, Joe Dante, Spielberg, Lucas and others the world would be a duller place.

Rishi Kapoor the evergreen Bollywood hero was born on September 4, 1952 in Mumbai. He was born in the famous Kapoor family of Punjabi origin and was the third generation actor in the family. What Barrymore family is for Hollywood is exactly what Kapoor family to Bollywood. Rishi Kapoor is the son of actor and director Raj Kapoor and grandson of actor Pritviraj Kapoor. Rishi Kapoor’s brother Ranbhir and Rajiv Kapoor are also well known actors. His son Ranbhir Kapoor also recently joined the family business to be the fourth generation actor in the family.

Rishi Kapoor came to spot light as a child actor in his father’s directorial movie ‘Mera Naam Jocker’. And in his teen he jump started as the next big thing in Bollywood cult movie ‘Bobby’ opposite Dimple Kapadia in 1973. It is still one of the best romantic movies ever made in Bollywood. For more than three decades he topped the list of romantic heroes. Rishi Kapoor has won several awards in long career as an actor and given several box office hits. Rather than lead roles now he plays supporting roles. His awards includes, BEFTA Special Award, National Film Award for Best Child Artist for Mera Naam Joker, Filmfare Best Actor Award for Bobby, Zee Cine Award for Lifetime Achievement, FICCI “Living Legend in Entertainment” award etc.

Director: Marc Lawrence

Genre: Romantic comedy

Summary: A failed pop star (Hugh Grant) teams up with a strange young lady (Drew Barrymore) to write a song for the analogous Cora Corman (Britney Spears + Christina Aguilara + Mandy Moore + Etc) about love for her new CD. Along the way, they both come to grips (sort of) with their regrets and find romance.

Impressions: This movie was on TBS one night when I had nothing better to do, so I just want to make it clear I didn’t rent this. However, I was surprised at how well written it was. There was good use of dramatic tension and some snappy, very-very dry dialogue from Hugh Grant that amused me more than once.

However, it has flaws, mostly in the concepts that it introduces in the beginning of the movie but never elaborates on, even at the film’s climax. There aren’t many characters: Grant, Barrymore, Barrymore’s sister (and her family), Grant’s agent, Cora Corman, and Barrymore’s ex. That’s about it. Yet for all the time spent on Grant and Barrymore’s romance, there are precious subplots sacrificed.

For example, early on in the movie we learn that Grant’s pop star partner, Colin, went on to become incredibly famous whereas Grant faded into obscurity. Never in the film is Colin mentioned again, nor is his character ever seen except in a music video and on a magazine cover, yet the situation between them is a perfect example of Grant’s frustration over trying to find satisfaction in mediocrity.

Also, in the midst of the film we learn a stunning fact about Barrymore’s character when she is forced to confront her ex boyfriend. However, there is never a conclusion to Barrymore’s dillemma regarding their feud, and in the end it remains unresolved, a backdrop to Grant’s problems though it was touted as important earlier on.

As a romantic comedy, it stands a head above the rest for some unique concepts, but as a film in general, it falls flat in some very obvious places.

3 out of 5

I know the recession is hitting us all pretty hard but when stars like Drew Barrymore can’t even afford to shave their pitts!  We are all in trouble! Someone needs to call Obama!

Girl, Shave yo damn arm pitts!

You can find this and other interesting articles on our home page.  Just click on this link   wttp://womensthougths.wordpress.com/  Hope to see you there!  

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I know, I know.. this blog is mainly about the Netherlands. But we Dutch, consider Belgium, especially the Flemmish part, as one of us. We share the same language and culture, it has also been part of the Netherlands and became independant in 1830. So this time a message from Belgium!

A anonymous womens right movement in Belgium have called out all the Belgium women NOT to wear their bra next Friday (June 26th, 2009). They claim the brassiere is a sex-object that’s forced onto women by the fashion-industry.

They claim women don’t need to wear bra’s. I, however, beg to differ. I’m pretty sure that most women, certainly the elder women, definitely need to wear a bra. Let’s be honest, the older a woman gets, the more effect gravity gets on her breasts. And in some cases, that’s not a great sight.

Feminists have claimed for years that bra’s aren’t necessary and they even deform the body. Well, I guess that that could very be the case, but that fact is not so much to blame on the bra itself as on the women wearing the wrong bra-sizes.

But hey, I’m only a guy and therefor biased, what do I know? Let’s leave it to the eyes to decide:

Many famous people have spoken up in support of gay marriage and against the California Supreme Court’s decision to uphold prop 8

Charlize Theron, Rob Thomas from Matchbox Twenty, George Clooney, Arnold Schwarzenegger, Shanna Moakler, Pete Wentz, Kelly Osbourne, Deborah Gibson, Drew Barrymore, the Kardashian sister;s and even religious celebrities like Heidi and Spencer Pratt, Britney Spears and Miley Cyrus.

A couple in the rally against prop 8 this week that caught my eye are my favorite comedian Kathy Griffin and her lovely and equally hilarious 89-y old mother Maggy.

Affiche française

Jeunes mariés, Alex et Nancy trouvent enfin la maison de leur rêve : un superbe duplex en plein coeur de Brooklyn. Certes, il va falloir casser la tirelire mais comment résister à ce petit bijou, la seule chose qui manquait à leur bonheur. Ils achètent donc cette maison, la restaurent avec soin et l’aménagent avec goût.
Mais ce nouveau nid d’amour abrite, au deuxième étage, une locataire qui fait partie des meubles : l’indélogeable madame Connelly. Son âge avancé et son apparente mauvaise santé laissent espérer à Alex et Nancy que la présence gênante de cette vieille dame ne durera qu’un temps. Hélas pour eux, madame Connelly est moins accommodante et fragile qu’escompté et ses continuelles exigences finissent par leur pourrir la vie. Alex et Nancy décident alors de réagir…

1 duplex pour 3 est un film de l’acteur Danny DeVito (Mathilda, Batman II: le défi), avec Ben Stiller (Mon beau-père et moi, La nuit au musée) et Drew Barrymore (A tout jamais, Charlie et ses drôles de dames) dans les rôles titre. Il s’agit bien d’une comédie, comme la présence de Ben Stiller le laissait supposer.

L’histoire a beaucoup de point communs avec les films français Tatie Danielle et Le viager. Un couple qui voit son quotidien gâché par une grand-mère. Alors, bien sûr, le scénario est prévisible du début jusqu’à la fin. Le ressort comique est uniquement basé sur les malheurs qui accablent le couple du film. Si vous aimez rire du malheur des autres…

Ma note:

Affiche française

Jeunes mariés, Alex et Nancy trouvent enfin la maison de leur rêve : un superbe duplex en plein coeur de Brooklyn. Certes, il va falloir casser la tirelire mais comment résister à ce petit bijou, la seule chose qui manquait à leur bonheur. Ils achètent donc cette maison, la restaurent avec soin et l’aménagent avec goût.
Mais ce nouveau nid d’amour abrite, au deuxième étage, une locataire qui fait partie des meubles : l’indélogeable madame Connelly. Son âge avancé et son apparente mauvaise santé laissent espérer à Alex et Nancy que la présence gênante de cette vieille dame ne durera qu’un temps. Hélas pour eux, madame Connelly est moins accommodante et fragile qu’escompté et ses continuelles exigences finissent par leur pourrir la vie. Alex et Nancy décident alors de réagir…

1 duplex pour 3 est un film de l’acteur Danny DeVito (Mathilda, Batman II: le défi), avec Ben Stiller (Mon beau-père et moi, La nuit au musée) et Drew Barrymore (A tout jamais, Charlie et ses drôles de dames) dans les rôles titre. Il s’agit bien d’une comédie, comme la présence de Ben Stiller le laissait supposer.

L’histoire a beaucoup de point communs avec les films français Tatie Danielle et Le viager. Un couple qui voit son quotidien gâché par une grand-mère. Alors, bien sûr, le scénario est prévisible du début jusqu’à la fin. Le ressort comique est uniquement basé sur les malheurs qui accablent le couple du film. Si vous aimez rire du malheur des autres…

Ma note:

“I have found the paradox, that if you love until it hurts, there can be no more hurt, only more love.” – Mother Teresa

“I do not pray for success, I ask for faithfulness.”  – Mother Teresa