A few weeks ago news surfaced that original The A-Team cast member Dwight Schultz who played Murdock would have a cameo role in the big-screen remake. However, he is not the only one.

Fan site Dirk Benedict Central is reporting that Dirk Benedict, who played Templeton “Faceman” Peck in the original series, will also have a cameo appearance in the new film.

Dirk has just announced to this website that he has two projects in the works beginning with a cameo appearance in the new The A-Team film, which is currently shooting in Vancouver Canada.

The A-Team is directed by Joe Carnahan and stars Liam Neeson, Bradley Cooper, Jessica Biel, Quinton Jackson, Patrick Wilson and Yul Vazquez and is out on 11 June 2010.

Although I personally love it when they do stuff like this, I am never sure if it is good or bad for the film in question – It kind of pulls you out of the moment as you go “Oh that was so-and-so from the original show” which is probably not very helpful to the new versions of the characters.

How do you feel about original actors cameoing in new versions of their shows or film?

Passengers – Mistero ad altra quota è un film del 2008 interpretato da Anne Hathaway e Patrick Wilson, e diretto da Rodrigo Garcia.

Leggi altre notizie su: | Rodrigo García | Anne Hathaway | Patrick Wilson | Andre Braugher

Por Murillo Moret

Pouco mais de um ano após o lançamento do Red Album, os californianos do Weezer lançaram um novo cd: Raditude. Não houve lançamento mundial. O cd foi às lojas, primeiramente, na Austrália, no dia 30 de outubro de 2009. Dias 2 e 3 começaram as vendas no Reino Unido e Estados Unidos, respectivamente.

O álbum foi um baque para os críticos e apreciadores do rock alternativo. Os tempos áureos do Blue Album e do Make Believe parecem que não voltarão. O Weezer tentou usar muitos artifícios eletrônicos em Raditude, o que empobreceu a sonoridade, e, praticamente não usaram da criatividade. Mesmo assim, quem sabe fazer música, sabe fazer música. Esse é o caso de Rivers Cuomo. O vocalista, mais uma vez, dá uma sobrevida a todas as músicas do álbum. Apesar de não ter letras tão bem trabalhadas, o Weezer ainda se diverte compondo e tocando.

Logo na primeira semana, Raditude chegou ao topo da lista da Billboard de cds de rock e de alternativos.

(If You’re Wondering If I Want You To) I Want You To foi divulgada no dia 18 de agosto. Primeiro single do álbum, remete a um rock mais antigo. A introdução da música é bem parecida com a de A Town Called Malice, do The Jam. I Want You To é aquela canção que você aprecia devido ao seu ritmo dançante. 2º lugar nas paradas da Billboard de músicas alternativas, perdendo apenas para Uprising, do Muse.

I’m Your Daddy e Can’t Stop Partying entram na lista de músicas: “por que raios eles fizeram isso?” I’m Your Daddy será o segundo single de Raditude e é simplesmente péssima. A Can’t Stop Partying foge do rock e entra no hip-hop/pop, com vocais do rapper Lil’ Wayne.

Das 10 faixas do cd, são poucas as que você consegue lembrar do velho Weezer. Tripping in the Freeway e The Girl Got Hot são algumas dessas. Mesmo que tenham refrões que grudam, estão numa escala de regular para bom. A Put Me Back Together poderia ser inclusa, porém, o final da música é bizonho. O fade out é simplesmente horrível e parece com muitas bandas de pop-rock que se vangloriam por acharem que fazem música.

As duas últimas faixas são as melhores. In The Mall, escrita pelo baterista/guitarrista Patrick Wilson é a música que mais convence em Raditude. I Don’t Want To Let You Go, mesmo sendo lenta e com samplers, pode fazer sucesso.

O álbum também foi lançado na versão Deluxe. São quatro músicas a mais: Get Me Some, Run Over by a Truck, The Prettiest Girl in The Whole Wide World e The Underdogs.

Por que vale a pena ter o Deluxe? Porque são essas melhores músicas do cd, principalmente Get Me Some, devido as guitarras pesadas e a mistura com elementos folk, e Run Over By a Truck, em função do piano.

Impressão do primeiro single: 7.0

Letras: 4.5

Sonoridade: 7.0

Criatividade: 4.0

Impressão final: 6.0

Ficha técnica: Raditude. 33′ (normal)/53′29” (Deluxe). Faixas: (If You’re Wondering If I Want You To) I Want You To, I’m Your Daddy, The Girl Got Hot, Can’t Stop Partying, Put Me Back Together, Trippin’ Down the Freeway, Love Is the Answer, Let It All Hang Out, In the Mall, I Don’t Want to Let You Go. Inclusas na versão Deluxe: Get Me Some, Run Over by a Truck, The Prettiest Girl in the Whole Wide World, The Underdogs.

Para baixar, clique aqui.

Well, that’s being a little facetious, isn’t it? Ok, ok. It’s not the best, but damn it’s smooth.

Reviews are mixed on this bad boy, but I’m hear to dispel all of your fears, and calm your Weez-ing worries.

Let’s get this straight: This album is not “The Red Album.” I repeat: Not “The Red Album”. What made the former CD so great was that it was reminiscent of Weezer heyday, while still dipping toes into new territory. And it worked. “Raditude” is a totally different beast, and (dare I say it?) maybe even an extension off of 2005’s “Make Believe.” I know what you’re thinking, but this ain’t no “Beverly Hills” shit.

“Raditude” is exactly what you would expect from a Weezer record: Simple and fun, with phenomenol hooks. It’s a bit mainstream, but what this album’s critics curiously don’t understand is that Weezer have always been mainstream! Thinking otherwise is absurd.

That said, the new single is such a poor frontrunner. “(If You’re Wondering If I Want You To) I Want You To)” doesn’t really do it for me. It’s a little plain, mega repetitive, and way too long to type. But on the second track, “I’m Your Daddy,” we’re comforted by the same Rivers Cuomo who’s always been around: A sleek-geek rocker who’s still unsure and uncomfortable around the ladies. And damn does that make a killer pop song or two.

“Can’t Stop Partying” is sure to catch like a rapid forest fire. Or maybe an unwanted STD of some sort – You can try to fight it, but it’s become a part of you that you can’t escape. Lil Wayne guests on this and raps the song to its completion, while Jermaine Dupri joins Rivers for the writing credit. It’ll pump at college parties, it’ll take over mainstream radio, and hardcore Weezer fans will probably learn to loathe it, but I sure don’t. Call it a guilty pleasure. I’ll take it.

“Trippin’ Down the Freeway” is classic Weezer at its best. It’s sweet and happy. It’s about finding the perfect gal who’s “got the Shirly Applebee look”. It’s upbeat and catchy…doesn’t everyone just want to find Mr. or Mrs. right and then go trippin’ down a freeway? So simple, yet so profound. (Though not a coincidece – what a great driving song!)

Though there will be haters, give “Raditude” a shot before drinkin’ all that Kool-Aid.  If you’re looking for some trendy, pretentious indie to dissect, I’m sure you’ll enjoy the Monsters of Folk record. Or you can wait for Vampire Weekend’s sophomore release in January. But if you don’t hate fun, “Raditude” is a party starter.

Nice Sunday, huh?

Qué tal, todos!

Una persona muy cercana a mi es fan de los temas espirituales, los viajes astrales, las almas, en breve, she’s really into all that supernatural stuff! Entonces, decidimos ir a ver una película con la guapísima Anne Hathaway (cuando crezca, quiero ser como ella!). En español le pusieron Almas Pasajeras, pero el título original es simplemente Passengers (2008).

Passengers es un thriller centrado en Claire Summers (Hathaway), una joven, soltera, atractiva y estoica psicóloga que intenta ayudar a un grupo de  personas a reponerse de un trauma mayor: un accidente de avión. A través de los testimonios de cada paciente, Claire intenta reconstruir el accidente para descubrir la verdadera razón por la que el avión se estrelló. Uno de sus pacientes, Eric (Patrick Wilson), le enseña la importancia del perdón, de vivir plenamente, y de expresarse abiertamente sin tratar de esconder o controlar sentimientos tan fundamentales como el amor.

Dirigida por el colombiano Rodrigo García (sí, hijo de García Márquez), la película resulta ser una The Others (2001) pero menos creíble, lenta, aburrida, extremadamente predecible (dado el exceso de lugares comunes identificables), y bastante mal relatada. Y qué decir del fallido final, que resulta por demás cursi y hasta soso. No cabe duda que la gran pluma del admirable Gabo no necesariamente  se transmitió a su hijo en el ámbito cinematográfico… no al menos en Passengers.

Sin embargo, siempre es bueno que se formen su propia opinión, así que si les gustan los temas que exploran la existencia de la vida después de la muerte, quizá les venga bien ver esta película. Por lo pronto, xoxo…

hold still, I'm gonna pick you up by your head.

PG-13

Anne Hathaway, Patrick Wilson, David Morse

Claire: Anyways, these aren’t my normal office hours.
Eric: Well, I’m not a patient.
Claire: Nooo, you’re just a creepy guy standing at my door in the middle of the night.
Eric: A lovely man…intriguing.
Claire: Ok, goodnight.
Eric: You don’t think so?
Claire: I’m not going to stand here and debate your loveliness.

After a plane crashes and only a handful of people survive, Claire (Hathaway) is assigned to the group as their grief counselor.  When she gets differing stories on what happened before the crash, and some of the group members seem to mysteriously disappear, Claire begins to wonder if the airline is covering something up.

“When I grow up, I want to be an M. Night Shyamalan movie!”  That’s what I felt like this movie was screaming throughout its running time, especially at the end.  I don’t want to say anything spoiler-like, but I’d be remiss if I didn’t mention that I hate twist endings that render the rest of the movie as essentially pointless.  Especially when it’s a pretty dumb ending.  Which this was.

It felt like a waste of some quality actors as well.  Hathaway and Wilson were both fine, but then you’ve got David Morse, Dianne Wiest, Clea DuVall, and Andre Braugher all in smaller, one-note roles.  I suppose Morse fared the best out of that group, with a creepy-turn-sympathetic role, but for the most part, this was Anne Hathaway’s show.

I will say that, after I adjusted to the silliness of the big twist, there were some legitimately touching moments in the last few minutes of the movie.  I just had to put it out of my mind that it wasn’t making much sense and enjoy it for what it was.

Still, it’s hard to say that a movie is worth watching when the entirety of it is just there to set up one final concept.  Especially when the set up is dark, slow, and riddled with almost non-stop moody piano music.  Atmosphere does not equal interesting!  There needed to be better dialogue and more well developed characters.  And less piano music!

Belinda Carlisle may have been right…

10 – 2 for not having very well written characters and dialogue – 2 for that silly ending twist – .7 for all the piano music and dark atmosphere = 5.3

Sensacional o contexto, filme muito bom, conseguiu falar de super-heróis sem que ficasse bobo, forçado, etc.  Meu personagem preferido é o Rorschach e o momento que mais gostei foi o final da cena em que Dr. Manhattan é entrevistado.

Hard Candy: a character-driven modern thriller that feels like the most extreme episode of ‘To Catch A Predator’. Right from the opening IM conversation you know this film will be difficult to watch, and the first 20 minutes are among the most awkward I’ve seen. Because there’s only two characters the story’s very neat and wrapped up tightly: Ellen Page is nothing short of phenomenal and Patrick Wilson was great. David Slade made a good job of making the film feeling cold, minimal and clinical, although colour is used very effectively, and his direction throughout is spot on. Guys will always remember what happens off-screen and there’s a few more scenes that stuck with me since I originally saw it in the cinema. By the end, it begins to feel a little stretched out, and it does make you question how a kid could execute this plan so perfectly. Fantastic feature-length debut, but hard-hitting content will be too uncomfortable for some.

Score: 8/10

När ett passagerarplan störtar överlever bara ett fåtal och psykologen Claire (Anne Hathaway) får i uppdrag att ha terapeutiska samtal med dem alla. Antalet personer i den lilla gruppen blir dock färre och färre, då den ene efter den andre spårlöst försvinner mellan sejourerna. Försöker flygbolaget sopa undan spåren efter något man inte vill ska se offentlighetens ljus? Samtidigt faller Claire för en av överlevarna (Patrick Wilson) som också verkar ha begåvats med smått oförklarliga krafter efter olyckan.

Ibland händer det att den bild man skapat sig av en film utifrån trailers och annan marknadsföring skiljer sig drastiskt från den faktiska rullen. Så är fallet vad gäller Passengers. Det jag trodde skulle vara en rätt läskig film någonstans i gränslandet mellan thriller och rysare var istället ett rätt billigt mysteriedrama som försöker sig på att vara något i stil med Sjätte sinnet. Handlingen faller tyvärr platt och det är trist att se duktiga Wilson, Dianne Wiest och David Morse i den här ljumma soppan.

Betyg: 2

Patrick Wilson

On Monday night, some of today’s hottest actors came to the new Times Center in New York City to honor the industry’s top casting directors at the 25th Annual Artios Awards. I spoke with actor Patrick Wilson (“All My Sons,” “Watchmen,” “Little Children”) at the pre-ceremony reception, before the lights dimmed and he presented several of the night’s awards — and he actually seemed excited to see us!

Does this mean you used to read the Back Stage casting notices when you began your acting career?

Patrick Wilson: I started pre-internet! Absolutely, my first job was from Back Stage, though.

Do you remember what that first gig was?

I used to get Back Stage when I was in college – well, I had friends who got it and would tell me about it, and my friends and I would drive up from Pittsburgh [to auditions in New York]. I auditioned for so many things then, let me think… My first job was “Miss Saigon,” which I got out of Back Stage West.

But even though I had an agent, I would still go to open calls or EPAs, you know. It’s what I tell young actors now: Just because you get an agent doesn’t mean the work stops, or the pursuit stops. A couple times you’ll get cross-referenced, like “Yeah, so I got you an appointment,” and you’re like “Oh yeah, I already went in for that.” And they’re like, “What?”

Did you lose a lot of agents that way?

No, I’ve always had great agents. (laughs)

So what brings you to the Artios Awards tonight, and what do casting directors mean to you as an actor?

I got a call from [Artios Award-nominated casting director] Ellen Lewis, actually… But casting directors in New York have almost the same view as in London. Actors in London are always put back in forth in TV and film and stage, and it’s great here that casting directors really appreciate that, and have that very same sentiment.

Do you feel that’s different from the approach in L.A.?

I remember being in L.A. to audition one of my first movie jobs out there. I’d already, I think, been nominated for two Tonys here. So I’d certainly made a little bit of a name for myself. I had a resume. I think I’d been doing it for eight years or something.

And I said [to the casting director], “Hey, nice to meet you,” and literally the response I got was, “I thought you were British.” And I was like, “Why?”

They said, “Well, I don’t know. I’m sorry, but you’re 30 and I’ve never heard of you, and I know you did a lot of theater.” (laughs) “So I’m British?”

That’s an absolute true story. But you know, more often than not, the great casting directors know everybody, and that’s the great thing about these awards. The love that they have for actors is really, really strong and so evident. It’s so easy to come to something like this, not just because they have your destiny in their hands – because you know, it’s such a fickle business and you never know who pulls the triggers. It’s not like we come here for a favor. I come here to support all these people that I’ve known that have hired me a lot, or that have not hired me a lot.

You’ve been part of a lot of great ensemble casts, like “Watchmen” and “Angels in America.” Do you think ensembles accentuate the strengths of the casting director?

I mean, that is all about casting. Truthfully, I’ve heard two very well-known and established directors who said directing is 80 percent casting.

Meanwhile, Ellen Lewis told me earlier tonight, “I do my job as the casting director, but it’s really the director’s movie, and film is a director’s medium.”

She’s so humble about it. But I mean, look at “Little Children.” [Director] Todd Field comes into town and says, “I need actors.” And the great thing is, Todd Field didn’t care about who had done how many movies. Ellen gets together the best actors, even if it’s not the hottest up-and-comer or this and that. You look across the board and so many of those smaller parts [are actors] that have been in so many Broadway shows or Off-Broadway shows, and they’re great actors. And that’s when an ensemble like that works, because the casting director’s like, “Yeah, I know you have the jobs for the leads, but how about these actors for the other six roles that are going to really bring it all together?”

Your relationship with Jackie Earle Haley was the strongest part of the “Watchmen” movie cast, in my opinion. Do you think that was because you had worked together on “Little Children” previously?

Oh, thank you. Yeah, because [director] Zack Snyder’s wife was our producer, and she was the one who saw “Little Children” and said, “You should look at these guys.” Even though we actually only had one scene [together in "Little Children"], we overlapped a lot, so I would see him quite a bit on set. But anytime you’ve got a common bond going into something, there is an understood language.

I visited him two weeks ago on a shoot, you know, while he was working in Vancouver. We’re really good friends.

So in the end, the casting director kind of brings people together and creates new friendships?

Absolutely.

This Q&A was posted online Nov. 4, 2009 at Blog Stage.

Michael Shannon and Elizabeth Reaser congratulate the winners at the Artios Awards.

Casting directors came out from behind the curtain to be honored by their peers last night at the 25th Annual Artios Awards.

The bi-coastal awards, which were held simultaneously at the new Times Center in New York City and the Hyatt Regency Century Plaza Hotel in Los Angeles, are presented yearly for outstanding achievement in casting in theater, film, and television categories on the criteria of originality, creativity, and contribution of casting to the overall quality of a project.

Celebrity awards presenters in New York were Patrick Wilson (“Little Children,” “Angels in America”), Carrie Preston (“True Blood”), Michael Shannon (“Revolutionary Road”), Jennifer Morrison (“House”), Bill Pullman (“Oleanna”), Christine Ebersole (“Grey Gardens”), Vincent Kartheiser (“Mad Men”), and Elizabeth Reaser (“Twilight”). Stanley Tucci and producer Daryl Roth presented the New York Big Apple Award to Nora Ephron and Delia Ephron, whose “Love, Loss and What I Wore” recently opened Off-Broadway to rave reviews.

The event was hosted in New York by comedian Janeane Garofalo, who admitted the stakes are a little higher when you’re responsible for honoring your potential employers. “One would hope I don’t fail,” Garofalo said before the ceremony. “I can’t imagine it would be helpful if I do poorly tonight — unless they were casting for somebody who was failing at something. So hopefully I will not embarrass myself.”

But on this night, the actors were happy to step out of the spotlight, as they were given a rare opportunity to celebrate many of the behind-the-scenes heroes who have secretly shaped their careers. These A-listers seemed genuinely thrilled to attend and show their support for the CSA members being recognized.

“The director’s not going to know everybody out there,” Shannon said while speaking with Pullman and Artios Award-nominated casting director Ellen Lewis (“Revolutionary Road”) before the ceremony. “I mean, they’re very busy doing all the things they have to do, so it’s up to the casting directors to bring in the stack of photos and say, ‘Think about it.’ Without casting directors like Ellen, I’d just be sitting at home. It’s a big deal.”

While casting directors can be intimidating figures to the many young up-and-coming actors toiling at open calls, the night’s guests shared an almost familial bond with the actors they have worked with. Both Pullman and Shannon were thankful for the faith that certain casting directors had shown them early in their careers.

“I can remember getting called back for a movie that I didn’t think I was right for,” Pullman said. “You know, ‘artios’ means ‘appropriately fit’ [in Greek], but I think a lot of times you want casting directors who will try and make you fit something even if you’re not right for it.”

“I play more against doing what people think I do,” Shannon added. “You get put into a box, and casting directors help me try and get out of that and are instrumental in saying, ‘You know, you might be able to do this too.’”

“I love casting,” Lewis responded, “and I love actors, and I love directors, and I love trying to figure out how to create that world that the director is trying to see. You try to give a director some different ideas for how something can be played. Sometimes they’re surprised by it and it does go a different direction, but it is really fulfilling. And I just think that it’s great that within our own community that we have this acknowledgement of what we do.”

Patrick Wilson also credits Lewis, among other casting directors, with shaping his career as an actor. “When movies come here [to New York] to shoot, they always know they’re going to get great actors, even in the smallest parts, because these casting directors have such a knowledge of every actor in this city,” Wilson said. He used casting director Bernie Telsey as an example: “As actors, you really reap the benefits of that because when you ask, ‘Who casts for movies?’ Well, the same guy who cast you in that Off-Broadway show. So New York is great that way.”

Telsey, who was nominated for several Artios Awards for his work casting New York theater productions including “Speed-the-Plow,” “Rock of Ages,” “Blithe Spirit,” and “reasons to be pretty” this year, said he was less concerned with winning an award than recognizing the work of his fellow casting directors.

“It’s less about separating one from the other,” Telsey said, “and it’s even less about rewarding ourselves. But it’s a chance to communicate and gather together, and basically truly celebrate the art of casting in all mediums, from television to daytime to musicals, plays, movies. It’s really about celebrating all casting directors, rather than who wins or who doesn’t win. What’s important is that people recognize what it is that we do.”

2009 Artios Award Nominations for Outstanding Achievement in Casting (winners in bold):

Big Budget Feature – Drama
“Changeling,” Ellen Chenoweth
“The Dark Knight,” John Papsidera
“Duplicity,” Ellen Chenoweth
“Star Trek,” April Webster, Alyssa Weisberg
“State of Play,” Avy Kaufman*

Big Budget Feature – Comedy
“Burn After Reading,” Ellen Chenoweth
“Confessions of a Shopaholic,” Denise Chamian*
“Get Smart,” Roger Mussenden
“Tropic Thunder,” Francine Maisler*
“Yes Man,” David Rubin/Richard Hicks

Feature – Studio or Independent Drama/Comedy
“Doubt,” Ellen Chenoweth
“Frost/Nixon,” Janet Hirshenson, Jane Jenkins
“Milk,” Francine Maisler, Nina Henninger (Location Casting)
“Revolutionary Road,” Ellen Lewis, Debra Zane
“The Wrestler,” Mary Vernieu*

Low Budget Feature – Drama/Comedy
“Choke,” Mary Vernieu*
“The Lodger,” Donald Paul Pemrick, Dean E. Fronk
“Phoebe in Wonderland,” Avy Kaufman, Deborah Aquila, Jennifer Smith
“Sugar,” Cindy Tolan
“Sunshine Cleaning,” Avy Kaufman

Carrie Preston and Patrick Wilson reveal the winners at the Artios Awards.

Animation Feature
“Space Chimps,” Matthew Jon Beck
“The Tale of Despereaux,” Debra Zane
“UP,” Kevin Reher, Natalie Lyon

Short Film
“Big Days Ahead,” Patrick Baca
“Bye Bye Sally,” Jason Wood
“The Monday Before Thanksgiving,” Randi Hiller
“Spleenectomy,” Randi Hiller

Television Pilot – Drama
“Fringe,” April Webster, Lonnie Hamerman*
“The Mentalist,” Robert J. Ulrich, Eric Dawson, Carol Kritzer
“The No. 1 Ladies Detective Agency,” David Rubin, Richard Hicks*
“Southland,” John Frank Levey*
“Trueblood,” Junie Lowry Johnson*

Television Pilot – Comedy
“Eastbound and Down,” Juel Bestrop, Seth Yanklewitz, Craig Fincannon/Lisa Mae Fincannon (Location Casting)
“Easy Money,” Gayle Pillsbury, Bonnie Zane*
“Glee,” Robert J. Ulrich, Eric Dawson, Carol Kritzer, Jim Carnahan (NY Casting)
“In The Motherhood,” Collin Daniel, Brett Greenstein

Television Series – Drama
“Big Love,” Junie Lowry Johnson*
“Damages,” Julie Tucker, Ross Meyerson
“Friday Night Lights,” Linda Lowy*
“In Treatment,” Alexa L. Fogel
“Mad Men,” Laura Schiff, Carrie Audino

Television Series – Comedy
“Californication,” Felicia Fasano
“Flight of the Conchords,” Cindy Tolan
“Pushing Daisies,” Meg Liberman, Cami Patton, Jennifer Lare
“The United States of Tara,” Cami Patton, Elizabeth Barnes
“Weeds,” Dava Waite Peaslee

Television Movie
“24 Redemption,” Debi Manwiller, Peggy Kennedy*
“Grey Gardens,” Ellen Parks, Robin D. Cook (Location Casting)
“Living Proof,” Susan Edelman, Mark Fincannon/Lisa Mae Fincannon (Location Casting)
“Loving Leah,” Lynn Kressel
“Prayers for Bobby,” Shana Landsburg*

Mini Series
“XIII: The Conspiracy,” Wendy O’Brien*, Lisa Parasyn (Location Casting)
“Generation Kill,” Alexa L. Fogel
“Maneater,” Tammara Billik, Jason Wood

Children’s Series Programming
“The Electric Company,” Patricia McCorkle
“Hannah Montana,” Carol Goldwasser, Howard Meltzer
“iCarly,” Krisha Bullock
“True Jackson, VP,” Krisha Bullock, Harriet Greenspan
“Wizards of Waverly Place,” Ruth Lambert, Robert McGee

Animation TV Programming
“Mighty B!,” Sarah Noonan*
“The Life and Times of Tim,” Ruth Lambert, Robert McGee
“The Penguins of Madagascar,” Sarah Noonan, Meredith Layne
“Rick & Steve, The Happiest Gay Couple in All the World,” Gillian O’Neill
“Sit Down Shut Up,” Ruth Lambert/Robert McGee

Daytime Series
“As the World Turns,” Mary Clay Boland
“Days of Our Lives,” Marnie Saitta
“General Hospital,” Mark Teschner
“Guiding Light,” Rob Decina
“The Young and the Restless,” Camille St. Cyr

L.A. Theater
“Crowns,” Michael Donovan
“The Fantasticks,” Michael Donovan
“Les Misérables in Concert,” Bruce Newberg
“Man of La Mancha,” Michael Donovan
“Once On This Island,” Amy Lieberman

Broadway Theater – Drama
“33 Variations,” James Calleri
“All My Sons,” Cindy Tolan
“Joe Turner’s Come and Gone,” Daniel Swee
“Reasons to be Pretty,” Bernard Telsey, Will Cantler
“The Seagull,” Jim Carnahan

NY Broadway Theater – Comedy
“Blithe Spirit,” Bernard Telsey, Will Cantler
“Exit the King,” Daniel Swee
“God of Carnage,” Daniel Swee
“Speed the Plow,” Bernard Telsey, Will Cantler
“Waiting for Godot,” Jim Carnahan

NY Broadway Theater – Musical
“9 to 5,” Bernard Telsey, Craig Burns
“Billy Elliot,” Tara Rubin, Merri Sugarman, Laura Schutzel, Eric Woodall, Nora Brennan
“Pal Joey,” Bernard Telsey, Jim Carnahan
“Rock of Ages,” Bernard Telsey, Tiffany Little Canfield
“Shrek,” Tara Rubin, Merri Sugarman, Laura Schutzel, Eric Woodall

NY Off-Broadway – Comedy/Musical
“Fault Lines,” Howie Cherpakov
“Happiness,” Tara Rubin, Laura Schutzel, Eric Woodall, Merri Sugarman
“Offices,” Bernard Telsey, Will Cantler
“The Third Story,” Bernard Telsey, Will Cantler
“Three Changes,” Alaine Alldaffer

NY Off-Broadway – Drama
“Boy’s Life,” Bernard Telsey, Will Cantler
“The Bridge Project,” Nancy Piccione*
“Farragut North,” Bernard Telsey, Will Cantler
“Ruined,” Nancy Piccione*
“Uncle Vayna,” James Calleri

Regional Theater East
“Death of a Salesman,” Tara Rubin, Laura Schutzel, Eric Woodall, Merri Sugarman
“The Glass Menagerie,” James Calleri
“Turn of the Century,” Jay Binder*
“Unusual Acts of Devotion,” Bernard Telsey, Will Cantler/Tiffany Little Canfield
“To Kill a Mockingbird,” Bernard Telsey, Will Cantler

Regional Theater West
“Cornelia,” Samantha Barrie
“The Little Foxes,” Michael Donovan
“Our Mother’s Brief Affair,” Joanne DeNaut
“Pippin,” Bonnie Grisan, Erika Sellin
“Stormy Weather,” Michael Donovan*

SPECIAL HONOREES:

CAREER ACHIEVEMENT AWARD
Laura Ziskin

HOYT BOWERS AWARD
John Frank Levey

THE NEW YORK BIG APPLE AWARD
Nora & Delia Ephron

(*Shared credit with non-CSA member)

This story was originally published Nov. 3, 2009 online at BackStage.com.

Personaje:

Hayley Stark (Ellen Page) – o fata de 14 ani, foarte matura si cu un mod de a gandi de-a dreptul impresionant

Jeff Kohlver (Patrick Wilson) – un fotograf in varsta de 32 de ani, care intra in vorba cu Hayley pe chat

Pe parcurs, mai apar doar alte 3 personaje (vecina, primul fotomodel si un vanzator), dar cele 2 de mai sus sunt cele mai importante.

Filmul incepe cu un schimb de replici intre Hayley si Jeff pe chat, flirtand unul cu altul. Hotarasc sa se intalneasca “pe viu”, asa ca se gasesc intr-un fel de cofetarie, unde el ii face cinste cu dulciuri si ii cumpara un tricou. Fata insista sa mearga la el acasa si asa si ajunge sa faca. Acolo, ea descopera “home-studio”-ul tipului, fotografiile si prepara screwdrivers  (vodca si suc de portocale). Dupa ce bea, Jeff ameteste si cade inconstient la podea datorita drogului din bautura. De aici incolo, Hayley il are la degetul mic. Il tine strans legat in timp ce ea cauta dovezi care sa-i evidentieze pedofilia tipului. Astfel, vanatorul devina victima si invers. In cele din urma, Hayley il duce in pragul disperarii iar acesta ajunge sa … (I won’t spoil it).

Pe parcursul filmului nu se aude decat prea putina muzica (soundtrack). In schimb, prestatia actorilor si felul in care a fost regizat thrillerul compenseaza. Desi poate suna plictisitor un film numai din 2 personaje, acesta ramane interesant pana la final, intrebandu-te “ce urmeaza acum?” sau “ce mai gaseste Hayley acum?” , etc.

E fascinanta schimbarea brusca a atitudinilor lui Jeff si Hayley si evolutia intensa a trairilor lor; ajungi sa gandesti ca unul din ei.

In concluzie: MERITA VAZUT!

Casa de productie : Lions Gate Entertainment
Director : David Slade
Release Date: April 14th  2006
Genre : Psychological thriller
Durata : 103min

Autor recenzie : Lorena
Data : 28 octombrie 2009
Nota : 10/10

I’m so totally sad that Green Day is not as cool as Weezer.

As Weezer gets more radically awesome… Green Day slips into the mtv culture cesspool… see their “21st Century Breakdown” video directed by Marc Webb

Maybe it has to do with all the “Raditude”  that’s coming out Nov. 3, or maybe it’s the fact they are designing a snuggie…

I digress I was actually going to talk about their new music video “I want you to” which was also directed by (500) Days of Summer director Marc Webb.

The colors, the clothing, and the humor are spot on and totally in line with the fashion and musical senses of Weezer. Also I love the flair of the Twilight Zone splashed around in this video.

I must show a few still shots from the video because I’m a terrible mess at embedding.

Firstly I’m suprised Isabel has never vacationed here:

And here’s some River’s I’m digging his hair:

And this is Brian who is a slick, and dreamy car attendant:

I think Scott should always wear suspenders:

And here’s Pat playing a “dangerous” game”:

Here’s a very strange barber shop quartet consisting of exponential weezies:

and finally the whole band mostly together:

I can’t figure how to embed the video so you can see Weezer’s awesome video for ” I want you to” at the linky here. Enjoy!

♫lauren

Juro que não dava nada por este filme. Não foi uma grande surpresa? Curioso retrato das relações de poder envolvendo os gêneros nos dias atuais. Ellen Page interpreta uma adolescente que é seduzida pelo fotógrafo pedófilo, Patrick Wilson, e o resto vocês sabem, neah? O feitiço se vira contra o feiticeiro, etc. A Page conseguiu fazer a personagem mais irritante dos últimos tempos. Ela exagera e fica caricata mesmo, é de torcer pro tadinho do pedófilo matar a lolitinha víbora. O gato do Patrick Wilson parece não ter se esforçado tanto pro seu papel, ou foi a Page que se entregou demais? Eu sei que eu vou mentalizar o nome do diretor britânico David Slade, que conseguiu fazer um thriller ágil, sufocante e controverso.

Un film del 2009, regia di Zack Snyder, con Carla Gugino / Malin Akerman / Billy Crudup / Patrick Wilson. Prodotto da Universal Pictures (163min)

Azione / Fantascienza / Fantastico / Thriller

Dopo il brutale omicidio di uno dei leggendari Minutemen, eroi mascherati ormai di mezza età, i suoi ex compagni si ritrovano per cercare di fare chiarezza sul caso, sospettando che qualcuno stia mirando al loro annientamento. Mentre proseguono con le indagini, però, scoprono un piano spaventoso su scala ancora più vasta.

Sinopse: Após a queda de uma avião, a jovem psicóloga Claire (Anne Hathaway) é escalada para dar apoio psicológico aos que sobreviveram ao acidente aéreo. Na medida em que conhece suas memórias relacionadas ao acidente, a psicóloga fica particularmente intrigada por Eric (Patrick Wilson), o maisenigmático dos sobreviventes. Quando os passageiros começam a desaparecer misteriosamente, Claire desconfia que um deles pode ter a resposta para o mistério.

Gostei do filme… o final é bom, tem suspense, é engraçado,não vou comentar muito porque senão estraga a surpresa para quem quer assistir…

Segue abaixo o download do filme via Torrent: