From: ShockYa.com
MGM just released this new movie trailer for the upcoming film “Fame” starring Asher Book as Marco, Kristy Flores as Rosie, Paul Iacono as Neil, Paul McGill as Kevin, Naturi Naughton as Denise, Kay Panabaker as Jenny, Kherington Payne as Alice, Collins Pennie as Malik, Walter Perez as Victor, and Anna Maria Perez de Tagle as Joy. Their instructors include Debbie Allen as Principal Simms, Charles S. Dutton as Alvin Dowd, Kelsey Grammer as Joel Cranston, Megan Mullally as Fran Rowan, and Bebe Neuwirth as Lynn Kraft.
Film Synopsis: A reinvention of the original Oscar-winning hit film, Fame follows a talented group of dancers, singers, actors, and artists over four years at the New York City High School of Performing Arts, a diverse, creative powerhouse where students from all walks of life are given a chance to live out their dreams and achieve real and lasting fame…the kind that comes only from talent, dedication, and hard work.
In an incredibly competitive atmosphere, plagued by self-doubt, each students passion will be put to the test. In addition to their artistic goals, they have to deal with everything else that goes along with high school, a tumultuous time full of schoolwork, deep friendships, budding romance, and self-discovery.
As each student strives for his or her moment in the spotlight, theyll discover who among them has the innate talent and necessary discipline to succeed. With the love and support of their friends and fellow artists, theyll find out who amongst them will achieve Fame.
Showing posts with label kelsey grammer. Show all posts
Showing posts with label kelsey grammer. Show all posts
Sunday, 12 April 2009
Kelsey Grammer To Receive Inaugural NAB Television Chairman's Award
From: iCelebz.com
Four-time Emmy and two-time Golden Globe winner Kelsey Grammer will receive the Television Chairman's Award from the National Association of Broadcasters (NAB). The screen and television star will receive the award at the NAB Show Television Luncheon on April 20th.
According to the press release, the Television Chairman Award "recognizes individuals for a significant breakthrough in one or more specific art disciplines in television." The luncheon will be hosted by Tracee Ellis Ross, star of the hit show "Girlfriends," which Grammer served as Executive Producer.
Grammer is best known for his eleven-season run on the critically acclaimed "Frasier," which was voted as one of the best sitcoms of all time in a British poll. He also currently serves as Executive Producer of the CW hit "The Game" and the NBC drama "Medium."
Grammar can next be seen in the upcoming big-screen remake of the 80's dance classic "Fame," as well as the Tim Allen-directed comedy "Crazy on the Outside." He is also heading a pilot for ABC which is currently in development.
Four-time Emmy and two-time Golden Globe winner Kelsey Grammer will receive the Television Chairman's Award from the National Association of Broadcasters (NAB). The screen and television star will receive the award at the NAB Show Television Luncheon on April 20th.
According to the press release, the Television Chairman Award "recognizes individuals for a significant breakthrough in one or more specific art disciplines in television." The luncheon will be hosted by Tracee Ellis Ross, star of the hit show "Girlfriends," which Grammer served as Executive Producer.
Grammer is best known for his eleven-season run on the critically acclaimed "Frasier," which was voted as one of the best sitcoms of all time in a British poll. He also currently serves as Executive Producer of the CW hit "The Game" and the NBC drama "Medium."
Grammar can next be seen in the upcoming big-screen remake of the 80's dance classic "Fame," as well as the Tim Allen-directed comedy "Crazy on the Outside." He is also heading a pilot for ABC which is currently in development.
Sunday, 7 December 2008
Kelsey Grammer Wants to Live Forever, Learn How to Fly
From: GetTheBigPicture.net
It didn't dawn on me while watching his recent Dr. Pepper commercial, but after this bit of new I have to wonder: Did Kelsey Grammer not take care of his money? I mean, playing Frasier Crane on Cheers made him a wealthy man, but playing that character for another dozen years or whatever it was on Frasier made him obscenely rich. So why in the name of David Hyde-Pierce is he joining the cast of the Fame remake?
Grammer will join Megan Mullally, Charles S. Dutton, Bebe Neuwirth, and Debbie Allen in the cast, and of course, Neuwirth spent 20 years popping up as Frasier's bitter half, Lilith. They'll all play teachers and school administrators in the remake, which has already begun filming and will be released on September 25th, according to The Hollywood Reporter.
It didn't dawn on me while watching his recent Dr. Pepper commercial, but after this bit of new I have to wonder: Did Kelsey Grammer not take care of his money? I mean, playing Frasier Crane on Cheers made him a wealthy man, but playing that character for another dozen years or whatever it was on Frasier made him obscenely rich. So why in the name of David Hyde-Pierce is he joining the cast of the Fame remake?
Grammer will join Megan Mullally, Charles S. Dutton, Bebe Neuwirth, and Debbie Allen in the cast, and of course, Neuwirth spent 20 years popping up as Frasier's bitter half, Lilith. They'll all play teachers and school administrators in the remake, which has already begun filming and will be released on September 25th, according to The Hollywood Reporter.Said MGM's Mary Parent in carefully chosen words that were likely first strung together by someone in the studio's marketing department, "This picture is a celebration, a testament to people pursuing their dreams, so we set out to find talented actors who could both convincingly instruct onscreen and also inspire audiences."
Now, as such things go, all five of those actors have plenty of training for the stage, with some Julliard, Yale, and American School of Ballet thrown in among a couple of Tony Awards, so it's actually good casting when you think about it.
Remakes are a pretty hot topic, and it seems like whenever we talk about one, the common response is that there's no originality in Hollywood. That's patently untrue. But originality doesn't always sell, and if you want original so badly, stop giving half a billion dollars to Batman movies. I don't care one way or the other about a Fame remake. The original film was neither too good nor too bad for a remake. It's completely harmless. Even if they made an "original" movie about the same thing, it would basically be Fame anyway, so what's the difference?
Still, you'd think Grammer would be content just sitting on the beach in Maui.
Friday, 1 August 2008
Hyde Pierce: 'Grammer Is A Tough Old Coot'
From: IMDB.com
Kelsey Grammer is on the road to recovery after another health scare in New York at the weekend, according to his former Frasier co-star David Hyde Pierce.
Grammer was taken to a medical centre in the city on Sunday night, after feeling faint - just a month after he suffered a near-fatal heart attack.
His representative has revealed medics carried out tests and altered the medication he was on.
The 53-year-old actor was discharged on Tuesday, and Hyde Pierce - who played his onscreen brother in the long-running U.S. sitcom - has already been in touch.
He says, "He's doing great. He's out of the woods. He sounded great on the phone. He's a tough old coot."
Kelsey Grammer is on the road to recovery after another health scare in New York at the weekend, according to his former Frasier co-star David Hyde Pierce.
Grammer was taken to a medical centre in the city on Sunday night, after feeling faint - just a month after he suffered a near-fatal heart attack.
His representative has revealed medics carried out tests and altered the medication he was on.
The 53-year-old actor was discharged on Tuesday, and Hyde Pierce - who played his onscreen brother in the long-running U.S. sitcom - has already been in touch.
He says, "He's doing great. He's out of the woods. He sounded great on the phone. He's a tough old coot."
Thursday, 31 July 2008
X-Men Auctions
Want to get your hands on some real X-Men articles.
Check out these online auctions:
-Hugh Jackman Wolverine leather jacket from X-Men.
-Original Cyclops visor from X-Men: The Last Stand.
-Ian Mckellen & Anna Paquin costumes from X-Men.
-Sabertooth and Toad costumes from X-Men.
-Kelsey Grammer grad. ring X-Men: The Last Stand.
Check out these online auctions:
-Hugh Jackman Wolverine leather jacket from X-Men.
-Original Cyclops visor from X-Men: The Last Stand.
-Ian Mckellen & Anna Paquin costumes from X-Men.
-Sabertooth and Toad costumes from X-Men.
-Kelsey Grammer grad. ring X-Men: The Last Stand.
Friday, 6 June 2008
Beast Suffers Heart Attack
From: 
Dr. Frasier Crane in real-life medical emergency.
by IGN Stars
June 2, 2008 - Yahoo! reports that actor Kelsey Grammer, best known to audiences as Dr. Frasier Crane, suffered a heart attack over the weekend, according to his publicist.
According to Yahoo!'s article, Grammer, 53, experienced chest pains on Saturday morning while paddle-boarding with his wife, Camille, off the Kona coast of Hawaii's Big Island, where they have a second home, spokesman Stan Rosenfield told Reuters.
The actor was immediately taken to an area hospital, where "it was determined that he had a mild heart attack," Rosenfield added. As of press time, the actor is resting and expects to be released from the hospital later in the week.
The medical emergency comes just three weeks after his FOX sitcom, Back to You, was cancelled. The actor, most recently seen on the big screen as "Beast" in X3, will return to the small screen once again, playing the patriarch of a wealthy family in ABC's new comedy pilot, "Roman's Empire."
Dr. Frasier Crane in real-life medical emergency.
by IGN Stars
June 2, 2008 - Yahoo! reports that actor Kelsey Grammer, best known to audiences as Dr. Frasier Crane, suffered a heart attack over the weekend, according to his publicist.
According to Yahoo!'s article, Grammer, 53, experienced chest pains on Saturday morning while paddle-boarding with his wife, Camille, off the Kona coast of Hawaii's Big Island, where they have a second home, spokesman Stan Rosenfield told Reuters.
The actor was immediately taken to an area hospital, where "it was determined that he had a mild heart attack," Rosenfield added. As of press time, the actor is resting and expects to be released from the hospital later in the week.
The medical emergency comes just three weeks after his FOX sitcom, Back to You, was cancelled. The actor, most recently seen on the big screen as "Beast" in X3, will return to the small screen once again, playing the patriarch of a wealthy family in ABC's new comedy pilot, "Roman's Empire."
Thursday, 10 April 2008
Patrick Stewart rules 'Macbeth'
From: Los Angeles Times.
By Charles McNulty.
Patrick Stewart rules the updated production.
NEW YORK -- Patrick Stewart's suave performance in the Chichester Festival Theatre production of "Macbeth," which opened Tuesday at the Lyceum Theatre on Broadway, can be scored a triumph, but it comes with a few provisos.
Hardly anyone ever gets this most tempting of Shakespearean roles right. By comparison, Hamlet, Othello and King Lear -- tough as they are to pull off -- are more amenable to partial successes. When actors fail in these parts, they tend to fail upward.
The Scottish play, on the other hand, can really be hellish for its leading man. Don't believe me? Ask Kelsey Grammer, Alec Baldwin, Christopher Plummer or any of the other big name Macbeths of the last couple of decades and you'll find out why theater people say the tragedy is cursed.
The play requires a kind of cinematic facility of its director, who must agilely negotiate between close-ups and special effects. Rupert Goold's staging may ride roughshod over the text's subtler psychology, yet it spectacularly captures the moral inversion of a society in which a celebrated military hero can rapidly transform into a fiendish butcher.
The production clocks in at just under three hours, but business is briskly transacted. The upside is that audience members aren't given many opportunities to check their watches; the downside is that there's not always sufficient space for the protagonist's moments of fleeting circumspection.
This is "Macbeth" as arty action movie, beautifully spoken by a cast that seems relatively at home in the modernist whirlwind Goold has conjured. And Stewart, a veteran of Shakespeare as well as sci-fi blockbusters such as the "Star Trek" and "X-Men" franchises, looks like he was born for this sort of adventurous approach to the Bard of Avon.
The setting is a sleekly industrial kitchen. Tougher to pin down is the era, which suggests some crazy mishmash of Stalin's Russia and a timeless Great Britain (more England than Scotland, if the accents are any gauge).
Thankfully, the update doesn't make a mockery of the tale. The set (designed with diabolical flexibility by Anthony Ward, who's also responsible for the costumes) is liberally splattered with gore, as expected. But much of the violence is conveyed through Lorna Heavey's chillingly real video projections of wide-ranging military madness.
The nightmare may have occult trappings, but its horror is only too human. To that end, the three weird sisters are introduced as triage nurses, delighting in the battlefield carnage they'd like to see continue even after peace threatens to put the kibosh on their fun.
Technology's role.
The multimedia treatment of the combat scenes plays out like a thriller in an intensive care unit. Yes, the directorial strokes can be overdone (even the witches grow gimmicky), but the use of technology heightens suspense to the breaking point, and few productions have made the connection between state-sanctioned war and individual homicide so scarily vivid.
The central culinary metaphor is an attempt to reveal what happens when public and private appetites are permitted to run riot. Macbeth slowly decants red wine as he scrutinizes his capacity for committing regicide. Later, he fixes himself a neat little sandwich, chopping and spreading with devilish panache while ordering paranoid hits on Banquo (an accomplished Martin Turner) and his son, Fleance (Emmett White).
Lady Macbeth (Kate Fleetwood, overwrought yet lucid) fetches a cake in honor of Duncan's royal visit in the manner of a terrorist gleefully patting a knapsack freshly packed with explosives. When that troubling young Fleance tries to help himself to a leftover slice, Macbeth whisks the dessert back into the fridge -- the sweets aren't for everyone.
For all the production's scenic ingenuity, however, the old challenge of "Macbeth" remains unsolved -- how are you supposed to stay sympathetically engaged with a hero whose journey is from valor to serial killing?
The Aristotelian emotions of pity and fear aren't easily won, and it's not clear that Goold is even hunting after anything vaguely cathartic. His focus is moral rather than emotional, which in some respects is quite refreshing but still a line of attack that prevents us from registering the enormous loss in Macbeth's debasement.
The banquet scene, where a guilty Macbeth sees Banquo's ghost, is repeated before and after intermission, with different levels of corporeal horror. But the self-conscious flashiness of the replay eclipses any insight into Macbeth's submerged conscience. And the "Tomorrow, and tomorrow, and tomorrow" soliloquy, inspired by the death of Lady Macbeth, is somewhat blunted by the fact their marital bond seems purely lustful.
Haunting portrayals.
Obviously our feelings aren't shut out entirely. But the most haunting aspects of the work -- the vast discrepancy in age between Stewart's Macbeth and Fleetwood's much younger Lady Macbeth or the image of a neighborly Lady Macduff (Rachel Ticotin) and her doomed brood of children -- are more embodied than played.
Still, Stewart's skillfulness is mesmerizing even if it isn't devastating. But there's no denying the nuclear glow he bestows on the figure's faltering humanity. And even more impressive, he possesses the quality that is indispensable to any portrayal of Macbeth -- the glamorous aura of the chosen one. After all, it's proximity to greatness that urges the character to overleap what is permissibly civilized.
Stewart comes close to achieving something extraordinary, and for a play with so many perplexities in performance, that is an exceptional credit in an already exceptional career.
By Charles McNulty.
Patrick Stewart rules the updated production.NEW YORK -- Patrick Stewart's suave performance in the Chichester Festival Theatre production of "Macbeth," which opened Tuesday at the Lyceum Theatre on Broadway, can be scored a triumph, but it comes with a few provisos.
Hardly anyone ever gets this most tempting of Shakespearean roles right. By comparison, Hamlet, Othello and King Lear -- tough as they are to pull off -- are more amenable to partial successes. When actors fail in these parts, they tend to fail upward.
The Scottish play, on the other hand, can really be hellish for its leading man. Don't believe me? Ask Kelsey Grammer, Alec Baldwin, Christopher Plummer or any of the other big name Macbeths of the last couple of decades and you'll find out why theater people say the tragedy is cursed.
The play requires a kind of cinematic facility of its director, who must agilely negotiate between close-ups and special effects. Rupert Goold's staging may ride roughshod over the text's subtler psychology, yet it spectacularly captures the moral inversion of a society in which a celebrated military hero can rapidly transform into a fiendish butcher.
The production clocks in at just under three hours, but business is briskly transacted. The upside is that audience members aren't given many opportunities to check their watches; the downside is that there's not always sufficient space for the protagonist's moments of fleeting circumspection.
This is "Macbeth" as arty action movie, beautifully spoken by a cast that seems relatively at home in the modernist whirlwind Goold has conjured. And Stewart, a veteran of Shakespeare as well as sci-fi blockbusters such as the "Star Trek" and "X-Men" franchises, looks like he was born for this sort of adventurous approach to the Bard of Avon.
The setting is a sleekly industrial kitchen. Tougher to pin down is the era, which suggests some crazy mishmash of Stalin's Russia and a timeless Great Britain (more England than Scotland, if the accents are any gauge).
Thankfully, the update doesn't make a mockery of the tale. The set (designed with diabolical flexibility by Anthony Ward, who's also responsible for the costumes) is liberally splattered with gore, as expected. But much of the violence is conveyed through Lorna Heavey's chillingly real video projections of wide-ranging military madness.
The nightmare may have occult trappings, but its horror is only too human. To that end, the three weird sisters are introduced as triage nurses, delighting in the battlefield carnage they'd like to see continue even after peace threatens to put the kibosh on their fun.
Technology's role.
The multimedia treatment of the combat scenes plays out like a thriller in an intensive care unit. Yes, the directorial strokes can be overdone (even the witches grow gimmicky), but the use of technology heightens suspense to the breaking point, and few productions have made the connection between state-sanctioned war and individual homicide so scarily vivid.
The central culinary metaphor is an attempt to reveal what happens when public and private appetites are permitted to run riot. Macbeth slowly decants red wine as he scrutinizes his capacity for committing regicide. Later, he fixes himself a neat little sandwich, chopping and spreading with devilish panache while ordering paranoid hits on Banquo (an accomplished Martin Turner) and his son, Fleance (Emmett White).
Lady Macbeth (Kate Fleetwood, overwrought yet lucid) fetches a cake in honor of Duncan's royal visit in the manner of a terrorist gleefully patting a knapsack freshly packed with explosives. When that troubling young Fleance tries to help himself to a leftover slice, Macbeth whisks the dessert back into the fridge -- the sweets aren't for everyone.
For all the production's scenic ingenuity, however, the old challenge of "Macbeth" remains unsolved -- how are you supposed to stay sympathetically engaged with a hero whose journey is from valor to serial killing?
The Aristotelian emotions of pity and fear aren't easily won, and it's not clear that Goold is even hunting after anything vaguely cathartic. His focus is moral rather than emotional, which in some respects is quite refreshing but still a line of attack that prevents us from registering the enormous loss in Macbeth's debasement.
The banquet scene, where a guilty Macbeth sees Banquo's ghost, is repeated before and after intermission, with different levels of corporeal horror. But the self-conscious flashiness of the replay eclipses any insight into Macbeth's submerged conscience. And the "Tomorrow, and tomorrow, and tomorrow" soliloquy, inspired by the death of Lady Macbeth, is somewhat blunted by the fact their marital bond seems purely lustful.
Haunting portrayals.
Obviously our feelings aren't shut out entirely. But the most haunting aspects of the work -- the vast discrepancy in age between Stewart's Macbeth and Fleetwood's much younger Lady Macbeth or the image of a neighborly Lady Macduff (Rachel Ticotin) and her doomed brood of children -- are more embodied than played.
Still, Stewart's skillfulness is mesmerizing even if it isn't devastating. But there's no denying the nuclear glow he bestows on the figure's faltering humanity. And even more impressive, he possesses the quality that is indispensable to any portrayal of Macbeth -- the glamorous aura of the chosen one. After all, it's proximity to greatness that urges the character to overleap what is permissibly civilized.
Stewart comes close to achieving something extraordinary, and for a play with so many perplexities in performance, that is an exceptional credit in an already exceptional career.
Sunday, 24 February 2008
Weekly Ketchup: Wolverine gets more mutants.
From: 
by Greg Dean Schmitz
WOLVERINE AND HIS AMAZING FRIENDS
X-Men Origins: Wolverine lit up the movie news sites nearly every day this week, as a large ensemble cast was trickled out in dribbles and spurts. What we're left with a week later is a cast that looks more and more like the movie should be called Weapon X or even X-Men 4, as it includes nearly every character ever connected in the X-Comics in any way to Weapon Plus or the Weapon X program, and a few that weren't. Where to start? Well, first off, there is Danny Huston, who will be playing the younger version of Stryker (Brian Cox) from the second movie (keep in mind that in the comics, Stryker wasn't even involved with Weapon X). And then, there are the many, many Weapon X characters: Deadpool (Ryan Reynolds), Sabretooth (Liev Schreiber, replacing Tyler Mane with someone who is more "actor" than "wrestler/stuntman"), Silver Sable (Lynn Collins), John "Kestrel" Wraith (Will I. Am of the Black Eyed Peas) and Agent Zero (AKA Maverick) (Daniel Henney). Not part of Weapon X (traditionally) but also included in the cast are Gambit (Taylor Kitsch from TV's Friday Night Lights) and "Barnell" (Dominic Monaghan, who played Charlie on Lost, and also played a recurring midget in a few movies back in the early 2000s. I KEED.).
The confusing thing about Monaghan's character of "Barnell" is that the trades are saying that he has electricity powers, but the only Barnell in the Marvel universe is a mutant named Beak, who is a sad sack with the physical features of a bird (beak, chicken feet, feathers all over, the whole thing), without the expected ability to actually, you know, FLY. Beak is miserable and very sympathetic in a "zero to hero" way that Monaghan would be perfect for (let me admit right up front that Beak is one of my favorite new X-characters introduced in the last 10 years). So, why they're saying he's got a completely different M.O. is mildly bizarre. If they're going to fake us out, you have to wonder why they would bother using the "Barnell" name. And, oh, yeah, there are also rumors that an extra has been seen sporting a huge fat suit as The Blob.
With all these potential enemies (or team mates of a sort) being announced, Wolverine's biggest threat was also announced this week, in the form of the daughter of that "Achey Breaky Heart" guy, and the unstoppable juggernaut that is The Hannah Montana Movie. If her B.O. beats Wolverine's B.O. on the 5/1/09 weekend, it will be a sort of generational milestone, I suspect. I would give Hannah Montana her own story, but ummm... I don't really have much to say. I've seen commercials for the TV show, and it appears to be about a teenage girl who is secretly a Britney Spears type pop star. And it's very popular with girls who were born after I received my Masters Degree. Oh hey, look, I actually did write a paragraph about Hannah Montana. So... NEXT!
WOULD YOU RATHER BE REMEMBERED AS EBENEZER SCROOGE, OR FRASIER CRANE?
Comedy director David Zucker (whose filmography started with Airplane! and most recently includes Scary Movie 3 & Scary Movie 4) has set his particular style of movie satire on tackling the Christmas genre, apparently, with plans of doing a modernized, Americanized adaptation of Charles Dickens' A Christmas Carol, called An American Carol. Kelsey Grammer starred in a TV version a few years back as Ebenezer Scrooge, and so he's been picked by Zucker to star in this version as well. I'm sort of reminded of how many times Patrick Stewart has played Scrooge (in a 1999 TV movie, and in several stage versions), and to this movie's detriment (before it's even made), of how great Stewart was as Scrooge. I'm pretty sure Patrick Stewart probably would not have signed on for Zucker's movie, so... yay for Frasier.
by Greg Dean Schmitz
WOLVERINE AND HIS AMAZING FRIENDS
X-Men Origins: Wolverine lit up the movie news sites nearly every day this week, as a large ensemble cast was trickled out in dribbles and spurts. What we're left with a week later is a cast that looks more and more like the movie should be called Weapon X or even X-Men 4, as it includes nearly every character ever connected in the X-Comics in any way to Weapon Plus or the Weapon X program, and a few that weren't. Where to start? Well, first off, there is Danny Huston, who will be playing the younger version of Stryker (Brian Cox) from the second movie (keep in mind that in the comics, Stryker wasn't even involved with Weapon X). And then, there are the many, many Weapon X characters: Deadpool (Ryan Reynolds), Sabretooth (Liev Schreiber, replacing Tyler Mane with someone who is more "actor" than "wrestler/stuntman"), Silver Sable (Lynn Collins), John "Kestrel" Wraith (Will I. Am of the Black Eyed Peas) and Agent Zero (AKA Maverick) (Daniel Henney). Not part of Weapon X (traditionally) but also included in the cast are Gambit (Taylor Kitsch from TV's Friday Night Lights) and "Barnell" (Dominic Monaghan, who played Charlie on Lost, and also played a recurring midget in a few movies back in the early 2000s. I KEED.).
The confusing thing about Monaghan's character of "Barnell" is that the trades are saying that he has electricity powers, but the only Barnell in the Marvel universe is a mutant named Beak, who is a sad sack with the physical features of a bird (beak, chicken feet, feathers all over, the whole thing), without the expected ability to actually, you know, FLY. Beak is miserable and very sympathetic in a "zero to hero" way that Monaghan would be perfect for (let me admit right up front that Beak is one of my favorite new X-characters introduced in the last 10 years). So, why they're saying he's got a completely different M.O. is mildly bizarre. If they're going to fake us out, you have to wonder why they would bother using the "Barnell" name. And, oh, yeah, there are also rumors that an extra has been seen sporting a huge fat suit as The Blob.
With all these potential enemies (or team mates of a sort) being announced, Wolverine's biggest threat was also announced this week, in the form of the daughter of that "Achey Breaky Heart" guy, and the unstoppable juggernaut that is The Hannah Montana Movie. If her B.O. beats Wolverine's B.O. on the 5/1/09 weekend, it will be a sort of generational milestone, I suspect. I would give Hannah Montana her own story, but ummm... I don't really have much to say. I've seen commercials for the TV show, and it appears to be about a teenage girl who is secretly a Britney Spears type pop star. And it's very popular with girls who were born after I received my Masters Degree. Oh hey, look, I actually did write a paragraph about Hannah Montana. So... NEXT!
WOULD YOU RATHER BE REMEMBERED AS EBENEZER SCROOGE, OR FRASIER CRANE?
Comedy director David Zucker (whose filmography started with Airplane! and most recently includes Scary Movie 3 & Scary Movie 4) has set his particular style of movie satire on tackling the Christmas genre, apparently, with plans of doing a modernized, Americanized adaptation of Charles Dickens' A Christmas Carol, called An American Carol. Kelsey Grammer starred in a TV version a few years back as Ebenezer Scrooge, and so he's been picked by Zucker to star in this version as well. I'm sort of reminded of how many times Patrick Stewart has played Scrooge (in a 1999 TV movie, and in several stage versions), and to this movie's detriment (before it's even made), of how great Stewart was as Scrooge. I'm pretty sure Patrick Stewart probably would not have signed on for Zucker's movie, so... yay for Frasier.
Subscribe to:
Posts (Atom)
