December 10th Thursday
Amazing Kannda Movie Comedy
Thursday, December 10, 2009
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September 5nd Saturday
World Hollywoood Latest Comeady Movies News
I Love You, Man
I Love You, Man is a light-hearted romantic comedy and the character Sydney played by Jason Segel is adorable and you would love to have a friend like him. Sydney is symbolic of male freedom, which they seldom find. Most men are probably scared to opt for such a freedom because of loneliness or they may feel embarrassed exhibiting such liberty.
But you will not hesitate one bit while watching the movie as Sydney takes you to his fantasies in which he lives. The movie lives up to the title especially when you watch the ever-charming Sydney.
Paul Rudd plays Peter is advised by his fiancé Zooey (Rashida Jones) to search a male friend who could be the best man at their wedding. Peter is a real estate agent and is this real nice guy who lacks the intricacies of social behaviour; he is rather clumsy.
He gets along famously with women but has no male friends. And so the search is on to find a best friend. Peter dates guys whom he got to know on the net and this is when you feel the movie is drifting to a regular formula and the sudden entry by Sydney in the movie literally lights up the screen
They meet at Lou Ferrigno’s home. You will like his character instantaneously; his appeal is stronger than Peter.
Movie Stills of I Love You, Man
Sydney never feels guilty or hesitant of his pleasure-seeking nature. And he employs his witty trait as a perfect comic element. More importantly the character of Sydney succeeds in proving the existence of such an incredible friend.
The character of Peter played by Rudd is also lovable. Rudd has a great sense of comic timing and he has done a good job in portraying a not so cool image. In the scenes with Rashida he has done quite a commendable job.
The director and co-writer of the film John Hamburg has tapped the acting skills of talented actors; J.K Simons plays Peter’s father, Jane Curtin as his mother, his gay brother played by Andy Samberg and Lou Ferrigno his client have all done tremendous job.
But surely the main highlight of movie is Jason Segel who lives up to his character as Sydney Fife completely. You can live in a world of fantasy through him that you secretly desired for but were always hesitant.
I Love You, ManRudd gives his sincere best but as we are aware that sincerity does not hold good for a romantic comedy. And John Favreau and Jaime Pressley as the married couple straight from hell are worth a mention.
I Love You, Man is simply a rib tickling comedy. The funny moments in the movie are basically crude humour. There are some dirty jokes but you feel it is justified as a requirement in the movie about friendship.
Sydney Fife’s body language, dialogue and his quality of examining people add more to the laughter moments of the film. The audience will certainly enjoy the movie as it serves the purpose of a romantic comedy and will leave a pleasant feeling in your mind.
01, Resembling nothing so much as an unholy mindmeld between Judd Apatow and the New York Times’ Jennifer 8. Lee, I Love You, Man would be a disappointment but for the low standards that mainstream Hollywood comedy has beaten into us. Last year may well have signaled the decline and fall of the twin tendencies of recent multiplex humor, the lowbrow and the bromantic, as each new entry—Forgetting Sarah Marshall, Pineapple Express, Step Brothers, and, good god, Zack and Miri Make a Porno—dumped a shovelful dirt on the genre’s grave. I Love You, Man plays like a zombie iteration of a faded trend, recycling bits, gags, actors, music, and subtexts from previous movies and not even pretending to aim higher.
Neither Apatow nor Lee actually had anything to do with the movie (not that Lee hasn’t noticed her influence on it), but that they might as well have suggests I Love You, Man’s cynicism. John Hamburg (Along Came Polly) doesn’t so much direct as line up comforting signifiers for a demographic conditioned to laugh at bro jokes, groove to good-times montages, and nod along to a dutifully cued Vampire Weekend song. All the tropes of the Apatow male weepie are here: a sensitive dude, his slovenly (but, deep down, also sensitive) buddy, the celebration of the inner caveman and the disruption of the placid life, all paving the way for the ultimate affirmation of Growing Up and Settling Down. The movie’s stabs at currency, impersonal and lame, are right out of the New York Times Style section: complacency about affluence, Bushnellian blue talk, inoffensive indie rock, and contrived social mores and faux trends (“man-date” anyone?).
I Love You, Man telegraphs its low ambitions early on. Generic shots of a generic skyline give way to a wedding proposal, as Peter (Paul Rudd) drops to his knee for his girlfriend, Zooey (Rashida Jones), at the site of his dream real estate project. The first attempt at laughs is an example of how impoverished Hollywood’s idea of farce has become. Zooey tells her girlfriends the news on the car ride home—on the speaker phone without their knowing, leading to some randy repartee among the gals (“Lock that tongue down!”) with an uncomfortable Peter listening in. Why doesn’t Zooey tell them they’re on speaker phone? Why doesn’t Peter chime in on the conversation? Could the filmmakers think any less of their audience?
Romance settled early, the movie turns to bromance. It turns out Peter has had trouble making guy friends his whole life, a fact rubbed in by his dad (a wasted J.K. Simmons), who declares at the dinner table that Peter’s brother, Robbie (Andy Samberg), is his best friend. Faced with the prospect of having no best man for his wedding, he sets out to find the perfect dude. After the obligatory bad-date montage, Peter is on the verge of giving up. But at an open house for a place that Peter’s trying to sell—a hilltop mansion formerly owned by Lou Ferrigno—he meets Sydney (Jason Segel), whose observations about furtive farting hook Peter. A day and an awkward voicemail later, the two are bonding over fish tacos and beer, with the repressed Peter showing signs of emerging from his shell.
As a momma’s boy who’s never playacted the role of cosmopolitan Neanderthal, the gentle Peter is essentially version 2.0 of Steve Carell’s Andy in The 40-Year-Old Virgin. Less lame than drab, his idea of a good night is sharing a bottle of wine with Zooey and watching Chocolat on DVD. Playing the Tyler Durden to this effeminized drone is Sydney, the embodiment of male indulgence. After they become fast friends, Sydney takes him back to his “man cave,” a shrine to arrested development, complete with drum set and “jerkoff station.” Sydney’s attempts to loosen Peter up comprise all the usual clichés: a jam session (to Rush, of all bands), a ride on a Vespa, beers and bud, even a primal scream session under the marina.
Worthless though much of it is, I Love You, Man is not without laughs. That’s an all too common epitaph for recent Hollywood comedies, which seem stuck in a rut, marked by half-baked concepts, brain-dead writing, and lazy direction. But there is the saving grace of performance. Think James Franco in the underwhelming Pineapple Express, or Russell Brand and Paul Rudd himself in the slack Forgetting Sarah Marshall. In I Love You, Man, the screen flickers momentarily when Rudd takes over a scene. For years, Rudd has quietly worked as one of our best comedy actors, displaying an acute intelligence in roles that ranged from deflated suburban dad (Knocked Up) to asshole camp counselor (Wet Hot American Summer). The April Vanity Fair features Rudd and Segel, along with Seth Rogen and Jonah Hill, on the cover as “Comedy’s New Legends” (right…). But Rudd doesn’t quite fit. Of the four, Rudd stands out as the most original and conceptual—he’d be the last of the crew to resort to a dick joke for a laugh. (And if he did, it would be with a wry self-awareness that eludes the others—he’d be “making” a “dick joke,” and he’d know we knew what he was doing.)
Rudd’s sensibility, detached and yet not alienating, spikes the bland punch that is I Love You, Man. In the early going, when Rudd has to follow the script to sketch out his character, the movie is all but unbearable. But once freed from that strait-jacket, Rudd hijacks entire scenes with the freestyle shtick of a guy trying to play a guy’s guy and failing miserably. His stabs at banter are priceless: telling someone a bit too eagerly, a beat too late, to play a U2 CD when they go to Joshua Tree; uttering a strained “I’ll be there in a mo” to sound cool; leaving a rambling, endless voicemail whose execution rescues the bit from banality. When Sydney offers to jam with him, Peter responds that he once “slapped the bass” back in high school. (Later, Rudd constructs an entire scene out of repeating the phrase “slappin’ the bass” that absolutely kills.) The movie’s best running joke is of Peter’s embarrassing attempts to be cool and come up with tossed-off nicknames for Sydney. (“Joban,” he hollers at Sydney at one point, his face crumpling with resignation as soon as the nonsensical moniker comes out.)
Unfortunately for Rudd, and for us, he has an entire movie surrounding him. And, good as he is, Rudd has given better performances—the movie ultimately diminishes him. Devoid of genuine emotion or tension, and featuring some of the worst direction in recent comedy (including a wedding scene that feels longer than all of Wedding Crashers), I Love You, Man is too much the product of Hollywood hackery to even offer the consolation of shambolic good vibes. It’s a waste of time that awaits resurrection in its ideal format: a YouTube montage of Rudd’s riffs.
In the Apatow Age, the non-romantic bonds between men has been the love that dare not speak its name, but now with the unctuous term “bromance,” it’s all out in the open. So in the Hollywood comedy I Love You, Man, what was once an unspoken theme now becomes the requisite high-concept hook about a groom’s search for a best man, and the “man-dates” that entails. And the close friendships that seemed real and organic in comedies like Superbad, Knocked Up, and The 40-Year-Old Virgin are subject to the stale gimmickry of other rom-coms. What saves I Love You, Man, at least partially, is the relaxed chemistry between Paul Rudd and Jason Segel, both very funny men who are genuine enough to push back against a premise that’s often maddeningly artificial.
Delivering his lines just a beat or two late, for maximum awkwardness, Rudd is particularly good as the face of a certain breed of sensitive yet ineffectual man who relates better to women then men. After getting engaged to girlfriend Rashida Jones, Rudd needs to find a best man, so with Jones’ encouragement and bad advice from just about everyone he knows, he embarks on a series of man-dates to fill the part. His forced attempts at friendship don’t go well: He doesn’t fit in with macho beer-swilling types like his future brother-in-law (Jon Favreau), and a dinner date gives another suitor the wrong idea. But Rudd finally meets that special someone in Jason Segel, a committed bachelor slob who draws Rudd a little too far into his world of Rush covers and advanced slackerdom.
Segel has made a career out of playing earnest to the point of comic desperation, but here, he’s like a dopey philosopher of easy living, and it’s funny to watch Rudd circle the drain right along with him. Their fumbling partnership is enough to build a movie around, but co-writer/director John Hamburg—who also scripted Meet The Parents and wrote and directed Along Came Polly—goes for broad laughs. Hamburgian running jokes about Segel refusing to pick up after his dog or Rudd trying to sell Lou Ferrigno’s house may play to the cheap seats, but too often, the random gags trump the character-based humor. When Hamburg and his lead actors are at cross purposes, I Love You, Man loses its way
Paul Rudd Scores Best Dressed At 'I Love You, Man' Premiere: Red Carpet Recap
We at MTV News love Paul Rudd. I'm sure no one here loves him more than Josh Horowitz (sorry Dwayne Johnson), but we all appreciate that Rudd is usually up for anything when it comes to creative interviews. It gives me great pleasure that Paul Rudd was absolutely the best dressed male at last night's premiere for his new comedy "I Love You, Man."
Mr. Rudd looked sharp in a grey suit, black gingham shirt and black tie. Monochromatic, but not boring, the ensemble played on tones and patterns. I'm not sure what else you can say about a really well put together suit, shirt and tie, but a "thank you" to his stylist is probably in order. In fact, maybe it was his lovely wife, Julie Yaeger, who played the part of arm-candy. Her black-on-black outfit absolutely complimented his. (Check out the happy couple after the jump, plus see the who's who of comedy in our "I Love You, Man" premiere gallery.)
Beyond the prom couple, the Hollywood comedy elite showed up in droves for the premiere. Everyone from this year's MTV Movie Awards host, Andy Samberg, to former Movie Awards hosts, Sarah Silverman and Jack Black were in attendance. And, even "Hills" star Audrina Patridge strut her stuff. It was a big ol' MTV party!
The Answer Man
The Answer Man combines the worst of both worlds: It offers the ugly digital video, negligible production values, and manufactured grit of a Sundance loser with the pandering formula, sentiment, and romantic-comedy clichés of Hollywood pap. Unoriginality is the greatest and most flagrant of its many sins; it’s essentially a faux-indie As Good As It Gets with Jeff Daniels reprising his Squid And The Whale role as a misanthropic writer who views humanity as an unfortunate disease to be avoided at all costs. But where Daniels’ Whale arch-snob was genuinely malevolent and sour, his protagonist here has a squishy center that suggests all he really needs is a big hug and the love of a good woman.
Daniels stars as a reclusive cross between Deepak Chopra and J.D. Salinger. Twenty years ago, Daniels wrote a landmark New Age book about his relationship with God that made him a bestselling author and self-help guru, adored by an army of followers whom he keeps at a disrespectful distance. Daniels barricades himself inside his apartment, but after a devastating back injury, he leaves his fortress of solitude and meets cute with spunky single mom/chiropractor Lauren Graham. Could love be in the air for these two wounded souls? Thumbsucker’s Lou Taylor Pucci co-stars as a recovering alcoholic who blackmails Daniels into providing him with the answers to life’s great questions.
At The Answer Man’s hollow core lies a groaning irony: Daniels is an answer man without any answers. If anything, he’s even more lost than the spiritual seekers looking to him for guidance and wisdom. The overqualified cast, which includes current It Girls Kat Dennings and Olivia Thirlby in thankless supporting roles, does what it can; it isn’t their fault they’re stuck in the kind of hokey pabulum where the friendship of an adorable, misunderstood moppet (in this case, Graham’s spacey son) helps melt the cold, cold heart of a thorny protagonist. The film’s resemblance to The Squid And The Whale does it no favors; where that film felt ripped from the ugliest, most painful recesses of real life, The Answer Man feels like a second-hand pastiche of dozens of superior films and a battery of screenwriting manuals.
World Hollywoood Latest Comeady Movies News
I Love You, Man
I Love You, Man is a light-hearted romantic comedy and the character Sydney played by Jason Segel is adorable and you would love to have a friend like him. Sydney is symbolic of male freedom, which they seldom find. Most men are probably scared to opt for such a freedom because of loneliness or they may feel embarrassed exhibiting such liberty.
But you will not hesitate one bit while watching the movie as Sydney takes you to his fantasies in which he lives. The movie lives up to the title especially when you watch the ever-charming Sydney.
Paul Rudd plays Peter is advised by his fiancé Zooey (Rashida Jones) to search a male friend who could be the best man at their wedding. Peter is a real estate agent and is this real nice guy who lacks the intricacies of social behaviour; he is rather clumsy.
He gets along famously with women but has no male friends. And so the search is on to find a best friend. Peter dates guys whom he got to know on the net and this is when you feel the movie is drifting to a regular formula and the sudden entry by Sydney in the movie literally lights up the screen
They meet at Lou Ferrigno’s home. You will like his character instantaneously; his appeal is stronger than Peter.
Movie Stills of I Love You, Man
Sydney never feels guilty or hesitant of his pleasure-seeking nature. And he employs his witty trait as a perfect comic element. More importantly the character of Sydney succeeds in proving the existence of such an incredible friend.
The character of Peter played by Rudd is also lovable. Rudd has a great sense of comic timing and he has done a good job in portraying a not so cool image. In the scenes with Rashida he has done quite a commendable job.
The director and co-writer of the film John Hamburg has tapped the acting skills of talented actors; J.K Simons plays Peter’s father, Jane Curtin as his mother, his gay brother played by Andy Samberg and Lou Ferrigno his client have all done tremendous job.
But surely the main highlight of movie is Jason Segel who lives up to his character as Sydney Fife completely. You can live in a world of fantasy through him that you secretly desired for but were always hesitant.
I Love You, ManRudd gives his sincere best but as we are aware that sincerity does not hold good for a romantic comedy. And John Favreau and Jaime Pressley as the married couple straight from hell are worth a mention.
I Love You, Man is simply a rib tickling comedy. The funny moments in the movie are basically crude humour. There are some dirty jokes but you feel it is justified as a requirement in the movie about friendship.
Sydney Fife’s body language, dialogue and his quality of examining people add more to the laughter moments of the film. The audience will certainly enjoy the movie as it serves the purpose of a romantic comedy and will leave a pleasant feeling in your mind.
01, Resembling nothing so much as an unholy mindmeld between Judd Apatow and the New York Times’ Jennifer 8. Lee, I Love You, Man would be a disappointment but for the low standards that mainstream Hollywood comedy has beaten into us. Last year may well have signaled the decline and fall of the twin tendencies of recent multiplex humor, the lowbrow and the bromantic, as each new entry—Forgetting Sarah Marshall, Pineapple Express, Step Brothers, and, good god, Zack and Miri Make a Porno—dumped a shovelful dirt on the genre’s grave. I Love You, Man plays like a zombie iteration of a faded trend, recycling bits, gags, actors, music, and subtexts from previous movies and not even pretending to aim higher.Neither Apatow nor Lee actually had anything to do with the movie (not that Lee hasn’t noticed her influence on it), but that they might as well have suggests I Love You, Man’s cynicism. John Hamburg (Along Came Polly) doesn’t so much direct as line up comforting signifiers for a demographic conditioned to laugh at bro jokes, groove to good-times montages, and nod along to a dutifully cued Vampire Weekend song. All the tropes of the Apatow male weepie are here: a sensitive dude, his slovenly (but, deep down, also sensitive) buddy, the celebration of the inner caveman and the disruption of the placid life, all paving the way for the ultimate affirmation of Growing Up and Settling Down. The movie’s stabs at currency, impersonal and lame, are right out of the New York Times Style section: complacency about affluence, Bushnellian blue talk, inoffensive indie rock, and contrived social mores and faux trends (“man-date” anyone?).
I Love You, Man telegraphs its low ambitions early on. Generic shots of a generic skyline give way to a wedding proposal, as Peter (Paul Rudd) drops to his knee for his girlfriend, Zooey (Rashida Jones), at the site of his dream real estate project. The first attempt at laughs is an example of how impoverished Hollywood’s idea of farce has become. Zooey tells her girlfriends the news on the car ride home—on the speaker phone without their knowing, leading to some randy repartee among the gals (“Lock that tongue down!”) with an uncomfortable Peter listening in. Why doesn’t Zooey tell them they’re on speaker phone? Why doesn’t Peter chime in on the conversation? Could the filmmakers think any less of their audience?
Romance settled early, the movie turns to bromance. It turns out Peter has had trouble making guy friends his whole life, a fact rubbed in by his dad (a wasted J.K. Simmons), who declares at the dinner table that Peter’s brother, Robbie (Andy Samberg), is his best friend. Faced with the prospect of having no best man for his wedding, he sets out to find the perfect dude. After the obligatory bad-date montage, Peter is on the verge of giving up. But at an open house for a place that Peter’s trying to sell—a hilltop mansion formerly owned by Lou Ferrigno—he meets Sydney (Jason Segel), whose observations about furtive farting hook Peter. A day and an awkward voicemail later, the two are bonding over fish tacos and beer, with the repressed Peter showing signs of emerging from his shell.
As a momma’s boy who’s never playacted the role of cosmopolitan Neanderthal, the gentle Peter is essentially version 2.0 of Steve Carell’s Andy in The 40-Year-Old Virgin. Less lame than drab, his idea of a good night is sharing a bottle of wine with Zooey and watching Chocolat on DVD. Playing the Tyler Durden to this effeminized drone is Sydney, the embodiment of male indulgence. After they become fast friends, Sydney takes him back to his “man cave,” a shrine to arrested development, complete with drum set and “jerkoff station.” Sydney’s attempts to loosen Peter up comprise all the usual clichés: a jam session (to Rush, of all bands), a ride on a Vespa, beers and bud, even a primal scream session under the marina.
Worthless though much of it is, I Love You, Man is not without laughs. That’s an all too common epitaph for recent Hollywood comedies, which seem stuck in a rut, marked by half-baked concepts, brain-dead writing, and lazy direction. But there is the saving grace of performance. Think James Franco in the underwhelming Pineapple Express, or Russell Brand and Paul Rudd himself in the slack Forgetting Sarah Marshall. In I Love You, Man, the screen flickers momentarily when Rudd takes over a scene. For years, Rudd has quietly worked as one of our best comedy actors, displaying an acute intelligence in roles that ranged from deflated suburban dad (Knocked Up) to asshole camp counselor (Wet Hot American Summer). The April Vanity Fair features Rudd and Segel, along with Seth Rogen and Jonah Hill, on the cover as “Comedy’s New Legends” (right…). But Rudd doesn’t quite fit. Of the four, Rudd stands out as the most original and conceptual—he’d be the last of the crew to resort to a dick joke for a laugh. (And if he did, it would be with a wry self-awareness that eludes the others—he’d be “making” a “dick joke,” and he’d know we knew what he was doing.)
Rudd’s sensibility, detached and yet not alienating, spikes the bland punch that is I Love You, Man. In the early going, when Rudd has to follow the script to sketch out his character, the movie is all but unbearable. But once freed from that strait-jacket, Rudd hijacks entire scenes with the freestyle shtick of a guy trying to play a guy’s guy and failing miserably. His stabs at banter are priceless: telling someone a bit too eagerly, a beat too late, to play a U2 CD when they go to Joshua Tree; uttering a strained “I’ll be there in a mo” to sound cool; leaving a rambling, endless voicemail whose execution rescues the bit from banality. When Sydney offers to jam with him, Peter responds that he once “slapped the bass” back in high school. (Later, Rudd constructs an entire scene out of repeating the phrase “slappin’ the bass” that absolutely kills.) The movie’s best running joke is of Peter’s embarrassing attempts to be cool and come up with tossed-off nicknames for Sydney. (“Joban,” he hollers at Sydney at one point, his face crumpling with resignation as soon as the nonsensical moniker comes out.)
Unfortunately for Rudd, and for us, he has an entire movie surrounding him. And, good as he is, Rudd has given better performances—the movie ultimately diminishes him. Devoid of genuine emotion or tension, and featuring some of the worst direction in recent comedy (including a wedding scene that feels longer than all of Wedding Crashers), I Love You, Man is too much the product of Hollywood hackery to even offer the consolation of shambolic good vibes. It’s a waste of time that awaits resurrection in its ideal format: a YouTube montage of Rudd’s riffs.
In the Apatow Age, the non-romantic bonds between men has been the love that dare not speak its name, but now with the unctuous term “bromance,” it’s all out in the open. So in the Hollywood comedy I Love You, Man, what was once an unspoken theme now becomes the requisite high-concept hook about a groom’s search for a best man, and the “man-dates” that entails. And the close friendships that seemed real and organic in comedies like Superbad, Knocked Up, and The 40-Year-Old Virgin are subject to the stale gimmickry of other rom-coms. What saves I Love You, Man, at least partially, is the relaxed chemistry between Paul Rudd and Jason Segel, both very funny men who are genuine enough to push back against a premise that’s often maddeningly artificial.
Delivering his lines just a beat or two late, for maximum awkwardness, Rudd is particularly good as the face of a certain breed of sensitive yet ineffectual man who relates better to women then men. After getting engaged to girlfriend Rashida Jones, Rudd needs to find a best man, so with Jones’ encouragement and bad advice from just about everyone he knows, he embarks on a series of man-dates to fill the part. His forced attempts at friendship don’t go well: He doesn’t fit in with macho beer-swilling types like his future brother-in-law (Jon Favreau), and a dinner date gives another suitor the wrong idea. But Rudd finally meets that special someone in Jason Segel, a committed bachelor slob who draws Rudd a little too far into his world of Rush covers and advanced slackerdom.
Segel has made a career out of playing earnest to the point of comic desperation, but here, he’s like a dopey philosopher of easy living, and it’s funny to watch Rudd circle the drain right along with him. Their fumbling partnership is enough to build a movie around, but co-writer/director John Hamburg—who also scripted Meet The Parents and wrote and directed Along Came Polly—goes for broad laughs. Hamburgian running jokes about Segel refusing to pick up after his dog or Rudd trying to sell Lou Ferrigno’s house may play to the cheap seats, but too often, the random gags trump the character-based humor. When Hamburg and his lead actors are at cross purposes, I Love You, Man loses its way
Paul Rudd Scores Best Dressed At 'I Love You, Man' Premiere: Red Carpet RecapWe at MTV News love Paul Rudd. I'm sure no one here loves him more than Josh Horowitz (sorry Dwayne Johnson), but we all appreciate that Rudd is usually up for anything when it comes to creative interviews. It gives me great pleasure that Paul Rudd was absolutely the best dressed male at last night's premiere for his new comedy "I Love You, Man."
Mr. Rudd looked sharp in a grey suit, black gingham shirt and black tie. Monochromatic, but not boring, the ensemble played on tones and patterns. I'm not sure what else you can say about a really well put together suit, shirt and tie, but a "thank you" to his stylist is probably in order. In fact, maybe it was his lovely wife, Julie Yaeger, who played the part of arm-candy. Her black-on-black outfit absolutely complimented his. (Check out the happy couple after the jump, plus see the who's who of comedy in our "I Love You, Man" premiere gallery.)
Beyond the prom couple, the Hollywood comedy elite showed up in droves for the premiere. Everyone from this year's MTV Movie Awards host, Andy Samberg, to former Movie Awards hosts, Sarah Silverman and Jack Black were in attendance. And, even "Hills" star Audrina Patridge strut her stuff. It was a big ol' MTV party!
The Answer Man
The Answer Man combines the worst of both worlds: It offers the ugly digital video, negligible production values, and manufactured grit of a Sundance loser with the pandering formula, sentiment, and romantic-comedy clichés of Hollywood pap. Unoriginality is the greatest and most flagrant of its many sins; it’s essentially a faux-indie As Good As It Gets with Jeff Daniels reprising his Squid And The Whale role as a misanthropic writer who views humanity as an unfortunate disease to be avoided at all costs. But where Daniels’ Whale arch-snob was genuinely malevolent and sour, his protagonist here has a squishy center that suggests all he really needs is a big hug and the love of a good woman.
Daniels stars as a reclusive cross between Deepak Chopra and J.D. Salinger. Twenty years ago, Daniels wrote a landmark New Age book about his relationship with God that made him a bestselling author and self-help guru, adored by an army of followers whom he keeps at a disrespectful distance. Daniels barricades himself inside his apartment, but after a devastating back injury, he leaves his fortress of solitude and meets cute with spunky single mom/chiropractor Lauren Graham. Could love be in the air for these two wounded souls? Thumbsucker’s Lou Taylor Pucci co-stars as a recovering alcoholic who blackmails Daniels into providing him with the answers to life’s great questions.
At The Answer Man’s hollow core lies a groaning irony: Daniels is an answer man without any answers. If anything, he’s even more lost than the spiritual seekers looking to him for guidance and wisdom. The overqualified cast, which includes current It Girls Kat Dennings and Olivia Thirlby in thankless supporting roles, does what it can; it isn’t their fault they’re stuck in the kind of hokey pabulum where the friendship of an adorable, misunderstood moppet (in this case, Graham’s spacey son) helps melt the cold, cold heart of a thorny protagonist. The film’s resemblance to The Squid And The Whale does it no favors; where that film felt ripped from the ugliest, most painful recesses of real life, The Answer Man feels like a second-hand pastiche of dozens of superior films and a battery of screenwriting manuals.
Friday, September 4, 2009
Tamil Old Comeady Hero images
September 4th Friday
Nick Name : Vaigai Puyal Vadivelu.
Born Place : Southern Tamil City of Madurai.
Mother Tongue : Tamil
Nationality : Indian ( Tamilan)
Profession : Actor ( Comedy Actor )
Debut Film in comedy role : T.Rajendar's " En Thangai Kalyani "
Debut to Hero Role : " Imsai Arasan 23am Pulikesi "
300 th Film : Elaiya Thalapathi Vijay's " Bhagavathi "
Rose Fam : Movie " Kadhalan "
Vadiveylu is a leading comedy actor in kollywood film industry. Vadivel born in south tamil nadu ( Madurai city) , his father was a glass cutter and doing frame work . and poor family. before life of film , he acted with that time star comedians Goundamani-senthil duo . The rose to fam after the his role in " Kadhalan " . Vadivelu acted hero role in Imsai arasan 23am pulikesi was hit and given very good name by him . The black gold making cool and smile to everybody face with timing .
CHENNAI: The Tamil film industry’s longstanding comedian and character artist Nagesh died following a heart attack here on Saturday morning.
The veteran of more than 500 films was 76 and is survived by three sons, including actor Anand Babu.
Known only by his screen name Nagesh, he was born Gunddu Rao to Kannadiga parents in 1933.
He left home as a youngster, determined to return only when he made a name for himself, according to film industry sources. His destination was Chennai, where initially he took up a job with the Railways.
However, he felt — it turned out right in retrospect — that he had not met his calling yet. Theatre, or acting, was to be his first and final love, and the first steps, as is common in the Tamil film industry, were on stage.
Be it the poverty-stricken Dharumi in Thiruvilayadal, Server Sundaram, the intrepid storyteller/film director in Kadhalikka Neramillai, or Vaithy inThillana Mohanambal, Nagesh gave Tamil cinema some of its memorable vintage comedy scenes. Along with legendary directors of the era, K. Balachander and Sridhar, Nagesh ruled the roost in comedy on screen during the 1960s and 1970s.
His career spanned several decades, across successive generations of heroes and directors. While there is no doubt about his contribution to comedy, his fans recall his ability to play serious roles evocatively, as inNeer Kumuzhi and Ethir Neechal.
The entire film fraternity paid tributes to the departed actor at his Alwarpet residence.
COMEDY sPELL: Nagesh (right) with Sivaji Ganesan in the Tamil film ‘Galatta kalyanam’
CHENNAI: He could make the audience laugh in amusement or shed a tear in empathy. One of the best comedians and character artists of Indian cinema, actor Nagesh, passed away here on Saturday after a brief illness.
An inspiring example of doggedness and enthusiasm, Mr. Nagesh had immense confidence in himself even before making a mark in the industry. As an actor who began his career playing small roles in Tamil plays, he would tell his friend, Vietnam Veedu Sundaram: “One day I will make them [directors] wait for my call sheet.”
He was right. Debuting with Thamarai Kulam by Muktha V. Srinivasan in 1958, he got so busy in the sixties and seventies that about 35 of his films were released in one year. “In a day, he had to shoot for six films. He would have just enough time to finish one, quickly change his shirt and rush to the next spot,” says ‘Film News’ Anandan, senior public relations professional.
The endearing actor had several friends, including theatre personality Y.G. Parthasarathy, actor Balaji and director Sridhar, who helped him in his initial years. Teaming up with veteran director K. Balachander, Mr. Nagesh acted in several films that have an important place in Tamil cinema. Many of these were first staged as plays.
“He was very passionate about theatre. He asked me to give him a role in my plays and I told him that I would write one, with him as the protagonist. That is how Server Sundaram happened,” veteran director K. Balachander recalls.
Speaking of the special bond they had, he says: “He would think through me, and I would act through him.”
“The greatness of the man is that even as we are mourning his passing away and crying, you are reminded of some ‘Nagesh joke,’ which will make you laugh instantly,” actor Kamal Haasan, says. “The only photograph I have in my office is that of him and me. I am such a huge fan,” he adds.
Nagesh’s much-hailed comedy sequences in films such as Kadalikka Neramillai, Ooty Varai Uravu, Anbe Va and Thiruvilayadal set the trend for humour in Tamil cinema for decades that followed. His voice modulation, facial expression, unbelievably swift bodily responses and innocent smile were his assets.
Just as his best comedy tracks flood one’s mind, you also hear him saying“Naan Maadhu Vandirukken!” His performance as the gullible and well-meaning youngster Maadhu in Ethir Neechal is one of the best character roles remembered in Tamil cinema. Server Sundaram was yet another gem on his crown. His performance in Nammavar later, particularly in the scene where he dances after his daughter dies, reemphasised why he is an actor nonpareil.
Mr. Nagesh’s humour was contemporary and refreshingly new throughout his career. Be it the make-up man in Avvai Shanmugi or Yugi Sethu’s father-in-law in Panchatandiram in his later years, he had viewers roaring in laughter. Even while playing a corpse in Magalir Mattum, it was in such style.
His ready wit often sparkled off-screen, too. Recalling a television interview he did with Mr. Nagesh, actor Y.Gee. Mahendra says: “I asked him, ‘So, are there different kinds of comedians?’ Pat came his rely. ‘Oh, yes. There are those whose time is good and others, whose timing is good!’ It is regrettable that the Indian government failed to recognise an artist of his stature.”
“It is rare to find an actor like him and rarer to find a friend like him,” recalls actor V.S. Raghavan, a close friend of the actor. “He could be very child-like sometimes. Once, he wanted a brass ear bud. He insisted that we drive down to Triplicane and get one immediately,” he smiles.
All the same, when it came to business, Mr. Nagesh had no qualms asking producers to pay him on time. Actors preferred being paid before the dubbing session fearing producers may forget later.
“Once, when a producer kept postponing making the payment to Nagesh, he pretended to have a very bad throat ahead of the dubbing session. As soon as the payment reached him there he cleared his throat and proceeded,” he recalls.
As a youngster who came to Chennai, he shared a room with lyricist Vaali and actor Srikanth in the late fifties and early sixties. A fan of Jerry Lewis, he along with his friends, would watch all Lewis films.
Describing his friend as a “genius,” Mr. Vaali says: “He knew carnatic and western music. He was a good table tennis player. He was amazing at carroms, too. He is a fantastic dancer. There cannot be another actor like him.”
Tamil cinema’s pride, Mr. Nagesh, will be missed, and very dearly.
Nick Name : Vaigai Puyal Vadivelu.
Born Place : Southern Tamil City of Madurai.
Mother Tongue : Tamil
Nationality : Indian ( Tamilan)
Profession : Actor ( Comedy Actor )
Debut Film in comedy role : T.Rajendar's " En Thangai Kalyani "
Debut to Hero Role : " Imsai Arasan 23am Pulikesi "
300 th Film : Elaiya Thalapathi Vijay's " Bhagavathi "
Rose Fam : Movie " Kadhalan "
Vadiveylu is a leading comedy actor in kollywood film industry. Vadivel born in south tamil nadu ( Madurai city) , his father was a glass cutter and doing frame work . and poor family. before life of film , he acted with that time star comedians Goundamani-senthil duo . The rose to fam after the his role in " Kadhalan " . Vadivelu acted hero role in Imsai arasan 23am pulikesi was hit and given very good name by him . The black gold making cool and smile to everybody face with timing .
CHENNAI: The Tamil film industry’s longstanding comedian and character artist Nagesh died following a heart attack here on Saturday morning.The veteran of more than 500 films was 76 and is survived by three sons, including actor Anand Babu.
Known only by his screen name Nagesh, he was born Gunddu Rao to Kannadiga parents in 1933.
He left home as a youngster, determined to return only when he made a name for himself, according to film industry sources. His destination was Chennai, where initially he took up a job with the Railways.
However, he felt — it turned out right in retrospect — that he had not met his calling yet. Theatre, or acting, was to be his first and final love, and the first steps, as is common in the Tamil film industry, were on stage.
Be it the poverty-stricken Dharumi in Thiruvilayadal, Server Sundaram, the intrepid storyteller/film director in Kadhalikka Neramillai, or Vaithy inThillana Mohanambal, Nagesh gave Tamil cinema some of its memorable vintage comedy scenes. Along with legendary directors of the era, K. Balachander and Sridhar, Nagesh ruled the roost in comedy on screen during the 1960s and 1970s.
His career spanned several decades, across successive generations of heroes and directors. While there is no doubt about his contribution to comedy, his fans recall his ability to play serious roles evocatively, as inNeer Kumuzhi and Ethir Neechal.
The entire film fraternity paid tributes to the departed actor at his Alwarpet residence.
COMEDY sPELL: Nagesh (right) with Sivaji Ganesan in the Tamil film ‘Galatta kalyanam’CHENNAI: He could make the audience laugh in amusement or shed a tear in empathy. One of the best comedians and character artists of Indian cinema, actor Nagesh, passed away here on Saturday after a brief illness.
An inspiring example of doggedness and enthusiasm, Mr. Nagesh had immense confidence in himself even before making a mark in the industry. As an actor who began his career playing small roles in Tamil plays, he would tell his friend, Vietnam Veedu Sundaram: “One day I will make them [directors] wait for my call sheet.”
He was right. Debuting with Thamarai Kulam by Muktha V. Srinivasan in 1958, he got so busy in the sixties and seventies that about 35 of his films were released in one year. “In a day, he had to shoot for six films. He would have just enough time to finish one, quickly change his shirt and rush to the next spot,” says ‘Film News’ Anandan, senior public relations professional.
The endearing actor had several friends, including theatre personality Y.G. Parthasarathy, actor Balaji and director Sridhar, who helped him in his initial years. Teaming up with veteran director K. Balachander, Mr. Nagesh acted in several films that have an important place in Tamil cinema. Many of these were first staged as plays.
“He was very passionate about theatre. He asked me to give him a role in my plays and I told him that I would write one, with him as the protagonist. That is how Server Sundaram happened,” veteran director K. Balachander recalls.
Speaking of the special bond they had, he says: “He would think through me, and I would act through him.”
“The greatness of the man is that even as we are mourning his passing away and crying, you are reminded of some ‘Nagesh joke,’ which will make you laugh instantly,” actor Kamal Haasan, says. “The only photograph I have in my office is that of him and me. I am such a huge fan,” he adds.
Nagesh’s much-hailed comedy sequences in films such as Kadalikka Neramillai, Ooty Varai Uravu, Anbe Va and Thiruvilayadal set the trend for humour in Tamil cinema for decades that followed. His voice modulation, facial expression, unbelievably swift bodily responses and innocent smile were his assets.
Just as his best comedy tracks flood one’s mind, you also hear him saying“Naan Maadhu Vandirukken!” His performance as the gullible and well-meaning youngster Maadhu in Ethir Neechal is one of the best character roles remembered in Tamil cinema. Server Sundaram was yet another gem on his crown. His performance in Nammavar later, particularly in the scene where he dances after his daughter dies, reemphasised why he is an actor nonpareil.
Mr. Nagesh’s humour was contemporary and refreshingly new throughout his career. Be it the make-up man in Avvai Shanmugi or Yugi Sethu’s father-in-law in Panchatandiram in his later years, he had viewers roaring in laughter. Even while playing a corpse in Magalir Mattum, it was in such style.
His ready wit often sparkled off-screen, too. Recalling a television interview he did with Mr. Nagesh, actor Y.Gee. Mahendra says: “I asked him, ‘So, are there different kinds of comedians?’ Pat came his rely. ‘Oh, yes. There are those whose time is good and others, whose timing is good!’ It is regrettable that the Indian government failed to recognise an artist of his stature.”
“It is rare to find an actor like him and rarer to find a friend like him,” recalls actor V.S. Raghavan, a close friend of the actor. “He could be very child-like sometimes. Once, he wanted a brass ear bud. He insisted that we drive down to Triplicane and get one immediately,” he smiles.
All the same, when it came to business, Mr. Nagesh had no qualms asking producers to pay him on time. Actors preferred being paid before the dubbing session fearing producers may forget later.
“Once, when a producer kept postponing making the payment to Nagesh, he pretended to have a very bad throat ahead of the dubbing session. As soon as the payment reached him there he cleared his throat and proceeded,” he recalls.
As a youngster who came to Chennai, he shared a room with lyricist Vaali and actor Srikanth in the late fifties and early sixties. A fan of Jerry Lewis, he along with his friends, would watch all Lewis films.
Describing his friend as a “genius,” Mr. Vaali says: “He knew carnatic and western music. He was a good table tennis player. He was amazing at carroms, too. He is a fantastic dancer. There cannot be another actor like him.”
Tamil cinema’s pride, Mr. Nagesh, will be missed, and very dearly.
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