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Post by dex on May 31, 2019 8:29:02 GMT -5
Rocketman
With the success of last year’s Queen biopic “Bohemian Rhapsody,” it might feel too soon for another film about a queer British rock star who soared to fame in the 1970s. But the Elton John biopic “Rocketman” is no “Bohemian Rhapsody” — it’s better. Wilder, louder and with a clear creative vision, this dizzy, delirious jukebox musical has the energy and visual dynamism to truly reflect the outlandish aesthetic and performance style of its subject.
Dexter Fletcher, who took over for Bryan Singer during the last few weeks of “Bohemian Rhapsody,” gets to truly show what he’s got in “Rocketman.” And he doesn’t hold back. From the opening scene, in which Welsh actor Taron Egerton, playing John, marches into a group therapy session in full sequined, platformed and feathered regalia, it’s obvious the film embraces roundabout and creative storytelling.
The therapy session serves as a framing device for John’s life story, which we revisit throughout the film. Slowly, he sheds pieces of his costume, which has become the colorful, clownish armor he’s built up around himself during years of fruitlessly searching for love.
From his remote war veteran father (Steven Mackintosh) to his seemingly uncaring mother (Bryce Dallas Howard, in full campy cockney mode) and an emotionally abusive relationship with his lover/manager John Reid (Richard Madden), Elton gives love to those who won’t return it. So he drowns his sorrows in booze, cocaine and shopping, pounding out his naked emotions on the piano. The only loving relationship in his life is with his best friend and songwriting partner Bernie Taupin (Jamie Bell). Their soulful creative connection is palpable, giving their greatest songs new shades of meaning.
“Rocketman” is no staid biopic — it’s a full-blown rock musical, a parade through Elton John’s greatest hits and his best outfits. Fletcher and writer Lee Hall use John’s songs as exposition, moving the story along with expertly choreographed and colorful musical numbers. The film frequently explodes into song-and-dance fantasy, expressing the emotional twists, turns and turmoil of each moment in John’s remarkable life. It’s a visual and musical feast as it swoops and spins through this roller-coaster ride.
The anchor and the engine of “Rocketman” is a powerhouse performance by Egerton as John, the role he was born to play, and quite possibly the only actor who could pull off the acting and the vocal ability the role requires. Egerton sings all the songs in the film, no easy task, and one he tackles energetically. The live-performance sequences are often enhanced by fantasy to capture the essence of the moment, especially during his first show at the Troubadour in Los Angeles.
Fletcher’s extravagant aesthetic and Egerton’s intense performance synergistically capture the spirit of John’s music and style. But fundamentally, the film is about John’s journey to finding love — self-love. The fantastical style allows for John to confront his past demons and embrace his inner child, finally finding fulfillment from within.
The film shapes John’s complex life into this easily digestible narrative, but because it’s working within the musical genre, where emotions are big and characters arcs are clear, it makes sense.
It’s not too often that groundbreaking stars like Elton John come along, and “Rocketman” gives the star a biopic that is as wild and unique as he is.
★★★★
“Rocketman”
Starring: Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard.
Rating: R for language throughout, some drug use and sexual content
Running time: 2:01
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pcdad
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Post by pcdad on May 31, 2019 23:43:50 GMT -5
Relisten to "Tumbleweed Connection". I'll have to dust off my "11-17-70" recording and "Goodbye Yellow Brick Road" as well prior to viewing this biopic.
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Post by dex on Jul 23, 2019 8:23:45 GMT -5
BOX OFFICE
‘The Lion King’ rules and ‘Endgame’ nets record
By Lindsey Bahr The Associated Press
LOS ANGELES — If there was any doubt that the 2019 box office belonged to the Walt Disney Co., this weekend put an end to it. Not only did its photorealistic remake of “The Lion King” devour opening weekend records for the month of July and PG-rated films, but “Avengers: Endgame” also crept past “Avatar” to become the highest-grossing film of all time.
“The Lion King” this weekend roared into 4,725 North American theaters, where it grossed a stunning $185 million, according to studio estimates on Sunday. Although reviews were mixed for Jon Favreau’s remake of the 1994 animated film, audiences still turned out in droves to hear the A-list voice cast, from Beyoncé to Donald Glover, and see the innovative technology that made the film possible.
“We’ve had a spectacular run this weekend,” said Cathleen Taff, Disney’s president of distribution. “We really did know we had something special with (“The Lion King”) given its popularity with fans of all ages.”
Industry experts had pegged “The Lion King” for a $150 million opening, which turned out to be far too modest a projection. Instead, with $185 million, Disney got a few records to boast about: It’s the ninth-biggest opening of all time, a July record (unseating “Harry Potter and the Deathly Hallows Part 2”) and a PG-rating record (taking over from “The Incredibles 2”).
It’s the second time this year a beloved Disney brand has overwhelmed a tepid critical response. “Aladdin,” which is still in the top 10 after nine weeks in theaters, has made $989 million globally.
“Certain brands have so much goodwill and equity,” said Paul Dergarabedian, senior media analyst for Comscore. “Reviews clearly didn’t matter at all.”
And, having opened in China a week early, “The Lion King” has amassed over $531 million in just 10 days. Audiences also embraced large format and 3D for the event film: 36% of that total came from 3D showings and $25.2 million from IMAX.
This is just the latest in a long string of wins for Disney, which now holds five of the top six spots for the year.
It’s evident even in this weekend’s charts. Five weeks in, “Toy Story 4” is still at No. 3 with an additional $14.6 million (behind “Spider-Man: Far From Home,” which slipped to second in its third weekend with $21 million). The Pixar sequel has grossed $859.4 million globally. “Aladdin” is in 7th place, with $3.8 million.
And then there is “Avengers: Endgame,” which didn’t make the top 10, but that hardly matters. With $1.5 million globally added this weekend, it surpassed “Avatar’s” all-time record, not accounting for inflation.
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Post by dex on Jul 26, 2019 8:02:37 GMT -5
★★★ “Once Upon a Time… In Hollywood” Starring: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Margaret Qualley, Timothy Olyphant
Rating: R for language throughout, some strong graphic violence, drug use, and sexual references
Running time: 2:41
It’s shocking to say that Quentin Tarantino’s Manson murders film is perhaps his most sedate and self-reflective yet. But maybe that’s because it’s not a Manson murders film. It’s not even a revenge picture. Rather, “Once Upon a Time… In Hollywood” is a rumination on stardom and myth-making, a memo on the cult of celebrity and the narratives we use to process the world around us. Can’t movie magic change these stories? The reality we live in? The film is a bit rueful, sentimental even, which is a new mode for the enfant terrible auteur, and it even casts his most operatic historical fantasy revenge pictures in a new light.
“Once Upon a Time… In Hollywood” is still very much a Tarantino film, chockablock with his obsessions and peccadilloes. His fetishes and fixations are front and center, from the macro (flashbacks nested inside of flashbacks, random voice-over narration) to the micro (lots of bare female feet). Tarantino’s camera obsessively points out every detail of the period-specific production design, whole swaths of Los Angeles dressed to the nines in its very best 1969 duds. He wants to show it off, each poster, tchotchke and perfectly designed beer can.
The nearly three-hour film has a lively (enough) pace because Tarantino can’t stop showing off each detail, the radio and records crackling, the TV blaring, offering a constant blanket of background white noise. We are in Hollywood after all, where it all happens, where the movie stars are your neighbors.
Early in the film one of our protagonists, Rick Dalton (Leonardo DiCaprio in fine and funny form), a movie star teetering on oblivion, has a heart-to-heart with producer Marvin Schwarzs (Al Pacino) about what it means to be a hero or a heavy. Rick used to be a hero, the star of a TV Western, “Bounty Law.” But now he’s a TV heavy, chauffeured to set by his best and only friend and stunt double, Cliff Booth (a soulful Brad Pitt). Marvin urges Rick to think about how that will make audiences see him. Isn’t it time to go to Rome and make a few spaghetti Westerns where he can be a hero again?
While Rick plays one on TV, Cliff is the real hero in the film, but there’s a conflict. He’s a heavy simultaneously. Cliff’s a stoic, inscrutable man, but a good man, we think (and hope). But there’s no denying his capability for violence, and his murky past. However, in “Once Upon a Time… In Hollywood,” the real heavies are the hippies, seen most often as scantily clad sirens hitchhiking around town. When Cliff offers a ride to a winsome hippie gal he’s seen around (Margaret Qualley), dropping her off at Spahn Movie Ranch, the film becomes a horror movie. The menacing and downright mean Manson girls slowly gather like zombies, or birds on a wire, scary enough even without their Charlie.
This may be Tarantino’s most soul-baring and sensitive film yet, mediated as it is through so many layers of film fandom: old film trailers, classic LA movie theaters, large format one-sheets, trinkets, technology, the daughters of Hollywood heavyweights who populate the cast. However, it’s also his most conservative film. Aligned with Rick and Cliff, relics of days gone by, Tarantino glibly demonizes the hippies to justify his own seemingly predetermined ending, and the sentiment turns to smirk in a Grand Guignol giallo-style splatterfest.
If you can take a bird’s eye view on the get-off-my-lawn good old boy mentality expressed here, it’s Tarantino coping with a changing world, pretending he can preserve something in amber, where pretty girls are just pretty girls and heroes stay heroes forever. Through the symbols of the characters, he tries and fails to turn back the clock, moving the pieces around his Hollywood board game in this lovingly rendered fantasy, which is a fantasy, nonetheless.
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Post by dex on Jul 29, 2019 7:30:19 GMT -5
BOX OFFICE ‘Lion King’ reigns again By Andrew Dalton The Associated Press
LOS ANGELES — “The Lion King” rode its circle of life into a second weekend atop the box office and “Once Upon A Time... In Hollywood,” while not quite doing fairytale numbers, gave director Quentin Tarantino his biggest opening ever.
Disney’s photorealistic remake of the Hamlet-themed tale of Mufasa, Simba and Nala, featuring the voices of Donald Glover and Beyoncé, brought in $75 million in North America, according to studio estimates Sunday. Its domestic total of $350 million makes it the year’s fourth highest-grossing film after just 10 days of release.
“Once Upon A Time... In Hollywood” finished a distant second with $40 million in its opening weekend for Sony, but it bested the 2009 opening of Tarantino’s “Inglourious Basterds” by $2 some million and made a strong showing for an R-rated, nearly-three-hour film that was not a sequel or remake and was aimed solely at adults.
The film with Leonardo DiCaprio, Brad Pitt and Margot Robbie as denizens of a 1969 Los Angeles where old Hollywood was fading and the Manson family was rising was more star-powered than Tarantino’s previous eight movies, though the director himself was as big a draw as anyone.
“In our fan survey, over 40% of the audience went to see the movie because of the director,” said Paul Dergarabedian, senior media analyst for Com-score. “That’s incredible. You almost never see that. Sony did a great job of putting that cast and certainly Tarantino at the front of the marketing. That collective star power just paid huge dividends.”
It’s also the sort of film that’s unlikely to experience a major drop-off in the coming weeks, and its long legs could walk it into awards season given Hollywood’s persistent love for movies about itself.
But with all of that, the film’s opening take was still nearly doubled by “The Lion King” and its broad appeal.
“‘Lion King’ has appealed to everyone, that’s a second-weekend gross that would be the envy of most films on their opening weekend,” Dergarabedian said.
The two-week take is also a sign that audiences are not yet feeling fatigue for Disney’s live-action remakes in a year that has already seen “Dumbo” and “Aladdin.”
“The idea that remake burnout would be in effect for ‘The Lion King’ has not proven true,” Dergarabedian said. “Some brands are inoculated from that kind of negative speculation.”
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pcdad
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Post by pcdad on Jul 30, 2019 0:12:04 GMT -5
Two words- Reservoir Dogs
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Post by dex on Aug 2, 2019 7:41:24 GMT -5
‘The Farewell’ A bittersweet look at complex family dynamics By Katie Walsh Tribune News Service
Awkwafina is perfectly cast as the Chinese American Billi in “The Farewell.” [A24]
In her moving sophomore feature film, “The Farewell,” writer/director Lulu Wang dives into the specific and the personal to unearth universal nuggets of divine truth about family, faith and fear. At the beginning, “The Farewell” announces it’s “based on a real lie.” Wang reveals it’s about her own family, and a “good lie” they once chose to tell.
In “The Farewell,” Chinese American New Yorker Billi (Awkwafina) is wracked with guilt when her family collectively decides to hide a terminal lung cancer diagnosis from her beloved grandmother (a luminous, delightful Zhao Shuzhen). The family solemnly gathers at Nai Nai’s home in Changchun under the pretense that Billi’s cousin, Haohao (Han Chen) is marrying his Japanese girlfriend of three months, Aiko (Aoi Mizuhara).
Through the preparations for the wedding, the family savors their last few moments with Nai Nai, transferring their grief and celebration of her remarkable life to this bizarre show wedding.
They seem superstitious that if Nai Nai discovers her diagnosis, she’ll die — not of cancer, but of fear. But the carefree Nai Nai remains as spunky as ever, just a bit winded, even though her children and grandchildren look positively stricken at seemingly every last hug and bite of meat pie.
The goodbye ruse at the center of “The Farewell” is the vessel for Billi to return to her family roots and reconnect with her Chinese heritage, to process the trauma of immigrating to the West as a child. The perfectly cast Awkwafina portrays Billi as the embodiment of what it means to be both Chinese and American, not just in her code-switching but in her belief systems.
Her American side comes out in her demonstrative emotions, her outspoken insistence on honesty and individual freedom. It takes a bit of nudging to connect with the Chinese beliefs that shape her family dynamic.
A family that operates as one being takes some getting used to for the fiercely independent Billi. But she welcomes the warm embrace of a large extended family after growing up without them.
But the insistence on little white lies as a means of avoiding worry rankles Billi, as it’s the source of her childhood trauma: She never understood why they left or where they were, or why she didn’t hear about her grandfather’s illness. Mourning and ultimately moving on from the lack of control over the events of her life is how Billi heals herself, how she grows.
Wang displays a masterful control over the unique mood and tone of the film, which is at once hilarious and heartbreaking, meticulous in its meditation. The often haunting cinematography by Anna Franquesa Solano seems to slow time and captures texture of place. Alex Weston’s forlorn and sometimes whimsical score of piano, strings and vocals adds to the eerie sense of suspended temporality and emotions that bridge sorrow and joy.
With impeccable craft, Wang has created a funny, heartfelt and bittersweet film that will ring riotously true for anyone who knows the joys and agonies of a large, complicated family, regardless of the culture, ethnicity or nationality. But it is significant that this family is Chinese. The Chinese elements are significant because it’s in the details of their traditions and the way in which they interact with each other that the sometimes-searing, sometimes-sweet emotional truths at the heart of the matter are fully revealed.
★★★★
“The Farewell”
Starring: Awkwafina, Tzi Ma, Diana Lin, Zhao Shuzhen, Han Chen, Hong Lu
Rating: PG for thematic material, brief language and some smoking
Running time: 1:38
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Post by dex on Aug 9, 2019 8:32:44 GMT -5
‘The Kitchen’ full of girl-power brutality By Katie Walsh Tribune News Service
From left, Elisabeth Moss, Tiffany Haddish and Melissa McCarthy star as Mob wives who continue their husbands’ business in “The Kitchen.”
[WARNER BROS. PICTURES]
It’s two-thirds of the way through “The Kitchen” before anyone asks Kathy Brennan (Melissa McCarthy) what, exactly, she wants. It’s her son who is asking, at the dinner table.
We’ve seen Kathy struggle and scrape by to survive, utterly sick of depending on and thanking men for her existence. We’ve seen her turn to a life of crime, wresting away control of the Irish Mob in the late 1970s Hell’s Kitchen while her husband is in prison. We’ve seen her flourish in the brutal and bloody collections and protections “business” she builds with two other Mob wives, the abused, broken Claire (Elisabeth Moss) and Ruby (Tiffany Haddish), a black woman, an outsider.
But what does she really want? What she tells her son is that she wants her kids to be in charge one day, with no one to mess with them because they know their mother is the formidable Kathy Brennan.
She wants power, which is what all the women in “The Kitchen” want, even the spiteful Mob madame Mrs. O’Carroll (Margo Martindale), who calls the shots and keeps her boys in charge (in name only). A desire for power is the central axis around which the characters’ actions hinge, and it’s the engine that drives them down a darker and darker path, lined with coffins.
In Andrea Berloff’s directorial debut, from her adaptation of Ollie Masters’ and Ming Doyle’s comic book series, women snatch their power. But to what end?
“The Kitchen” starts with a bang, with the liquor store robbery that sends husbands Kevin (James Badge Dale), Jimmy (Brian d’Arcy James) and Rob (Jeremy Bobb) up the river, and it proceeds apace. Shot with a dank griminess by legendary cinematographer Maryse Alberti, the film quickly checks off every requirement of the 1970s gangster genre: some handshakes, some heavies, montages of cash stacks set to classic rock, a disco celebration party, replete with feathered hair.
“The Kitchen” feels a bit color-by-numbers in terms of the generic beats it hits, but Berloff hits each one hard. The gender flip is what distinguishes it, watching women rather than men perform the acts of brutal benevolence.
Although it errs on the side of broad, the script rings true to their circumstances. The women bemoan the prison of patriarchy they’ve lived in, while happily stepping into the void left by their husbands and eclipsing them in every skill of the trade: negotiation, intimidation, elimination. McCarthy strikes just the right tone of cajoling and cruel required of a Mob boss, and the scenes in which she goes toe to toe with Bill Camp as Italian mobster Alfonso Coretti are some of the best.
“The Kitchen” is chock-full of rousing girl power lines, with a trio of actresses who can deliver them with panache, but one wishes the story could back up the characters with more than just firepower. The film never sugarcoats the ugly, blood-soaked realities of gang life, but the film itself only briefly touches on the psychology behind the actions. Preoccupied with twists, “The Kitchen” doesn’t spend time digging into the dark side of power, which corrupts absolutely.
Ultimately, what does Kathy want? Maybe, all along, it was just to be Mrs. O’Carroll, the queen of The Kitchen. And what Kathy wants, Kathy gets. The wheel of power is never broken, just taken, and violently.
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Post by dex on Aug 16, 2019 8:53:15 GMT -5
REVIEW A worthy watch Rape-revenge tale ‘The Nightingale’ finds a sliver of hope through the nightmare By Katie Walsh Tribune News Service
Aisling Franciosi stars as Clare, an Irish woman indentured to a sadistic British officer, in Jennifer Kent’s “The Nightingale.” [IFC FILMS]
The unflinching Australian filmmaker Jennifer Kent uses genre to access the innermost depths of feminine rage, grief and the subconscious mind. In her debut, the indie horror hit “The Babadook,” Kent uses the haunted house subgenre to wrestle with the Jungian concept of the shadow in this fable of a mother fighting her inner demons in the form of a terrifying boogeyman. In her follow-up, “The Nightingale,” Kent has made a film that’s even more disturbing, because it’s all based on real history. Using the rape revenge genre, she directs a piercing, primal scream directly at colonialism and systemic oppression, specifically at the atrocities committed by the British during the “settling,” or invasion, of Australia and Tasmania.
With attention to historical detail and respect to indigenous culture, Kent has created a devastatingly stark and unromantic period piece set during an era of brutal colonization in which the British exploited convict labor and perpetuated a genocide against the aboriginal people of Tasmania (or Van Diemen’s Land, as it was called then). “The Nightingale” takes place in 1825, during a period of conflict referred to as the Black War, though this is not a film that offers too much context beyond the immediate moment. The first words we hear are Gaelic, spoken between a young woman, Clare (Aisling Franciosi), and her husband, Aidan (Michael Sheasby). It’s only when she leaves their hut with their baby that we know they’re not in Ireland anymore.
Clare, who scrapped and stole to survive in Ireland, is indentured to a sadistic British military captain, Hawkins (Sam Claflin). He holds her ticket to freedom, using the power to torment, manipulate and repeatedly rape her. In an act of unbelievably cruel violence, Hawkins snuffs Clare’s hopes for her future in an instant, inexorably altering her destiny. The person who rises from her blood-soaked hut is no longer a terrified, yielding girl, but a vengeful woman hellbent on a bloodthirsty mission. With her husband’s horse and gun, she takes off into the unforgiving bush after Hawkins, who is headed to town to plead for a promotion. Reluctantly, Clare agrees to take an aboriginal tracker, Billy (Baykali Ganambarr), though she harbors as much racism toward him as the English do to her. The two connect through song. With her clear, high voice, Clare is the nightingale, while Billy is the mangana, the blackbird.
Kent’s arresting film pulls no punches: It depicts the wanton genocide, murder and abuse that mars the history of this place. But despite all the bleak brutality enacted on screen, Kent can’t help but offer a sliver of freedom for Billy and Clare. When they lift their voices, in songs, in screams, in sobs, there’s an undeniable glimpse of resistance and hope.
★★★★
“The Nightingale”
Starring: Aisling Franciosi, Baykali Ganambarr, Sam Claflin, Damon Herriman, Michael Sheasby
Rating: R for strong violent and disturbing content including rape, language throughout, and brief sexuality
Running time: 2:16
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Post by dex on Sept 2, 2019 7:57:51 GMT -5
Off the pace at the box office
Hollywood’s summer ends 2% down despite Disney dominance
By Jake Coyle The Associated Press
NEW YORK — Never before has one studio so dominated summer at the movies. The Walt Disney Co. accounted for about half of all ticket sales in U.S. and Canada theaters on the season, which came to a close Sunday with the Gerard Butler action thriller “Angel Has Fallen” topping the box office for the second weekend.
Summer ticket sales finished 2% behind last year, according to data firm Comscore, a slight downturn that came despite an unprecedented display by Disney. The studio’s approximate $2.2 billion in domestic summer box office is greater than that of all the major studios combined.
Summer, which for Hollywood runs from the first weekend in May to Labor Day, traditionally ends with a whimper as few new releases seek to draw audiences over the holiday weekend. That was especially true this weekend as nothing new dented the top 10. Lionsgate’s “Angel Has Fallen” came on top again with an estimated $11.6 million.
The final numbers on Hollywood’s summer didn’t add up to the box-office bonanza that some predicted. Instead, the main storyline on the summer came to be the yawning gap between Disney and the rest of the industry. Disney finalized its $71 billion acquisition of 20th Century Fox in March, but it was the studio’s own offerings that propelled its market dominance.
Five of Disney’s films crossed $1 billion this summer, including the season’s biggest hit, “The Lion King.” It currently ranks seventh all-time globally with $1.56 billion in ticket sales. “Avengers: Endgame” ($2.796 billion) opened in late April, just before the summer began. “Toy Story 4” and “Aladdin” both easily cleared $1 billion. The only non-Disney film in the summer’s top four was Sony’s “Spider-Man: Far From Home,” and that film was produced by Disney’s Marvel Studios.
Disney has been the market leader for the last four years in Hollywood as its high-priced acquisitions — Lucasfilm, Pixar, Marvel, and now Fox — have given the studio the intellectual property firepower for a movie world increasingly focused on franchises.
Only one original film this summer ranked among the top 10, and it came in 10th. Quentin Tarantino’s “Once Upon a Time... in Hollywood” will have made an estimated $130.8 million through Monday domestically, plus sizable ticket sales abroad. It, along with “Spider-Man,” helped lead Sony to its best summer since 2006 — but a distant No. 2 to Disney.
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Post by dex on Sept 3, 2019 8:06:46 GMT -5
Battle of RI Hollywood Celebrities: O’Hurley Slams Messing Over Trump Tweet
Tuesday, September 03, 2019
GoLocalProv Political Team
Providence College grad and “Seinfeld” actor John O’Hurley blasted East Greenwich native and actor Debra Messing for her effort to “out” Hollywood stars that support President Donald Trump. “Let me just say I’m embarrassed for both of them because I know them both, I’ve worked with Debra [Messing] before. They’re both smart people... they do wonderful work,” said O'Hurley on Fox News, of Messing and Will and Grace co-star Eric McCormack Tweeting that that attendees of an upcoming Trump fundraiser in Beverly Hills should be made public.
"But, they’re pushing a case that falls apart from the sheer weight of its lunacy, as though the Hollywood community needs to be purged of this social and intellectual hygiene problem called conservative thinking. It underscores the fact that we aren’t receptive to a diversity of thought which is the exact opposite of what you feel the liberal way would be, and I find that obscene,” he went on to say.
O'Hurley is a self-proclaimed conservative, and Messing who stars in "Wlll and Grace" is admittedly a strong supporter of progressive causes and a harsh critic of Trump.
“It’s very difficult to be a conservative in Hollywood. Even though there are many of us, you do feel you are an island fighting the storm... all viewpoints must be observed and respected,” he shared. “At the same time we are supporting free-thinking, we also have to support free receptors – people that will allow other ideas to infect them. Some of the best convos I’ve ever had on 'Seinfeld'... were with Michael Richards who thinks totally different than I do. I couldn't wait to present him with an issue because I was always interested in his perspective,” said O'Hurley.
No word from Rhode Island’s James Woods — a strong supporter of Trump. He quit Twitter in April.
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friar82
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Post by friar82 on Sept 3, 2019 17:59:56 GMT -5
I'm even more of an O'Hurley fan after reading that. Thanks, Dex
"...It underscores the fact that we aren’t receptive to a diversity of thought which is the exact opposite of what you feel the liberal way would be, and I find that obscene..."
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Post by wtm97 on Sept 4, 2019 7:10:41 GMT -5
“Diversity of THOUGHT”
What a unique concept...
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pcdad
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Post by pcdad on Sept 4, 2019 11:00:46 GMT -5
Anticipating dex' review of the forthcoming "The Irishman" directed by Scorcese with a star-studded cast.
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friar82
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Post by friar82 on Sept 4, 2019 13:18:13 GMT -5
With all that's happening outside of PC Sports these days, the hallways of the "OT - Division" have to be buzzing. That said, I have no doubt that your anticipated review of "The Irishman" will be well worth the wait!
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