Animation producer J. Michael Mendel, known for his work on 'The Simpsons' and 'Rick and Morty', has died.
The four-time Emmy award-winner was 54.
Also Read:?Dimitri Vegas, Like Mike to perform in India
A spokesperson for Adult Swim, the network where 'Rick and Morty' airs, confirmed the death of the producer, reports variety.com.
"All of us at Adult Swim are devastated by the untimely passing of Mike Mendel. Mike was the heart of the 'Rick and Morty' production family, his fantastic talent and wit will be sorely missed. Mike was a universally respected Emmy-winning producer with over 25 years in the industry, who guided and supported a generation of artists, writers and creators and his absence will be felt by the entire community. Our deepest condolences go out to his family, friends and colleagues during this difficult time," the network said.
'Rick and Morty' co-creator Justin Roiland...
The four-time Emmy award-winner was 54.
Also Read:?Dimitri Vegas, Like Mike to perform in India
A spokesperson for Adult Swim, the network where 'Rick and Morty' airs, confirmed the death of the producer, reports variety.com.
"All of us at Adult Swim are devastated by the untimely passing of Mike Mendel. Mike was the heart of the 'Rick and Morty' production family, his fantastic talent and wit will be sorely missed. Mike was a universally respected Emmy-winning producer with over 25 years in the industry, who guided and supported a generation of artists, writers and creators and his absence will be felt by the entire community. Our deepest condolences go out to his family, friends and colleagues during this difficult time," the network said.
'Rick and Morty' co-creator Justin Roiland...
- 9/24/2019
- GlamSham
Animation producer J. Michael Mendel, best known for his work on “The Simpsons” and “Rick and Morty,” has died. The four-time Emmy award-winner was 54.
A spokesperson for Adult Swim, the network where “Rick and Morty” airs, confirmed the death in a statement, saying, “All of us at Adult Swim are devastated by the untimely passing of Mike Mendel. Mike was the heart of the ‘Rick and Morty’ production family, his fantastic talent and wit will be sorely missed. Mike was a universally respected Emmy-winning producer with over 25 years in the industry, who guided and supported a generation of artists, writers and creators and his absence will be felt by the entire community. Our deepest condolences go out to his family, friends and colleagues during this difficult time.”
“Rick and Morty” co-creator Justin Roiland also offered his condolences on Twitter following Mendel’s passing: “I don’t know what I’m...
A spokesperson for Adult Swim, the network where “Rick and Morty” airs, confirmed the death in a statement, saying, “All of us at Adult Swim are devastated by the untimely passing of Mike Mendel. Mike was the heart of the ‘Rick and Morty’ production family, his fantastic talent and wit will be sorely missed. Mike was a universally respected Emmy-winning producer with over 25 years in the industry, who guided and supported a generation of artists, writers and creators and his absence will be felt by the entire community. Our deepest condolences go out to his family, friends and colleagues during this difficult time.”
“Rick and Morty” co-creator Justin Roiland also offered his condolences on Twitter following Mendel’s passing: “I don’t know what I’m...
- 9/24/2019
- by BreAnna Bell
- Variety Film + TV
J. Michael Mendel, an animation producer who won four Emmy Awards for his work on The Simpsons and Rick and Morty, has died. He was 54.
His wife, Emmy-winning casting director Juel Bestrop (Brooklyn Nine-Nine, Life in Pieces), told The Hollywood Reporter that he died of natural causes Sunday night at their home in Studio City.
On Twitter, Justin Roiland, co-creator of Rick and Morty, wrote: "I don't know what I'm going to do without you by my side Mike. I'm destroyed." Longtime Simpsons producer Al Jean also reported the news.
Mendel moved from his gig as a postproduction supervisor on Fox'...
His wife, Emmy-winning casting director Juel Bestrop (Brooklyn Nine-Nine, Life in Pieces), told The Hollywood Reporter that he died of natural causes Sunday night at their home in Studio City.
On Twitter, Justin Roiland, co-creator of Rick and Morty, wrote: "I don't know what I'm going to do without you by my side Mike. I'm destroyed." Longtime Simpsons producer Al Jean also reported the news.
Mendel moved from his gig as a postproduction supervisor on Fox'...
- 9/23/2019
- The Hollywood Reporter - Movie News
J. Michael Mendel, an animation producer who won four Emmy Awards for his work on The Simpsons and Rick and Morty, has died. He was 54.
His wife, Emmy-winning casting director Juel Bestrop (Brooklyn Nine-Nine, Life in Pieces), told The Hollywood Reporter that he died of natural causes Sunday night at their home in Studio City.
On Twitter, Justin Roiland, co-creator of Rick and Morty, wrote: "I don't know what I'm going to do without you by my side Mike. I'm destroyed." Longtime Simpsons producer Al Jean also reported the news.
Mendel moved from his gig as a postproduction supervisor on Fox'...
His wife, Emmy-winning casting director Juel Bestrop (Brooklyn Nine-Nine, Life in Pieces), told The Hollywood Reporter that he died of natural causes Sunday night at their home in Studio City.
On Twitter, Justin Roiland, co-creator of Rick and Morty, wrote: "I don't know what I'm going to do without you by my side Mike. I'm destroyed." Longtime Simpsons producer Al Jean also reported the news.
Mendel moved from his gig as a postproduction supervisor on Fox'...
- 9/23/2019
- The Hollywood Reporter - Film + TV
(Warning: This post contains spoilers for Thursday’s episode of “Brooklyn Nine-Nine,” titled “Hitchcock & Scully”)
While the first episode of Season 6 of “Brooklyn Nine-Nine” was devoted to Jake and Amy (and weirdly also Holt), the second gives the show’s other fan-favorite couple its full attention. Yes, we’re talking about Hitchcock (Dirk Blocker) and Scully (Joel McKinnon Miller), whose backstory is finally addressed on Thursday’s episode, aptly titled, “Hitchcock & Scully.”
The installment centers around Jake (Andy Samberg) and Boyle (Joe Lo Truglio) trying to get to the bottom of what really happened when some money went missing on a drug case the now-bumbling Hitchcock and Scully worked back in 1986, for which they are currently under investigation by NYPD Internal Affairs.
Also Read: 'Brooklyn Nine-Nine': Andre Braugher Wants NBC to Start Selling Captain Holt's 'Pineapple Slut' Shirt
The episode gives us more than a few flashbacks showing...
While the first episode of Season 6 of “Brooklyn Nine-Nine” was devoted to Jake and Amy (and weirdly also Holt), the second gives the show’s other fan-favorite couple its full attention. Yes, we’re talking about Hitchcock (Dirk Blocker) and Scully (Joel McKinnon Miller), whose backstory is finally addressed on Thursday’s episode, aptly titled, “Hitchcock & Scully.”
The installment centers around Jake (Andy Samberg) and Boyle (Joe Lo Truglio) trying to get to the bottom of what really happened when some money went missing on a drug case the now-bumbling Hitchcock and Scully worked back in 1986, for which they are currently under investigation by NYPD Internal Affairs.
Also Read: 'Brooklyn Nine-Nine': Andre Braugher Wants NBC to Start Selling Captain Holt's 'Pineapple Slut' Shirt
The episode gives us more than a few flashbacks showing...
- 1/18/2019
- by Jennifer Maas
- The Wrap
Greenlit: ‘Brooklyn Nine-Nine’ Finds a New Home at NBC, RuPaul Gets a Netflix Comedy + More Projects
Greenlit means a project is officially a go, so all you have to do is follow these leads to stay up to date. You never know where you’ll find an opportunity to land an audition! “Brooklyn Nine-Nine” In today’s TV landscape, a cancelation does not mean a show is done for good. Following news last week that Fox had canceled the popular police sitcom and the immediate #SaveB99 and #RenewB99 campaigns from fans, NBC has swooped in and saved the day, picking up the show for its sixth season. This is a bit of a redemption for NBC Entertainment Chairman Bob Greenblatt, who sold “Brooklyn Nine-Nine” to Fox in the first place. The sixth season will consist of 13 episodes, and a new home may mean a new casting director, but the likeliest scenario is that Juel Bestrop will continue on the job, especially since she has already worked with NBC on “Community.
- 5/14/2018
- backstage.com
Stay in the loop on industry and casting news with our write-up on who’s been slated for recent film and television roles! “Ghosted”The truth was out there in the ’90s and it still may be lurking on Fox. The network known for housing the illusive “X-Files” is rehashing the setup for a ghost hunt. When the Bureau Underground recruits a stone-cold skeptic and a true believer to look into the recent surge in unexplained activity in Los Angeles, the two investigators uncover a mystery that could threaten all of humanity. Lucky for the Underground, the two teammates strike an odd balance that’s truly out of this world. Funnymen Adam Scott and Craig Robinson will fill the two lead roles. Joining the pair on the spooky venture are actors Edi Patterson, Ally Walker, and Adeel Akhtar. Juel Bestrop has assembled the cast and will fill any remaining roles before the pilot starts shooting.
- 3/28/2017
- backstage.com
Performers hoping to land a coveted guest role in NBC’s comedy lineup need the right mix of character acting and improv skills, according to Josh Einsohn, a casting director who works with Juel Bestrop at her Los Angeles office. Einsohn, who was promoted to casting director in July, cast “Community” and “Up All Night” with Bestrop, and their office is working on “The Gates,” an NBC comedy pilot set at the gates of an elementary school. On “Community,” Einsohn is primarily involved in casting speaking roles The series, which boasts an impressive ensemble cast that includes Chevy Chase, Joel McHale, and Gillian Jacobs, is routinely casting “quick, fun, small parts” that can turn into reoccurring roles, he said. “‘Community’ is definitely one of the [series] more open to off-the-wall casting. “The kind of people that we find the best are the ones that are skilled at developing a character and...
- 11/21/2012
- backstage.com
Actors Zooey Deschanel and Max Greenfield have both earned their first Emmy Award nominations this year for their roles in the new Fox comedy series "New Girl." But how did the movie star and unknown actor end up on screen together?Casting director Seth Yanklewitz, who cast the pilot, says that series creator Liz Meriwether ("30 Rock," "No Strings Attached") wanted to find what he describes as "gritty, real characters," who are "super funny, like the new crop at Ucb and the Groundlings" to fill out the cast of her new show, which at the time was titled "Chicks and Dicks." Yanklewitz – who had previously cast comedies like "The Hangover," "Eastbound & Down," and "Blue Mountain State" with his partner Juel Bestrop – was apparently so successful in his search that before the pilot had even been picked up to series, now with the title "New Girl," he was named...
- 7/19/2012
- by help@backstage.com (Daniel Lehman)
- backstage.com
One of the biggest questions surrounding the star-studded cast of the upcoming movie musical "Rock of Ages," based on Broadway's jukebox hit of the same name, is "Can they sing?" Tom Cruise, Paul Giamatti, Bryan Cranston, Malin Akerman, and Will Forte are not exactly known for their musical prowess, but they'll be belting out '80s hits such as "Paradise City" and "Pour Some Sugar on Me" on big screens this summer.Casting director Seth Yanklewitz, who worked with longtime casting partner Juel Bestrop and director Adam Shankman to cast the film, says, "Nobody wanted to make a fool of themselves." So although some of the biggest names in the cast never stepped into the audition room, it was because he already knew they could sing. Alec Baldwin's theater background, Catherine Zeta-Jones' Oscar-winning performance in "Chicago," and Mary J. Blige being, well, Mary J. Blige were proof enough for Yanklewitz.
- 5/28/2012
- by help@backstage.com (Daniel Lehman)
- backstage.com
Amid all the pilot news that's being released, let's not overlook some of the sweet movie projects, scheduled to begin production in the next few months. Also, unlike most pilots, these movies have a good chance of actually seeing the light of day.Take "Coffee Town," for instance. From the CollegeHumor Media geniuses behind "Nicolas Cage's Agent" and other Internet classics, the project's log line thus far is a version of the "Slackers fight back against shifting societal mores that would force them to stop slacking" story line. But the cast is great so far. Glenn Howerton from "It's Always Sunny," Steve Little from "Eastbound & Down," and Ben Schwartz from "Parks and Recreation" are attached to the project. Casting is being handled by Juel Bestrop of Juel Bestrop Casting, as well as her associates Josh Einsohn and Brittany Jones, who are receiving CD billing for this project. Shooting gets under.
- 1/20/2012
- by help@backstage.com (Pete Keeley)
- backstage.com
Exclusive: MTV is moving forward with the adaptation of the British award-winning high-school comedy series The Inbetweeners, handing a pilot order to the project. Brad Copeland (Arrested Development, My Name Is Earl) has been tapped as writer/ showrunner/ executive producer, marking his return to TV full-time after a stint in features. Search for actors to play the leads in the pilot is already underway and is being led by casting directors Juel Bestrop and Seth Yanklewitz who cast blockbuster feature comedy The Hangover. The Inbetweeners has been a passion project for MTV's Evp scripted development David Janollari, who won the rights to the format in a heated bidding this past summer. "The Inbetweeners is one of the best comedies to come out of the U.K. in years," he said. "It's unique and bold, its approach to contemporary teen coming-of-age stories is universal and simply hilarious, and it will resonate immensely with our core demographic.
- 9/28/2010
- by NELLIE ANDREEVA
- Deadline TV
Playwright Tony Kushner, producer Marcy Carsey, and casting director Ellen Chenoweth will be honored by the Casting Society of America at this year's Artios Awards. The nominees for this year's awards—to be presented Nov. 1 in dual ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the American Airlines Theatre in New York—were announced today. Kushner, Carsey, and Chenoweth will be presented with special awards. The complete list of nominees follows.Big budget feature, drama"Avatar," Margery Simkin and Mali Finn (initial casting)"Inglourious Basterds," Johanna Ray and Jenny Jue"Nine," Francine Maisler"Sherlock Holmes," Reg Poerscout-Edgerton"Shutter Island," Ellen Lewis and Carolyn Pickman (location casting)Big budget feature, comedy"Couples Retreat," Sarah Halley Finn and Randi Hiller"Date Night," Donna Isaacson"Julie and Julia," Francine Maisler"The Proposal," Amanda Mackey Johnson, Cathy Sandrich Gelfond, and Angela Peri (location casting)"Valentine's Day," Deborah Aquila and Tricia WoodFeature,...
- 9/15/2010
- backstage.com
Casting directors came out from behind the curtain to be honored by their peers last night at the 25th Annual Artios Awards. The bi-coastal awards, which were held simultaneously at the new Times Center in New York City and the Hyatt Regency Century Plaza Hotel in Los Angeles, are presented yearly for outstanding achievement in casting in theater, film, and television categories on the criteria of originality, creativity, and contribution of casting to the overall quality of a project.Celebrity awards presenters in New York were Patrick Wilson ("Little Children," "Angels in America"), Carrie Preston ("True Blood"), Michael Shannon ("Revolutionary Road"), Jennifer Morrison ("House"), Bill Pullman ("Oleanna"), Christine Ebersole ("Grey Gardens"), Vincent Kartheiser ("Mad Men"), and Elizabeth Reaser ("Twilight"). Stanley Tucci and producer Daryl Roth presented the New York Big Apple Award to Nora Ephron and Delia Ephron, whose "Love, Loss and What I Wore" recently opened Off-Broadway to rave reviews.
- 11/3/2009
- backstage.com
Producer Laura Ziskin, writer-director Nora Ephron, writer Delia Ephron and casting director John Frank Levey will be honored at the Casting Society of America's 24th annual Artios Awards.
Simultaneous awards ceremonies will be held in at the Hyatt Regency Century Plaza in Los Angeles and the New York Times Building in New York on Nov. 2.
Ziskin is set to receive the group's Career Achievement Award. The New York Apple Award will be presented to Nora and Delia Ephron. Levy is this year's recipient of the Hoyt Bowers Award.
Representing 425 members in the United States, Canada, England and Australia, Cas also announced its nominees in film TV and theater on Thursday.
In the category of big budget feature drama, Ellen Chenoweth scored two noms for "Changeling" and "Duplicity." The category nominees are John Papsidera for "The Dark Knight"; April Webster and Alyssa Weisberg for "Star Trek" and Avy Kaufman for "State of Play.
Simultaneous awards ceremonies will be held in at the Hyatt Regency Century Plaza in Los Angeles and the New York Times Building in New York on Nov. 2.
Ziskin is set to receive the group's Career Achievement Award. The New York Apple Award will be presented to Nora and Delia Ephron. Levy is this year's recipient of the Hoyt Bowers Award.
Representing 425 members in the United States, Canada, England and Australia, Cas also announced its nominees in film TV and theater on Thursday.
In the category of big budget feature drama, Ellen Chenoweth scored two noms for "Changeling" and "Duplicity." The category nominees are John Papsidera for "The Dark Knight"; April Webster and Alyssa Weisberg for "Star Trek" and Avy Kaufman for "State of Play.
- 9/17/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
"Austin Powers: The Spy Who Shagged Me" is bigger and funnier than the original film -- which means, of course, that the jokes are much worse. Few moviemakers have elevated sheer badness to a comic art form as have Mike Myers and his cohorts in the two "Austin Powers" films. Indeed, they have done the seemingly impossible: given badness -- dare we say it? -- a good name.
Every summer needs its silly movie, and at least until Adam Sandler turns up later this month, "Austin Powers" has the silly market cornered. Although at times numbingly one-notish and repetitive, this New Line release looks like it will shag a sizable boxoffice yield then turn into a highly rentable video.
The basic joke to the "Austin Powers" series lies in the transitory nature of pop culture. In our media-mad world, everything from the clothing and hairstyles to the social mores of a mere generation ago appears hilariously off-the-mark today. If you doubt this, just take a look at that photo in your high school yearbook.
So when Myers' James Bond-like character, a cryogenic relic of the Swinging '60s, is plunked down in the end-of-the-millennium London, he's a walking antiquity. Worse yet, Austin refuses to recognize that anything has changed.
The time-travel element from the original 1997 film gets overworked in the sequel as various time machines scoot people back and forth across three decades with a trip to the moon thrown in for good measure.
Sometimes this back-to-the-future zaniness sets up truly inspired comedy such as Rob Lowe playing a young Robert Wagner with deadly accuracy. (Is it a compliment to say an actor plays Robert Wagner very well?) But the film relies far too heavily on anachronisms, which grow increasingly flat as the movie wears on.
Myers and his writing partner, Michael McCullers, certainly know little if any shame in their pursuit of jokes in the bathroom, bedroom and anywhere else bad taste can prevail. There are more gags here about bodily functions than in a Farrelly brothers flick. There is even, God help us, a gerbil joke.
The movie eliminates Vanessa (Elizabeth Hurley) -- Austin's lust interest from the original film -- in the first scene, which permits him to take up with Felicity Shagwell (Heather Graham). Felicity eagerly joins Austin's campaign to free the world from Dr. Evil (also played by Myers), whose plans for world domination inevitably run afoul of Austin's mojo.
So Dr. Evil time-travels back to the '60s to steal his nemesis' mojo. Austin follows him in his own time machine -- a psychedelic VW Beetle -- to get his mojo back and block Dr. Evil's plan to zap Earth from the moon with a laser (in 1969?). One could only wish Austin and Felicity also found time to eliminate the movie's most annoying character, Mini-Me (Verne J. Troyer), a pint-size clone of Dr. Evil.
In Austin Powers, Myers has clearly touched a comic nerve with audiences. By seeing James Bond not as a worldly sophisticate but rather as an ageless adolescent ruled by his genital urges, Myers has created a character that amuses men and convulses women. In also playing Dr. Evil and a new character, Fat Bastard, an obese Scottish spy, Myers further exploits his gifts for comic exaggeration.
But when one actor produces, writes and plays three parts, it tends to reduce his supporting cast to straight-man roles. The two actors who do manage to stand out are, interestingly enough, women. Graham's fab vixen exudes charm and wit. She is game for all the silliness but maintains a sweetness that is genuinely alluring.
And Mindy Sterling, a veteran actress and a member of the Groundlings improv troupe, makes Dr. Evil's henchwoman Frau Farbissina into an improbable but hilarious sex kitten.
The film also delights in its cameos with such people as Burt Bacharach, Elvis Costello, Woody Harrelson, Willie Nelson, Tim Robbins and Jerry Springer turning up either as themselves or as inspired casting.
As with the initial movie, Jay Roach's directorial style equates busyness with energy. He prefers visual onslaught to, say, the slapstick inventiveness of the Farrelly brothers or the subtle, multilayered gags of the early Zucker brothers.
There is also an inherent laziness born of the anything-can-happen approach. The moviemakers see no reason to explain how Frau Farbissina can witness Dr. Evil's rocket launch on Earth only to be present at his moon station when he arrives.
The gospel of badness is also honored by production designer Rusty Smith and cinematographer Ueli Steiger. Smith has outfitted a host of California locales and the Universal backlot to not even resemble '60s England in the slightest. (One can even glimpse the Hollywood Hills behind the London store fronts.) And Steiger uses high key lighting to capture the overripe Carnaby colors in all their true garishness.
The film's final moments leave the way open to further sequels -- at least until audiences cry uncle.
AUSTIN POWERS: THE SPY WHO SHAGGED ME
New Line Cinema
An Eric's Boy, Moving Pictures
and Team Todd production
A Jay Roach film
Producers: Suzanne Todd, Jennifer Todd, Demi Moore, Eric McLeod, John Lyons, Mike Myers
Director: Jay Roach
Writers: Mike Myers & Michael McCullers
Executive producers: Erwin Stoff, Michael De Luca, Donna Langley
Director of photography: Ueli Steiger
Production designer: Rusty Smith
Music: George S. Clinton
Casting: Juel Bestrop & Jeanne McCarthy
Costumes: Deena Appel
Editors: John Poll, Debra Neil-Fisher
Color/stereo
Cast:
Austin Powers/Dr. Evil/Fat Bastard: Mike Myers
Felicity Shagwell: Heather Graham
Basil Exposition: Michael York
Number Two: Robert Wagner
Young Number Two: Rob Lowe
Scott Evil: Seth Green
Frau Farbissina: Mindy Sterling
Mini-Me: Verne J. Troyer
Running time -- 95 minutes
MPAA rating: PG-13...
Every summer needs its silly movie, and at least until Adam Sandler turns up later this month, "Austin Powers" has the silly market cornered. Although at times numbingly one-notish and repetitive, this New Line release looks like it will shag a sizable boxoffice yield then turn into a highly rentable video.
The basic joke to the "Austin Powers" series lies in the transitory nature of pop culture. In our media-mad world, everything from the clothing and hairstyles to the social mores of a mere generation ago appears hilariously off-the-mark today. If you doubt this, just take a look at that photo in your high school yearbook.
So when Myers' James Bond-like character, a cryogenic relic of the Swinging '60s, is plunked down in the end-of-the-millennium London, he's a walking antiquity. Worse yet, Austin refuses to recognize that anything has changed.
The time-travel element from the original 1997 film gets overworked in the sequel as various time machines scoot people back and forth across three decades with a trip to the moon thrown in for good measure.
Sometimes this back-to-the-future zaniness sets up truly inspired comedy such as Rob Lowe playing a young Robert Wagner with deadly accuracy. (Is it a compliment to say an actor plays Robert Wagner very well?) But the film relies far too heavily on anachronisms, which grow increasingly flat as the movie wears on.
Myers and his writing partner, Michael McCullers, certainly know little if any shame in their pursuit of jokes in the bathroom, bedroom and anywhere else bad taste can prevail. There are more gags here about bodily functions than in a Farrelly brothers flick. There is even, God help us, a gerbil joke.
The movie eliminates Vanessa (Elizabeth Hurley) -- Austin's lust interest from the original film -- in the first scene, which permits him to take up with Felicity Shagwell (Heather Graham). Felicity eagerly joins Austin's campaign to free the world from Dr. Evil (also played by Myers), whose plans for world domination inevitably run afoul of Austin's mojo.
So Dr. Evil time-travels back to the '60s to steal his nemesis' mojo. Austin follows him in his own time machine -- a psychedelic VW Beetle -- to get his mojo back and block Dr. Evil's plan to zap Earth from the moon with a laser (in 1969?). One could only wish Austin and Felicity also found time to eliminate the movie's most annoying character, Mini-Me (Verne J. Troyer), a pint-size clone of Dr. Evil.
In Austin Powers, Myers has clearly touched a comic nerve with audiences. By seeing James Bond not as a worldly sophisticate but rather as an ageless adolescent ruled by his genital urges, Myers has created a character that amuses men and convulses women. In also playing Dr. Evil and a new character, Fat Bastard, an obese Scottish spy, Myers further exploits his gifts for comic exaggeration.
But when one actor produces, writes and plays three parts, it tends to reduce his supporting cast to straight-man roles. The two actors who do manage to stand out are, interestingly enough, women. Graham's fab vixen exudes charm and wit. She is game for all the silliness but maintains a sweetness that is genuinely alluring.
And Mindy Sterling, a veteran actress and a member of the Groundlings improv troupe, makes Dr. Evil's henchwoman Frau Farbissina into an improbable but hilarious sex kitten.
The film also delights in its cameos with such people as Burt Bacharach, Elvis Costello, Woody Harrelson, Willie Nelson, Tim Robbins and Jerry Springer turning up either as themselves or as inspired casting.
As with the initial movie, Jay Roach's directorial style equates busyness with energy. He prefers visual onslaught to, say, the slapstick inventiveness of the Farrelly brothers or the subtle, multilayered gags of the early Zucker brothers.
There is also an inherent laziness born of the anything-can-happen approach. The moviemakers see no reason to explain how Frau Farbissina can witness Dr. Evil's rocket launch on Earth only to be present at his moon station when he arrives.
The gospel of badness is also honored by production designer Rusty Smith and cinematographer Ueli Steiger. Smith has outfitted a host of California locales and the Universal backlot to not even resemble '60s England in the slightest. (One can even glimpse the Hollywood Hills behind the London store fronts.) And Steiger uses high key lighting to capture the overripe Carnaby colors in all their true garishness.
The film's final moments leave the way open to further sequels -- at least until audiences cry uncle.
AUSTIN POWERS: THE SPY WHO SHAGGED ME
New Line Cinema
An Eric's Boy, Moving Pictures
and Team Todd production
A Jay Roach film
Producers: Suzanne Todd, Jennifer Todd, Demi Moore, Eric McLeod, John Lyons, Mike Myers
Director: Jay Roach
Writers: Mike Myers & Michael McCullers
Executive producers: Erwin Stoff, Michael De Luca, Donna Langley
Director of photography: Ueli Steiger
Production designer: Rusty Smith
Music: George S. Clinton
Casting: Juel Bestrop & Jeanne McCarthy
Costumes: Deena Appel
Editors: John Poll, Debra Neil-Fisher
Color/stereo
Cast:
Austin Powers/Dr. Evil/Fat Bastard: Mike Myers
Felicity Shagwell: Heather Graham
Basil Exposition: Michael York
Number Two: Robert Wagner
Young Number Two: Rob Lowe
Scott Evil: Seth Green
Frau Farbissina: Mindy Sterling
Mini-Me: Verne J. Troyer
Running time -- 95 minutes
MPAA rating: PG-13...
- 6/10/1999
- The Hollywood Reporter - Movie News
John Travolta presses the flesh in all its current presidential connotations in "Primary Colors", an enthralling, entertaining slant on the Clinton quest for the Oval Office.
Chock-full of doughnuts and drawl, Travolta's performance, together with Emma Thompson's pithy portrayal of a Hillary-esque mate, should lure sophisticated audiences to this Mike Nichols-directed film. Universal's chief marketing challenge will be to rally an electorate that is, perhaps, already sated and OD'd on news of the president's myriad marital infidelities. Still, come election time next year -- we're talking Oscar votes -- both Travolta and Thompson are likely to be leading contenders for their respective categories' nominations. It's easily the funniest and, perhaps, most cynical portrait of a political campaign since "The Candidate", in which Robert Redford starred as a pretty-boy candidate who had nothing on the ball but media allure.
In this "fictional" scenario, only the names have been changed to protect the not-so-innocent: Travolta stars as Jack Stanton, an ambitious governor of a Southern hick state who has decided to buck the odds and run for president. Based on the novel "Primary Colors" by Anonymous (a k a Joe Klein), "Primary Colors" takes to the narrative trail as the idealistic governor and his equally ambitious wife Susan (Thompson) begin their underdog and unlikely quest for the presidency. Prismed through the viewpoint of a conscientious young black campaign manager, Henry (Adrian Lester), who thinks the pragmatic, populist Stanton has a real chance at winning but who chafes at the candidate's personal practices, "Primary Colors" is, by extension, shrewdly positioned to look at both sides of the presidential posture here. It is at once laudatory and almost fawning over the candidate's genuine concern for common, everyday people, while at the same time it disapproves of the increasingly hardball nature of the Stanton campaign camp, as well as the candidate's propensity to, seemingly, bed every woman in range.
You'd probably have to go on a location shoot to find a more mixed bag of people than on a political campaign, especially one as contradictory as a liberal from a small Southern state running for president. To say that the Stanton campaign is made up of colorful characters is an understatement, beginning with the Carville-esque Richard Billy Bob Thornton), a sly "redneck" strategist who comes across as some sort of lefty Hunter Thompson, and troubleshooter Libby (Kathy Bates), an old Razorback friend who's done a stint in a mental home and packs a big gun, literally. In its most rollicksome, "Primary Colors" filmically resembles some sort of "Bad News Bears" on the road as the scrappy batch of outsider/Dixie underdogs take on all the big Fat Cats and political machines cross-country, including most challengingly "New Yawk".
At its most revealing, "Primary Colors" rolls with a telling back-of-the-bus, inside-the-motel feel, cluing us to the inside workings of a shoestring, but wondrously successful, political campaign.
There's no denying the appeal and charisma of candidate Stanton. His concerns for the "little guy" are genuine, and he becomes teary-eyed, seemingly, daily over their woes. Such compassion almost seems wasted by running for office -- this guy would make a great mortician, grieving sincerely over every deceased "customer."
Unfortunately, this is only one side of the candidate's coin; the other side reveals an almost pathological need to cohabit with any and every skirt in sight, despite the fact that it pains his stalwart wife terribly. In Elaine May's perceptive screenplay, it's almost as if this guy has a narcissistic, psychological need to screw up (we use this term in varied senses) so that he can rally his personality to once again win everyone's love. And this smart reel-lifer shows up-close what the real-life polls have been telling us -- he rises from the ashes of each encounter. Like "Titanic", we all know the ending going in, but it's in the hurly-burly of the quest itself that is most entertaining and illuminating.
The performances are splendid, beginning with Travolta's magnificent turn as the big-hearted but hardballing man with 1600 Pennsylvania Ave. on his horizon. Travolta balances Stanton's contradictions, the type of guy who at the end of a punishing jog finds himself seated at the doughnut shop, talking politics to the counter man. There's a telling, marvelously composed scene of the candidate sitting alone in the wee small hours, downing apple fritters and empathizing with Danny, the handicapped counter man. You can't help but like this man -- a credit to Travolta's winning style that does great honor to the Man in the White House.
As Susan, the supportive-to-a-fault, enabler wife who wears the pants in the family (and keeps them on), Thompson's performance is also an astute balancing act, conveying both the steely nature of her character as well as the anguish she goes through in private. The "Bubba Brigade" itself is a terrific mix, beginning with Lester's measured performance in the touchstone part, the young man whose ambivalence about his leader is both painful and inspiring. Thornton is perfect as the wily, sharp-shooting strategist, while Caroline Aaron is terrifically scary as Susan's loudmouthed, buttinsky friend. Larry Hagman is stirring as a decent governor who has been felled by personal problems from the past, and Bates is perfectly pugnacious as a not-so-good ol' gal. Praise to casting directors Juliet Taylor, Ellen Lewis and Juel Bestrop for these fitting selections.
The technical bunting is a perfect, Southern-fried smear of red, white and blue, beginning with Michael Ballhaus' evocative compositions and colorations as well as Bo Welch's down and lofty production design. Ry Cooder's raucous and haunting music is a fitting blend of Southern discomfort, while costume designer Ann Roth's fabrics bring out the personal flavors on this rag-tag, history-making trek.
PRIMARY COLORS
Universal Pictures
Mutual Film Co.
Director and producer: Mike Nichols
Screenplay: Elaine May
Based on the novel by: Anonymous
Executive producers: Neil Machlis,
Jonathan D. Krane
Director of photography: Michael Ballhaus
Production designer: Bo Welch
Editor: Arthur Schmidt
Music: Ry Cooder
Costume designer: Ann Roth
Casting: Juliet Taylor, Ellen Lewis, Juel Bestrop
Co-producer: Michele Imperato
Associate producer: Michael Haley
Supervising sound editor: Ron Bochar
Color/stereo
Cast:
Gov. Jack Stanton: John Travolta
Susan Stanton: Emma Thompson
Richard Jemmons: Billy Bob Thornton
Libby Holden: Kathy Bates
Henry Burton: Adrian Lester
Daisy: Maura Tierney
Gov. Fred Picker: Larry Hagman
Mamma Stanton: Diane Ladd
Howard Ferguson: Paul Guilfoyle
March: Rebecca Walker
Lucille Kaufman: Caroline Aaron
Running time -- 134 minutes
MPAA rating: R...
Chock-full of doughnuts and drawl, Travolta's performance, together with Emma Thompson's pithy portrayal of a Hillary-esque mate, should lure sophisticated audiences to this Mike Nichols-directed film. Universal's chief marketing challenge will be to rally an electorate that is, perhaps, already sated and OD'd on news of the president's myriad marital infidelities. Still, come election time next year -- we're talking Oscar votes -- both Travolta and Thompson are likely to be leading contenders for their respective categories' nominations. It's easily the funniest and, perhaps, most cynical portrait of a political campaign since "The Candidate", in which Robert Redford starred as a pretty-boy candidate who had nothing on the ball but media allure.
In this "fictional" scenario, only the names have been changed to protect the not-so-innocent: Travolta stars as Jack Stanton, an ambitious governor of a Southern hick state who has decided to buck the odds and run for president. Based on the novel "Primary Colors" by Anonymous (a k a Joe Klein), "Primary Colors" takes to the narrative trail as the idealistic governor and his equally ambitious wife Susan (Thompson) begin their underdog and unlikely quest for the presidency. Prismed through the viewpoint of a conscientious young black campaign manager, Henry (Adrian Lester), who thinks the pragmatic, populist Stanton has a real chance at winning but who chafes at the candidate's personal practices, "Primary Colors" is, by extension, shrewdly positioned to look at both sides of the presidential posture here. It is at once laudatory and almost fawning over the candidate's genuine concern for common, everyday people, while at the same time it disapproves of the increasingly hardball nature of the Stanton campaign camp, as well as the candidate's propensity to, seemingly, bed every woman in range.
You'd probably have to go on a location shoot to find a more mixed bag of people than on a political campaign, especially one as contradictory as a liberal from a small Southern state running for president. To say that the Stanton campaign is made up of colorful characters is an understatement, beginning with the Carville-esque Richard Billy Bob Thornton), a sly "redneck" strategist who comes across as some sort of lefty Hunter Thompson, and troubleshooter Libby (Kathy Bates), an old Razorback friend who's done a stint in a mental home and packs a big gun, literally. In its most rollicksome, "Primary Colors" filmically resembles some sort of "Bad News Bears" on the road as the scrappy batch of outsider/Dixie underdogs take on all the big Fat Cats and political machines cross-country, including most challengingly "New Yawk".
At its most revealing, "Primary Colors" rolls with a telling back-of-the-bus, inside-the-motel feel, cluing us to the inside workings of a shoestring, but wondrously successful, political campaign.
There's no denying the appeal and charisma of candidate Stanton. His concerns for the "little guy" are genuine, and he becomes teary-eyed, seemingly, daily over their woes. Such compassion almost seems wasted by running for office -- this guy would make a great mortician, grieving sincerely over every deceased "customer."
Unfortunately, this is only one side of the candidate's coin; the other side reveals an almost pathological need to cohabit with any and every skirt in sight, despite the fact that it pains his stalwart wife terribly. In Elaine May's perceptive screenplay, it's almost as if this guy has a narcissistic, psychological need to screw up (we use this term in varied senses) so that he can rally his personality to once again win everyone's love. And this smart reel-lifer shows up-close what the real-life polls have been telling us -- he rises from the ashes of each encounter. Like "Titanic", we all know the ending going in, but it's in the hurly-burly of the quest itself that is most entertaining and illuminating.
The performances are splendid, beginning with Travolta's magnificent turn as the big-hearted but hardballing man with 1600 Pennsylvania Ave. on his horizon. Travolta balances Stanton's contradictions, the type of guy who at the end of a punishing jog finds himself seated at the doughnut shop, talking politics to the counter man. There's a telling, marvelously composed scene of the candidate sitting alone in the wee small hours, downing apple fritters and empathizing with Danny, the handicapped counter man. You can't help but like this man -- a credit to Travolta's winning style that does great honor to the Man in the White House.
As Susan, the supportive-to-a-fault, enabler wife who wears the pants in the family (and keeps them on), Thompson's performance is also an astute balancing act, conveying both the steely nature of her character as well as the anguish she goes through in private. The "Bubba Brigade" itself is a terrific mix, beginning with Lester's measured performance in the touchstone part, the young man whose ambivalence about his leader is both painful and inspiring. Thornton is perfect as the wily, sharp-shooting strategist, while Caroline Aaron is terrifically scary as Susan's loudmouthed, buttinsky friend. Larry Hagman is stirring as a decent governor who has been felled by personal problems from the past, and Bates is perfectly pugnacious as a not-so-good ol' gal. Praise to casting directors Juliet Taylor, Ellen Lewis and Juel Bestrop for these fitting selections.
The technical bunting is a perfect, Southern-fried smear of red, white and blue, beginning with Michael Ballhaus' evocative compositions and colorations as well as Bo Welch's down and lofty production design. Ry Cooder's raucous and haunting music is a fitting blend of Southern discomfort, while costume designer Ann Roth's fabrics bring out the personal flavors on this rag-tag, history-making trek.
PRIMARY COLORS
Universal Pictures
Mutual Film Co.
Director and producer: Mike Nichols
Screenplay: Elaine May
Based on the novel by: Anonymous
Executive producers: Neil Machlis,
Jonathan D. Krane
Director of photography: Michael Ballhaus
Production designer: Bo Welch
Editor: Arthur Schmidt
Music: Ry Cooder
Costume designer: Ann Roth
Casting: Juliet Taylor, Ellen Lewis, Juel Bestrop
Co-producer: Michele Imperato
Associate producer: Michael Haley
Supervising sound editor: Ron Bochar
Color/stereo
Cast:
Gov. Jack Stanton: John Travolta
Susan Stanton: Emma Thompson
Richard Jemmons: Billy Bob Thornton
Libby Holden: Kathy Bates
Henry Burton: Adrian Lester
Daisy: Maura Tierney
Gov. Fred Picker: Larry Hagman
Mamma Stanton: Diane Ladd
Howard Ferguson: Paul Guilfoyle
March: Rebecca Walker
Lucille Kaufman: Caroline Aaron
Running time -- 134 minutes
MPAA rating: R...
- 3/13/1998
- The Hollywood Reporter - Movie News
The pairing of "Friends" regular Matthew Perry and Salma Hayek ("Desperado") in a Southwestern-style romantic comedy has plenty of date-night appeal, but "Fools Rush In" is a disappointingly unendearing cinematic valentine from director Andy Tennant ("It Takes Two").
The Columbia Pictures wide release faces strong competition and won't be experiencing too heavy a rush at the boxoffice, although it may generate respectable crossover business with Latino audiences and perform well on video.
Written by Katherine Reback and based on the real-life courtship of producer Doug Draizin and co-producer Anna Maria Davis, "Fools" sets up a hustling New Yorker (Perry) with an aspiring Latina photographer (Hayek) for a broad but often blandly executed round of multicultural gags and tame drama.
Although both leads give engaging performances, as manic romantics they never really achieve orbital velocity.
After a one-night stand, she leaves him flat. A new guy in her hometown of Vegas, he oversees construction of a new nightclub and confides with an equally well-groomed city slicker (Jon Tenney).
Months later, Hayek's pregnant believer-in-fate shows up and Perry's honorable unbeliever falls in love with her.
The lovers get hitched with the help of an Elvis impersonator, but she doesn't know that he plans to return to New York. He also insults her in front of his nosy country-club parents John Bennett Perry, Jill Clayburgh) and almost runs into serious trouble with her former fiance (Carlos Gomez) and father.
Despite the glitzy Vegas locations and several scenes filmed at Hoover Dam, the film lacks visual pizazz. The soundtrack includes some 20 pop songs -- from vintage Presley to the Iguanas.
FOOLS RUSH IN
Sony Pictures Releasing
Columbia Pictures
A Doug Draizin production
An Andy Tennant film
Director Andy Tennant
Writer Katherine Reback
Producer Doug Draizin
Executive producer Michael McDonnell
Director of photography Robbie Greenberg
Production designer Edward Pisoni
Editor Roger Bondelli
Costume designer Kimberly A. Tillman
Co-producer Anna Maria Davis
Music Alan Silvestri
Casting Juel Bestrop
Color/stereo
Cast:
Alex Matthew Perry
Isabel Salma Hayek
Jeff Jon Tenney
Nan Jill Clayburgh
Running time -- 109 minutes
MPAA rating: PG-13...
The Columbia Pictures wide release faces strong competition and won't be experiencing too heavy a rush at the boxoffice, although it may generate respectable crossover business with Latino audiences and perform well on video.
Written by Katherine Reback and based on the real-life courtship of producer Doug Draizin and co-producer Anna Maria Davis, "Fools" sets up a hustling New Yorker (Perry) with an aspiring Latina photographer (Hayek) for a broad but often blandly executed round of multicultural gags and tame drama.
Although both leads give engaging performances, as manic romantics they never really achieve orbital velocity.
After a one-night stand, she leaves him flat. A new guy in her hometown of Vegas, he oversees construction of a new nightclub and confides with an equally well-groomed city slicker (Jon Tenney).
Months later, Hayek's pregnant believer-in-fate shows up and Perry's honorable unbeliever falls in love with her.
The lovers get hitched with the help of an Elvis impersonator, but she doesn't know that he plans to return to New York. He also insults her in front of his nosy country-club parents John Bennett Perry, Jill Clayburgh) and almost runs into serious trouble with her former fiance (Carlos Gomez) and father.
Despite the glitzy Vegas locations and several scenes filmed at Hoover Dam, the film lacks visual pizazz. The soundtrack includes some 20 pop songs -- from vintage Presley to the Iguanas.
FOOLS RUSH IN
Sony Pictures Releasing
Columbia Pictures
A Doug Draizin production
An Andy Tennant film
Director Andy Tennant
Writer Katherine Reback
Producer Doug Draizin
Executive producer Michael McDonnell
Director of photography Robbie Greenberg
Production designer Edward Pisoni
Editor Roger Bondelli
Costume designer Kimberly A. Tillman
Co-producer Anna Maria Davis
Music Alan Silvestri
Casting Juel Bestrop
Color/stereo
Cast:
Alex Matthew Perry
Isabel Salma Hayek
Jeff Jon Tenney
Nan Jill Clayburgh
Running time -- 109 minutes
MPAA rating: PG-13...
- 2/10/1997
- The Hollywood Reporter - Movie News
Justice or the law, which to serve? That's the philosophical focus for this dramatization of the FBI's persecution of Chinese Americans during the 1950s.
Starring Matt Dillon as a young FBI agent who makes the wrong choice, ''Golden Gate'' does little dramatic justice to this sorry footnote in recent U.S. history.
Ponderously slow-footed, this Samuel Goldwyn film, which premiered at the Sundance Film Festival, will have very limited theatrical appeal, namely, art houses in liberal college burgs. Word-of-mouth from intelligent, socially conscious viewers will be unenthusiastic.
Set in San Francisco as Americans flexed their post-World War II muscle during the early Eisenhower age, ''Golden Gate'' centers on one up-and-coming, clean-cut American, a rising G-man (Dillon) with seemingly everything going for him. Along with his shrill sidekick Ron (Bruno Kirby), Kevin has the American Dream smack dab in the middle of his sights, including a beautiful, blonde and idealistic girlfriend (Teri Polo) and chances for quick advancement up the FBI rungs.
Kevin's primary task is to infiltrate the local Chinese community and ferret out the Red Menace for FBI director J. Edgar Hoover. With square Kevin as his representative American, screenwriter David Henry Hwang paints a picture of the United States in the early 1950s, showing its surging vitality as well as its underside of paranoia.
As embodied by Kevin, who zealously follows a local Chinese laundryman and labor organizer, Hwang captures both the best and the worst of the country at the time.
Overzealous Kevin oversteps his own conscience and builds a case against the kindly laundryman, implicating him in an illegal scheme to do business with Red China. In actuality, all the man was doing was organizing Chinese merchants to send money home to their mothers.
While it's hard to fault the film's political, conscious-raising ambitions, the dramaturgy is clunky, burdened by excruciating expository dialogue. Director John Madden's melodramatics, including a fuzzy blend of noir with dewy romantic compositions, never jells, and the film lumbers along under the added weight of defining the different social ages from the innocent 1950s to the rebellious 1960s. Alas, these social-historical sweeps are numbingly simplistic.
A romantic subplot involving Kevin and the daughter (Joan Chen) of the man he sent away to prison is swoonily bathetic. Rather than personalizing the pain of this episode in history, this drippy subplot lessens it.
Among the players, Chen stands out. Her firm and radiant portrayal of the daughter of the ''shamed'' laundryman is genuinely touching. Dillon's stolid performance capatures the square drive of a young lawyer/FBI man of the 1950s. As a bureau-brat run amok, Kirby is well-cast as the agent without a conscience.
Tech contributions are highlighted by Bobby Bukowski's luminous lensing.
GOLDEN GATE
The Samuel Goldwyn Co. in association with
American Playhouse Theatrical Films
Producer Michael Brandman
Director John Madden
Screenwriter David Henry Hwang
Executive producer Lindsay Law
Co-producer Stan Wlodkowski
Director of photography Bobby Bukowski
Production designer Andrew Jackness
Costume designer Ingrid Ferrin
Casting Risa Bramon, Juel Bestrop, Mary Vernieu
Editor Sean Barton
Music Elliot Goldenthal
Color/stereo
Kevin Walker Matt Dillon
Ron Pirelli Bruno Kirby
Marilyn Song Joan Chen
Chen Jung Song Tzi Ma
Cynthia Teri Polo
Running time -- 90 minutes
(c) The Hollywood Reporter...
Starring Matt Dillon as a young FBI agent who makes the wrong choice, ''Golden Gate'' does little dramatic justice to this sorry footnote in recent U.S. history.
Ponderously slow-footed, this Samuel Goldwyn film, which premiered at the Sundance Film Festival, will have very limited theatrical appeal, namely, art houses in liberal college burgs. Word-of-mouth from intelligent, socially conscious viewers will be unenthusiastic.
Set in San Francisco as Americans flexed their post-World War II muscle during the early Eisenhower age, ''Golden Gate'' centers on one up-and-coming, clean-cut American, a rising G-man (Dillon) with seemingly everything going for him. Along with his shrill sidekick Ron (Bruno Kirby), Kevin has the American Dream smack dab in the middle of his sights, including a beautiful, blonde and idealistic girlfriend (Teri Polo) and chances for quick advancement up the FBI rungs.
Kevin's primary task is to infiltrate the local Chinese community and ferret out the Red Menace for FBI director J. Edgar Hoover. With square Kevin as his representative American, screenwriter David Henry Hwang paints a picture of the United States in the early 1950s, showing its surging vitality as well as its underside of paranoia.
As embodied by Kevin, who zealously follows a local Chinese laundryman and labor organizer, Hwang captures both the best and the worst of the country at the time.
Overzealous Kevin oversteps his own conscience and builds a case against the kindly laundryman, implicating him in an illegal scheme to do business with Red China. In actuality, all the man was doing was organizing Chinese merchants to send money home to their mothers.
While it's hard to fault the film's political, conscious-raising ambitions, the dramaturgy is clunky, burdened by excruciating expository dialogue. Director John Madden's melodramatics, including a fuzzy blend of noir with dewy romantic compositions, never jells, and the film lumbers along under the added weight of defining the different social ages from the innocent 1950s to the rebellious 1960s. Alas, these social-historical sweeps are numbingly simplistic.
A romantic subplot involving Kevin and the daughter (Joan Chen) of the man he sent away to prison is swoonily bathetic. Rather than personalizing the pain of this episode in history, this drippy subplot lessens it.
Among the players, Chen stands out. Her firm and radiant portrayal of the daughter of the ''shamed'' laundryman is genuinely touching. Dillon's stolid performance capatures the square drive of a young lawyer/FBI man of the 1950s. As a bureau-brat run amok, Kirby is well-cast as the agent without a conscience.
Tech contributions are highlighted by Bobby Bukowski's luminous lensing.
GOLDEN GATE
The Samuel Goldwyn Co. in association with
American Playhouse Theatrical Films
Producer Michael Brandman
Director John Madden
Screenwriter David Henry Hwang
Executive producer Lindsay Law
Co-producer Stan Wlodkowski
Director of photography Bobby Bukowski
Production designer Andrew Jackness
Costume designer Ingrid Ferrin
Casting Risa Bramon, Juel Bestrop, Mary Vernieu
Editor Sean Barton
Music Elliot Goldenthal
Color/stereo
Kevin Walker Matt Dillon
Ron Pirelli Bruno Kirby
Marilyn Song Joan Chen
Chen Jung Song Tzi Ma
Cynthia Teri Polo
Running time -- 90 minutes
(c) The Hollywood Reporter...
- 1/28/1994
- The Hollywood Reporter - Movie News
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