Tag Archives: peter farrelly

R.I.P. “Shallow Hal” Star Joshua Shintani Dead At 32 [Video]

Hawaiian Ukulele Player From “Shallow Hal” Dies” This is so sad . According to TMZ reports : Joshua Shintani — best known from his cameo in “Shallow Hal” has died at the age of 32 … TMZ has learned. Joshua’s mother says she took him to an emergency room early last week on Kauai, and doctors discovered he was battling an advanced case of pneumonia. Joshua died on Wednesday. He had became a local legend in his native Hawaii after landing the memorable scene with Jack Black … where Joshua strummed a ukulele and played, “Never Forget Where I’m From.” Peter Farrelly was on vacation in Hawaii when he discovered Joshua, a high school senior at the time, strumming his uke outside a public library. He signed him up for the movie on the spot. ‘Hal’ was the only movie Joshua ever did. A rep for the Farrelly brothers tell us Joshua, “had a soul that glowed like a lighthouse. We feel honored to have known him.” Our thoughts and prayers go out to his loved ones. Photo Credit: 20th Century Fox/Courtesy Everett Collection/YouTube

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R.I.P. “Shallow Hal” Star Joshua Shintani Dead At 32 [Video]

A-Listers Get Dirty in the Movie 43 Red-Band Trailer [VIDEO]

Honestly, whenever a movie’s main selling point is “Hey, check it out! Oscar winners talking about poop and wieners!”, we’re skeptical. We’re sure Kate Winslet likes to show off her range and all, but there’s a reason she’s not known for her comedic roles. There are a lot of red flags surrounding the production of Movie 43 (2013), actually– that it took four years to finish, for example, or that 15 writers and 11 different directors, including Zack and Miri Make a Porno (2008) star Elizabeth Banks , were involved– but here’s the thing. The usual rules don’t apply to this movie, and here’s why: Ever wish that Peter Farrelly would make his version of The Kentucky Fried Movie (1977)? Well, here it is. Halle Berry plays a dirty version of truth or dare (let’s just say turkey basters are involved) in a restaurant, Naomi Watts dons a side ponytail as a mom who bullies her home-schooled son, and Anna Faris wants Chris Pratt to poop on her. Plus, a segment chronicling the invention of the “iBabe” promises to be Movie 43′ s answer to Uschi Digard ‘s mam-entous appearance as a “Catholic High School Girl in Trouble,” and that’s enough to sell us on almost anything. Movie 43 doesn’t hit theaters until January 25, 2013 , but you can see more from stars Halle Berry , Kate Winslet , Anna Faris , Naomi Watts , Emma Stone , Elizabeth Banks , Kristen Bell , Uma Thurman , Kate Bosworth , and (phew) Leslie Bibb right here at MrSkin.com!

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A-Listers Get Dirty in the Movie 43 Red-Band Trailer [VIDEO]

REVIEW: The Farrelly Brothers’ Three Stooges Mixes the Cerebral and the Silly, with Lots of Eye-Poking

Bobby and Peter Farrelly’s The Three Stooges is not particularly great, though it is possibly brilliant, a picture that goes beyond homage to become its own rambunctious invention — it’s one big eye-poke, with footnotes. Maybe the world doesn’t need a meticulously observed re-creation of the Three Stooges’ artistry, a brand of cartoonishly violent slapstick that for decades horrified moms and other upstanding individuals. Or maybe the world needs it now more than ever. Either way, the Farrellys’ reimagining of the Stooges ouvre — which includes a backstory set in an orphanage run by nuns — is packed with so much affection, and pays so much attention to detail, that I think it’s possible to love The Three Stooges even if you never loved the Three Stooges. The picture is confident in its ridiculousness — any movie that puts Larry David in a nun’s habit has to be. The original Three Stooges — or, rather, the Three Stooges that those of us who grew up in the ’50s, ’60s and ’70s knew from television — originated as a vaudeville act in the mid-1920s, put together as, well, stooges by comedian Ted Healy. Healy was successful in his own right at the time, but the fame of the Stooges – who, in their most popular incarnation, comprised Moe Howard, Jerome “Curly” Howard and Larry Fine — rapidly eclipsed his. The short subjects Moe, Curly and Larry made in the ’30s and ’40s — pictures with painfully punny titles like “A Plumbing We Will Go,” “Nutty But Nice” and “They Stooge to Conga” — had a thriving afterlife on television. The cacophonous anti-ballet of the Stooges — which included, but was not limited to, butts’ being kicked and skulls’ being walloped with mallets — shaped the minds of many budding filmmakers, writers and just plain layabouts. The backstory the Farrellys lay out for the Stooges here is far more colorful: As infants, they’re dropped off in a bag on an orphanage doorstep – when the nuns who run the joint unzip that bag, three naked infants with Larry, Curly and Moe hairdos peer up at them like deceptively innocent Easter chicks from Hell. Fast-forward a few years and these cherubs have become 10-year-old hellions, kids whom nobody will adopt. Fast-forward a few more years, and Moe, Larry and Curly are now grown-ups — played, respectively, by Chris Diamontoupolos, Sean Hayes and Will Sasso — who’ve stuck around the orphanage because there’s nowhere else to go. Supposedly, they earn their keep by doing odd jobs, but in reality, they’ve merely set up a tape recorder stocked with industrious woodworking sounds — meanwhile, the three of them lie conked-out nearby, piled on a bed, their snores orchestrated into a percussive snoozapalooza. Peter and Bobby Farrelly — who, with Mike Cerrone, also wrote the script — lift that particular bit wholesale from one of the old Stooges’ shorts. In fact, all of the movie’s physical gags are meticulous re-creations of standard Stoogery: Heads being conked with hammers, complete with clanging metallic sound effects; standard-issue eye-pokes; limbs being twisted and intertwined in ways that defy human anatomy. All the old chestnuts are here, rendered with such loving specificity that they merge into a kind of highly perfumed Zen garden — call it Essence du Stooge. This is physical comedy in its purest form — it’s crude as hell, but there’s precision in its crudeness, and that’s not lost on the Farrellys or their actors. All three of the leads capture the Stooge gestalt, clearly having studied every gesture, grimace and eye-roll: Diamontopoulos’s Moe, with his old-time Brooklyn honk of an accent, is suitably ornery (the Farrellys give him a backstory that, with Freudian efficiency, explains his perpetual bad temper) and Hayes’s Larry makes a sweet-tempered naïf (he reads a “Do Not Remove” sign as “Do-Nut Remover”). Of the three, though, Sasso’s Curly is spiritually closest to his forbear: His too-short pants and buttoned-tight jacket are pure Curly, and his corkscrew smile and high-pitched giggle are so perfect they go beyond mimicry. Curly was generally the most beloved of the Three Stooges, even among Stooge-hating women, and Sasso channels the idea of what made him funny and appealing, rather than just trying to imitate the thing itself. The performance is almost a nonverbal essay, a way of calling attention to the delicate skills needed to pull off such an excessively coarse result. The Farrellys have structured their movie as three shorts that connect into a narrative, involving the Stooges’ efforts to save the beleaguered orphanage that gave them their start — their hearts are in the right place, even when their noses have been dislocated. Sofia Vergara appears as a scheming bad gal; Stephen Collins plays an adoptive dad who isn’t quite what he seems. And then there are the nuns, two of whom are played by Jane Lynch and Jennifer Hudson. Hudson glows to the point of looking beatific — she’s a wowser of a sister. And Lynch looks almost too good in a wimple — if she weren’t such a terrific comic actress, you’d think she missed her calling. But it’s Larry David’s Sister Mary-Mengele who steals the show, nunwise. She berates the boys in a shrewish rasp. When the orphans join together in angelic song — the words assert that everybody is special — Sister Mary cuts them off with a foghorn “Shaddap!” She’s every former Catholic schoolkid’s nightmare in one cranky, knobby package. She’s also the kind of character at which the Farrellys excel, which suggests that even if they haven’t fully returned to form, at least they’ve returned to some form. The duo’s recent pictures have been dismal — their 2007 remake of Elaine May’s The Heartbreak Kid , in particular, showed an uncharacteristic mean-spiritedness. But at their best, the Farrellys’ stock-in-trade is balancing the coarsest, dumbest humor imaginable with a bracing affection for the weirdos and misfits of humankind. And what were the original Three Stooges, if not the ultimate weirdos and misfits, bullying and bumbling their way through the world? With The Three Stooges , the Farrellys have poured a great deal of heart into a subject many people feel they can do without: For every past-middle-aged guy in a rumpled T-shirt who professes love for the Three Stooges, there are at least three women, most likely members of book groups, who see them as the downfall of civilization. But for the Farrellys, the three Stooges are simply a product of civilization, a source of the disreputable joy and pleasure that sometimes, particularly on a really bad day, make life worth living. That’s not to say their movie is exactly a model of subtlety. Yet it’s telling that the Farrellys stage one of the movie’s more emotional moments to a spare, unvarnished recording of Charlie Rich’s “Feel Like Going Home,” a country-gospel number of transcendent power and beauty. What’s a great song like that doing in a movie like this? That’s the eternal riddle of the Farrellys, at least when they’re at their best. Even when they’re catering to our baser impulses, they find a way to appeal to our higher instincts. Sometimes even without using a mallet. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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REVIEW: The Farrelly Brothers’ Three Stooges Mixes the Cerebral and the Silly, with Lots of Eye-Poking

Nick & Norah Director to Helm Marvel’s Runaways

Deadline reports that Peter Sollett ( Nick and Norah’s Infinite Playlist, Raising Victor Vargas ) is in negotiations to direct a feature film adaptation of Runaways , the Marvel comic about disaffected teenage superheroes. (No, the fact that it’s not about an 80’s girl group won’t be at all confusing.) Look, as long as Sollett can find some parts in there for Ari Graynor and Melonie Diaz, I’m in. [ Deadline ]

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Nick & Norah Director to Helm Marvel’s Runaways

EXCLUSIVE: Emma Stone Teases ‘Raunchy’ Kate Winslet/Hugh Jackman Short

Attention readers: Your imaginations are needed to help fill some gaps in a short film around which buzz has incrementally built over the last few months, and which actress Emma Stone briefly teased today in an interview with Movieline. That would be five-minute segment Kate Winslet and Hugh Jackman contributed to the anthology Untitled Movie — which, depending on whom you ask, is a working title or the actual name of an all-star omnibus directed by the likes of Peter Farrelly, Brett Ratner, Elizabeth Banks, and others. Stone is in another short altogether, but to hear her tell it (and not nearly enough), keep your eyes on “The Catch.”

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EXCLUSIVE: Emma Stone Teases ‘Raunchy’ Kate Winslet/Hugh Jackman Short