Dr. Drew in the hizzy

Dr. Drew Pinsky fights the good fight against addiction and sexual abuse in any format he can.

For decades, that has meant dispensing advice to confused teens via the syndicated "Loveline" radio show.

He recently joined VH1 for the oft-derided "Celebrity Rehab with Dr. Drew."

Laugh if you must - yes, it's another has-been-athon from the erstwhile music channel. But Dr. Drew is using the format to inform our culture about some serious issues. He's desperately trying to jump-start a national dialogue about the ramifications of sexual abuse, which often yields addiction and other chronic issues. It's a subject few politicians or media types will touch. But Dr. Drew soldiers on, even if it means he's the butt of snarky jokes or two.

For those who want to learn more about Dr. Drew's crusade, check out his excellent book "Cracked."

(Photo: Dr. Drew Pinsky dispenses some tough love on "Celebrity Rehab with Dr. Drew")

All right, Uncle! Uncle!

I've avoided writing about Britney Spears here for some pretty good reasons. One, she's not a movie star, "Crossroads" notwithstanding. And two, what else is there left to say?

But dear Lord, isn't there anyone in her life, a cousin, a parent ... anyone, who can stop her suicidal slide?

Yesterday, she got hauled off to the hospital as the authorities stepped in.

Her plight makes great copy. I read along with everyone else, I'm ashamed to say. But I'd be happier to someday read a puffy People piece about her road to recovery.

I'm not hopeful I'll ever see such a story.

Nothing is sequel proof

The new monster movie "Cloverfield" is edgy, format-breaking and original, even though it involves a beastie stomping a major metropolitan city.
Been there, flattened that. Or so we thought.
Now, the minds behind the movie are talking sequel.
Can't Hollywood take a deep breath and just leave something novel alone?

A summer breeze, please

Spent last week in Belize, and I'm already pining for 80-degree days again.
That's where movies come in.
No matter the time of year, watching "Jaws" reminds me of summer. The beach scenes, the lazy pace of people on vacation ... even the boat vs. shark battle somehow brings calm, summer nights to mind.
What films blast past winter and put you in a summer state of mind?

''Pope' and circumstance

Think fast - what comes to mind when you hear the name Mickey Rourke?
A face that visited one too many plastic surgeons? A brief bout as a boxer? An allegedly real sex scene with his "Wild Orchid" co-star Carre Otis? (Not true)
I finally caught up with one of his signature films - "The Pope of Greenwich Village."
I know, what took me so long?
The 1984 feature offers up raw performances by Eric Roberts and Geraldine Page (who earned an Oscar nomination), but viewers walked away marveling at how cool Rourke could be in a role that should have devolved into a New Yawk stereotype.
In 2005, Rourke made a minor comeback in "Sin City," and he's set to appear in the sequel next year. But his face could prevent any large-scale revival. It's too unnatural for anyone not to be distracted by.
For a fascinating look at his rise and fall, check out this 2002 Salon article.

When Kidman was 'To Die For'

Fell back in love, ever so briefly, with Nicole Kidman over the weekend.

Caught "To Die For" on satellite TV while on vacation. Kidman never looked lovelier, or more sultry.

She's been taking her lumps of late, mainly for starring in mediocre-at-best fare like "The Invasion" and "The Golden Compass."

But watch "To Die For" again and see why the world made such a fuss over her in the first place.

And the film's teen stars - including Oscar nominee Casey Affleck - tell a still-relevant tale of our fascination with being on television at all costs.

(Photo: Nicole Kidman co-starred in last year's drama "Margot at the Wedding," out Feb. 19 on DVD)

'Blind' luck

Even the best actors have clunkers in their past they wish no one would ever see.

Jack Nicholson starred in a few Roger Corman "classics" before going on to win Oscar after Oscar.

So it may go for Chris Pine, the man who will be Capt. James T. Kirk this Christmas in the "Star Trek" reboot.

He's already got the clunker part of his resume down cold.

"Blind Dating," out on DVD next week (Feb. 5), offers Pine as a blind man named Danny trying to find the right woman.

Within the first minute you know you've got a disaster on your hands. A young Danny runs through a park and rams straight into a tree.

Har har.

Moments later, Jane Seymour's psychiatrist character is disrobing in front of an adult Danny.

Stop ... you're killing me!

It only gets worse from here.

(Photo: Chris Pine stars in the stale romantic comedy "Blind Dating")

Open up and say ... ewwww!

I'd rather get root canal by Laurence Olivier than suffer through the indie thriller "Teeth" again.

The new film, just released in Denver but coming to a city near you soon, involves a young woman whose most intimate of areas is crowned by a set of jagged teeth.

Still with me?

Now, "Teeth" could have been a satire of our uptight sexual culture, and it is for fleeting moments. Or, the film might have examined sexual empowerment - which it does, oh so briefly.

Instead, it's a mess that tries to do too many things and fails on all levels.

And boy is it graphic. I've sat through the best of the torture porn swill, but this film's bloodletting made me queasy.

Maybe it's a guy thing. Audiences can just imagine what kind of damage our heroine does to those who cross her path.

The biggest shame is that actress Jess Weixler is terrific in the lead role. She's lovely, conflicted and horrified, all in convincing shades, but her character is such a mess there's no anchor for her otherwise sound performance.

If you must, see "Teeth" on an empty stomach.

(Photo: Jess Weixler flinches at the horror that is "Teeth")

Forever Young

Sean Young will be lucky to land a spot on "Dancing with the Stars" after this.

And now, the PR rehab circuit kicks in. Expect her on the cover of People within two months.

Sing it ain't so

"Once" might not even get a chance at the one Oscar it so richly deserves.
Check out this posting about "Falling Slowly" and the chance it could be ruled ineligible (hat tip: Anne Thompson's terrific blog).
UPDATE: It's legit - source: NY Times' Carpetbagger site once more ...
The Academy’s music branch executive committee has met and endorsed the validity of “Falling Slowly” as a nominated achievement. The committee relied on written assurances and detailed chronologies provided by songwriter of “Falling Slowly,” the writer-director of “Once” and Fox Searchlight. The genesis of the picture was unusually protracted, but director John Carney and songwriter Glen Hansard were working closely together in 2002 when the project that became ‘Once’ was discussed. ‘Falling Slowly’ began to be composed, but the actual script and financing for the picture was delayed for several years, during which time Mr. Hansard and his collaborator Marketa Irglova played the song in some venues that were deemed inconsequential enough to not change the song’s eligibility.

Stein on Stallone

Did Joel Stein see the same "Rambo" print I did?
Stein is the often hilarious reporter for Time magazine as well as other outlets - some of his humor columns rank among the funniest pieces I've ever read.

He also serves as a straight up reporter, elbowing his funny bone in when topics allow.

His latest piece for Time on Sylvester Stallone was a different kind of funny.

Both Stein and his subject, apparently, insist the new "Rambo" feature is anti-war in nature. But the first half of the film depicts Burmese soldiers as the lowest of the low, and a group which can't be reasoned with. The second part of the film has Rambo and pals blasting them into tiny, unidentifiable pieces, while some peace-loving hostages appear to embrace Rambo's methodology in the final reel.

Seems anything but anti-war to me. Then again, there was so much carnage on screen who knows what Stallone was really trying to say. Or grunt.

'Rambo' regress

"Of course you should be cynical," said Sylvester Stallone to me two years ago during a promotional interview for "Rocky Balboa."
The former superstar was candid, and nearly popping out of his shirt, during our chat about his new film.
But he had good reason to offer up some humble pie. His self-created comeback vehicle would soon shout down critics who thought making another "Rocky" film was a desperate ploy for relevance, 21st century style.
That Stallone should follow up "Rocky Balboa" with "Rambo," the resurrection of his other long-dormant franchise, is the equivalent of a reality check.
As the director/writer/star, Stallone keeps the pacing and action at full tilt, and it's hardly foul cinema by modern standards. It also reminds us of a simpler time, when heroes could blast away at the bad guys and not wring their hands afterward.
Yet given the complexities he brought to the aging Italian Stallion, he serves up precious reason to reunite us with John Rambo.
My review shares my ambivalence toward the project, from its ace pyrotechnics to its simplistic narrative.
News that Stallone will star in a new "Death Wish" feature indicates he may not be interested in expanding his range as an actor. He simply wants to mow down the enemy once more for a new generation of fans.
Frankly, I think he's better than that. Perhaps his new "Wish" will surprise us all over again.

Kissing Jessica's latest

"Kissing Jessica Stein" felt more like "Kissing Jessica Stein's Sister" to me. Didn't buy the film's blandly titillating topic - straight girl tries lesbianism on for size.
But "Stein's" co-writer/star, Jessica Westfeldt, redeems herself with "Ira & Abby," coming to DVD next Tuesday (Jan. 29).
This neglected feature follows a couple who meet and decide to marry within a span of only a few hours. (A similar story propels the far inferior "Wedding Daze," also just released on DVD).
Ira (Chris Messina) is single but seriously committed to his analyst. When he meets Abby (Westfeldt) he thinks he's found his soul mate. They quickly marry and settle into Happily Ever After mode, but Ira's emotional baggage gets in the way. So does the inconvenient fact that Abby has been less than forthcoming about her dating history.
What follows is Woody Allen lite, but triple the neuroses. The improbable story line gets support from crack casting - who knew Judith Light could dazzle as she does as Ira's flirty mother? - and well observed relationship points.
You might need your own therapist after watching "Ira & Abby," but its gentle humor and fine performances will give you something to talk about during your first session.
(Photo: Chris Messina and Jessica Westfeldt cozy up in "Ira & Abby.")

Oscar glory, Oscar tragedy

Two years ago, Heath Ledger was basking in the glow of his first Oscar nomination.
He initially caught our attention with pretty-boy roles in 1999's "10 Things I Hate About You" and 2000's "The Patriot." At first blush, he seemed like just another heartthrob. We'd soon learn a bigger talent burned beneath that handsome visage.
It took some time for the actor to realize his own abilities.
"In a way I was spoon-fed a career," he told the Glasgow Herald in 2005. "It was fully manufactured by a studio that believed it could put me on their posters and turn me into a product. ... I hadn't figured out properly how to act, and all of a sudden I was being thrown into these lead roles."
"Brokeback Mountain" proved he was a fast learner.
This morning, the Academy announced its new slate of Oscar nominees. This afternoon, Ledger was found dead in his New York City apartment.
His final role of consequence will come this summer when he squares off against Batman in "The Dark Knight." His performance as the Joker has been drawing raves for weeks, merely based on the stills and trailers.
His passing marks the loss of an actor still growing into his craft, and someone who made every trip to the cineplex special.

The straight scoop

In case you missed this morning's Oscar announcement, here's Variety's wrap up.
This year's selections didn't rankle me as they have in the past. I still feel a twinge in my side whenever I remember "Million Dollar Baby" won Best Picture in 2004.

That said, the Oscars remain a far better barometer of excellence than their trophy cousins, the Emmys and the Grammys.
My anti-Grammy argument begins and ends here: total number of Grammys for The Who - Zero. Grammys for The Rolling Stones pre-1994 - Zero.
(Photo: Ellen Page, center, gets a tummy rub in the Oscar-nominated "Juno")

Green mush

Put aside your views on global warming just for a moment.
Just saw a preview of a green-friendly segment on "The Today Show" in which the show's stars all pile into the same small car to show the glories of car pooling.
So, "Today" staffers would like us to car pool more. Great. When feasible, why not? But to overstuff a car, in fine clown fashion, with its A-team of anchors is absurd. There's no way any of them get to work this way.
"The Today Show" would like the Great Unwashed to carpool and save the planet, while Al, Matt and co. keep on driving in style.

Oscars at first blush

Random thoughts after hearing the Oscar nominations:

• Boy, the decision to re-releases "Michael Clayton" this Friday really payed off, eh? Someone at Warner Bros. must have a crystal ball from Sharper Image ...
• I suppose they could have picked more obscure foreign films. Nah, I doubt it.
• "American Gangster" got lost in the shuffle, only earning a nod for Rudy Dee as Best Supporting Actress. Good.
• Josh Brolin's great year ended with zero Oscar nominations and a new role as George W. Bush in Oliver Stone's upcoming biopic. That's lose-lose, for those keeping score.

The comeback kid

Writer/director Richard Shepard got his Hollywood shot with 1991's "The Linguini Incident."

Swing ... and a miss. Big time.

That colossal dud chased Shepard from Hollywood. He licked his wounds for years, working mostly on straight-to-cable fare until he got his second chance.

That happened with 2005's "The Matador," a quirky, lovable hit man comedy starring Pierce Brosnan and Greg Kinnear.

Shepard's follow-up, "The Hunting Party," got ransacked by most critics - unfairly, I believe. It hits DVD shelves this week.

Even detractors could feast on Richard Gere's strong performance as a scorned reporter looking for redemption. The film is loosely based on true events, which makes the story all the juicier.

(Photo: Richard Gere and Terrence Howard are on the prowl for a war criminal in "The Hunting Party" - photo credit: Karen Ballard)

My turn to rant

Vanity media alert!

I'll be appearing on "The Dennis Miller Show" tomorrow (Jan. 22) to break down the Oscar nominations. My segment is slated to run at 9:34 am PST - but the show is often heard at different times in different cities so check here for more information.

Miller most famously starred on "Saturday Night Live," but in recent years he's been seen on CNBC, HBO and GSN. Not to besmirch his television work, but he's a natural on radio. And his political chatter, which leans right on key issues like terrorism, is both informed and free of vitriol.

(Note: To here my segment - click here.)

And the nominees are ...

No, the Oscar nominations haven't been announced yet.
That's tomorrow.
Today, the Razzies have spoken.
"I Know Who Killed Me" leads the pack with nine nominations, followed by Eddie Murphy's "Norbit" (eight).
The Razzies honor the very worst in film, and each year the selection committee has its hands full.

Well, George?

Being named a U.N. Official Something-or-Other is becoming the next best thing to an Oscar or Golden Globe. The latest celeb to get chosen by the U.N. is George Clooney, who now can be called a Messenger of Peace.
Columnist Claudia Rosett gives Clooney a gentle warning in her latest column.
It's fine for Clooney and his fellow actors to critique the current administration. It's hardly been a flawless seven years, to say the very least. But why does the Hollywood intelligentsia completely ignore how utterly useless and clueless the U.N. is?

I've got the 'Borat' blues

Sacha Baron Cohen's "Borat" was the funniest film not to have the words "Judd" or "Apatow" in the credits. But I'm uneasy about Cohen's latest legal victory regarding the film.
Essentially, a lawsuit filed by one of the participants in the film (the etiquette expert) was discarded on a technicality.
I know movies, not the law, but it seems odd that someone can be duped into appearing in a major motion picture and not have any legal recourse.
Now, as a movie goer I'm delighted the etiquette expert had to confront a bag full of Borat droppings -- surely that year's rudest scene.
But legally, it seems more than a bit dicey.

'Tap' into a hearty debate

Think "movies" and "faith" and the conversation too often starts with either "The Passion of the Christ" or "The Golden Compass."
A D.C. pal sent me an example of something different, a spirited conversation about the intersection between popular entertainment and belief systems.
Give Lights, Camera, Faith!: A Catholic at the Movies a listen. It's long, but Rev. James Searby, Parochial Vicar at Holy Spirit in Annandale, Va, has the personality and passion to make the time move swiftly.
The clip comes from "Theology on Tap," a regular series held at D.C.-area watering holes.
Note: If you have trouble with the clip above, visit Tap's audio archive.

That explains everything!

The fine folks at Cinematical.com may have solved a puzzle that's been gnawing at me for years - the sellout of Steve Martin and Diane Keaton.

Here's their theory, and it'll do until a better one comes along:

I have this theory that on the set of 1991's Father of the Bride, Steve Martin and Diane Keaton turned to each other and said, "You know what? From here on out, let's just keep doing this. Let's just play cute, cuddly versions of our formerly edgy and interesting selves -- slightly goofy mothers and fathers, that kind of thing -- and watch the cash roll in!" Then they high-fived and fell into an awkward, melancholy silence.

To be fair, I thought Keaton turned in an Oscar-worthy performance in "Something's Gotta Give," but that hurts, but doesn't destroy, this theory ...

(Photo: Diane Keaton, middle, yuks it up with Katie Holmes and Queen Latifah in "Mad Money")

Recurring 'Dream'

To paraphrase David Spade, I liked Woody Allen's "Cassandra's Dream" the first time I saw it, when it was called "Crimes and Misdemeanors" ... or "Match Point."
There's plenty different about "Dream," "Crimes" and "Match," but the similarities are striking. And I think Allen nailed the moral quagmire issue best with "Crimes."
That said, watching Allen's eighth neurotic comedy can be nearly as enjoyable as his first, and the same mostly holds true with "Cassandra's Dream." Sure, the themes aren't exactly novel, but two appealing leads and some seriously amoral behavior can be diverting.
"Dream" follows two brothers - (Ian) Ewan McGregor and (Terry) Colin Farrell - who both need some serious cash, and fast. Ian is posing as a big spender to woo an actress, while Terry's gambling problem has him deep in debt.
Enter rich Uncle Howard (Tom Wilkinson), who always doles out money when asked. But this time he needs a favor from his nephews. A colleague is planning on testifying against him, and the case could send Uncle Howard to jail. Could the boys get rid of the man for him?
It takes f-o-r-e-v-e-r for this plot point to kick in, yet "Dream" doesn't feel sluggish. But once the story's fuse is lit, the fun starts draining away. We get endless bickering between the brothers about the morality of their plan, and the dialogue rarely rises beyond the obvious.
Other critics have attacked "Dream" for its inauthentic vision of working class England, and I'll assuming their right on that count - it's not a culture with which I'm familiar. What struck me was that, ultimately, Allen doesn't seem invested in his own tragedy.
"Cassandra's Dream" feels more alive than some of Allen's recent pictures, in part due to his locale shift. But it's still a far cry from either his funnier, or more profound, features.

Watch your back, Godzilla

If you fell for the avalanche of hype surrounding "Cloverfield," the finished product is bound to disappoint.
By any other qualitative measure, it's a must-see movie for our age.
My review in The Washington Times details what went right with the new movie, which should clean up this weekend given the weak competition and the Internet-based frenzy about all things "Cloverfield."
Then again, not everyone agrees with me.
Expect sequels and prequels should the film fulfill its b.o. prophecy. But none will match the intensity of this remarkably assured feature.

Confident Clooney and co.

The Oscar nominations will be announced Tuesday. Next Friday, George Clooney's legal drama "Michael Clayton" will be re-released in 1,000 theaters nationwide.

Coincidence? Nah, just smart marketing. The film did modest b.o. during its fall '07 release, and it's sure to grab at least a nomination or three next week.

Regardless of the Oscar count, check it out. Clooney's latest turns the traditional legal drama on its head. His Hunkiness plays a law firm's "fixer" who reconsiders his morality when a big case turns ugly.

It's gotta be better than "Rambo" (not screened for critics) or "Meet the Spartans" (rushed parody of "300") both of which also come out on the 25th.

(Photo: George Clooney for his own defense in "Michael Clayton")

Amy Poehler, movie star?

"Saturday Night Live" cranks out movie stars like clockwork. So why isn't Amy Poehler the next Adam Sandler or Will Ferrell?
Season after season Poehler delivers the sharpest laughs on "SNL," proving her range and talent in the toughest format on TV - live sketch comedy.

But so far all we've seen of Poehler on the big screen is supporting parts and cameos.

Is it a girl thing? Who knows. But this is one glass ceiling that needs to be shattered - stat.

This April, it might just happen.

Check out the trailer for "Baby Mama" - (hat tip cinematical.com).

Then download the trailer for the latest Sandler "comedy" "You Don't Mess with the Zohan."

Is there any doubt who's more deserving of movie stardom?

(Photo: Amy Poehler is more than ready for her close-up)

In a Woody state of mind

Woody Allen is the picture of consistency on screen. He looks essentially the same now as he did 40 years ago -- thin, disheveled, balding but not bald and bespectacled. But his films cover the gamut from mad slapstick to existential drama.
In honor of Allen's latest flick, "Cassandra's Dream," here's a link to my eHow article on how to pick the right Allen flick for the right mood.

Uwe Boll or Neil Marshall?

"The Descent" is my favorite horror flick of the last, gosh, I don't know how many years. Loved it to pieces. Just typing this makes me want to pop the DVD in, but I'm flying solo this week and it might spook me out (again). So I've been waiting not-so-patiently for the follow-up from Neil Marshall, the film's director. Marshall's first film, "Dog Soldiers," proved clunky but showed flashes of wit and style. His artistic leap from that film to his second, "The Descent," defies categorization.

I just watched the trailer for Marshall's third feature, called "Doomsday." And the title is as derivative as every single aspect of the sneak peek. Wow. A nasty blend of "28 Weeks Later," "The Road Warrior" and *gasp* any of the "Resident Evil" flicks. It hits theaters March 15, and I've already re-calibrated my expectations. Could Marshall really have back-pedaled this far?

(Photo: Sarah (Shauna Macdonald) from "The Descent." Photo credit: Alex Bailey

Do you suffer from SCS (Shaky Cam Syndrome)?

A WWTW visitor complained about the shaky camera work at the start of "Cloverfield," and I can't say I blame him/her. The first few minutes of the eagerly awaited film are disorienting to say the least. Anyone who caught "The Blair Witch Project" knows the sensation. Will it distract viewers, thereby killing some of the "Cloverfield" buzz?
On another "Cloverfield" front ... I ignored most of the hypothesis hype swirling around the film. Some people loved digging through the clues sprinkled throughout the Web by the film's producers.
Will those who scratched and sniffed online for months come away satisfied? We'll see on Friday.

On to 'Cloverfield'

Off to see "Cloverfield" in an hour or so - and I won't say a peep about it until Friday.
But I bet you'll read something about the film shortly.
Screening audiences aren't under the same gag order that critics are, and I'm sure some Web savvy folks will spill a bit of the beans.
So surf carefully if you want to be surprised come Friday.

Woody's reboot

You either love Woody Allen (the filmmaker, not the human being) or you don't. I still scratch my head that Mrs. What Would Toto Watch stares at movies like "Annie Hall" without dissolving with laughter.

But his '90s output strained my affection for the aging nebbish. So I was elated to see him shift his focus from Manhattan to London a few years back. The switch gave us the near-terrific "Match Point" and the amiable "Scoop" - both more fresh than anything he had done in recent years.
Caught "Cassandra's Dream" this morning, Allen's latest overseas feature. I'll post my review later this week, but it's safe to say Allen's work is still enjoying a renaissance of sorts stemming from his locale change. And "Dream" doesn't have Allen on screen, or an Allen surrogate, the latter being the most embarrassing aspect of the filmmaker's canon.

(Photo: Ewan McGregor and Colin Farrell share a drink during "Cassandra's Dream)

Beware the bias

Detailing media bias can either be deadly dull or divisive.
But here goes anyway.
Check out this New York Times piece - syndicated today in The Denver Post - about '80s action heroes making a comeback:
"The leading action symbols of the Reagan era -- with all their excess, jingoism and good vs. evil bombast -- have returned, as outsize and obvious as they were in the decade of stonewash."
As an example of bias, it's pretty mild compared to other stories I see. But it did jump out at me as I shoveled down some bland granola cereal this morning.
Thoughts?

Hoffman's 'Devil'

Bet Philip Seymour Hoffman was sad to see 2007 go. The Oscar winner stood out in three major films last year, and it's a tossup to say which performance eclipsed the others.
He's brilliant in "Charlie Wilson's War," although it's a supporting part and the film doesn't deserve the accolades it's been receiving.

"The Savages" paired him with Laura Linney for an intimate but arresting family saga, the result being an example of two great actors sharing the screen sans sexual tension. And "Before the Devil Knows You're Dead" returned director Sidney Lumet back into the winner's circle, but it's Hoffman's work as the older, but no wiser brother that makes the film hum.

Maybe Hoffman will spend '08 recharging his batteries.

He's earned it.

Great moments in journalism

I know film journalism isn't as important, or as relevant, as geopolitical reportage. But last night's "Dateline" coverage of the Golden Globes "ceremony" sank so low I thought I was watching a "Saturday Night Live" skit.
"Dateline's" Natalie Morales asked the following questions to Globe nominee Amy Adams. I'm paraphrasing, but only slightly. I didn't have pen in hand while watching.
"Is your 'Enchanted' co-star Patrick Dempsey really McDreamy?"
"Who was the best kisser out of all your leading men so far?" (this demanded several follow-up queries, one more galling than the next)
Is this REALLY a news program? US Weekly would have asked harder-hitting questions.
Embarrassing.
Pardon me for thinking the Golden Globes are meant to honor great achievement in film and television. It isn't an occasion for the cheapest of Q&A's.
By the time Morales started grilling Adams about having once worked at Hooters, I gave up. If the interviews sank any lower, you'll have to let me know.

Harry, Sally and Donne

My latest gig takes my existing metrosexuality to new levels. I'm a new contributor to Donne Tempo, a webzine dedicated to women's interests. Check it out -- there's a good range of content including a growing section of DVD and Blu-Ray reviews. The site just posted my take on "When Harry Met Sally ... Collector's Edition" which comes out on DVD tomorrow (Jan. 15).
(Photo: Billy Crystal and Meg Ryan get personal in "When Harry Met Sally")

A stand up guy

It's hard to think about Steve Martin these days without the image being spoiled by thoughts of "Cheaper By the Dozen Part XVII." The comic's recent films have been so homogenized, so stripped of his edgy comic persona, that we almost forget his groundbreaking stand-up routines.
Martin's new memoir "Born Standing Up" offers a warm and witty reminder - check out my review in today's Washington Times. His integrity as a stand-up comic was beyond reproach, but the book's vision of its author doesn't square with Steve Martin circa 2008.

(Photo: Steve Martin, surrounded by Piper Perabo, left and Bonnie Hunt, right, goes the family friendly route in "Cheaper by the Dozen")

Ageless spoofery

(Is spoofery a word?)

My relationship to Fox's "Family Guy" is dysfunctional to say the least. I laugh aloud at the show's local billboard ads and chuckle every time my channel surfing leads me to a "Guy" rerun.

Yet it's never appointment TV for me, mainly because of the show's schizoid nature. No matter what storyline is under way, the show always breaks format to squeeze in a wholly unrelated pop culture gag.

Even in a short attention span world, it's too much for me to take.

That's why "Family Guy: Blue Harvest" is such a treat. The show's sixth season premiere comes out on DVD this Tuesday, along with a few semi-naughty bits excised during the show's broadcast.

The "Star Wars" spoof begs the question - why now, more than 30 years after the film bowed?

Watch the DVD and you won't worry about the answer. The spoof is a riot and the folks behind "Family Guy" got "Star Wars" kingpin George Lucas to let them use the same music and sound effects from the movie. It lends the spoof a welcome sense of authority, and Stewie and co. do the rest.

And since the story is so locked in on "Star Wars" mythology, even the most arcane joke references always snap back to the story at hand.

Rambo fears nothing, except ...

John Rambo has been to hell and back, so why is he afraid of those mean ol' critics? The upcoming "Rambo" will not be screened for reviewers, and while action fans may shrug their shoulders at the news, it's not a great sign.

Critics, myself including, put aside their reservations about Sylvester Stallone's "Rocky Balboa" project to give it mostly warm reviews back in 2006. And deservedly so -- I watched it again recently and darned if those long-buried goose bumps didn't start dancing when Rocky starting throwing uppercuts.

But releasing "Rambo" in the dungeon of the movie year - January - without screenings means Stallone may have run out of "Rocky" style comebacks.

Note: Stallone speaks here -- (hat tip: Libertas)

(Photo: Sylvester Stallone charms a nasty snake in the upcoming "Rambo.")

Spike's first joint

It took just 12 days and $175,000 to launch the career of arguably the most important black director of the last 25 years. Spike Lee's "She's Gotta Have It" comes out on DVD for the first time stateside Tuesday (Jan. 15), a reminder of a maddeningly inconsistent director's debut. I break the film down in today's The Washington Times.
The 1986 feature holds up rather well. The sexual dynamics of a woman juggling three men without guilt are as relevant today as they were in the '80s. I bet "Sex and the City's" Samantha would like this DVD in her collection. Too bad the DVD lacks any extras - not even a trailer. (Photo: Groundbreaking film director, and Knicks devotee, Spike Lee)

Bitter 'Juice'

Rank this one in the "wish I had written such a great line" category.
From Movie Juice on the star of the recent horror film "One Missed Call:"

Ed Burns makes two kinds of movies: The commercial kind that nobody sees - and the Indie kind that nobody sees.

Remind me not to anger the fine folks at Movie Juice ...