Can't Stand the Heat? Get Out of the Summer Movie Business

From Memorial Day to Labor Day, it seems like every time you turn around, the next big action blockbuster is being released. The movie business is experiencing a surprisingly upward trend in the months of January and February. With huge releases coming within the next few months, including the Transformers sequel, G.I. Joe and Star Trek re-imaginings and the X-Men prequel, movie goers have proved they are ready to shell out some cash. The only problem is, when there is a historic movie event every week, which films will be the ones to suffer? Is it possible movie studios are investing billions in movies that will get lost in the shuffle. Promotion is starting earlier and earlier each year, with some of '09 releases already previewing some scene at the '08 Comic Con festival.

This year, two of Hollywood's most famous actors, and most bankable stars, have teamed with visionary directors in an attempt to steal the spotlight with unconventional blockbusters. Johnny Depp teams with Michael Mann (The Insider, Miami Vice, Ali, Heat) in Public Enemies to portray the Prohibition Era gangster John Dillinger, in what you can see in the trailer, is a slick action drama that captures the intrigue and air of mystery associated with the 1920s. The trailer makes the film seem like a lot of fun, with shoot outs and car chases for the guys, and lots of seductive Depp quips for the girls. Based on only 2 minutes, I wouldn't be surprised if this was the box office champ come end of the Fourth of July weekend.

http://www.imdb.com/video/imdb/vi3372221209/ Public Enemies

One thing you have to know about Quentin Tarantino is he doesn't like to give too much of the movie away in the trailer. Hopefully, this is the case with Inglourious Bastards, his decade long pet project which stars Brad Pitt as a World War II soldier who leads a group of assassins through France with the mission of killing 100 Nazis each. Tarantino specializes in finding comedy in dark situation, without making his films a "black comedy." There's nothing comical about World War II as an event, but the trailer plays with a figurative wink to the audience. Tarantino has control of everything on his films, so the trailer was if not put together personally by him, was at least approved by him. He's like one of those mad scientist who have the ability to produce something brilliant, but when you look at how it's made, you think it will never work. Hopefully the trailer serves as a tease, and the real film lives up to the hype. In other words, think more Pulp Fiction and less Death Proof.

http://www.imdb.com/video/imdb/vi1210843929/ Inglourious Bastards

Review: I Love You, Man

It was pretty funny. It's about a guy, Paul Rudd, who is getting married and realizes he doesn't have a close friend to be his best man. After a series of "man-dates" set up by his family, he meets a free spirited party guy, Jason Segel, who brings chaos to his organized life.

The story was really tight, and the script didn't need to employ cheap plot points just to cause tension. Paul Rudd proves he can carry a film, playing Peter, the slightly effeminate, socially awkward real estate salesman in search of a friend. The relationship between Peter and Zooey was genuine. More importantly, the Zooey character, played by Rashida Jones, was not only rounded, but not portrayed as the "bad guy." Jason Segel plays against type, and shows a different side of his comedic skills, adding a very mellow tone to the character of Sidney. The other supporting players only helped add to the character of the film, including Jaime Pressly and Jon Favreau as "that couple" who are always screaming at each other, and Andy Samberg as Rudd's straight men hunting gay brother. The only thing that could hurt the film is if people didn't realize they are taking the romantic comedy formula and switching the best friend and girlfriend role. If you don't embrace the concept right from the beginning, you might find it bizarre. It would be hard not to notice this, especially when Peter and Sidney embrace in front of a fountain, but I could see it actually getting lost on some.

This bro-mantic comedy has a great script with a big heart, and just enough laughs to keep us engaged all the way through. While the jokes don't seem to flow as freely, or as cleverly as some of this duo's past films, the film is well worth seeing with a friend or date.

American Idol Re-Vamp

Kara Dioguardi has been the topic of mixed reviews in discussion of the changes to America's most watched show. Some like her specific and surprisingly helpful advice, while others feel she is trying to be the female Simon, but comes off bitchy. It is in human nature to reject change, especially of something many people make the staple of their work week. The change comes not because the ratings are bad, but because the producers felt the show could be getting repetitive. They throw in this chick, who is younger and better looking than Paula, in the hopes of either a cat fight or a blow out with Simon. The producers lie through their teeth when they say they thought Kara would have an easy transition to the judges table. A quiet transition would be the worst thing that could happen. Sell some tabloids, create some buzz, get people more interested in the show - that was the point of adding the new judge. Also, rumor has it Paula is not looking to renew her contract at the end of the season, and if nothing else, the addition of Kara will help keep Paula's hefty salary from increasing too much in case she wants to come back. If she doesn't, America will already be used to Kara, so the absence of Paula will not be a shock.

As far as the other changes, like America voting in the top 12 instead of voting out the top 24, it really does make it hard on the contestants, but it also adds to the drama. True, the selection might have been same no matter what, but I suspect the grouping was done with the intent to get a diverse cast. It's about time the producers start admitting they try and manipulate the voting. The judge's choice stipulation not only adds to the emotion of elimination night, but ensures the producers won't have to lose a key player early. It's too early to tell whether the addition of the judges choice will be beneficial or not, but as long as Simon gets a say, I can't imagine them squandering it on someone who doesn't deserve it.

The contestants this year are full of talent but lacking impact. First off, there are way to many guys and not enough girls. I'm already confused between Matt and Kris and Tom and God knows who else, and with the way the voting is going, it might be eight guys left and no girls. The only eye candy on the show Megan Joy, who oozes sexuality despite her hippie dancing and obnoxiously huge tats ... tattoos that is. So far the stand out has to be Adam Lambert, the not-so closeted punk rocker who despite anything that has been said, makes a lasting impression. The widower Danny can really sing, but he could suffer a backlash due to how heavily they played up his wife's death. Ditto with Scott, the blind contestant who can belt one out, but unfortunately makes me tense any time he is on screen. I'm waiting for Seacrest to try and high five him again, or for someone to forget to grab him during the group song and he takes a header off the side of the stage.

Yes, the show was getting stale, and yes the re-vamp has made it more interesting. If that was the only goal, mission accomplished.

Mailbag Questions

It is time to dip into the ole mailbag again and see what is on the reader's mind lately.

"How do you think Jimmy Fallon is doing in his new position on Late Night? Is he benefiting from having Leno as his lead-in instead of Conan?"

I saw a half of an episode on NBC, two other clips online. To be honest, I wasn't impressed. I didn't expect Fallon to come out and put on the "wet your pants" show of the year, but I thought his first couple of nights would have more energy. After all, he's been preparing for his for like three years. I thought he was trying to do a show that was so loose and natural that the comedy came second hand, but instead it made him look lazy because none of bits really worked. I do think Jimmy is really talented, I think this is a case of him not finding what works for him on his show. All his predecessors went through the same process. Comedy talk shows have luxuries episodic television shows don't. With five episodes a week, forty plus weeks a year, the trial and error process is instantaneous. Plus there aren't as many other talk shows to take your place. With episodic television, they get one episode a week to make really good, and if the audience doesn't like it, your usually shooting at least three or four episodes ahead of the airing, so to go back and get your show on the right path is impossible. On talk shows, if a show doesn't work, the next night you try something else that might. Both Conan O'Brien and Jimmy Kimmel build strong fan bases by word of mouth after the first few years. Remember the "Triumph the Insult Comic Dog" phenomenon from Conan or the "I'm Fucking Matt Damon" song from Kimmel. That's the edgy, outside the box stuff Fallon should attempt, but in his own voice. He's younger than all of them so he should at least try to be as cool.

"Has the success of Witch Mountain ensured the Rock will never come back to wrestling?"

I never like to say never, but I don't think the success of Witch Mountain is only reason The Rock won't wrestle again. It is possible he would do a match or two in the future, but he'll never go back full time. In fact, I think there is a better chance The Rock would come back after the success of a movie, as opposed to it bombing. It's the same reason rich people like to go to their high school reunion. They like to brag about how well they've done since they left. If The Rock couldn't get another acting job to save his life, his return to wrestling would seem like a last resort and put a sour taste in every one's mouth.

"Is U2 over-promoting their new album?"

There's a difference between over-promoting and over-hyping. U2 might be over-promoting, but it's not a bad thing. They are getting their name out there again, appearing on every television show from Late Show with David Letterman to the Homeroom Show at the Sioux City Iowa High School. All they are saying is, "hey we have a new CD out." Over-hyping is like when Kanye West told everyone listening to his CD will give you the answer to the meaning of life.

Judd Apatow: Comedy's Spieberg?

At age 41, Judd Apatow is Hollywood's fastest rising star. Forget he started his career almost twenty years ago, the guy has the golden touch. He penned episodes of television's critically acclaimed comedies like Freaks and Geeks, The Larry Sanders Show and The Critic, but his real success didn't come until The Forty Year Old Virgin in 2005. What seemed like another sleazy teen movie flourished with word of mouth, and the became the sensation of late summer. The marketing campaign behind the film helped, but usually what happens is the people who run to see the movie on the opening weekend tell their friends the movie didn't live up to the hype. With witty and brutally honest dialogue seemingly taken from real life, and endearing characters like only Apatow can create, the small teen comedy got a good reviews from the people who count ... the movie going public. Soon the film became the "must see" movie and Apatow's career has not looked back since. You can almost tell a Judd Apatow movie right away by the distinct realism, natural feel and snarky banter whipping around the screen. With hits like Knocked Up and Super Bad gaining huge momentum, Apatow has become the most desired director in Hollywood. Just having his name attached to a project helps. He only produced Forgetting Sarah Marshall, yet the entire mood of the film has Apatow written all over it. In fact, he doesn't even need to be in a movie to help sell it. Paul Rudd and Jason Segel have worked with Judd so often, most people think I Love You, Man is the latest installment of the Apatow Collection. Even though his name is not in the credits, the leader of the self proclaimed "Jewish Rat Pack" undoubtedly ushered in the style of he film. So is Apatow comedy's version of Spielberg. He's on the right track but he has still yet to turn out his version of Schindler's List. And by that I mean his career defying movie, not a teen comedy based on Osker Schinder.

There is No Such Thing As Bad Publicity

The reports of the arrest of Chris Brown for his alleged abuse of girlfriend Rihanna have been swarming around the globe for the past three weeks. In those three weeks, Chris Brown did something he was unable to do before. He got himself name recognition. Only R&B music fans, mostly younger at that, really knew who he was. The general public might have known a song or two, but didn't know who sung it. Now, the biggest entertainment saga of 2009 has the entire world talking about the singer's heinous actions. The question on every one's mind is 'will he be able to return to the level of popularity he was at before?' The answer is a simple "no." He will be bigger. If Brown's publicists even spent a day in a public relations class, Brown will be interviewed by Barbara Walter or Katie Couric, or someone who will pretend to ask tough questions, but will really be lobbing softballs. A tearful heartfelt apology will be almost a given, and he might even get Rihanna to sit there with him. The most outrageous part of the whole situation is that if Rihanna continues to stay with Brown, he will be off the hook because all the women in the world will say "oh well, then she's just stupid to stay with him."

The music business has taken such a drastic turn in the past decade that it is becoming increasingly harder for musicians to form their own identity. With CDs almost non-existent, and any smuck with a halfway decent voice getting a record contract, the really talented people are finding it harder and harder to separate themselves from the pack. The truth is that for R&B singers, if something huge does not happen in your career, you become irrelevant. I am by no means accusing Chris Brown of beating Rihanna to get publicity, but his recent actions do not seem as damning as everyone would have you believe. America loves a comeback, and is quick to forgive. Michael Jackson almost threw his baby over a balcony and could not be more popular. 50 Cent's nine bullet wounds gave him enough street-cred to land "In Da Club" the coveted spot of Billboard's top song of 2003. Mariah Carey had a meltdown that made Three Mile Island look like a faulty circuit breaker, and she came back with her most profitable single ever. The point is, without a story, a gimmick or scandal, musicians will be merely lost in the shuffle. So for Chris Brown, his fans might not have come back yet, but don't worry, they are on their way.

Television Progress Report

February sweeps have just ended, leaving the shows on the 08-09 schedule one last stretch before they call it quits for the summer. Some have shown drastic improvements, while others have buckled under the pressure of living up to their hype. Here's a quick look at how some shows can expect to end the season.

Passing With Flying Colors:

Brothers & Sisters: The ensemble is meshing really well and the stakes are higher than ever. Each subplot is complex and touching, leaving the Walker house a great place to spend Sunday nights.

Big Love: The third season of the HBO polygamy drama has built on the momentum established by the first two proving, this show only gets better with time. The trial of the Prophet, the contemplation of a fourth wife and internal family angst makes Big Love one of the most addictive shows on television.

Lost: Despite the detractors who say the time travel is too confusing, it doesn't matter where they are going, just enjoy the breath taking ride.

Damages: FX's masterfully crafted legal drama reveals one more piece of the puzzle every week, guaranteeing one huge payoff when we finally find out what happens inside Ellen's apartment.

The Office: Coming off a huge post Superbowl episode, the relief that Jim and Pam's relationship hasn't ruined the show, and Michael's undying need for companionship makes the show as funny and squeamish as ever. You know a show is good when you are embarrassed for someone in the privacy of your own home. Even the expansion of the Dwight character is working out nicely.

Average

30 Rock: Winning a handful of Emmy, Golden Globe and SAG awards puts the heat on this critical darling. The episodes have been consistent but have yet to produce that "must see" episode like last year's "Rosemary's Baby"

House: Everyone's favorite cynical doctor had his best season ever last year with the season long selection of a new team and a dramatic bus accident that killed a main character. However, the gimmicks like hostages and teasing a kiss between House and Cuddy have made the show more about spectacle than medical which is not always a good thing.

Nip/Tuck: The promos always taut that Nip/Tuck is television's most provocative drama. This season, the show remains provocative but not in a silly way. Christian with breast caner, baby botox and Liz's confusion about her sexuality give this season credit but doesn't boast it to the brilliance it had during seasons 1 and 2.

In Danger of Failing

Twenty Four: Jack Bauer saving the world can, and has been done in a novel way. The addition of a love interest and a female President have not been enough to make this day intriguing or intense.

Heroes: Every comic book geek's dream involves redemption for this sci-fi favorite, but after a season and half of struggling, it seems the only savior of this series will a total reinvention.

Grey's Anatomy: The hospital is cluttered with open ended story lines and characters we don't care about. There are as many guest stars each week as regular stars and rumor has it Meredeth is getting another half sister. Too much. Way too much.

The 81st Academy Awards: Not Just Business As Usual

There was a lot of pressure for producers Bill Condon and Lawrence Mark to deliver the "biggest movie event of the year", but unlike other years, the duo famous for their work behind the camera, made good on their promise. They brought the Oscars back to their roots. The entire telecast was what it should always be, a celebration of the year in film. They really couldn't go wrong with host Hugh Jackman. No one expects him to be funny, so if he is, great, but if he isn't, it doesn't matter. The song of the "recession budgeted" opening number was clever and relevant, since everyone immediately thinks "should we be spending all this money on a production in this economic climate?" With the elephant in the room fully addressed, the night turned out to have the pomp and circumstance needed for the Oscars, without the uptight feeling of being in church. Five former winners in the acting categories presenting together contributed to the importance bestowed on the biggest prize in Hollywood. The presenters banter wasn't awkward because for the most part they were explaining the categories, not jokes. However, the few comedic spots on the show went over really well, like Ben Stiller's impersonation of Joaquin Phoenix, the Judd Apatow clip and Steve Martin and Tina Fey's presentation of the writing awards. Condon and Marks really know what they were doing because they gave the reaction shots everyone wanted to see. Most notably, a close up of Angelina Jolie while Jennifer Aniston was on stage. Overall, this was the best Academy Awards ceremony is about eight years. The reception was immediately positive, almost assuring the producers and return invitation.

Best Oscar Speech Quotes

"This might be the one time I'm speechless",

Robin Williams, Best Supporting Actor 1997, Good Will Hunting

"I don't think means I am somebody ... but I guess I'm on my way"

Cher, Best Actress 1987, Moonstruck

" For anyone who has ever been on the downside of advantage, and relying purely on courage, well ... it is possibile. Thanks very much!"

Russell Crowe, Best Actor 2000, Gladiator

" I have wondered for twenty-six years what this would feel like. Thank you so much for terminating the suspense."

Shirley MacLaine, Best Actress 1983, Terms of Endearment

"This is the highlight of my day. Its all down hill from here."

Kevin Spacey, Best Actor 1999, American Beauty

"It is true what they say. There are some angels in this city"

Marion Cotillard, Best Actress 2007, La Vie En Rose

"In recent years there has been a lot of critism over these awards. I don't know whether it is justified, or not but I'm telling you, I consider this one hell of an honor and I am thrilled."

Jack Lemmon, Best Actor 1973, Save the Tiger

"Quid pro quo, doctor"

Jodie Foster, Best Actress 1991, The Silence of the Lambs (to her also victorious co-star Anthony Hopkins)

"I can't tell you how encouraging a thing like this is"

Ruth Gordon, 72 year old Best Supporting Actress 1968, Rosemary's Baby

"Could you double check the envelope?"

Martin Scorses, Best Director 2006, The Departed

"I'm just going to keep talking and you can play the music when my time is up. I promise I won't be mad"

Cuba Gooding Jr., Best Supporting Actor 1996, Jerry Maguire

I'd like to thank my parents for giving me the greatest gift of all, the gift of poverty."

Roberto Benigni, Best Foreign Film 1998, Life Is Beautiful

"They say patience is a viture. This was worth the wait"

Sean Connery, Best Supporting Actor 1987, The Untouchables

Academy Award Prediction: Best Picture, Best Director and Best Adapted Screenplay

Sometimes these three awards go to three different films, but not often. The Best Picture and Director winner are usually from the same film. Also, the Best Picture usually wins a screenplay award. Most Best Pictures are from adapted screenplays. Last year No Country For Old Men took all three, and The Departed did the same the year before. This year, Slumdog Millionaire will fall into the traditional formula. The smash hit about a Mumbain teen who is persecuted for the unusual circumstances involving his game show success has racked up sixty pre-Oscar awards and looks poised to turn at least half of its' ten nominations into wins. At this point, the Academy would just look silly giving the big prize to someone else.

Academy Award Prediction: Best Actress in a Supporting Role

Best Actress in a Supporting Role

Amy Adams, Doubt

Penelope Cruz, Vicky Cristina Barcelona

Viola Davis, Doubt

Taraji P Henson, The Curious Case of Benjamin Button

Marisa Tomei, The Wrestler

The category that provides the most upsets in Oscar history, (Marisa Tomei in 1992, Juliette Binoche in 1996, Judi Dench in 1998, Marcia Gay Harden in 2000, Tilda Swinton in 2007) is the closest and toughest race to call this year. Unlike the tight Best Actor race, all five nominees have a legitimate shot at winning. Penelope Cruz was the front runner heading into the Golden Globes, but her losses to Kate Winslet have worked against her. Now it is a free for all. Cruz is incredibly talented, beautiful and plays a fiery Spanish ex-wife, but her film wasn't nominated in any other category. Henson is Button's best shot at winning a major award, but I have a feeling all the Button love will be in the tech categories. Tomei, who plays the role voters love, a stripper, could walk away with her second career Oscar but voters like to spread the love. I have a gut feeling that with four acting nominations, the Academy will want to reward Doubt with one win, and this category is the best shot. With two contenders, the Doubt actresses could split the vote, but Viola Davis has the showiest role and gives a short poignant performance that begs for recognition. This is such a toss up that I will pick Davis but am not very confident.

Academy Award Prediction: Best Actor in a Leading Role

Best Actor in a Leading Role

Richard Jenkins, The Visitor

Frank Langella, Frost / Nixon

Brad Pitt, The Curious Case of Benjamin Button

Sean Penn, Milk

Mickey Rourke, The Wrestler

The Best Actor category has traditionally been the easiest to predict, but this year it does not seem so easy. Sean Penn would be the clear winner if he didn't just win in 2003. Despite voters wanting to spread the love around to those who haven't won before, Penn plays a real life gay politician killed by an assassins bullet in a Best Picture nominee. Chances are, the voters will want to give Milk a consolation prize. Penn finds himself grappling with the comeback story of the year. Mickey Rourke, who has experienced a career rejuvenation with the success of The Wrestler, would be the clear favorite if he didn't threaten to actually wrestle at Wrestlemania. Rourke is not very refined, but his heartfelt speeches at the Golden Globes and BAFTAs were accepted warmly, and giving him an Oscar would be a great story. Penn has a reputation for being a hot head, and has publicly stated the Oscars don't mean much. However, Rourke if offbeat and the Oscars are very tradition. This is the closest two horse race of the night. In the end, Hollywood will stick to its' guns and give the statue to Penn.

Academy Award Prediction: Best Actress in a Leading Role

Best Actress in a Leading Role

Anne Hathaway, Rachel Getting Married

Angelina Jolie, Changeling

Melissa Leo, Frozen River

Meryl Streep, Doubt

Kate Winslet, The Reader

This is really Kate Winslet's to lose. She turned in two critically acclaimed performances, and has won the Golden Globe, SAG, Broadcast Film Critics and the British Academy Award. She has a lot of the key essentials to winning the Oscar. First, she played a Nazi in a World War II movie, which is a big plus. Second, she is a beautiful woman who made herself look ugly for the film- bigger plus. Third, the story of her being the youngest actress to be nominated five times without a win makes for a great story. Lastly, she has been emotional, gracious and humble in all of her pre-Oscar speeches. Some predict a Meryl Streep upset but something tells me Meryl will have the opportunity to he rewarded again soon. As for Anne Hathaway and Angelina Jolie, the "babe factor" only helps when the front runner is not another "babe" like Kate Winslet.

Academy Award Prediction: Best Actor in a Supporting Role

Best Actor in a Supporting Role

Josh Brolin, Milk

Robert Downey Jr., Tropic Thunder

Heath Ledger, The Dark Knight

Philip Seymour Hoffman, Doubt

Michael Shannon, Revolutionary Road

The thing about the Oscars, especially this category, is that they like to reward actors who have demonstrated a consistently stellar body of work. Many times this Oscar goes to screen veterans almost like a lifetime achievement award. Think George Burns for The Sunshine Boys, Michael Caine for The Cider House Rules, James Coburn for Affliction and Sean Connery for The Untouchables. However, the performance they are nominated for has to be good, but not necessarily great. This year, the obvious choice is Heath Ledger. This will be last time voters get to acknowledge his work in a competitive category, his performance is quite menacing and with all the other pre-Oscar awards he has won, to not give it to him would put a damper on anyone else's win. Of all the acting races, this is the closest to a slam dunk you could get. Predicted Winner: Heath Ledger, The Dark Knight.

Entertainment's Guilty of Being Overrated List

Clint Eastwood: The man famous for playing Dirty Harry didn't receive real critical acclaim until the age of sixty two. With a permanent look of trying to see something down the road, and a raspy whisper that leaves you struggling to hear his lines, the American Cinema Icon's acting leaves much to be desired. Sure he might direct some good movies, but his big hits aren't directorial achievements. He mostly gets a good script, sits back and lets everyone else do their job. You could argue every director is guilty of this, but the same is not true for the master filmmakers people often mention in the same breath as Clint. You feel every bit of Stephen Spielberg, Martin Scorsese and Quentin Tarantino's influence in their movies. The only constant in Eastwood films is the drowsy score that sounds like he stood at a piano and played one key at a slow methodical pace.

Jeff Dunham: Talking without opening your mouth is a nice talent just to have, but when you spend ten years practicing it, you sort of become an asshole. Even if you can look past the shameless gimmick, his jokes are cheap and shallow. Even the Middle Eastern puppet comes off as racist instead of edgy. The saddest part of Dunham is that he has a huge fan base. To think he describes himself as a "comedian" is the most liberal use of the word since Gallagher.

Entourage: Did you ever see the episode where Vince didn't want to do a movie E thought he should, Turtle and Drama fought over some non-issue and Ari had a panic attack over a studio battle? If you saw that one you pretty much get the point of the last three seasons. Through no fault of the actors, especially Kevin Dillon who has really brought a new level to Johnny Drama, the show feels like a procedural situation comedy. When Entourage debuted it was hip and everyone felt like they were part of the "in crowd." Now they have no direction, the writers are struggling to keep the characters busy. The short season, A-list guests and young viewers idolizing the Hollywood lifestyle have kept this struggling series a cornerstone of HBO's lineup.

Tyler Perry: This guy pumps out movie after movie and t.v. show after t.v. show with relative ease. The only problem is, he combines part Flip Wilson, part Eddie Murphy and part Mama's Family to make a mediocre at best franchise that finds success in its' simplicity. I'm not sure of why Perry himself has to play Medea since none of the jokes are about how much she looks like young man, but he is wildly popular and heavily compensated. When comedies like Arrest Development and Freak and Geeks can't stay on the air, but Tyler Perry has two hit comedies and a string of hit movies, you can't fault the guy for making the most out of producing the least.

Stephenie Meyer: With a quartet of successful vampire/romance books under her belt, the young author has been surprisingly smug regarding future endeavors. Considering her narrative flow sounds like a sixth grade book report, her best response to her fame would be to say she will continue to write for her fans. It is especially hard to remain in the spotlight as an author, but suddenly she's too famous? From the looks of her personal interviews, Meyer looks more righteous than humble. All her fans want her to do is write more books, so how much favor would she win by abandoning what bought her to the dance to begin with. The stories are compelling for a wide audience, but she should stop pretending shes J.K. Rowling.

Kate & Leo Take the Long "Road" Home

The success of My Bloody Valentine and The Uninvited make the Hollywood studios think the audiences just want to be scared. Well if it is a true horror movie they want, why not sit back and absorb Revolutionary Road. Sam Mendes' masterful look at life in suburbia is so frightening, it will leave you pondering the point of marriage for weeks to come. America can handle watching scantily clad teens being chased by chainsaws or token black guys saying funny lines right before they are decapitated, but being forced to examine in their marriage is a monster they cannot escape once they leave the theater. The truth in the success of American films is not that the audience wants to be scared, but they want to feel something. Sweeping epics, action packed thrillers and gory slasher flicks have always done well at the box office because it gets the blood pumping. As kids we live vicariously through our heroes by playing make believe. The true secret is that we never stop. We just don't acknowledge we sometimes pretend to be something we are not.

Movies like Revolutionary Road and American Beauty, Mendes' most famous film, are scary in premise but not content. In Revolutionary Road, Leonardo DiCaprio and Kate Winslet play Frank and April Wheeler, a beautiful couple who settle down in a New York suburb. Frank is a suave middle man who seems to have the world by the balls, and April is a aspiring actress and stay at home mom with two healthy kids. The world sees them as having everything, but they both cannot shake the fact that they are missing something. This film is not only about the struggle between man and wife, but the universal struggle of always wanting more. The performances from both leads are nothing short of riveting, as DiCaprio demonstrates again why he should be taken seriously as an actor. It's not fair to either film to compare this movie to Titanic, because there is nothing similar except for the cast. Whether the real life friendship between Kate and Leo helped their on screen "chemistry" is irrelevant. The two take part in some of the most intimate and emotionally devastating scenes in recent memory. The movie is paced just right, adding little by little to the relationship until it explodes. The supporting players are all on par, especially Michael Shannon, who walks the line of genius and insanity in a brilliant way.

While it is easy to be pessimistic about marriage after this film, there is a silver lining. To say Frank and April Wheeler are a representative of the typical American married couple is unfair. Think of them as a case study. Elements from other's relationships might be present, but they do not echo 100% of the whole. The film is just a story. Any generalization is on the part of the individual. Furthermore, a good relationship will not be strained by viewing this movie. In fact it may make a relationship stronger.

For Kate and Leo, you could not pick a better film for them to reunite in. Sure they took the long way home, but it was well worth the wait. Thanks to their dynamic performances and the directors first class film making, Revolutionary Road is one of the best films of the year.

Grammys: And the winner is ... CBS

With a surge in viewers, CBS has a lot to be happy about. Most importantly, they didn't blow one of the easiest award shows to produce. Non-music award shows have the pressure to not be boring (and often are), and the MTV VMAs have the pressure of trying to be edgy (and often aren't). The Grammys are a collection of all things music, which appeals to the masses better than any other ceremonies. Sure everyone loves movies, but how often are the movies everyone loves the movies nominated for Academy Awards. Plus, when you watch the Grammys you want to see your favorite perform. When you watch the Oscars, you want to see your favorite win, which isn't guaranteed. With so many things in the show's favor, the light and energetic atmosphere made the show actually enjoyable, no matter how long it was.

Katy Perry's sensual performance demonstrated how much cross over appeal the twenty four year old chart topper has. Her vocals make her a respectable artist, while her natural charisma makes her the object of admiration for teenage girls, and the object of desire for all guys. CBS hit all the key demographics by pimping Miley Cyrus and Taylor Swift, and dusting off Neil Diamond. One thing is for sure, if Stevie Wonder could see what tools the Jonas Brothers are, no way he'd be singing with them. It was nice to see Coldplay pay homage to Paul McCartney which made me believe Chris Martin is just as cool as he seems.

All in all, there wasn't a "shocker" like the Britney Spears and Madonna kiss, or the Dixie Chicks going all political, but it was a solid show. For once, the worst judgment of the night went to a performer, M.I.A., who performed while crowning.

Can The Office deliver in Post- Super Bowl time slot?

For a television series, it is the most prestigious time slot of the entire year. To be given the after Super Bowl time slot is the figurative equivalent of your network giving you the ball. The only problem is … now you have to run with it. Since 1983, it is tradition for the home network to air new episodes following the biggest game of the year. Since the Super Bowl is usually the highest rated program of the year, the networks like to capitalize on the influx of new viewers, and hope at least half of the 97 million people who watch will keep their television on the same channel.

With the pressure on and America watching, some shows falter under the bright lights. As The Office continues to build on its’ water cooler status, the crew at Dunder Mufflin should take a lesson from their predecessors and take a few things into account.

The most important thing to remember is that this is the night to get the attention of new viewers. Bigger is better. Remember when Meredith had to hold a bomb lodged inside the chest cavity of a patient on Grey’s Anatomy. Remember when Rachel and Monica fought over Jean Claude Van Damme on Friends? Or when Sydney finally took down SD6 on Alias. Those pivotal moments all took place after the Super Bowl. Even if you never saw the shows before, casual viewers could appreciate the epsidoes.

Another trick of the trade is to not get too complex. Most Americans are ready to relax after the excitement. House, which is a very complex show in practice, “dumbed down” it’s content for last year’s post Super Bowl episode. On the other hand, The Practice didn’t change a lick of their story content when they had a go at it, and discovered something a two year old could have told you: Nobody wants to watch an agenda driven lawyer fight for his client’s life after a the biggest sports night of the year.

The third most important trick of the trade is to remember that if you are premiering an episode, make sure it is good. In the early years, it was customary to air the first episode of a series, in the hopes of building a core audience. The best examples of this is The A-Team and The Wonder Years. I imagine The Wonder Years would have found an audience anyway, but The A Team truly benefited by capitalizing on the gridiron testosterone boiling in the 18 to 40 year old males who just spent four quarters stuffing themselves with potato chips and high fiving each other. This method wasn’t always successful, and the debuts of four duds in a row show that the success of the show is not only determined on time slot, but the quality. I don’t think MacGruder and Loud would have been a hit series even if ABC took copies of episodes door to door to every house in America. Later CBS took a different route by airing non-scripted entertainment. First with the 1993 interview on 60 Minutes of Bill and Hillary Clinton, then with the premieres of Survivor:Australia in 2001 (the highest rated installment of the series ever) and Survivor: All Stars in 2004.

So with the groundbreaking episode just around the corner, NBC is already promising Jack Black and Jessica Alba will make a trip to Scranton. With so many open storylines and fully developed characters, blowing this golden opportunity does not seem likely. Along with The Office, Bruce Springsteen will perform at the half time show, Jennifer Hudson will sing the National Anthem and the commercials are guaranteed to be funnier than ever. And oh yeah, the think there’s a football game scheduled somewhere in the middle too.