Furious on Film Movie News 04.16.08

Posted by Arnold Furious on 04.16.2008

Time Warner lays the Smackdown on New Line Cinema, studios look forward to a profitable summer, Demi Moore returns, Ghost in the Shell next on the re-make schedule, Chan & Tucker to re-team, and more! Plus Mighty Boosh, John Wayne, New Zealand gore comedy, Into the Wild and Monica Bellucci!

Furious on Film Movie News 04.16.08

Time Warner lays the Smackdown on New Line Cinema, studios look forward to a profitable summer, Demi Moore returns, Ghost in the Shell next on the re-make schedule, Chan & Tucker to re-team. Plus Mighty Boosh, John Wayne, New Zealand gore comedy, Into the Wild and Monica Bellucci!

Issue 135

Apologies for some of the drunken nonsense you got last week. One pint too many I feel. The news is the only thing I leave to the last minute though so it turned out mostly ok because I only make short comments after the news items. Reading them back makes me cringe a little. I remember I had 10 pints and recapped Raw once. That went better because I didn't have to insert opinions. As soon as I'm asked my opinions whilst drunk it's black or white. There's no grey in my drinking mind. I think that means I'm a Sith drunk. I had to laugh when I read back the piece in Word though. I got the date wrong again! It's a quite remarkable skill that must irritate the hell out of Ashish and Chad. Apologies to them as well. I'll try and get it right in future. I've double checked this week's date. We're A-Ok.

HERE IS THE GNUS



Time Warner trims the fat

Credit: Hollywood Reporter.

"Time Warner on Monday began the process of downsizing New Line Cinema by laying off 450 employees in New York and Los Angeles.

About 40-50 staffers will remain at the former mini-major, which is being retooled as a genre-oriented label within Warner Bros. as part of a Time Warner cost-cutting effort. Another 40 New Line employees are being offered positions elsewhere within Warners.

The pink slips will continue Tuesday. A Time Warner spokesman would not comment on who will remain while the notification process was ongoing."



I thought we'd lead off with this as New Line has been the centre of an interesting article this week from our own Peter Bielik. This week's Mr Floppy focused on New Line's failure with the Golden Compass. A massive financial disaster that saw the company lose a huge chunk of its power. It seems their story hit an all time high with Lord of the Rings and the massive gamble on Golden Compass has cost several at the company their jobs. The "process was ongoing" must be somewhat unnerving for those who remain with New Line. I guess Hollywood doesn't appreciate failure. 450 seems like a pretty big opening cull too. New Line is to be heavily downsized, which means the two sequels to Golden Compass now seem unlikely (although IMDB.com still has 2nd film the Subtle Knife down for a 2009 release), and focus on smaller lower budget films. The suggestion has been made that they didn't know what they were doing. In Hollywood? Never!

Box Office under-performance to be offset by summer hits extravaganza?

Credit: Hollywood Reporter.

"Year to date, industry grosses are off 3% from the same portion of 2007, with misfiring films from an array of genres littering the landscape. The spring tally is off a big 19% so far in Nielsen EDI data, and eight of the past nine weekends underperformed the same frames from a year earlier. Yet much of the industry reaction amounts to a collective "What, me worry?" with execs shrugging off the slack period as a simple cyclical downturn. "It's all product-based," a distribution topper said Monday. "There was a lot of product coming out over the last month or two that the audience didn't want to see. But all you have to do is look at the 'Iron Man' tracking numbers to see that the public is pumped for that, and it will just go on from there."

Awareness for the May 2 release and some other summer tentpoles does appear high. So perhaps understandably, the prospect of a summer salvation for the industry proved something of a theme in an informal poll of studio execs. "Summer will be here very soon, and it's going to be terrific," another top distribution exec insisted. "And at the end of it all, it will be a terrific year. I really would be very surprised if at the end of the year we do not equal or surpass last year's box-office." Still, such sentiments could amount to wishful thinking. Last summer's $4.16 billion in industry box-office was a record, built on three May openers that proved to be $300 million domestic grossers.

This May, the highest flyers will include Paramount's "Iron Man" and "Indiana Jones and the Kingdom of the Crystal Skull" (May 22), Disney's "The Chronicles of Narnia: Prince Caspian" (May 16) and perhaps Warner Bros.' "Speed Racer" (May 9). Most box-office handicappers expect at least one of those to travel north of $300 million, but anything beyond that is uncertain."



Well Indy IV certainly has huge potential to make an enormous amount of money at the box office. The series has always done well financially and now there's the nostalgia dollar as well on top of the big budget action movie dollar. Plus Harrison Ford is the most bankable film star of all time. It seems to have every element to be a hit. The only thing going against it is that Indy looks too old. But people still went to see Rocky Balboa. They want to believe. It shouldn't be a hard sell. Clips I've seen so far look great and money should just flood in.



Ironman is a tougher one. It has the Marvel seal on it so it'll draw in a good sized chunk of kids. But Ironman is a character that tends to appeal to a more mixed demographic. Will that put the kids off? There will almost certainly be a degree of maturity about Ironman that the Fantastic Four, Spider-Man and even X-Men movies didn't have. At least there will be if they get the character right, which I'm hoping because I'm a total mark for Tony Stark and Robert Downey Jr. The trailers look pretty solid. I think this will definitely be a hit and if it can draw the younger crowd in as well then it could go on to make serious crossover money. Marvel has been smart in initially going for it's most obvious adaptations (Hulk, Spidey, X-Men) and then bringing in other, perhaps richer, characters. I'm on board. Great time to be a comic book fan.



Caspian is a funny one. How many of the people who went to see the Lion, the Witch and the Wardrobe will be back for this? Or would they have been somewhat disappointed? After all Narnia's first dip wasn't a great film. I personally don't really care too much if a sequel comes along. Plus there's been a slight downturn in fantasy films since the first one was released. It's a concern that the trend will continue and this won't make that much money. It doesn't have the same level of viral publicity that the first two films mentioned have had. It's almost as if they want us to know very little about it, which is very strange for a sequel unless the cut they've ended up with sucks something fierce. This could live or die on the reviews but you'd hope it'd do ok just to stop the rot in the fantasy genre and make it a viable commodity for some time. After all, the special effects have made all these movies look pretty damn good.



Speed Racer is perhaps an odd choice for a film conversion. The cartoon didn't have a great deal of depth, at least not how I remember it, and it's questionable whether it still has a fanbase. I was very aware of the Transformers fanbase so I wasn't in any doubt about the money that film would take. Especially not with gigantic robots fighting each other. Look how big and shiny it is! The trailer is how I'm judging it at present. And the trailer looks fucking terrible. Of all the films name-dropped this is the one least likely to draw big. But it does have a lot of shiny CGI and the Wachowski Brothers behind it (which is either great or not depending on how much you like their movies).

Demi Moore hits the comeback trail

Credit: Hollywood Reporter.

"Demi Moore is getting her indie vibe on, booking back-to-back starring roles in independent films, one a family drama, the other a martial arts movie. Moore, along with indie queen Parker Posey, will topline "Happy Tears" from filmmaker Mitchell Lichtenstein ("Teeth"). She will then hook up with Woody Harrelson for "Bunraku" from Snoot Entertainment.

"Tears," which Lichtenstein wrote and is directing, follows a woman (Posey), prone to self-aggrandizement, who returns to her Wisconsin home and must deal with her bitter sister and her father, who suffers from a rare form of dementia. Moore plays the sister, fed up with dealing with the hateful father.

"Bunraku," written and directed by Guy Moshe, follows a man (Josh Hartnett) on a revenge quest who finds himself in an even bigger fight than he bargained for."



For those younger readers out there Demi Moore used to be a big Hollywood star. One of the biggest at one point. And wasn't just famous because she was Ashton Kutcher's wife. In the early 1990's Demi was one of the leading actresses in Hollywood making big money every time out. She had a string of hit movies starting with 1990's Ghost. This run ended in 1997 with GI Jane although she'd been teetering after the controversial, and bad, Striptease. Moore was burned out and took a few years off from her acting career. She's been slowly working her way back in since an appearance in the Charlie's Angels sequel in 2003. I see this new interest in making films to be an attempt to change her image within the industry. Not be remembered as a burnout case but as a comeback hero. After all Hollywood loves nothing more than a good comeback. She might suck though ala Sharon Stone in Basic Instinct 2. And that would be bad. Good luck to her, I say.

DreamWorks has Ghosts in the Shell

Credit: Variety & Dark Horizons.

"DreamWorks has acquired rights to the Japanese manga "Ghost in the Shell". The studio plans to adapt the futuristic police thriller, created by Masamune Shirow, into an American 3-D live-action feature. The story follows the exploits of a member of a covert ops unit of the Japanese National Public Safety Commission that specializes in fighting technology-related crime. Avi Arad, Ari Arad and Steven Paul are attached to produce whilst Jamie Moss will pen the adaptation. The comic, first published in 1989, has generated three anime film adaptations, an anime TV series and three videogames."

Believe it or not I don't think this is necessarily a bad idea. I don't think a lot of the film translated well from Japanese to English. While visually it was stunning, and they'll have some work to out-do the original, the storyline was confusing at times. What made it harder to follow was the fact the dub and subtitles never matched up. The dub slightly dumbed down what was said. The biggest issue they'll have is all the nudity and violence. I imagine they'll be aiming to market Ghost in the Shell at a younger audience. Of course that would mean toning down the content as well as most of the plot involves some pretty heavy ideologies and concepts. I won't hold my breath on this working out, much like the scheduled live action Akira re-make, but if it does work it could be amazing.

Chan & Tucker to make 4th movie

Credit: MTV News.

"The good news is that Chris Tucker and Jackie Chan shook hands recently on a deal that will reunite them for another movie. The better news is that it won't be a "Rush Hour" film. Pressed for more information, Chan said the film didn't have a title, and he didn't reveal whether "Rush Hour" series director Brett Ratner would return. Previously, Ratner would have served as such a "middleman" between the two stars — though maybe not as effectively as Chan would've liked. "We finished ‘Rush Hour 1,' and it was six years later that we made ‘Rush Hour 2,' " he said, "and then six years later we made ‘Rush Hour 3.' It's too long!"



Well, part of me is glad because that means Chris Tucker won't be off ruining someone else's movie. On the downside Rush Hour 3 was so monumentally bad that audiences might not want to see this pairing again anytime soon. Of course it did make over $250M but was made with a wasteful $140M budget. How do you make a kung-fu movie with a budget that high anyway? That wacky Brett Ratner. Tucker is another reason why New Line is currently up the creek with the proverbial paddle. He suckered New Line into signing him 20% of the gross for Rush Hour 3. TWENTY PERCENT? ARE THEY FUCKING INSANE? No wonder Time Warner took their power away. Time Warner like money. Ratner joked on the Rush Hour 3 DVD that Rush Hour 4 will be out in 2012 or so. That's not far enough away for my liking. Let's say never this time shall we?

That ends today's news.

SHILL – I've spent most of my spare time this week watching the Mighty Boosh. It seems everyone else enjoys it so I thought I'd give it a bash. While I'm not totally sold there are bits in there that are inspired. Here's a clip.



What do you mean you've never seen…?

Remember in High Fidelity where the potential record buyer is confronted by Jack Black? "Don't tell anyone you don't own Blonde on Blonde?" Well, if you were to enter a serious film buff's rental place, which sadly doesn't exist nowadays thanks to Blockbuster and online rentals, and happened to make a comment about liking movies then I like to think somewhere out there that a clerk still exists who would chastise you for not having seen certain movies. Seeing as that place doesn't exist you'll just have to imagine you're walking into my rental place and happened to mention Sergio Leone. Inevitably talk will lead to his influences in Akira Kurosawa. But I've spoken a lot about Kurosawa. How about his main influence John Ford. But what's that? You've never seen…

#5 Stagecoach (1939)



A lot of Kurosawa's visual stylings come directly from John Ford movies. Likewise a lot of Westerns made since 1960 borrow from the samurai style of Kurosawa. Western by way of Tokyo. Ford made quite a few Westerns for various people to borrow from. The Searchers is his most famous film, and perhaps best, but also the Man Who Shot Liberty Valance is a great movie. Stagecoach is his third most famous Western but is on a par with the other two in terms of quality. The stagecoach that provides the location for the film also contains the entire cast, pretty much, and they're an eclectic bunch. Determined to cross dangerous Apache country and avoid Geronimo for various reasons they come together to protect each other and reach their destination (although I assert they'd have gotten there at lot quicker if they'd have not ridden around Monument Valley three times). John Wayne stars as the Ringo Kid. A man driven by vengeance as he aims to make it to the next town to shoot the man who killed his brother AND father. The stagecoach has a cross-section of society including a de-generate gambler seeking to help a lady out of danger and find his own personal redemption. A drunken doctor who's been kicked out of his home for drinking the rent money. A crooked banker, a woman of ill repute, a whisky maker and the local marshal are also along for the ride. Each has their own character arc and individual reasons for driving on against the odds. Wayne isn't entirely there as a protector, which is different for him, as the Marshall is the main gun-man. Wayne's Ringo Kid is out for revenge when he falls for Dallas (the aforementioned woman of ill repute played by Claire Trevor) and it gives him something else to live for. Wayne wasn't much of a star or an actor when he took the role in Stagecoach but John Ford cast him anyway recognising something great in the man. At the time Claire Trevor got top billing and was paid more because she was the bigger star. Wayne improved as an actor during Stagecoach as he was verbally beaten down by Ford into showing genuine emotions. They'd work together on many subsequent films making Wayne into a Hollywood star. The film also has a few interesting points of note. Luke Plummer, the man who Wayne is hunting down, wins a game of cards with Aces and Eights. The famous "Dead Man's Hand" held by Wild Bill Hickok when he was killed. Many horses were injured during the scene where the Indians chase the Stagecoach. The now highly illegal Running W was used to bring the horses down as if they'd been shot. The result was broken bones aplenty. It makes you wonder how film makers got away with cruelty to animals for so long. Regardless Stagecoach is one of the great Westerns and the film that made John Wayne.



"You mean the war for the Southern Confederacy?"

"I mean nothing of the kind, sir!"

THIS WEEK'S REVIEWS

London to Brighton, Black Sheep, Into the Wild

London to Brighton (2006)



EXPECTATIONS – This would be another film I was recommended by Lovefilm.com. Seeing as Red Road went so well last week I figured I'd go into this expecting more of the same. Again, it's a British film. This one made with National Lottery money. Rookie director Paul Andrew Williams got noticed making this and followed it up with 2008's The Cottage featuring Andy Serkis and Jennifer Ellison. Speaking of Andy Serkis…



All hail the D!

TRAILER -



PLOT – Kelly (Lorraine Stanley) is a hooker working for pimp Derek (Johnny Harris). She's sent to find a young street girl for shady character Duncan Allen (Alexander Morton) who likes them young. She finds runaway Joanne (Georgia Groome) but when things go wrong she finds gangsters on their tracks as they flee to nearby Brighton.

OPINION – The start of London to Brighton is gritty and urban. Kelly isn't a pretty girl dressed up as a prostitute. She's a little chubby, she chain smokes Mayfairs and generally looks a mess. I wouldn't go as far to compare her to one of the Fat Slags from the Viz comic of the same name but we're heading along those lines. The relationship between her and Joanne is the centre of the story. Both performances are really strong especially Georgia Groome who was around 13 at the time of shooting and does an incredible job. Paul Williams' inexperience as a director tends to shine through as the film hurtles towards its denouement although there are some nice little moments like gangster Stuart smoking Marlboro Lights while the scrubs smoke Mayfair. The problem lies when he wants to do things that are beyond the budget and having shot a film on no budget at all I know exactly what that's like. Gunshots, for example, are notoriously hard to fake if you don't have the money to fire an actual gun. It did somewhat damage the film's conclusion to see a gun being fired and not actually firing. Hell, I was criticised for putting that into a film I shot when I was 18. Paul is 33. You'd think he'd know better by now. It's weird because there are several gunshots and for some reason the camera is only pointing at the gun for the last phantom shot. The rest are perfectly covered. So I'm not sure why that last one was left out there exposed. The rest of the film whips along at a good pace slowly revealing what happened at the very start of the film. After all the film begins in a public toilet at 3.07am with Kelly and Joanne running in clearly in trouble. About 20 minutes into the escape we flashback to how it all started. Almost a Tarantino-esque approach from Williams. The film isn't lacking in tension either with the car-boot scene and Derek's pursuit. All in all it's an impressive debut although I'd like to see Paul get a budget and see what happens. Without one he's crafted a rough and ready debut that's aided by its subject. If it was a cheap film about space travel it'd look shit. But looking rough and being shot on the streets helps. The cheap look of the film sets the mood of it. Compare the streets in London to Brighton to the sanitised streets of Will Smith's homeless movie the Pursuit of Happyness. London to Brighton's lack of budget, flash and shine gives it that gritty realism that'd be impossible with big stars. Credit all round really.

BEST BIT – Stuart (Sam Spruell) gets Joanne alone for an inquisition. Chilling stuff as he's clearly on an emotional edge and dangerous. Joanne is just a scared little girl realising how harsh the world really is.

RATING - ***1/2. It's realistic (the shouting and screaming complete with a litany of swearwords is at times reminiscent of every fight on a street corner I've ever witnessed) and gritty and fresh. I was worried about the state of the British film industry a few weeks ago but between this and Red Road I feel much happier. Basically because it's not Nick Love and Outlaw is a distant memory already. Let's not forget the excellent This is England made by Shane Meadows or Menhaj Huda who shot Kidulthood. Some promising talents all round although I think Andrea Arnold could be a really great director.

Black Sheep (2007)



EXPECTATIONS – I've always been down with spoofs as long as they don't suck (like this huge ongoing list from the United States are currently). As soon as I saw the trailer for Black Sheep I wanted to see it. It's ridiculous. And ridiculous is sometimes a good thing. Take Airplane or the Naked Gun for example. Or seeing as this is a film from down under perhaps Braindead or Bad Taste. Although my favourite Peter Jackson comedy remains Meet the Feebles. I love that movie.

TRAILER – Here's what suckered me in.



PLOT – Henry Oldfield (Nathan Meister) returns home to his family farm after years away from the countryside. A childhood prank by his brother Angus (Peter Feeney) left him mentally scarred and unable to deal with sheep. His return marks an attempt to bury that fear and finalise the sale of his stock in the now hugely successful sheep farm. Only Angus has been letting geneticists loose on his flock and animal rights activists are beyond concerned and into attack mode led by Grant (Oliver Driver) and Experience (Danielle Mason).

OPINION – The trouble with doing a film that's essentially a one-gag movie is that gag gets tired pretty quick. While the early evil sheep are great (especially the shooting through the door that made the trailer) they get tiresome. It must have seemed like a great idea on paper but the translation to screen it loses something and becomes incredibly patchy. Having to spend lengthy sections stalling before the big finale. Especially one in the house where they're completely surrounded and then we skip ahead to something else thus destroying the tension of the whole set-up. It tries to be like An American Werewolf in London, Braindead and Shaun of the Dead all rolled into one. With sheep. Unfortunately it doesn't have the pacing, the running gags or the tension of any of those films. It's not a total disappointment though because it's got some great set pieces. The bit with the sheep in the truck is gold. The problem comes when the threat isn't from one sheep but an entire flock. Then we just get incessant running and the occasional bloodbath. Some of the gore is very entertaining with one victim having his leg bitten off. Struggling to escape he throws everything he can at the advancing sheep including his detached limb. For a horror-comedy it sure is bloody. Far more so than Shaun. Perhaps that was the aim here; throw in a tonne of gore-comedy and nobody will notice the lack of actual jokes. There are a few like the "be a tree", "I'm not a tree I'm a fucking sheep". That's the one running gag that returns with a punchline. The big problem being that it isn't funny in the first place. But at least there was a punchline. The mint sauce gag is also terrific. The downside is there isn't enough of that good stuff. Not like in Shaun of the Dead where gags came back around again and again and the gore was used sparingly for effect. Black Sheep uses the ‘more is more' approach but in a bid to throw everything possible at the screen misses out on the basics of storytelling. The fact it plays the ridiculous situation as straight as possible may it's one saving grace and rookie director Jonathan King (no, not that one) shows plenty of promise with some nice shots. Ultimately though it's a one trick pony that struggles to fill it's runtime with the kind of quality we've come to expect from the genre. Blame Simon Pegg and the boys for setting the bar so high.

BEST BIT – The Indiana Jones-esque ‘truck driving towards cliff with no-one driving' bit. Complete with homicidal sheep and chainsaws.

RATING - **1/2. Not enough depth to escape being pigeonholed as a gore-spoof. If you like that sort of thing you'll probably love this and it does have its moments. Evil Dead fans should be enjoying themselves. It has the same sort of wry sense of humour when faced with the absurd. I don't think it'll go down in history as a great film but it should provide enough chuckles for a Friday night in.

Into the Wild (2007)



EXPECTATIONS – Obviously it wasn't quite good enough for an Oscar nomination but it was the film most widely complained about when the list of nominees came out. I'd already heard the soundtrack and loved the hell out of it. There's something about Eddie Vedder's vocals that can make anything sound good. Apart from Temple of the Dog. I was also a little curious to check out another Sean Penn movie. I saw his 2001 movie The Pledge and found it to be quite thought provoking. Ultimately not a great movie but an interesting one. And that's better sometimes than a lacklustre film that's ‘good enough'. The hype for this combined with Hal Holbrook's Oscar nomination is enough for me to slide in and check it out.

TRAILER –



PLOT – Chris McCandless (Emile Hirsch) has graduated from college and is good enough to go to Harvard Law. But instead he gives away his life savings and disappears. He hitch-hikes across America looking for himself before deciding he'll find it in the wilds of Alaska. The film follows his time in Alaska and the wandering across America that preceded it.

OPINION – Whether you'll like Into the Wild rests almost entirely on whether you can relate to Christopher McCandless. I had trouble there. He treats his parents like crap. This is explained away as them fighting around him while they he and his sister were growing up. Oh, boo-hoo. So instead of going to Harvard he becomes a bum. Fine, that's his choice. But he also spurns his loving sister who he clearly has a bond with in order to be alone in the wild. No post-card, no letter and no calls. He's gone from home for 2 years. Nothing in all that time. No message. You'd think he really despised his family. And yet, while they seem a touch overbearing at times, there's nothing that bad about them that he should cause them 2 years of heartbreak. I imagine they didn't sleep much in those 2 years as is evidenced by the mother's nightmares. And everyone else he comes into contact with doesn't benefit from his presence. He doesn't use his personal freedom to advance the lives of others. He's the lifeline for aging leather worker Ron Franz (Hal Holbrook) making him believe in a future even at his ripe old age. But when Ron reaches out to make a connection and asks if he can adopt Chris legally giving himself a future Chris spurns him. "We'll talk about this when I get back from Alaska" he says and walks away. That's saying one thing but poor old Ron is hearing another. Then McCandless rather foolishly heads out into the wild totally unprepared. He has a few books on wildlife but that's it. How about a map? A compass? A basic understanding of weather patterns and ecosystems? He wanted to challenge himself against the wild. Well, that's one challenge the wild will take any fucking time. The real Christopher McCandless, on whom the film is based, did the exact same thing. An Alaskan park ranger Peter Christian was asked about McCandless and came across as somewhat damning…

"When you consider McCandless from my perspective, you quickly see that what he did wasn't even particularly daring, just stupid, tragic, and inconsiderate"

BEST BIT – McCandless goes to return to civilisation only to discover that snow melts in the spring and the stream he waded across with ease in the winter was now an enormous gushing river. OR

The Danish couple eating hot dogs and playing MC Hammer in the middle of nowhere. Made me laugh.

RATING - ***1/2. While it's a very well made film and Sean Penn certainly makes it thought provoking by using a lot of quotations about life and different people's viewpoints unless you can relate to McCandless it falls flat. I don't understand his motivation and I don't understand his lack of love for people who care about him. He comes off as an inconsiderate little shit. You just want to slap him around and tell him to go home. Or at the very least call his folks. As good as some of the other performances are (Hal Holbrook, Catherine Keener) if you don't like the main character and can't relate to them it'll always put a damper on it. But on the upside it's very well made and the music is great. Thank you, Mr Vedder.



HOLLYWOOD WHORES

Welcome to Hollywood Whores. I was too drunk to type it up last week but I'm pleased, really pleased, to induct this wonderful actress into the Hollywood Whores Hall of Fame. And by wonderful I mean HOT. Perhaps the hottest actress alive. If she could act in English she'd be my first choice for practically every female part going. As it happens she can't as she rather unfortunately proved in Shoot ‘Em Up. But, she did play a hooker, and she did look hot. I think we can forgive her acting flaws in the English language for that. Ladies and gents…Miss Monica Bellucci.



That would be a still from the film. And here's gratuitous cleavage. Just because.



I still don't think still images do her any justice. My advice, watch L'appartement and Irreversible. And I hear good things about Brotherhood of the Wolf. And you've probably seen how hot she looked in the sequels to the Matrix. Yikes. That's been Hollywood Whores this week. I should probably be keeping tabs on what number we're up to…

Ok, #1 was Morena Baccarin (Serenity), #2 was Theresa Russell (Whore), #3 was Rosario Dawson (Sin City) and #4 was Jamie Lee Curtis (Trading Places). That makes sweet Monica whore #5.



You stay classy…The World.