Meg Ryan

‘The Incredible Hulk’ Jacked Up on CGI Roids, But Medusa’s in His Face

HollywoodChicago.com — Thu, 12 Jun 2008 22:01:00 -0700

CHICAGO – Technology has done double-edged service and disservice to the legendary Hulk superhero character from Stan Lee’s Marvel Comics.

In peering at the CGI-created ripped body of nothing remotely reminiscent of Edward Norton, the 2008 film iteration of “The Incredible Hulk” has a leg light years up on Lou Ferrigno’s character in the 1978 television series of the “The Incredible Hulk”.

Rating: 4.0/5.0

Then, Ferrigno only had the luxury of makeup. The rest was the real deal. On the other hand, Ferrigno – who treats 2008 audiences in a gasping reveal when he appears in a brief cameo in the new Louis Leterrier-directed feature film – is still the soul, spirit and most critically the face of the green-skinned behemoth.

Read Adam Fendelman’s full review of “The Incredible Hulk” in our reviews section.

View our huge, high-resolution “The Incredible Hulk” image gallery.

Aside from Ferrigno’s brief face time, he also lurks notably in the background as Norton’s voice when he gets royally pissed and transforms into the Hulk. When Norton fumes past his human limit, honing in on the Hulk character’s technologically enhanced face is awkwardly unrealistic and utterly painful.

It’s like gazing into the eyes of the sea nymph Medusa whose monstrous face could threateningly turn onlookers to stone.

While Hollywood’s big-budget technology department both strikes out and smashes a homerun with its revamped and roided-up Hulk character, Tim Roth’s altered ego gets the just-right royal treatment.

When Roth becomes the Abomination to rival the Hulk, the abominable baddie is so disgustingly repulsive and out of such reality whack that his CGI renovation plays perfectly.

The unbridled force of rage known as The Hulk on the streets of New York in an all-new, explosive and action-packed epic of one of the most popular superheroes of all time in “The Incredible Hulk”.
Photo credit: Rhythm & Hues

A monstrous new adversary known as The Abomination faces off with The Hulk in an all-new, explosive and action-packed epic of one of the most popular superheroes of all time in “The Incredible Hulk”.
Photo credit: Rhythm & Hues

Read Adam Fendelman’s full “The Incredible Hulk” review.

Chicago’s ‘Shout! The Mod Musical’ an Infectiously Groovilicious, Estrogen-Only Stew

HollywoodChicago.com — Sun, 11 May 2008 21:17:32 -0700

CHICAGO – Meg Ryan, eat your heart out. Since “When Harry Met Sally,” the salacious Danielle Plisz as Green Girl in “Shout! The Mod Musical” takes Ryan’s infamous restaurant eruption to a whole new level on stage.

“Shout! The Mod Musical” in Chicago.
Photo credit: Ben Strothmann

Blue Girl (Lauren Fijol), Red Girl (Megan Long), Yellow Girl (Maggie Portman), Orange Girl (Amy Steele) and Amanda Danskin in the ensemble match Plisz’s energy in a performance that flips through the 1960s like a musical diva songbook.

All cast members of the Chicago production are local talent. The musical is the story of five fab women in London being liberated as children of the swinging 60s with the hair, heart and soul of the twist-and-shout generation.

Though you miss Mike Myers as the seminal 1960s Austin Powers character, there’s plenty of sass and sauce in this exclusive estrogen stew.

The performance is replete with feel-good tunes you’re sure to recognize (regardless of your age) including “These Boots Were Made For Walking,” “Son of a Preacher Man,” “Shout!,” “Downtown,” “I Just Don’t Know What to Do With Myself” and many more.

Most notable about this female-only cast is its strength in numbers without a weak link. Each performer embodies a clearly composite personality and effectively etches a lasting memory.

“Shout! The Mod Musical” in Chicago.
Photo credit: Ben Strothmann

As the women evolve with the London times over the course of this soulful period in history, the narrative voices of an influential magazine advise them on how they should behave. While they progress through this story, some listen ever-so vigilantly while others buck the trend of the times.

The musical is based on a backdrop of 1960s events including the FDA approval of the pill in 1960, the founding of Weight Watchers in 1961, the publication of “Sex and the Single Girl” in 1962 (which encourages women to have careers and pre-marital sex) and the introduction of the male contraceptive pill in 1963 (that they don’t use).

As well, women were first arrested in 1964 for wearing topless dresses, the introduction of the mini-skirt came in 1965 along with the world’s first supermodel, the beginning of the hippie movement in 1966, flower power in 1967, the opening of “Hair” in 1968 and Woodstock in 1969.

“Shout! The Mod Musical” in Chicago.
Photo credit: Ben Strothmann

“Shout! The Mod Musical” is marked as an indisputable crowd pleaser not only by these themes and catchy numbers but by its ability to engage the crowd and even launch them out of their seats.

By the end, men and women of all ages were standing, clapping and singing with infectious vigor.

As a testament to the high-energy fitness associated with the musical’s pace, some of the microphones of the performers even unknowingly peaked out from atop their foreheads.

On opening night, a couple of the girls came out of the gate with performance concern but all were on fire by the curtain call.

“Shout! The Mod Musical” runs through June 22, 2008 at the Drury Lane Theatre Water Tower Place at 175 E. Chestnut St. in Chicago on Wednesdays and Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 2 p.m., 6 p.m. and 9 p.m.; and Sundays at 2 p.m. and 6 p.m.
Tickets cost $45 to $55.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Adam Brody, Jon Kasdan Interviewed in Chicago on ‘In the Land of Women’

HollywoodChicago.com — Thu, 12 Apr 2007 17:53:54 -0700

CHICAGO – Sex appeal from burgeoning silver-screen stars has evolved. “It’s my abs,” Adam Brody declared following grave reflection about his magnetism. “People like abs cut from stone. I do the work and it pays off.”

“In the Land of Women” star Adam Brody (left) gives
director Jon Kasdan his “serious look” in a Chicago interview.
Photo © 2007 Adam Fendelman
Brody, who didn’t even audition for the film “In the Land of Women” debuting on April 20, sealed the deal with director Jonathan Kasdan on allure alone. They felt a connection and Kasdan – who compared his one and only pick to all that is holy about Cary Grant – knew Brody was his leading man.

The twosome had a flyover in Chicago on April 10 to beguile critics with Brody’s charm and reveal the secret sauce men should know about what women want.

“If you can not naturally be a scumbag, that really helps,” Brody quipped to Adam Fendelman. “Be uber respectful and be a gentleman. They appreciate it and you feel better about yourself. Then it comes down to…” – a word voiced in unscripted sync with Kasdan – “looks.”

“Whenever you read a magazine article about what women look for in a man, they never say looks,” Kasdan offered to Adam Fendelman. “They say it’s a sense of humor. It’s bullshit.” Brody retorted: “It is and it isn’t. On the whole around the world, women are less obsessed [with looks] than we are.” Kasdan circled back and jested: “We have the shallow pride – well, certainly you and I do.”

Having the two 27-year-olds bounce such acumen off each other was a lucid reflection of the film’s Carter Webb character. The role infused slices of Kasdan himself and Brody truly.

With the ability to achieve a general consensus about such concepts in real life, weaving Brody into Webb was at least spun as effortless. “It fit like a glove,” Brody affirmed. Webb, who the film introduces the audience to after being cast off by the love of his life, is left at a crossroads.

He decides to defect Los Angeles for suburban Detroit to stay with his eccentric and complicated grandma (Olympia Dukakis) who wants to die. There, Webb hopes to achieve clarity in life, love and his struggling career as a writer.

“In the Land of Women” marks Adam Brody’s first lead film role.
Photo by Jamie Trueblood and courtesy of Warner Bros.
Despite seeking private tranquility in a Midwest area that’s entirely afar from big-city life, he becomes keen on the family across the street. Sarah Hardwicke (Meg Ryan), who soon finds out she has breast cancer and learns of her husband’s affair, intertwines her already intricate life with a temptation for Webb.

So does her daughter in high school, Lucy (Kristen Stewart), and so does Lucy’s 11-year-old sister, Paige (Makenzie Vega), who lives vicariously through her. With all the estrogen in the Hardwicke household enraptured by Webb, the story unfolds into multifaceted lessons learned about life and the relationships within.

Following successful television work with “The O.C.” on FOX and his first lead film role, Brody tied playing Webb back to his present-day life. Despite a relationship with “The O.C.” co-star Rachel Bilson that ended in Nov. 2006, Brody says he’s living the American dream.

“Right now, I’m at least equal to the happiest I’ve been in my life,” Brody said without smoke or mirrors.

He continued: “I’m so happy to be the age I’m at, where I’m at and doing what I’m doing. I’m so, so, so lucky I found a profession that almost no one gets to where I still get to dream and hope to make it big. The world could still be my oyster – or not – but it’s nice to have the possibility and dream longer in this profession.”

Amid loving life, work and play, Brody is still at a stage in his career where he’s kept modest. Hours after Chicago interviews at the W Hotel, for example, he left his suite and waited in a packed lobby to depart the Windy City. While it may have been the hoodie covering his head, no one recognized him.

Director Jon Kasdan (left) with Adam Brody on the set of “In the Land of Women”.
Photo by Liane Hentscher and courtesy of Warner Bros.
Kasdan’s own dream for a directorial debut was aided in no small part by his father, Lawrence Kasdan, whose vast filmography spans from writing “Star Wars” episodes to producing “The Big Chill” back in 1983. While dad’s prodigy had written various scripts in the past that didn’t make the light of day, “In the Land of Women” emerged as the winner that broke through.

“This is the one they let me make. That’s definitely the answer [to why this script made it],” Jonathan Kasdan said. While Lawrence served as executive producer on the project, the son described his father’s involvement more as an adviser. He added: “He was my consigliere.”

In working more with women than men, Kasdan felt that dealing with the set’s femininity overload was a double-edged sword.

“Making a movie like this and working with 12 actresses is exhausting,” Kasdan acknowledged. “I flew back to Los Angeles after shooting and was ready for a break to hang with the bros for a while. Then I walked out to the streets of Los Angeles and realized: man – these women – they’re the best thing.”

In the end, Kasdan says all the girly juice was worth the squeeze.

“There’s a line in ‘Back to the Future II’ where the actor says: ‘I’m going to give up time travel and focus on the other great mystery of the universe: women.’ That line changed my life.”