Journalist, Author & Syndicated Columnist
Five years ago, Irma P. Hall made a name for herself playing a blind woman named Aunt T in “A Family Thing.” She’s playing another character named Aunt T, only this time it’s a cartoon voice on “A Rugrats Kwanzaa.” The 66-year-old South Side resident, who is best known for her touching role as Big Mama in “Soul Food,” doesn’t consider herself an actress, but rather a former teacher who happens to act.
The video-game console war between Microsoft’s Xbox and Nintendo’s GameCube heated up this week, with each side declaring itself the winner. Both companies introduced their systems within days of each other in mid-November. Sifting through the rhetoric to actually declare a champion is more challenging than game play on either controller.
Without his trademark zig-zaggy pageboy, Emo Philips doesn’t look much like himself these days. But listen to him speak in that familiar, sing-songy cadence and the voice is instantly recognizable.
Maurice Hines is a phenomenally talented dancer. But leave him alone in a room with two telephones and call waiting and he’s all thumbs. “I am so sorry,” Hines apologizes, after accidentally disconnecting one reporter while finishing up a call with another. “I never know what I’m doing. All the hotel phones have different buttons!”
Doris Walker is not a happy woman when we meet her in “Miracle on 34th Street.” Abandoned by her husband, she juggles her career as an events coordinator at Macy’s while raising a precocious daughter, who is growing up to be just like her. Doris has no time for a social life or, apparently, shopping. She is frazzled, tired and–even sadder for a Macy’s employee–badly dressed. But who’s got the time to take advantage of an employee discount when you’ve got “a holiday to run,” as Doris points out.
The dancer is fetching in her slinky bra and harem pants. She has a splash of bright pink lipstick on her puckered lips and she pirouettes prettily for the audience. Unfortunately for the men in the audience, this isn’t one of the leggy, yet wholesome Rockettes kicking up her heels in this number. Rather, it’s a dancer dressed as a ballerina bear in the “Radio City Christmas Spectacular starring the Rockettes” currently running at the Rosemont Theatre.
What could have been a cute comedy is hidden way, way below the surface of “Out Cold.” Just as the film teases its teen audience with the promise of almost but not-quite-there female nudity, this PG-13 movie dances with the possibility of being engaging. But a recurring cruel streak and a cliched, boring script that clumsily attempts to parody “Fight Club” and “Casablanca” trips up the fun.
The camera is focused on a group of young friends. Each is more handsome than the next. They have the kind of hard, fit bodies you only find at the Olympics or on the cover of GQ magazine. As moviegoers watch the men, filmmaker Bruce Weber relays the story on how he, at their age, was too embarrassed to change clothes in front of other boys in the locker room. He wistfully admits, “We sometimes photograph things we can never be.”
Britney Spears could shimmy into the Northwest Side den where seven teenage boys are hanging and they probably wouldn’t notice. Not with the shiny new Nintendo GameCube and Microsoft Xbox within playing vicinity.
Previous productions of “Joseph and the Amazing Technicolor Dreamcoat” didn’t seem as fun or entertaining as the current incarnation, now in an open run at the Royal George Theatre. Granted, this staging of the Andrew Lloyd Webber musical is much scaled down from the 1993 production starring Donny Osmond at the Chicago Theatre. But this version–the first non-touring commercial production to be granted rights for use of updated material–has a good time interpreting Lloyd Webber’s kitsch.
Growing up, Margaret Cho had no pop culture role models. So, she selected Olivia Newton-John as her idol, even though the “Grease” star was about as white as they come. “She was Australian and foreign, so I identified with her,” says Cho. “Besides, she was so beautiful I wanted to be her. Everyone did.”
Envy me, girls. I am in Lance Bass’s hotel room and guess what? He happens to be here, too.
Never mind that we’re surrounded by his assistant, makeup artist, a handful of publicists and a photographer. I think I saw love in his eyes. OK, maybe it was just the sunlight reflecting from the windows of the W Hotel on Lake Shore Drive. But the point is, Bass–one-fifth of the phenomenally popular boy band ‘N Sync–is so charming he can even make cranky reporters smile.
“I never knew poetry was about opening your legs one minute, opening your grave the next,” says the female protagonist in ”The Monkey’s Mask.” “I never knew poetry could be as sticky as sex.” She’s quoting the words of Dorothy Porter, whose novel is the basis for this uneven Australian-made film.
What if Japan had been occupied by Nazi Germany after World War II? “Jin-Roh: The Wolf Brigade” explores this possibility by presenting an alternative nation. In this Japanese animated film, Tokyo is dark, bleak and industrial. The city is a war zone, with the police and military battling a small but well-trained group of elite terrorists who negotiate their way through the city’s sewer system. They employ women and children to act as decoys. They have all been trained to believe there is honor in dying for their cause.
Here’s how Katharine Callard outsmarted the SATs: She chose a college that didn’t require them. That’s right: She didn’t sweat those SAT prep classes, and she got into Hampshire College anyway. Of course, as a straight-A student at the top-notch Latin School of Chicago, Callard had a pretty good idea of her ability to do well in college.
The stage is dark and a haunting voice wafts through the theater. Tori Amos is backstage, whispering a tale of rage and murder. The victim in her song is desperate and full of despair. Her boyfriend is killing her, and their daughter later unknowingly helps him dispose of her body.
Patrick Peet grew up listening to that neighborhood rhyme. His father had been friends with Jimmy Bones–a charismatic man who kept drugs out of the neighborhood and always had money for those who needed shelter and food. After Bones was killed in 1979, he became a legend. But his old brownstone was left to decay.
As the star of “The Pretender,” Michael T. Weiss grew accustomed to wearing natty designer clothes. For his role as a corrupt, corpulent cop in the film “Bones”–which opens Wednesday–Weiss wore a different kind of suit: a fat suit. “People who haven’t seen me since ‘The Pretender’ are going to think, ‘Boy, he really let himself go,'” says the ordinarily lean 6-foot-3 actor.
When Cleopatra is mentioned, beauty, sex and seduction are three words that almost immediately spring to mind. But what about brains? More than 2,000 years after her death, the Queen of Egypt still reigns as one of history’s most famous and mysterious women. There’s a new exhibit about her that hopes to clear up some points. A year after premiering in Rome, “Cleopatra of Egypt: From History to Myth” opens Saturday at the Field Museum–the only North American venue for the expansive project.
A t the end of “Lisa Picard Is Famous,” Griffin Dunne says, “Sometimes reality just needs a little push.” Apparently, that’s what the filmmakers were trying to accomplish with this mockumentary. Dunne portrays a filmmaker named Andrew, whose goal is to document a person on the brink of fame. But fame is a nebulous thing, and trying to anticipate who will become famous enough to sell his documentary is a crapshoot. He thinks he has found a winning subject in Lisa Picard, a Penelope Miller look-alike who has won some notoriety for starring in a suggestive cereal commercial.