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Amanda Bynes was set to appear in court on Friday to learn her fate over the recent psychiatric hold that’s kept her in a California mental hospital over the last two weeks, but her doctors felt she wasn’t well enough to leave the hospital, so a Los Angeles judge went there to conduct a hearing.
Based on the recommendations of her doctors, the judge that Amanda remain in the psychiatric hold for another 30 days.
TMZ reports that according to California law, doctors’ requests in these cases are only granted if a patient is “gravely disabled as a result of a mental disorder.”
Doctors recently revealed that Amanda showed signs of schizophrenia and treated her with medication, but she isn’t acknowledging her problem, and that’s considered a big risk as she most likely wouldn’t continue taking the meds on her own if she’s released.
She was originally placed in a “5150” hold by police after they took her into custody following an incident where she used a can of gasoline to light a woman’s driveway on fire near her parents’ home in Thousand Oaks.
Amanda’s parents, Rick and Lynn Bynes, filed for conservatorship over her affairs on the day her mandatory three-day 5150 hold was extended by two weeks, and the couple was in court today for a hearing, where the judge granted them a temporary conservatorship until September 30. He also warned them not to make any deals regarding her life or finances without cousulting Amanda’s lawyer.
The couple will return to court on Sept. 30 for a full hearing to determine of the conservatorship should be made more permanent.
Amanda has previously accused her parents of trying to steal her fortune.
Following James Gandolfini’s death in Italy last month, HBO bosses are trying to determine if they should recast his role in an upcoming series or scrap the project all together.
“Criminal Justice” is a remake of the 2008 BBC mini-series. It centered on an individual’s journey through the justice system over five episodes.
President Michael Lombardo explained at the The Television Critics Association on Thursday, “Jim’s passing took the wind out of our sails at HBO. I can’t imagine us airing the pilot with James in it, but we’re having conversations with (producer) Steve Zaillian about how to proceed.
“It’s hard to think about replacing him. The conversation would be about re-shooting the scenes that Jim had already performed in, and recasting going forward.”
Gandolfini died of a heart attack in Rome, Italy, on June 19.
Photo Credits: PR Photos
Why does Suits have to end already? It’s clear that this is the best-written show on television, and in particular, it knows how to deliver endings with a legitimate bang. “War” is another solid closer that has us already waiting for season three.
Mike and Jessica are having a very tetchy conversation in her office. Anything that involves him saying “Harvey will never forgive me” isn’t good. But Jessica snaps back that Mike’s problem isn’t with Harvey – it’s with her.
Six nights earlier, the whole of Pearson Hardman is at one expensive party, along with the members of the British firm they’re about to merge with. While no one gets along with anyone else, Harvey approaches Mike and asks if he brought it, “it” being some damning paperwork which documents three lawsuits against one of the incoming firm’s clients. Our hero then hands it over to Edward Darby, the head of the other firm, and promptly exchanges fighting words with him. If Harvey can beat him in court, the merger is off. But if he loses, Jessica demands that he embrace the merger, extends his non-compete clause, and gets used to not having his name on the door.
The next morning, Harvey isn’t thrilled to see Dana Scott (guest star Abigail Spencer) waiting for him, and the two have it out on the street. “What’d I do that was so terrible?” she asks, and he reels off the list of previous people that’ve tried to attack Pearson Hardman before telling her, “If you want to get your name on the door, get it at your own goddamn firm.” Pwned.
Back at the office, Mike greets Rachel with coffee and finally hears from her that she didn’t get accepted into Harvard Law School. Rachel tells Mike what Louis let her believe about it being Louis’s fault, and Mike isn’t happy with that information. Speaking of Louis, he’s irate when he sees British lawyer Nigel apparently charming Donna. Both Nigel and Louis are assigned to compose an “efficiency list” for the upcoming merger, so the competition is on, beginning with a confrontation in the Pearson Hardman bathroom (because every great episode of Suits involves at least one scene in the bathroom).
Darby arrives for an unscheduled meeting with Harvey, and exchanges Downton Abbey references with Mike before being called “Benny Hill” by Mr. Specter. Darby gets the last laugh, though, telling Harvey that he’s about to freeze his clients’ assets. He thinks giving him a heads-up will allow for better competition. This further riles Harvey, who probably ought to check his blood pressure.
Rachel tells Mike that she plans to go over Sheila’s head to the higher-ups at Harvard, and wants him to sign a letter from himself to support her. Mike’s response is to go to Louis and tell him that he knows what happened. This forces Louis to tell Mike the real reason why Rachel didn’t get into Harvard. Mike tells Louis that either he has to come clean, or Mike himself will have to break the news.
Following that, Mike sits in on another tetchy meeting between Harvey and Darby, calling him out for violating international law by freezing their clients’ assets. Darby retorts that he did no such thing, and that by filing the action in response, they’ve opened their clients up to a charge of malicious litigation. He visits Jessica, who mentions that Darby is leaving New York to take meetings with other firms. Darby is worried that Jessica can’t control Harvey. “If I can’t beat him, he won’t respect me,” he tells her, and she responds that “You’re afraid you might lose.” When she uses the word we, things suddenly get a whole lot more tense.
1 of 3Next pagePhoto Credits: USA
J.K. Rowling has some Olympic and Royal contemporaries when it comes to inspiring British women.
The Harry Potter author was voted third in a survey conducted by Oxfam, a charity with several celebrity supporters. She is topped only by Queen Elizabeth II and Olympic gold medalist Jessica Ennis.
Helen Mirren tied Rowling and Joanna Lumley was close behind. The survey was conducted in Manchester, Rowling’s hometown – so maybe she got a bit of a push from her proud neighbors.
Samantha Scott, Get Together fundraising manager for Oxfam said: “It is hugely positive to see other women such as Jessica Ennis so highly rated, showing how strongly women value personal dedication and achievement. This is further reinforced by women also placing an emphasis on drawing inspiration from real women they know closer to home.
“Oxfam’s Get Together is all about celebrating inspiring women from all walks of life around International Women’s Day by doing something you enjoy with friends or family to raise money for Oxfam’s work with women living in poverty worldwide. Whether it’s an Ennis-inspired sports quiz in the local pub or right Royal knees up at home, we hope the UK will be marking the occasion in style.”
Bruce Willis reprises his iconic role as police detective John McClane in ‘A Good Day To Die Hard’ directed by John Moore (‘Max Payne’) and written by Skip Woods (‘A Team’) and Jason Keller.
McClane this time around, finds himself in Moscow. Seems his estranged son, Jack (Jai Courtney) has been arrested for murder. McClane isn’t at all surprised; he believes Jack is a total screw-up.
In truth (and this isn’t a SPOILER) Jack is a CIA operative trying to protect a government whistleblower, Komarov (Sebastian Koch) from being killed.
Before father and son can hook up, they’re involved in an over the top car chase through the streets of Moscow that lasts around ten minutes (It felt like ten hours).
After that’s over, the two men spend some time yelling at each other, followed by a few moments of male bonding, as they try to protect Komarov Russian bad guys – there’s lots and lots of bad guys.
There are also lots and lots of shoot outs with big automatic weapons, along with vicious fights, a little torture and more car chases.
Get the picture?!?
I really wanted to love this film or at least be entertained, but unfortunately, neither of those things happened.
‘A Good Day to Die Hard’ has what you’d expect from an action film – It has action. What it doesn’t have is a good script and well defined characters; you truly don’t care about anyone. You just want the noise to stop.
Bruce Willis is always fun to watch but even he couldn’t save this film from being nothing more than two hours of non-stop excessive violence, with a twist you can see coming a mile away.
It’s for these reasons I gave ‘A Good Day to Die Hard’ 2 1/2 bagels out of 5.
The film opens on today on Valentine’s Day, Thursday February 14, 2012. If you’re planning on having a romantic evening, this is definitely NOT the movie to see.
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Photo Credits: Twentieth Century Fox Films
After seven years since it first started releasing movies in the High-Definition Blu-ray format, Disney has finally gone to the vault to update and restore one of its greatest classics: Peter Pan.
Held over — and well worth the wait — for the film’s 60th anniversary, the Diamond Edition Blu-ray/DVD/Digital Copy is a true gem and a must have for Disney fans and collectors alike. Pop in the Blu-ray and you’ll be thinking happy thoughts as you fly off to Never Land. And you won’t need any of Tink’s Pixie Dust to get there with the magic of this hi-def adventure.
The all new digital restoration is bright, colorful and crystal clear in both picture and sound; and, like Blu-ray predecessors Pinocchio and Snow White and the Seven Dwarfs, it includes the option to get rid of those black bars on the left and right sides of the screen with Disney View. Since the film was originally shot in the 1.33:1 format it doesn’t come close to filling the screens of the newer 16:9 high-definition TV screens, so turning on Disney View replaces the bars with custom artwork themes created just for the film. The themes change as the scenes and moods do, adding an extra vibrancy to the experience.
Another great feature is the all-new “Disney Intermission,” which doubles the entertainment value when the movie is paused, adding 30-minutes of pirate-themed games, songs and animations to keep little ones’ attention if a break in the movie is necessary. Activities include hunting for Pan’s shadow, a shell game, reading smoke signals and “Pirate Training.”
As for the extras, Disney dug deep into the vault and came up with a pair of deleted scenes and two new songs to add to the release. Unfortunately the two deleted scenes, “The Journey Home” and “Alternate Arrival,” were never filmed; but full audio and storyboards with drawings of how the scene would have played out tell these short bits of the story.
Two new songs (old, actually) “Never Smile At A Crocodile” (which was actually made famous by the likes of Jerry Lewis and the Muppets) and “The Boatswain Song” are also set to storyboards but include the lyrics and some raw animation to go along with them.
Peter Pan’s standout extra, though, is the documentary “Growing Up With Nine Old Men,” which focuses on Walt Disney’s core of nine animators as told through stories from their children, now all grown up and in their golden years. All nine only worked together on three Disney films.
Lastly, several of the special features that were a part of the 2007 Platinum Edition release are also included, like “You Can Fly: The Making of Peter Pan” and “Tinker Bell: A Fairy’s Tale”; Walt Disney explaining why he chose to bring Peter Pan from the stage to the screen and the 1952 featurette “The Peter Pan Story.” They’re all gems; however, they’re all in standard definition. One of the pluses, though, is that the footage from the film used in “You Can Fly: The Making of Peter Pan” is pre-restoration, so you get a good look at how amazing the upgraded picture and sound really are.
Join the Darling children — Wendy, John and Michael — as they fly of with Peter Pan and Tinker Bell to Never Land for the adventure of a lifetime in the Peter Pan Diamond Edition Blu-ray/DVD Combo Pack, released Tuesday, February 5, 2013. “Second star to the right, and straight on ’til morning!”
Blast from the past: be sure to check out the below slideshow below, featuring 1950s live action reference photographs from the Walt Disney Studio Vault!
77 minutes, Rated G.
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Did you have a chance to check out last week’s films “Warm Bodies” and “Bullet to the Head?” If so, leave me a comment and let me know why you liked them or not.
I’m still working my way through my awards season screener pile and posting new reviews on my website. Over the course of this week I’ve shared my opinion of “Beasts of the Southern Wild,” “Anna Karenina,” “The Master,” and “Rise of the Guardians.”
I found “Beasts” visually stunning and unique, but a bit abstract for my taste. “Anna Karenina” was very flashy with too much style and not enough substance for me. I thought “The Master” was masterfully (pun intended) directed and the story captivated me, however I was disappointed by the ending. Finally, “Rise of the Guardians” was silly and creative in its use of traditional characters and selection of voice actors, yet its animation and story were uninspired. Click here to see full reviews from my site.
This week’s column has my review of the Steven Soderbergh crime thriller “Side Effects” and my predictions based on the trailer for the Jason Bateman/Melissa McCarthy comedy “Identity Thief.”
Psychiatrist Dr. Jonathan Banks (Jude Law) finds his happy marriage and successful career crashing down around him after he prescribes his patient Emily Taylor (Rooney Mara) a new antidepressant, which has unanticipated side effects.
Director: Steven Soderbergh (“Magic Mike,” “Haywire”)
Writer: Scott Z. Burns (“Contagion,” “The Informant”)
Notable Supporting Actors: Channing Tatum, Catherine Zeta-Jones, Mamie Gummer
MY TAKE: “Side effects may include manslaughter.” Now that would get your attention if you saw it in the fine print section of a drug ad! Can an adverse reaction to prescription medication really cause a person to involuntarily kill someone else? And if so, is that patient responsible? Better yet, is the doctor who prescribed the pills also culpable, even if he or she didn’t foresee this reaction? These intriguing questions are raised by Stephen Soderbergh’s crime thriller “Side Effects,” although whether any of them are actually answered is debatable.
“Side Effects” is a by-the-numbers thriller about a decent guy (Law) whose life is thrown into complete disarray after a series of missteps place him in a compromising position ethically and professionally. Is he really at fault? Should he take the blame? Or is there more to this story than simple ill-effects caused by medication? The investigation that Dr. Banks conducts to answer these questions, plays out in a predictable fashion, while the film proceeds at a steady cadence. Although the tale keeps your attention, these two facets are perhaps the movie’s biggest shortcomings, because there are few surprises and the tension never quite builds up to a boil.
Talented composer Thomas Newman, who worked on 2012’s “Skyfall” and “Best Exotic Marigold Hotel,” crafts unsettling stringed music which encourages a sense of paranoia throughout, but his score alone doesn’t create strong tension. Neither do the sexually charged aspects of this thriller, which are weak at best and offensive to some at worst. At least they involve Ms. Mara who is a solid actress and not too hard on the eyes. Mara, Law, and Catherine Zeta-Jones all turn in fine performances as the central characters, but they’re really the only ones that matter. The rest of the actors aren’t given much to work with and could be interchangeable.
One area that “Side Effects” doesn’t disappoint is its style. This movie contains the thumbprint of its director and cinematographer Steven Soderbergh, who borrows elements from his three previous films “Contagion,” “Haywire,” and “Magic Mike.” He uses freaky music like he did in “Contagion,” soft yellow filters on the actors similar to “Haywire,” and a couple of signature crane shots from “Magic Mike.” Soderbergh also throws in some new tricks like this creepy simultaneous pan and slow zoom that he uses, experiments that would have been nice in greater quantity. His film may be slick and pleasant to watch, however Soderbergh’s “Side Effects” is not a strong thriller. I prefer his prior flicks over this diluted effort.
My Grade: B
1 of 2Next pagePhoto Credits: Open Road Films, Universal Pictures