“Mother always taught me: “Never eat singing food.”
The St. Louis Symphony Orchestra performs Miles Goodman’s score to the 1992 Disney classic,The Muppet Christmas Carol while the film plays in high-definition on Powell Hall’s big screen. Concerts are Saturday, December 11 at 2:00pm and 7pm and Sunday December 12th at 2pm. Ticket information can be found Here. Powell Hall is located at 718 N Grand Blvd, St. Louis, Mo 63103.
The St. Louis Symphony Orchestra will be conducted by Stephanie Childress
Kermit the Frog, Miss Piggy, and all the beloved Muppets star in their adaptation of Charles Dickens’ classic tale. Follow Ebenezer Scrooge’s transformation on the big screen through Christmases past, present, and future, while your Slso performs the music live. There will be no “bah, humbugs” after this!
The health, safety, and well-being of our audiences, Slso family, and the St. Louis community is their top priority. Effective...
The St. Louis Symphony Orchestra performs Miles Goodman’s score to the 1992 Disney classic,The Muppet Christmas Carol while the film plays in high-definition on Powell Hall’s big screen. Concerts are Saturday, December 11 at 2:00pm and 7pm and Sunday December 12th at 2pm. Ticket information can be found Here. Powell Hall is located at 718 N Grand Blvd, St. Louis, Mo 63103.
The St. Louis Symphony Orchestra will be conducted by Stephanie Childress
Kermit the Frog, Miss Piggy, and all the beloved Muppets star in their adaptation of Charles Dickens’ classic tale. Follow Ebenezer Scrooge’s transformation on the big screen through Christmases past, present, and future, while your Slso performs the music live. There will be no “bah, humbugs” after this!
The health, safety, and well-being of our audiences, Slso family, and the St. Louis community is their top priority. Effective...
- 11/21/2021
- by Tom Stockman
- WeAreMovieGeeks.com
Talk about a spellbinding moment! Before there was the Chilling Adventures of Sabrina, there was Sabrina The Teenage Witch. And the original cast recently had a reunion to celebrate the show, which ended in April 2003. Melissa Joan Hart shared an amazing cast photo on her Instagram this week that showed her posing with her former co-stars. In the photo are Nate Richert (Harvey Kinkle), Elisa Donovan (Morgan Cavanaugh), Jenna Leigh Green (Libby Chessler), Alimi Ballard (Quizmaster Albert), Soleil Moon Frye (Roxie King), Trevor Lissauer (Miles Goodman), China Shavers (Dreama), Curtis Andersen (Gordy) and Tara Strong (Molly...
- 2/12/2020
- E! Online
As with any actor whose work I love, there are films that stand out as particularly great in the career of Steve Martin, and one of those films is Dirty Rotten Scoundrels. There are many great things about Dirty Rotten Scoundrels. Michael Caine is a perfect foil for Martin, whose work as nascent con man Freddy Benson is inspired. Frank Oz does a terrific job of creating this romantic, beautiful French fantasyland where people are going to believe the incredible lies told by Freddy and Caine’s master bullshit artist Lawrence Jamieson. Glenne Headly gives one of her most nimble performances as Janet Colgate, the poor defenseless tourist who ends up targeted by Freddy and Lawrence. Ian McDiarmid, best known to the fanboy nation as Emperor Palpatine, is dry and deadly as Arthur, Lawrence’s manservant. Miles Goodman’s score is terrific, one of the great comedy scores of the ‘80s,...
- 8/4/2016
- by Drew McWeeny
- Hitfix
Michael J Fox, lycanthropy and basketball clash in the amusing 80s teen comedy, Teen Wolf. Jeff takes a look back…
Delightfully mediocre is a term that applies to the original Teen Wolf, the less ambitious of two Michael J Fox films released in 1985. Ostensibly an upbeat, John Hughes-esque take on fare like I Was A Teenage Werewolf (perhaps in name only), Teen Wolf only wishes to please, having neither bark nor bite. Still, this eager puppy of a teen flick does a more than a few tricks well, and remains spritely and cuddly after all this time.
Fox plays Scott Howard, an only child living with his father (James Hampton in a quiet, understated performance). Scott has two best friends, the exuberant and at times overbearing Rupert ‘Stiles’ Stilinksi (Jerry Levine), and literal girl-next-door ‘Boof,’ played to wholesome perfection by Susan Ursitti.
His biggest problem is the lack of a maternal figure,...
Delightfully mediocre is a term that applies to the original Teen Wolf, the less ambitious of two Michael J Fox films released in 1985. Ostensibly an upbeat, John Hughes-esque take on fare like I Was A Teenage Werewolf (perhaps in name only), Teen Wolf only wishes to please, having neither bark nor bite. Still, this eager puppy of a teen flick does a more than a few tricks well, and remains spritely and cuddly after all this time.
Fox plays Scott Howard, an only child living with his father (James Hampton in a quiet, understated performance). Scott has two best friends, the exuberant and at times overbearing Rupert ‘Stiles’ Stilinksi (Jerry Levine), and literal girl-next-door ‘Boof,’ played to wholesome perfection by Susan Ursitti.
His biggest problem is the lack of a maternal figure,...
- 2/21/2012
- Den of Geek
Kurt here. If you love Christmas, odds are there's an incarnation of A Christmas Carol of which you take ownership. For me, it's a stage production performed annually at the McCarter Theatre in Princeton, NJ. For you, it might be the 1938 Joseph L. Mankiewicz classic with Reginald Owen. And for a special few, it's The Muppet Christmas Carol, a film that proves how effectively one beloved property can be used to refresh another. The worlds of Jim Henson and Charles Dickens intertwine rather beautifully in this 1992 musical dramedy, whose Muppet stars pull the Yuletide tale out of mothballs, but don't crank up the contemporary jabber so far as to brand it with a born-on date. The comedy is all about that distinct Muppet attitude, which, as the new Muppets film seems determined to emphasize, is as timeless as "Bah Humbug."
Charles Dickens is in fact a character in the film.
Charles Dickens is in fact a character in the film.
- 11/30/2011
- by Kurtis O
- FilmExperience
Christophe Beck has been hired to score the family movie The Muppets. The first film featuring Jim Henson’s creatures since 1999′s Muppets from Space is directed by James Bobin and teams up characters including Kermit the Frog, Miss Piggy with actors Jason Segel, Amy Adams, Chris Cooper and Rashida Jones. Segel also co-wrote the screenplay with Nicholas Stoller (Forgetting Sarah Marshall). Todd and David Lieberman (The Fighter, The Proposal) are producing the project. The film also features numerous cameos by such actors as Emily Blunt, Ricky Gervais, Alan Arkin, Jack Black, Billy Crystal, Zach Galifianakis, Jean-Claude Van Damme, Ed Helms, Donald Glover, John Krasinski and Danny Trejo. Previous Muppets movie composers include Hans Zimmer, Ralph Burns, Miles Goodman and Jamshied Sharifian. Walt Disney Records has already announced a soundtrack album for the film to be released on November 22, 2011, but no word yet on if it will contain any of Beck’s score.
- 7/28/2011
- by filmmusicreporter
- Film Music Reporter
Attempting to break up the paint-by-numbers feel of most romantic-comedies, " 'Til There Was You" serves up contemporary relationships in an unusually paced blend of drama and humor.
But like the constantly shifting parallel lives of its destined-for-each-other protagonists, the picture's elements never quite intersect despite some pleasing performances and thoughtful direction.
Given the current crowded slate of moviegoing options, Paramount will likely have to wait 'til there's video for the film to find a supportive audience.
As with all instances of the genre, we know from the outset that Gwen Moss (Jeanne Tripplehorn) and Nick Dawkan (Dylan McDermott) are meant for each other no matter how many plot points would appear to conspire against them. Of course, the novelty is always in the placement of the various obstacles that stand in the way of true happiness. In their case, the roadblocks are considerable.
She's an unlucky-in-love ghost writer who's struggling to keep her own sense of identity from doing a vanishing act. He's an ambitious architect who's a bit of a cad in the commitment department. She's a hopeless romantic who clings to the love-at-first-sight ideals of her parents. He's an emotional shut-in who has revamped his background to bury an unhappy childhood.
While they never truly come face to face until the end of the film, the crazed orbits of their seemingly opposing lives begin to find a common path with the arrival of Francesca Lanfield Sarah Jessica Parker in another great comedic performance), a former "Brady Bunch-esque" child star who is looking to write her life story (enter Gwen) and for a new warm body (enter Nick). Not to mention the fact that Francesca just happens to own La Fortuna, the idyllic, historic garden apartment complex into which Gwen has just moved and which Nick's firm is planning to raze.
Initially charming, all the ensuing wild coincidence and near misses begin to take their toll. Making his feature directorial debut, Scott Winant ("My So-Called Life", "thirtysomething") demonstrates a smart visual sense and has coaxed some warm, winning performances from his ensemble, but ultimately he's unable to overcome screenwriter Winnie Holzman's mopey, tediously introspective script.
Among the acting contributions, Tripplehorn delivers on the chance to show a seldom-seen funny side; while McDermott finally makes the romantic lead leap with his most appealing turn to date. But it's the always terrific Parker who is particularly wonderful this time as the self-involved Francesca, a k a Taffy, who spent puberty in front of millions of viewers on "One Big, Happy Family" and continues to pay the price. Michael Tucker also has his moment in a shocking bit of revelation that stands as the film's funniest scene.
Tech credits are strong, although the score, composed in part by the late Miles Goodman and Terence Blanchard, is a poor fit. Most often heard in Spike Lee films, Blanchard's signature low-key jazz style does no favors for the picture's already languid pace.
'TIL THERE WAS YOU
Paramount Lakeshore Entertainment and Paramount Pictures
present a Penney Finkelman Cox production
Director:Scott Winant
Screenwriter:Winnie Holzman
Producers:Penney Finkelman Cox, Tom Rosenberg, Alan Poul
Executive producers:Sigurjon Sighvatsson, Ted Tannebaum
Director of photography:Bobby Bukowski
Production designer:Craig Stearns
Editors:Richard Marks, Joannna Cappuccilli
Music:Miles Goodman and Terence Blanchard
Color/stereo
Cast:
Gwen:Jeanne Tripplehorn
Nick:Dylan McDermott
Francesca:Sarah Jessica Parker
Debbie:Jennifer Aniston
Jon:Craig Bierko
Sophia Monroe:Nina Foch
Harriet:Alice Drummond
Beebee:Christine Ebersole
Saul:Michael Tucker
Running time -- 114 minutes
MPAA Rating: PG-13...
But like the constantly shifting parallel lives of its destined-for-each-other protagonists, the picture's elements never quite intersect despite some pleasing performances and thoughtful direction.
Given the current crowded slate of moviegoing options, Paramount will likely have to wait 'til there's video for the film to find a supportive audience.
As with all instances of the genre, we know from the outset that Gwen Moss (Jeanne Tripplehorn) and Nick Dawkan (Dylan McDermott) are meant for each other no matter how many plot points would appear to conspire against them. Of course, the novelty is always in the placement of the various obstacles that stand in the way of true happiness. In their case, the roadblocks are considerable.
She's an unlucky-in-love ghost writer who's struggling to keep her own sense of identity from doing a vanishing act. He's an ambitious architect who's a bit of a cad in the commitment department. She's a hopeless romantic who clings to the love-at-first-sight ideals of her parents. He's an emotional shut-in who has revamped his background to bury an unhappy childhood.
While they never truly come face to face until the end of the film, the crazed orbits of their seemingly opposing lives begin to find a common path with the arrival of Francesca Lanfield Sarah Jessica Parker in another great comedic performance), a former "Brady Bunch-esque" child star who is looking to write her life story (enter Gwen) and for a new warm body (enter Nick). Not to mention the fact that Francesca just happens to own La Fortuna, the idyllic, historic garden apartment complex into which Gwen has just moved and which Nick's firm is planning to raze.
Initially charming, all the ensuing wild coincidence and near misses begin to take their toll. Making his feature directorial debut, Scott Winant ("My So-Called Life", "thirtysomething") demonstrates a smart visual sense and has coaxed some warm, winning performances from his ensemble, but ultimately he's unable to overcome screenwriter Winnie Holzman's mopey, tediously introspective script.
Among the acting contributions, Tripplehorn delivers on the chance to show a seldom-seen funny side; while McDermott finally makes the romantic lead leap with his most appealing turn to date. But it's the always terrific Parker who is particularly wonderful this time as the self-involved Francesca, a k a Taffy, who spent puberty in front of millions of viewers on "One Big, Happy Family" and continues to pay the price. Michael Tucker also has his moment in a shocking bit of revelation that stands as the film's funniest scene.
Tech credits are strong, although the score, composed in part by the late Miles Goodman and Terence Blanchard, is a poor fit. Most often heard in Spike Lee films, Blanchard's signature low-key jazz style does no favors for the picture's already languid pace.
'TIL THERE WAS YOU
Paramount Lakeshore Entertainment and Paramount Pictures
present a Penney Finkelman Cox production
Director:Scott Winant
Screenwriter:Winnie Holzman
Producers:Penney Finkelman Cox, Tom Rosenberg, Alan Poul
Executive producers:Sigurjon Sighvatsson, Ted Tannebaum
Director of photography:Bobby Bukowski
Production designer:Craig Stearns
Editors:Richard Marks, Joannna Cappuccilli
Music:Miles Goodman and Terence Blanchard
Color/stereo
Cast:
Gwen:Jeanne Tripplehorn
Nick:Dylan McDermott
Francesca:Sarah Jessica Parker
Debbie:Jennifer Aniston
Jon:Craig Bierko
Sophia Monroe:Nina Foch
Harriet:Alice Drummond
Beebee:Christine Ebersole
Saul:Michael Tucker
Running time -- 114 minutes
MPAA Rating: PG-13...
- 5/30/1997
- The Hollywood Reporter - Movie News
What about a comedy about a guy with a multiphobic personality who's tormented by constant panic? Sound just a tad sicko and a trifle politically incorrect? Wonderfully, yes!
Despite probable second opinions by the mental health profession and the terminally serioso, ''What About Bob?'' the Bill Murray-Richard Dreyfuss laugh-getter, should provide high therapy for audiences who have endured good-movie deprivation through this dismal spring.
And, as Norman Cousins wrote, laughter is the best panacea for health problems. The side effect of all this moviegoer chuckling will be a healthy dose of loot for Buena Vista.
Bill Murray solidifies his status as the all-American class clown with his woolly bully portrayal of dysfunctional recluse Bob Wiley, a man so smitten with phobias he can barely complete life's most minimual tasks without grievous stress.
Bob's such a headcase and an around-the-clock challenge that his shrink pawns him off on a hated colleague (Richard Dreyfuss), a publicity-mongering poop of megalomaniac proportions who is about to take off on a month's lakeside vacation. The good doctor, in addition to his enlarged ego, has some problems of his own, which make yet for ''another vacation that's not a vacation for his family'': a frazzled wife (Julie Hagerty), a pressured boy (Charlie Korsmo) and a neglected teenage girl (Kathryn Erbe).
Indeed, the doc has declared perfection must reign for the vacation, and all activities are subordinated to his impending appearance on ''Good Morning America, '' an ego-gratification headtrip to shamelessly hawk his self-help best-seller. One doesn't have to spend seven years in plot analysis to know, basically, the story prognosis: panicky Bob shows up (with his goldfish) at the doctor's retreat and ''ruins'' his vacation.
In Tom Schulman's perceptively droll screenplay, the psychological tables are, not surprisingly, turned, as balmy Bob proves the perfect panacea for the doctor's distressed family life.
In this spendidly cast film, Murray and Dreyfuss play off each other to their maximum advantage: Murray does what he does best, to shine-on and ultimately destroy authority figures, while Dreyfuss' portrayal of the runty doctor is splendidly Napoleonic. Throughout, Murray's loopy/droopy antics and Dreyfuss' preeny/weenie cackles are perfectly calibrated, as the not-so-nutty patient deflates the pompous psychiatrist's ego to hysterical hot air.
Although the farcical windup could benefit from a slight sedative, Frank Oz's direction is ever sensitive to the ticks of each character while keeping the slapstick dosage to a wacky, yet safe, level.
Technical contributions are marvelously subtle, thus powerful: editor Anne V. Coates' surgical cuts, in tandem with cinematographer Michael Ballhaus' witty compositions, are wonderfully punchy, amusing, while Bernie Pollack's costumes are apt psychological profiles for all. Similarly, Miles Goodman's splendid score, with its doodly reeds and lumps of goofy brass barrages, is a perfect toner for this smart-and-nutty amusement.
WHAT ABOUT BOB?
Buena Vista
Touchstone Pictures Presents
In association with Touchwood Pacific Partners I
A Laura Ziskin Production
A Frank Oz Film
Producer Laura Ziskin
Director Frank Oz
Screenwriter Tom Schulman
Story Alvin Sargent, Laura Ziskin
Co-producer Bernard Williams
Director of photography Michael Ballhaus
Production designer Les Dilley
Editor Anne V. Coates
Costume designer Bernie Pollack
Music Miles Goodman
Casting Glenn Daniels
Color/Stereo
Cast:
Bob Wiley Bill Murray
Dr. Leo Marvin Richard Dreyfuss
Fay Marvin Julie Hagerty
Siggy Marvin Charlie Korsmo
Anna Marvin Kathryn Erbe
Mr. Guttman Tom Aldredge
Mrs. Guttman Susan Willis
Running time -- 99 minutes
MPAA Rating: PG
(c) The Hollywood Reporter...
Despite probable second opinions by the mental health profession and the terminally serioso, ''What About Bob?'' the Bill Murray-Richard Dreyfuss laugh-getter, should provide high therapy for audiences who have endured good-movie deprivation through this dismal spring.
And, as Norman Cousins wrote, laughter is the best panacea for health problems. The side effect of all this moviegoer chuckling will be a healthy dose of loot for Buena Vista.
Bill Murray solidifies his status as the all-American class clown with his woolly bully portrayal of dysfunctional recluse Bob Wiley, a man so smitten with phobias he can barely complete life's most minimual tasks without grievous stress.
Bob's such a headcase and an around-the-clock challenge that his shrink pawns him off on a hated colleague (Richard Dreyfuss), a publicity-mongering poop of megalomaniac proportions who is about to take off on a month's lakeside vacation. The good doctor, in addition to his enlarged ego, has some problems of his own, which make yet for ''another vacation that's not a vacation for his family'': a frazzled wife (Julie Hagerty), a pressured boy (Charlie Korsmo) and a neglected teenage girl (Kathryn Erbe).
Indeed, the doc has declared perfection must reign for the vacation, and all activities are subordinated to his impending appearance on ''Good Morning America, '' an ego-gratification headtrip to shamelessly hawk his self-help best-seller. One doesn't have to spend seven years in plot analysis to know, basically, the story prognosis: panicky Bob shows up (with his goldfish) at the doctor's retreat and ''ruins'' his vacation.
In Tom Schulman's perceptively droll screenplay, the psychological tables are, not surprisingly, turned, as balmy Bob proves the perfect panacea for the doctor's distressed family life.
In this spendidly cast film, Murray and Dreyfuss play off each other to their maximum advantage: Murray does what he does best, to shine-on and ultimately destroy authority figures, while Dreyfuss' portrayal of the runty doctor is splendidly Napoleonic. Throughout, Murray's loopy/droopy antics and Dreyfuss' preeny/weenie cackles are perfectly calibrated, as the not-so-nutty patient deflates the pompous psychiatrist's ego to hysterical hot air.
Although the farcical windup could benefit from a slight sedative, Frank Oz's direction is ever sensitive to the ticks of each character while keeping the slapstick dosage to a wacky, yet safe, level.
Technical contributions are marvelously subtle, thus powerful: editor Anne V. Coates' surgical cuts, in tandem with cinematographer Michael Ballhaus' witty compositions, are wonderfully punchy, amusing, while Bernie Pollack's costumes are apt psychological profiles for all. Similarly, Miles Goodman's splendid score, with its doodly reeds and lumps of goofy brass barrages, is a perfect toner for this smart-and-nutty amusement.
WHAT ABOUT BOB?
Buena Vista
Touchstone Pictures Presents
In association with Touchwood Pacific Partners I
A Laura Ziskin Production
A Frank Oz Film
Producer Laura Ziskin
Director Frank Oz
Screenwriter Tom Schulman
Story Alvin Sargent, Laura Ziskin
Co-producer Bernard Williams
Director of photography Michael Ballhaus
Production designer Les Dilley
Editor Anne V. Coates
Costume designer Bernie Pollack
Music Miles Goodman
Casting Glenn Daniels
Color/Stereo
Cast:
Bob Wiley Bill Murray
Dr. Leo Marvin Richard Dreyfuss
Fay Marvin Julie Hagerty
Siggy Marvin Charlie Korsmo
Anna Marvin Kathryn Erbe
Mr. Guttman Tom Aldredge
Mrs. Guttman Susan Willis
Running time -- 99 minutes
MPAA Rating: PG
(c) The Hollywood Reporter...
- 5/17/1991
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.