July 23, 2007 |
Moviegoers were in gay spirits over the weekend as Adam Sandler's latest comedy, "I Now Pronounce You Chuck and Larry," topped the box office, and the feel-good "Hairspray" scored a record launch for a musical. Though both films were aimed at general audiences, the gay market factored into their solid openings. "Chuck and Larry" stars Sandler and Kevin James as Brooklyn firefighters pretending to be gay for insurance purposes.
February 25, 1988 |
"Hairspray" (opening Friday at selected theaters) is a deliriously fast and funny satire of the '60s that marks John Waters' best shot yet at mainstream audiences. In the 15 years since Baltimore's maestro of poor taste made his notorious underground classic, "Pink Flamingos," he has wavered between morbidity and blandness in an attempt to move beyond his original success.
July 20, 2007 |
At first blush, the idea of a movie musical based on the Broadway musical based on "Hairspray," the film by John Waters, seems beyond derivative -- it's practically inbred. So it comes as a surprise when the movie turns out to be as happy, healthy and attractive as it does.
August 10, 2007 |
IT'S not unusual for a studio marketing chief to get the boot after a string of box-office failures. But only at New Line Cinema, the studio that often seems to be operating in an alternate universe from the rest of the movie business, could the head of marketing be fired after opening the studio's biggest hit in two years.
March 20, 1988 |
By most accounts, it started five years ago with the release of "The Big Chill"--the film that introduced a whole new generation to Vietnam Angst, free love and such '60s classics as "I Heard It Through the Grapevine" way before those dancing raisins did. Other trend watchers point to New York fashion designer Stephen Sprouse's revival of neon-bright miniskirts in 1984 as a key influence.
July 8, 2007 |
FOR a while after "Hairspray" opened on Broadway, composer Marc Shaiman and his co-lyricist and life partner, Scott Wittman, would sneak into an empty box at the Neil Simon Theatre as the show was revving up for its infectious finale. Night after night, they'd search for a crevice in the packed audience to hide in. Then they'd turn their back to the stage. Behind them, a few dancers would start to spin to their aptly titled song, "You Can't Stop the Beat."