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Joseph Ruben

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ENTERTAINMENT
February 8, 1991 | KARI GRANVILLE, SPECIAL TO THE TIMES
For "Sleeping With the Enemy" director Joseph Ruben, who has toiled most of his career in the low-budget realm, the chance to make a big-budget, big-studio movie has certain obvious advantages--a major star (Julia Roberts), lavish attention, a penthouse hotel suite. "But the biggest advantage of making a big-budget movie," Ruben says, "is you get a crane. You can just ride it, go up and down. I'd never get off it, if I could."
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ENTERTAINMENT
February 8, 1991 | KARI GRANVILLE, SPECIAL TO THE TIMES
For "Sleeping With the Enemy" director Joseph Ruben, who has toiled most of his career in the low-budget realm, the chance to make a big-budget, big-studio movie has certain obvious advantages--a major star (Julia Roberts), lavish attention, a penthouse hotel suite. "But the biggest advantage of making a big-budget movie," Ruben says, "is you get a crane. You can just ride it, go up and down. I'd never get off it, if I could."
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ENTERTAINMENT
March 15, 1987 | Pat H. Broeske
"The Stepfather" may not be doing much business, but the strong critical reception and industry buzz hasn't hurt director Joseph Ruben, who's "getting better scripts--and more of them." Before "Stepfather," Ruben directed the special effects-ish "Dreamscape." But he's probably better known as the director of Crown International's profitable 1976 exploitation pic "The Pom Pom Girls." "I was only 24," he said. "So high school was still one of the most important experiences of my life.
ENTERTAINMENT
December 17, 1989 | Nina J. Easton \f7
Watch for actress Kim Basinger to branch into singing . . . appear in European commercials . . . and star in a film opposite pop star Prince. Those are some new career wrinkles, industry sources tell us, after her recent decision to leave agent Rick Nicita at CAA and attorney Barry Hirsch. Basinger's defection set off a scramble among CAA's competitors for her business.
CALIFORNIA | LOCAL
October 12, 2011 | By Tony Barboza, Louis Sahagun and Nicole Santa Cruz, Los Angeles Times
A gunman apparently enraged over a custody dispute walked into a crowded Seal Beach hair salon where his former wife worked and opened fire, killing eight people and critically wounding another person in the deadliest shooting in Orange County history. The attacker sprayed Salon Meritage with gunfire Wednesday afternoon as victims fell to the floor and those who could escape ran onto the street or hid in neighboring businesses in the bustling area of trendy restaurants and shops along Pacific Coast Highway, authorities and witnesses said.
ENTERTAINMENT
April 1, 1990 | David Pecchia \f7
Love Field (Midge Sanford/Sarah Pillsbury). Shooting in North Carolina. Michelle Pfeiffer's a young Southern woman who travels to our nation's capital after JFK's assassination. En route she meets and establishes a relationship with a black man. Producers Midge Sanford and Sarah Pillsbury. Director Jonathan Kaplan. Screenwriter Don Roos. Sleeping With the Enemy (Fox). Shooting in North and South Carolina.
BUSINESS
October 18, 1994 | JAMES BATES, TIMES STAFF WRITER
Producer Jon Peters' "Money Train" is on track, which is good news for beleaguered Sony Pictures. The company's Columbia Pictures unit confirmed that actor Woody Harrelson climbed on board the $40-million action film Monday. Shooting for the film, whose release is planned for next fall, will start in December. Harrelson, who was represented by Creative Artists Agency, will again team up with actor Wesley Snipes. The two previously starred in the hit "White Men Can't Jump."
ENTERTAINMENT
February 8, 1991 | SHEILA BENSON, TIMES FILM CRITIC
Everything that might have set "Sleeping With the Enemy" apart and made it memorable--textured central characters, psychological depth or a shred of believability--has been swept aside in the rush to make the movie a luxury item, sleekly gorgeous, blankly watchable, not unlike its star Julia Roberts.
ENTERTAINMENT
September 24, 1993 | KENNETH TURAN, TIMES FILM CRITIC
"The Good Son" is an ending in search of a movie. Its climactic scene (fear not, it won't be revealed here) is the kind of high concept predicament that is supposed to send audiences out of theaters with a buzz on their lips. Instead it can do no more than point up how flat what's come before has been.
ENTERTAINMENT
November 16, 1989 | MICHAEL WILMINGTON
Joseph Ruben's 1987 "The Stepfather"--written by the novelist Donald Westlake and featuring a remarkable, little-known actor, Terry O'Quinn, as a chameleonic psychotic searching for the perfect family and killing the failures one after another--was a shocker aimed at a genre audience that caught the critics instead. "The Stepfather 2" (citywide), on the other hand, is the sort of sequel that shouldn't have been made.
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