Jon Stewart slammed the United States House of Representatives Committee on Science, Space and Technology — specifically the Republicans leading it — on Monday for not being smarter than a fifth grader. “How far back to the elementary school curriculum do we have to go to get someone on the House Committee on Science, Space and Technology caught up?” Stewart said during the segment (above). “Do we have to bring out the paper-machet and the baking soda so you can make a volcano?” Also read: Obama's New Weapon Against Climate Change: TV Weather People Stewart's frustration came after showing clips of Republicans Steve Stockman of Texas,...
- 9/23/2014
- by Greg Gilman
- The Wrap
Fox News anchor Bill Hemmer is not pleased with Congress. Hemmer spoke with Rep. Steve Stockman (R-tx) this morning about the "exemptions" members of Congress and their staffers have reportedly sought from paying full price for participation in ObamaCare health exchanges. After Stockman (who was equally outraged) described the exemptions as "Going to a fine dining restaurant but the chef doesn't...
- 8/13/2013
- by Andrew Kirell
- Mediaite - TV
By Michael Rechtshaffen
That apocryphal deathbed observation "Dying is easy; comedy is hard" comes to mind while watching "Two Weeks", an uneasy dramedy about four bickering siblings who return to the family home to say goodbye to their terminally ill mother.
Finding out for himself is commercial director Steve Stockman, who makes his feature film debut with what is obviously coming from a very personal place. But while life is known to stumble across humor at the most inopportune of moments, Stockman's story strains for irreverence at every turn, and the results serve to undercut those potentially more stirring moments.
Occupying this season's "Family Stone" slot, this last-minute MGM entry is obviously hoping Sally Field's fine lead performance might generate awards interest, but the production as a whole feels more like an extended episode of Field's current ABC series, "Brothers & Sisters," than it does a holiday boxoffice contender.
Field, in her first feature outing since 2003's "Legally Blonde 2: Red, White & Blonde," delivers a remarkably contained performance as ailing family matriarch Anita Bergman, whose advanced cancer has necessitated a hasty family reunion for her four adult children.
Converging on their modest, suburban North Carolina home is eldest son Keith (Ben Chaplin), a Hollywood type with a smirking respect for irony; highly strung exec Barry (Tom Cavanagh); dutiful daughter Emily (Julianne Nicholson) and the put-upon baby of the family, Matthew (Glenn Howerton).
Although the end is near for Anita, it proves to be not quite as immediate as at first indicated, giving the siblings ample time to revert to their childhood behavioral patterns.
Interspersed with awkward sequences that demonstrate their varying coping skills is videotaped footage of a more vibrant Anita taken at the onset of the disease, which finds her reflecting on her healthier days.
The script is not without some perceptive observations about family dynamics, but the problematic tone keeps getting in the way.
A little absurdist levity in these instances always helps to prevent things from becoming too maudlin, but in Stockman's hands, the played-for-laughs elements in this tragicomedy feel forced rather than organic, ultimately creating an emotional disconnect with the viewer.
It also doesn't help that the actors playing her kids are stuck with character archetypes that cry out for a little more depth. Aside from Field's fine performance, only Nicholson manages to bring something natural and poignant to her underdeveloped role.
Production values are serviceable, though all those wispy, emo-centric ballads that comprise the soundtrack don't exactly help "Two Weeks" seem like anything other than a small-screen proposition.
That apocryphal deathbed observation "Dying is easy; comedy is hard" comes to mind while watching "Two Weeks", an uneasy dramedy about four bickering siblings who return to the family home to say goodbye to their terminally ill mother.
Finding out for himself is commercial director Steve Stockman, who makes his feature film debut with what is obviously coming from a very personal place. But while life is known to stumble across humor at the most inopportune of moments, Stockman's story strains for irreverence at every turn, and the results serve to undercut those potentially more stirring moments.
Occupying this season's "Family Stone" slot, this last-minute MGM entry is obviously hoping Sally Field's fine lead performance might generate awards interest, but the production as a whole feels more like an extended episode of Field's current ABC series, "Brothers & Sisters," than it does a holiday boxoffice contender.
Field, in her first feature outing since 2003's "Legally Blonde 2: Red, White & Blonde," delivers a remarkably contained performance as ailing family matriarch Anita Bergman, whose advanced cancer has necessitated a hasty family reunion for her four adult children.
Converging on their modest, suburban North Carolina home is eldest son Keith (Ben Chaplin), a Hollywood type with a smirking respect for irony; highly strung exec Barry (Tom Cavanagh); dutiful daughter Emily (Julianne Nicholson) and the put-upon baby of the family, Matthew (Glenn Howerton).
Although the end is near for Anita, it proves to be not quite as immediate as at first indicated, giving the siblings ample time to revert to their childhood behavioral patterns.
Interspersed with awkward sequences that demonstrate their varying coping skills is videotaped footage of a more vibrant Anita taken at the onset of the disease, which finds her reflecting on her healthier days.
The script is not without some perceptive observations about family dynamics, but the problematic tone keeps getting in the way.
A little absurdist levity in these instances always helps to prevent things from becoming too maudlin, but in Stockman's hands, the played-for-laughs elements in this tragicomedy feel forced rather than organic, ultimately creating an emotional disconnect with the viewer.
It also doesn't help that the actors playing her kids are stuck with character archetypes that cry out for a little more depth. Aside from Field's fine performance, only Nicholson manages to bring something natural and poignant to her underdeveloped role.
Production values are serviceable, though all those wispy, emo-centric ballads that comprise the soundtrack don't exactly help "Two Weeks" seem like anything other than a small-screen proposition.
- 11/29/2006
- 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.