Madonna – love her or hate her. Some think she has no talent, while others have named their daughters after her.

Some think her career is pure marketing and her fans believe she’s a real trend setter. There has always been a wide range of opinions about this woman, an entertainer who has enough monikers to be in the witness protection program. As her personal life has evolved through marriages, children and boyfriends, her songs are what are more familiar to people.

For the first time since she became famous, she got to be the star attraction at the Super Bowl Halftime Show. What aspect of her performance did people focus on? Her voice? Nope. What she wore? Not really. Her new song? Sure, a little. Her age? Bingo, report her to AARP, stat!

How dare she try to pull off that type of show as a woman who has experienced more than three decades on the planet? Perish the thought! She has some nerve being on that stage and lifting her leg up at the age of 53. Where are her Mom jeans with the elastic waist? How could she be in high-heeled, thigh high boots when she knows she should be in Easy Spirits? This is even more of an abomination than her performance in “Swept Away.”

Doesn’t she know that woman over 35, let alone 40 in this country, are considered older than Methuselah? You mean she has no clue that she should be referring to herself as “long in the tooth” “an old bag” and a “has-been.” Doesn’t she realize that she has to grow into her date of birth by talking about things she can’t do anymore? Where is her rheumatoid arthritis? COPD? High cholesterol? She should be punished for doing a jumping jack.

Just check the reaction to her performance on social media outlets if you think I am exaggerating.

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John Wayne is not only the only actor to place posthumously on this annual Harris Poll that asks Americans who their favorite actor is, the Duke is also the only actor — living or dead — to find a slot on this poll every year since the survey began in 1994:

In 2011 he was the voice of Rango, he was Captain Jack Sparrow (again) and he was also a journalist. And, again this year, Johnny Depp has the distinction of being America’s Favorite Actor. Next on the list are two actors who haven’t actually acted in a movie this past year. Tied for number two are Denzel Washington, who was in the second spot last year, and Clint Eastwood who was number 9 on the list last year.These are some of the results of The Harris Poll® of 2,237 adults surveyed online between December 5 and 12, 2011 by Harris Interactive®.

Rounding out the top five favorite actors is Larry Crowne or rather Tom Hanks in the number 4 spot, up from a tie for number 6 last year, and at number 5 the only actor to have been on this list since it began in 1994, the Duke himself, John Wayne down from the number 3 spot last year.

After being part of a three-way tie for number 6 last year, George Clooney now holds that position by himself. Up from number 10 to number 7 is Sandra Bullock who is the only woman in the top ten and dropping from number 4 to number 8 is Harrison Ford. There are two new additions to the list this year. At number 9, returning to the top ten after a two year absence is Will Smith and debuting at number 10 is funny man Adam Sandler.

Here’s this year’s breakdown:

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This week on the HomeVideodrome podcast, Hunter reviews “The Iron Lady“, we talk The Golden Globes, and of course, we run down this week’s releases.  Head on over to The Film Thugs to check it out!

Despite the fact that “The Ides of March” is un filme de George Clooney, which ensures that most of those right-of-center will ignore it, it’s ultimately a movie that anyone who actively keeps up with politics should enjoy, especially during the heat of the Republican primaries.  Indeed, “The Ides of March” doesn’t tell you anything you don’t already know, thematically.  Politics?  Dirty?  You don’t say, George.  Please, send more of your pearls of wisdom for the masses to consume.  What the film does provide, though, is a efficiently plotted, well-acted, engaging thriller, despite its cliched old-hat themes.

Clooney co-stars as a Democratic Presidential candidate in the throes of the primaries, playing as a mix of Bill Clinton’s governor running-on-his-record and Barack Obama’s cult of personality claptrap.  This gives Clooney’s character opportunities to espouse what are clearly his own political views from the podium, which contain various liberal talking points and, much like our current president, promises no one could keep, including the elimination of the internal combustion engine in four years and free puppies for everyone.  But Clooney wisely keeps his politics in the background for the most part, not using it merely as a vehicle for his views.

George Clooney’s active role in politics has often sparked speculation as to whether or not the actor would run for political office; after all, a handful of actors like Ronald Reagan and Arnold Schwarzenegger have proven that the leap from acting to political office isn’t necessarily a big one.  After all, both vocations involve making audiences believe your bullshit.  However, Clooney has consistently squashed such speculation by stating that his playboy bachelor reputation would make him unelectable, and “The Ides of March” seems to be an extension of these sentiments.  Too bad it’s not necessarily the fact that Clooney goes through women like Kleenex, so much as his la-la-land Hollywood politics (his cruel mocking of Alzheimer’s patients doesn’t help him in my eyes either, however his humanitarian work is certainly deserving of praise).

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The Golden Globes Awards “are just like the Oscars but without all that esteem,” host Ricky Gervais said during last night’s Golden Globes telecast, his third stint hosting the annual show. The ceremony—featuring awards handed out by the Hollywood Foreign Press—includes some nice surprises as well as great disappointments.

Here’s a look at the big winners and losers of the evening.

Oscar Contenders

Winners: “The Artist” and The Descendants”
Both films are likely to be major Oscar contenders, and both left the Globes with renewed momentum. “The Artist” collected awards for best comedy or musical, best actor (Jean Dujardin) and best score. Meanwhile, “The Descendants” collected two awards: best actor in a drama (George Clooney) and best drama. Their wins likely foreshadow their future success at the Academy Awards and could lead to more moviegoers checking out these two smaller films.

Losers: “Moneyball” and “The Ides of March”
Despite the fact that it was nominated for four awards, “Moneyball” walked home with zero awards. Even Aaron Sorkin (“The Social Network”), Steve Zaillian (“Schindler’s List”) and Stan Chervin didn’t win for their brilliant screenplay. Woody Allen took home the award for best screenplay for his wonderful comedy, “Midnight in Paris.” “Ides of March,” the political thriller directed and co-written by George Clooney, also went 0-4 during the evening but Clooney didn’t leave the show empty-handed (see winners).

Acceptance Speeches:

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Oscar winner George Clooney doesn’t think it makes sense for actors to campaign for their favorite politician.

Then why does everyone with access to a TV or web platform know of his undying affection for President Barack Obama?

Clooney, currently starring in “The Descendants,” chatted with former Clinton advisor George Stephanopoulos this week about the actor’s views on the current political climate. And while fellow liberal Matt Damon is willing to concede Obama’s first term hasn’t gone as he expected, Clooney refuses to stray off the Hollywood reservation, politically speaking.

“I’m a Democrat, I’m a believer in him.” Of Obama’s years in office he said, “I think he’s done a wonderful job, I think he’s having a tough time in a very difficult environment. So I root for him. I root for the president of the United States.”

On air to promote his flick, “The Descendants,” Clooney also talked about celebrity fundraising and campaigning for a politician. He clarified to Stephanopoulos that he had raised money but not campaigned for Obama. Said the actor, “I didn’t do any campaigning. I’m a big believer — I really don’t think it helps much to have well-known, famous people campaigning for you. I don’t think that does you a lot of good.”

So, campaigning is out of the question, but chatting up journalists about one’s affection for the president is grand, as is meeting with Obama personally to discuss various issues in a chummy fashion.

Just checking.

Audiences didn’t have to wait until December to see the best movies of 2011. In some cases, this year’s finest films were ready for their Blu-ray inspection by the time Oscar season officially began.

That tells you a little something about the quality of Oscar-bait films in 2011 (sorry, “J. Edgar”) but also proves that the film industry needn’t back-load the best for Christmas consumption.

The following 10 films remind us thrillers don’t have to arrive in theaters with every scrap of intelligence scrubbed from the narrative, and that the horror genre is still capable of giving us a jolt. You also won’t find a sequel or reboot here, although films like “X-Men: First Class” and “Rise of the Planet of the Apes” proved marketing-friendly projects don’t have to be lowest common denominator affairs.

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Let’s be honest. Movies, today, aren’t just one step away from being left wing propaganda, they just plain suck.

We’ve gone from Dirty Harry to Jason Bourne (or whatever his name ended up being; the camera was too shaky for me to ever tell what was going on). We’ve gone from Humphrey Bogart to George Clooney.  We’ve gone from John Wayne fighting Indians to Na’vi fighting Americans.

But, don’t fret. For there is an answer to our problems, fellow film buffs. I know you’re six feet from that ledge, but let me give you hope…they are called books. They are these contraptions with bindings and pages with words on the inside. Together this all creates a story one hundred times more fulfilling than today’s dim-witted liberal flavor-of-the-month films.

Hollywood has always been a liberal town. They give us anti-Iraq war movie after anti-Iraq war movie despite the fact that they all flop at the box office. But what of the literary world?  They must surely share Hollywood’s contempt for conservatives and enriching stories, right? Wrong. The publishing world seems to get it, for the most part. They like to publish what sells and what seems to sell today are right-leaning stories.

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Here’s Clooney’s big stand.

It’s Oscar season, Clooney desperately wants and Oscar, and he’s taking part in a one-night play to support same-sex marriage.

In Hollywood, that’s about as much of a big stand as joining the most popular fraternity on campus.

Could these people be more full of themselves.

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‘MODERN WARFARE 3′ MAKES $775 MILLION IN 5 DAYS, BLOWS AWAY ALL RECORDS

Is this why Hollywood makes movies that recreate the experience of what it’s like to watch someone else play a video game?

DEMI MOORE TURNS TO MADONNA FOR DIVORCE ADVICE

The photo will make you wince. This one’s worse. Someone needs to turn to Kentucky Fried Chicken first.

He’s not worth it, Demi. Damn.

And turning to Madonna for advice about divorce is like turning to Obama for advice about creating jobs.

NETFLIX SELLS $400 MILLION IN STOCK TO RAISE CASH

This is to acquire the rights to more streaming content. As a Streaming only customer, that sure sounds good to me.

How about some “Wild Wild West.”

Oh wait, I just bought the whole series at Amazon for $35. I win.

‘EW’ MORON ASKS IF GEORGE CLOONEY IS THE NEW PAUL NEWMAN

Wait,  I thought Clooney was The New Cary Grant.

The bubble too many of these people live in is oh-so very real. Paul Newman was ALL movie star. And to become a movie star THE PEOPLE have to love you, not just the bubble-boyed entertainment media. Since 2000, Clooney has not carried a single movie to $100M without the help of Brad Pitt and Julie Roberts.

And most of his films flop.

And they blow.

And now a little context…

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So, because you all enjoyed that list so much, and because I apparently have a death wish, it’s time for another: The Top 10 Most Overrated Actors/Actresses of All Time.

Unlike last time, I will claim that these are objective facts, not subjective opinions, so that all my critics may have full liberty to attack me (To those same critics who claimed last time that I phrased my opinions in an “objective” manner, this is called being facetious. That means I’m kidding. Also, seriously? That was your criticism?).

Here are my criteria: are they considered great actors/actresses? If not, they can’t make the list (sorry, Rob Schneider). Are they actually great actors? If so, they can’t make the list (sorry, Laurence Olivier). Only those who are considered great actors but are not, in fact, great actors can make this list. Even then, I’m not claiming that these are bad actors unless I explicitly say that I am.

So, here we go. In the words of Han Solo, I’ve got a bad feeling about this …

10. George Clooney: Not a great actor. Not a good actor. Not really an actor. If you’ve ever seen a movie with Clooney where you didn’t say to yourself, “Hey, I’m watching George Clooney” every thirty seconds or so, you haven’t seen a George Clooney movie. You’re mixing him up with Kate Winslet. He’s a D actor. Dull in “Michael Clayton.” Dreary in “Up In The Air.” Dreadful in “Syriana.” Dismal in “Batman and Robin.” He’s not a low-rent Cary Grant. He’s an affordable-housing Robert Wagner.

9. Dustin Hoffman: He turned in some tremendous performances in his early days (most notably “Papillon,” “Kramer vs. Kramer,” and “Tootsie”), then became a caricature of himself. He has not done anything worthwhile since “Tootsie,” in fact. Even in his better performances, he is a bit too mannered for my taste, perhaps an effect of his method acting. Laurence Olivier thought the same thing. When they were working on “Marathon Man” together, Hoffman showed up on set after having not slept for several days in order to get “in character.” Olivier took one look at him and said, “Dear boy, it’s called acting.” (more…)

Hawaii isn’t always paradise, Matt King (George Clooney) tells us in the heavily-narrated opening act of “The Descendants,” based on the debut novel of the same name by Kaui Hart Hemmings.

For years, Matt’s been the “back-up parent,” quietly plugging away at his job and, lately, managing the sale of his family’s trust – a large parcel of paradise passed down through the generations. Meanwhile, his wife Elizabeth (Patricia Hastie) manages their spastic preteen Scottie (Amara Miller) and her ex-druggie older sister Alexandra (Shailene Woodley), while racing boats on the side.

Then a speedboat accident lands Elizabeth in the hospital, in a coma from which she won’t recover. Her will states that Matt must pull the plug, and so he and his daughters begin to tell family and friends to say goodbye now before Elizabeth is gone forever.

But Matt’s image of his wife and daughters is transformed as he reconnects with his reckless children and learns that his wife was having an affair and was ready to leave him. In a move that is part vengeful husband and part sympathetic guardian, Matt and the girls start searching for Elizabeth’s lover, to give him an opportunity to say goodbye.

Writer/director Alexander Payne co-wrote the film with actors Nat Faxon and Jim Rash. Payne, whose previous work includes “Sideways” and “About Schmidt,” has crafted another strong character in Matt King. Much like the leads in “Sideways,” Matt is a type – like the wine lover and B-actor for which Payne won a best screenplay Oscar. He’s a middle-aged father, reconnecting with his daughters and realizing that the reality he knew was far from the reality that actually was. While the film is marred with excessive set-up narration and a few traipsing scenes in the middle exploring the family land deal and the hunt for Elizabeth’s lover, Clooney’s Matt keeps things moving. The tired, aging, slightly oblivious father and husband he delivers is complex and relatable.

Matt’s journey is set against Hawaii’s beautiful beaches and countryside, with an islander soundtrack of harps and guitars, juxtaposing the story’s weight with a carefree setting. It makes the film more contemplative and less emotional. It also helps the humor scattered throughout to land easily.

Matt’s daughters help him along the way. Miller’s rowdy Scottie is kind of confusing, and way too crass, which has something to do with her rebellious older sister Alexandra and probably more to do with the minds behind the movie. Woodley as Alexandra is fantastic, though – she’s a nice balance of wild child and caring daughter. Her sidekick, pot-smoking guitarist Sid (Nick Krause), keeps things light with his dim-witted humor as the group island-hop their way to finding Elizabeth’s man.

There’s not much to hide about the ending. Throughout the film, the inevitability of Elizabeth’s death hangs over everything. But Hemmings’ story and Payne’s adaptation still manage to surprise with the power of Matt’s subtle transformation from workaholic to father.

Even in Hawaii, family is what makes life beautiful.

Actress Judy Greer calls it pure luck that she keeps landing smack dab in the middle of pop culture events.

First, Greer scored a recurring role on the beloved Fox comedy “Arrested Development.” More recently, she snared a gig on the revamped, post-Charlie Sheen “Two and a Half Men.”

Her latest coup had nothing to do with happenstance. On Nov. 4, Greer picked up the 2011 John Cassavetes Award from the Starz Denver Film Festival. The acting honor typically goes to leading men – or ladies – but this time festival judges honored a character actress with an impressive body of work.

Greer is Hollywood’s go-to comic foil, the best best friend a romantic comedy starlet could have. She’s also an in-demand actress starring in one of the year’s most anticipated films, Alexander Payne’s “The Descendants” as well as a key gig on “Two and a Half Men.”

Her career began with a role in the 1998 Chicago-based feature “Kissing a Fool.” The film’s premiere was slated to be held in L.A., so she drove west in a car her father bought for her.

“My agent said she would send me on auditions while I was in Los Angeles,” she recalls, already plotting a Plan B in case the acting career didn’t catch fire.

“When it stops, I’ll move back [to Chicago], I’ll go to grad school and pick a new career,” she says. “Now I can’t  because I don’t know how to use computers.”

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Come July 3, 2012, Andrew Garfield will be forever known as either the Amazing Spider-Man or the sap who ruined a perfectly good reboot.

Can the British actor, who previously appeared in ‘The Social Network’ and ‘Never Let Me Go,’ spin a web, any size, that catches thieves, just like flies? And what about Henry Cavill, another relative unknown tapped to play the lead in ‘Man of Steel’ hitting theaters in 2013?

Sometimes looking into an actor’s past can reveal plenty about their future prospects. And, in the case of those cast in superhero franchises, there’s a lot riding on just how heroic they can appear on screen.

So let’s recall how other actors prepared for their super close-ups and what happened once they tugged on those unforgiving tights — or, in the case of George Clooney, poured themselves into an uncomfortable cod piece.

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As I sat in the dark watching George Clooney play Mike Morris, the Presidential candidate in ‘The Ides of March,’ I began to tense up. It was all coming back to me now.

Campaigns were months of endless days, take-out food, no sleep and no time to do your laundry. You were not like other people with a job. It was a cause! It demanded your full attention. Nothing was more important, not even your family.

I have worked on two Presidential campaigns when I was younger and a Democrat. There were many other campaign jobs through the years, including Senate races, but there is something special about the race for the White House. From the outside it looks chaotic. But the movie made a few things clear.

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Now that George Clooney’s been involved in yet another high-profile, political box office disappointment, it’s predictably time for the Los Angeles — we read it so you don’t have to – Times to charge to the rescue with the absurd claim that the current 100% failure rate of left-wing films over the last few years has nothing to do with partisan politics. In fact, the L.A. Times practices the art of The Big Lie through the ridiculous claim that the lack of partisan politics might explain their failure.

Let’s start with this nonsense:

And yet [Clooney's] “Ides” seems bound for the same ephemeral status as so many other political allegories that have come and gone in recent years: “Man of the Year,” “Swing Vote,” “Bulworth,” “Lions for Lambs,” “Wag the Dog,” “Atlas Shrugged,” The Manchurian  Candidate.”  They’re movies that run the ideological gamut, yet most of them garnered middling reactions from both critics and the American public. And almost none of them have endured (with the possible, though only possible, exception of “Wag the Dog”).

There are plenty of challenges to dramatizing Washington these days. Among the much-digested issues: Real-life drama can seem so outlandish that no scripted entertainment can match it, while winds shift too quickly for comments on the process to be relevant by the time a film comes out. There may or may not have been something novel in “Ides’” message about the toll the system takes on idealism years ago, before Barack Obama’s presidency; there’s not much fresh nearly three years into his term.

So the theory here is that by the time these films come out, the subject matter they cover is no longer hot and therefore audiences have lost interest. How exactly does that theory apply to “The Manchurian Candidate” remake, “Bulworth,” and “Man of the Year?” Whatever your politics, those films aren’t ripped from the headlines or out to capture some political zeitgeist. There’s no stale date when it comes to “evil” weapons manufacturers, a politician who discovers the joy of telling (his version of) the truth, or the age-old tale of an everyman with a shot at the presidency. But the single most wrong-headed example here is “Lions for Lambs,” which actually was released in the heat of the political moment it wanted so desperately to capture: the wars in Afghanistan and Iraq. Moreover, it starred three A-listers and still managed to flop.

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QWIKSTER DUMPED, DVD RENTALS TO STAY AT NETFLIX

Netflix’s market value has dropped 60% since these debacles began, which just so happens to be the exact same percentage as their recent price increase (today’s announcement helped some).

This is a weak move on the company’s part, nothing more than a band-aid on a fatal mistake. Not having to deal with Qwikster might make things more convenient for customers, but Netflix has still, in effect, split their subscriptions into two distinct services–streaming and by-mail delivery–and therefore given their customer base yet another reason to stop renting DVDs.

Moreover, all they can do now to retain customer loyalty is to make the streaming service better with a stronger library, which also gives us another reason to cancel the by-mail service.

In just a few dumb moves, Netflix has hastened the end of DVD and the extinction of a large part of their own business.  Look no further for proof of this than the email I received this morning:

We’re constantly improving our streaming selection. We’ve recently added hundreds of movies from Paramount, Sony, Universal, Fox, Warner Bros., Lionsgate, MGM and Miramax. Plus, in the last couple of weeks alone, we’ve added over 3,500 TV episodes from ABC, NBC, FOX, CBS, USA, E!, Nickelodeon, Disney Channel, ABC Family, Discovery Channel, TLC, SyFy, A&E, History, and PBS.

Thanks again for confirming my decision to drop the by-mail service!

If I were Netflix, I would immediately combine streaming and by-mail again for somewhere around $10.99 and call it the “We’re So Damn Sorry We Could Die Of Embarrassmentz’ package.

BOX OFFICE ANALYSIS

1. Real Steel — $27.3M: This seems about right.

2. Ides of March — $10.4M: This got dropped into 2200 theatres and everything was done to make it not look “political” or “liberal,” which can mean only two things when analyzing the box office. Either George Clooney’s not the movie star All The Right People are telling us he is, or the American people don’t trust Hollywood when it comes to anything political.

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Surely there can be few people by now who are unaware that politics is a scummy business. Nevertheless, this is the news that director George Clooney brings us in his carefully paced semi-thriller, ‘The Ides of March.’ As the title indicates, the movie is an examination of betrayal, on several levels. The stars—Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, and especially Ryan Gosling, the film’s central presence—are so good they almost make the picture work. But they’re let down in the end by the movie’s under-powered style—it’s almost too tastefully done—and by the facile implausibilities and familiar political tilt of the script (a collaboration by Clooney, Grant Heslov, and Beau Willimon, who wrote the play on which the film is based).

The story is set in wintry Ohio, during the final week of a Democratic presidential primary. Pennsylvania governor Mike Morris (Clooney) is in the lead, but one of his opponents is catching up. Morris’ campaign is being run by veteran political operative Paul Zara (Hoffman), capably assisted by hotshot up-and-comer Stephen Myers (Gosling).

The opposition mastermind is wily Tom Duffy (Giamatti). Both Duffy and Zara realize that their candidates will need the endorsement of a powerful senator named Thompson (Jeffrey Wright) in order to prevail. But in exchange for the hundreds of delegates he controls, Thompson wants major payback: a promise to be appointed secretary of state in the administration of whichever candidate will meet his demand.

Read the full review at Reason.com

Robots guided by Hugh Jackman take on George Clooney’s latest political offering this week. One will prevail while the other is left with yet another box office disappointment.

This weekend’s predictions and projected revenue results go as follows:

1. Real Steel ($26 million) – The sci-fi action is its big sell, but the film’s focus on its father and son relationship will help fuel word of mouth. The flick will easily venture past openings posted by Contagion and other recent original IPs.

2. The Ides Of March ($12 million) – The major film critics may support them, but overall audience disenchantment is a long-established fact with these political message films. These productions have become so clichéd anyway, most viewers feel they can predict their entire plots; where’s the excitement in that? Add to this the lackluster box office results the genre has consistently pulled over the past few years, and the film will definitely struggle to find an audience. Look for, at best, only sub-par results here. (more…)

Governor Mike Morris (George Clooney) is one charismatic politician. He’s smart, witty and his rhetoric is so unabashedly liberal that the Democratic Party is close to choosing him as their party’s nominee. It’s no wonder that idealistic press secretary Stephen Myers (Ryan Gosling) supports him with the eagerness of a political naif. Myers has worked on a lot of political campaigns before, but in a world of political compromise and compromising principles, he has fallen for a candidate he believes is the “real deal.” Myers’ brush with reality lies at the core of the new political thriller, ‘The Ides of March.’

The story begins a few days before the important Ohio Democratic primary, which pits Morris against the more moderate Senator Pullman (Michael Mantell). Morris is leading in the polls but Pullman, backed by support from Republicans and independents who are allowed to vote in the primary, is gaining strength. Early on in the film, Myers accepts a meeting with one of Pullman’s main strategists (played by a cunning Paul Giamatti), which sets the stage for the rest of the film. Without going into details, the story eventually finds Myers questioning his loyalties to the Morris campaign and learning his candidate isn’t the political savior that Myers hoped he was.

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If Obama’s so smart, why the teleprompter addiction? Why “corpseman”? Why does our economy remain still-born after he enjoyed two years of having every piece of legislation he asked for passed and enacted into law? 

If Obama’s so compassionate why – after watching his policies fail for the last two-and-a-half  years — is he going to request more of the same in yet another nationally televised speech?

Smart people correct their mistakes, and when those mistakes are devastating to others, compassionate people do the same.

Washington Times:

Mr. Clooney plays the presidential candidate but told reporters at the festival he is not looking to be one in real life.

“As for running for president, look, there’s a guy in office right now who is smarter than almost anyone you know, who’s nicer and who has more compassion than almost anyone you know. And he’s having an almost impossible time governing. Why would anybody volunteer for that job?” Mr. Clooney told a news conference.

“I have a really good job. I get to hang out with very seductive people. So I have no interest.”

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