Tag Archives: Sports

Lawyerin’ Joe Amendola Appears On Anderson Cooper, Asks If "Somebody Cute" Will Be Interviewing Him [Video]

Lawyerin' Joe Amendola Appears On Anderson Cooper, Asks If Somebody Cute Will Be Interviewing Him Minutes after a jury found his client Jerry Sandusky guilty of 45 child molestation charges, attorney Joe Amendola dropped by CNN to have a chat with Anderson Cooper and appeared to be in the best of spirits.

Lawyerin’ Joe cracked jokes and at one point asked with whom he’d be speaking and if it was “somebody cute.” Again, this is immediately after learning his client would most certainly die in prison. His jolliness continued throughout the interview, closing it with a “Thank you… I watch you all the time, Anderson.” [CNN]

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New Jersey Woman Sues Little Leaguer Who Hit Her In The Face With A Baseball [Lawsuits]

New Jersey Woman Sues Little Leaguer Who Hit Her In The Face With A BaseballElizabeth Lloyd was sitting at a picnic table near a fenced-in Little League bullpen watching her son play when she was struck in the face with a baseball. The culprit? A then-11-year-old bullpen catcher named Matthew Migliaccio who was warming up a pitcher.

The incident happened in May 2010, and Lloyd, 45, says she has had to have reconstructive surgery and continues to suffer from headaches. She’s seeking $500,000 in damages, and her attorney, Riaz A. Mian, says it’s because she was unable to reach an insurance settlement.

Here’s the Asbury Park Press:

According to the lawsuit, Lloyd contends Matthew intentionally struck her, causing permanent injuries.

[…]

“He throws his best fast ball over the bullpen into the picnic area, striking my client in the face,” Mian said. “Life is now different for my client.”

A spokesman for the Manchester (N.J.) Little League said leagues have insurance, but that it doesn’t cover spectators. An attorney for Migliaccio’s family called the lawsuit “frivolous” and said, “In your face, lady!”*

* He didn’t actually say this.

[Asbury Park Press]

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Kevin Durant’s Post-Game Tears Are Sad, Chilling [Video]

Kevin Durant's Post-Game Tears Are Sad, ChillingKevin Durant's Post-Game Tears Are Sad, Chilling While the Heat celebrated their second NBA championship on the court, Kevin Durant’s private-turned-public moment caught plenty of attention as tears streamed down the Thunder star’s face as he hugged his mother.

By itself, it’s a Sports Moment and worth revisiting. More compelling, though, is the split-second when Durant emerges from the embrace, and finds the camera; in that instance, a gaze is reversed back upon us—and it’s not difficult to read a vow for revenge in his face. It’s a story that will form the narrative for NBA writers all summer and, presumably, for most of next season. If you’re looking for its genesis, well, here you are. [ABC]

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-8½. Woody Allen’s To Rome With Love, Reviewed. [Grierson & Leitch]

-8½. Woody Allen's To Rome With Love, Reviewed.1. One of my favorite Roger Ebert quotes goes like this: “The Muse visits during the act of creation, not before. Don’t wait for her. Start alone.” That’s to say: To create great work, you must first work. Not everything you create will be perfect; in fact, most of it won’t be. But you can’t wait for inspiration to strike. You have to just plug, plug away until you land on something great. Woody Allen was once asked how he comes up with so many jokes. He said (and I’m paraphrasing): “I have no idea. When I write something funny, I laugh, because it’s the first time I’ve seen it. But I have no idea how it got there. I just was writing and then, all of a sudden, out of nowhere, there it is.” This has essentially been Woody Allen’s career for the last 15 years. He toils away, making a movie a year, no matter what, and sometimes he stumbles across something truly inspired (Midnight in Paris, Vicky Cristina Barcelona, Sweet Lowdown), but most of the time he has a few three-quarters-baked ideas that don’t add up to much but are still interesting to listen to and absorb.

2. This strikes me as not much of a crime. Allen is often criticized for his prolific output, as if he would somehow make movies twice as good if he slowed down and made one every two years. It is my experience that this is not how it works. Besides: He’s a 76-year-old man who still uses a typewriter. Let him have his movies; if all I have to do is sit impatiently through a few trifling films that aren’t much more than light re-recitals of old themes to get a Midnight In Paris every four or five years, I’ll take it. To Rome With Love is definitely minor Woody, a frothy little short story collection that is mildly amusing and superficially insightful and instantly forgettable. That doesn’t mean it’s not still sorta fun and worth tolerating and waiting through until the muse alights again. If the worst-case scenario is a movie like To Rome With Love, I’ll happily take it.

3. The Euro setting for this one is Rome, obviously, “the eternal city” in which ancient ruins lie next to McDonald’s, and no one can figure out how to walk anywhere without getting lost. I sort of like how Woody, in travelogue mode, tries to tie some sort of touristy view of the city with his movie’s theme. Midnight In Paris was about Paris’s timelessness and its relation to Allen’s nostalgia obsession; Vicky Cristina Barcelona was about escapism and temptation; Match Point was about the class struggle, in England and everywhere. Woody’s in a good mood here, so To Rome With Love is mostly concerned with fame, or, to tie into Rome itself, one’s legacy and impact on the world. Woody’s covered fame before, never better than in Deconstructing Harry, but this film isn’t interested in going to any dark place like that movie: It just wants to have a little bit of fun and enjoy the scenery. Again: There are worse crimes.

4. The movie features four stories, all of which just sort of float along pleasantly without overtrying anyone’s patience. Two are more compelling than the others. In one, Roberto Benigni plays a normal, workaday fella who, inexplicably, one day becomes the intense focal point of the tabloid press and the paparazzi. Woody’s views on gossip and celebrity are less interesting here than the surrealism of the premise; there’s something undeniably funny about a gaggle of reporters interviewing Benigni while he brushes his teeth. (This is also the one segment of the film when Woody references Fellini on the late director’s home turf.) The other is a similarly fanciful bit, with Alec Baldwin as a successful sellout architect who advises his lovestruck protégé (Jesse Eisenberg, who should play all young Woody Allen romantic leads from here on out) who’s stuck between two women (Ellen Page and Greta Gerwig). It’s a familiar mentor role, but Baldwin and Eisenberg have real chemistry and deftness with Allen’s dialogue, and I sort of loved that, by the end of the movie, I wasn’t sure if either of them were imaginary, or both, or neither.

5. I’m probably overpraising a bit, though. (I am not always the most impartial observer here.) Much of the film is so inconsequential as to barely register whatsoever; a subplot featuring Woody acting for the first time in six years has a nice bit with an operatic shower singer but otherwise is bland and poorly paced, and Penélope Cruz’s vigor and Jessica Rabbit costuming can’t overcome the fact that her segment of the story would feel hoary and tired had it been made in 1940. But again: This is minor Woody. To Rome With Love is weightless and harmless and made with good cheer. That’s probably not much of a reason for you to see it. But when the muse isn’t around, this will do.

Grade: B-

Grierson Leitch is a regular column about the movies. Follow us on Twitter, @griersonleitch.

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Todd Helton’s Heartbreaking Moment Of Staggering Forgetfulness Leads To Walk-Off Loss [Video]

Todd Helton's Heartbreaking Moment Of Staggering Forgetfulness Leads To Walk-Off Loss It was a bad night for Todd Helton, the cornerstone of the Rockies for 16 seasons, he of the .321 lifetime batting average and 58.7 WAR (good for 11th among active players and higher than Vlad Guerrero, Ichiro, and a slew of others you’d expect to be above Helton). But tonight in Philadelphia, when Placido Polanco came up with the bases loaded in the bottom of the ninth and chopped a ball to second, Todd Helton seemingly forget how to play baseball. That is to say, he forgot to put his foot on the base, the cornerstone task of a first baseman. He didn’t even put up a fight when Alfonso Marquez called Polanco safe. It was hopeless by that point, and Helton knew it.

Article source: http://feeds.gawker.com/~r/deadspin/full/~3/VFvvdVjO6B4/todd-heltons-heartbreaking-moment-of-staggering-forgetfulness-leads-to-walk+off-loss

Steve Carell, The Star Next Door [Grierson & Leitch]

Steve Carell, The Star Next DoorSeeking a Friend for the End of the World is probably the most Steve Carell movie that Steve Carell has ever made. With someone else at the helm, this comedy-drama’s quirky/emo storyline—two mismatched East Coast neighbors take a road trip together as the planet is weeks away from destruction—might have been awfully cutesy. But Carell grounds everything in a modest, understated normalcy that makes you care deeply about what’s happening.

We’re used to our comic stars being larger-than-life personalities: Will Ferrell, Robin Williams, Jim Carrey. But Carell isn’t, at least not at his best. (Stare into this light and we’ll erase your memory of sitting through Dinner for Schmucks.) Where others huff and puff to get all the laughs, Carell is very happy to be the straight man. It’s not the normal path for a breakout star, but he’s used it to put together a more interesting and successful film career than most of his peers have.

For quite a while, Carell was a second banana: part of the ensemble on The Dana Carvey Show in the mid-’90s; a correspondent for The Daily Show—a great one, but without the aggressively pronounced persona of Mo Rocca or Carvey bud Stephen Colbert. When he started popping up in movies, like Bruce Almighty and Anchorman, he was backing up Carrey or Ferrell. Talented as he was, Carell seemed like a professional platoon player, not someone you’d pay money to see on his own.

All of that changed in the span of a few months in 2005. In March, the American redo of The Office premiered, and then in August, The 40-Year-Old Virgin came out. The Office took a little bit to find its footing, but The 40-Year-Old Virgin was one of those out-of-the-box successes that you watched and thought, “Oh, OK, this is what Carell can do really well.”

As the virginal Andy, Carell wasn’t focused on cracking one-lines or doing hysterical bits of physical comedy. He was just the nervous, sweet center of an R-rated sex comedy, at a time when those were starting to become incredibly popular and progressively more outrageous. He proved he could play off an established actress like Catherine Keener with ease, and he projected an inherent goodness. That decency kept The 40-Year-Old Virgin from feeling like an R-rated comedy; it was one raunchy Apatow movie you could almost imagine taking the whole family to.

Carell’s trick is that you don’t particularly notice him. His agreeable, forgettably handsome Everyman quality keeps him from pulling the focus away from the rest of the cast. Whether he’s in an ensemble movie like Little Miss Sunshine or being the principal star, as in Get Smart or Date Night*, he never seems to be reaching for the spotlight.

Maybe that’s why he never won an Emmy, despite all the nominations he got for The Office: His buttoned-down style lost out to actors in showier roles. Like Bob Newhart before him, Carell looks dull on the outside, but you know he’s thinking something funny. So rather than standing back and waiting for the hilarity to explode, you lean in.

Carell has also been smart enough to control the usual comic-star urge to prove he has dramatic range. There’s no Man on the Moon in his filmography. Instead, he’s chosen to do a lot of solid art-house/grownup-crowd films: Little Miss Sunshine; Dan in Real Life; Crazy, Stupid, Love. None of them are masterpieces—I kinda hate Crazy, Stupid, Love—but they’re not just filler to film while the star’s on break from his TV show. (It’s important to remember: During the time he was becoming a bigger and bigger film star, he was also doing The Office. This is incredibly difficult to achieve.)

Even more impressive, it’s work where he doesn’t sit around emoting to prove how serious an actor he is. Whether in a comedy or a drama, he projects that natural-seeming, amiable regular-guy quality.

Carell has made bad movies. Despicable Me and Evan Almighty are mediocre family-film stuff, and Dinner for Schmucks found him abandoning his easy manner for a failed gonzo shtick. Yet it doesn’t feel as if he’s making the crap as part of a scheme for world domination. He’s not pushy and needy in that way.

Just like the brokenhearted, lonely depressive he plays in Seeking a Friend for the End of the World, Carell doesn’t make a fuss. Even his Twitter account is almost charmingly low-key and dorky. Apparently he didn’t get the memo that all funny people must be funny on Twitter every single moment of the day. It’s all the Carell mood: a refreshing equilibrium that makes all his projects just seem like Steve Carell movies. He’s the one comic you and your dad probably like equally. You’re both right.

*This sentence has been revised to reflect a correction.

Grierson Leitch is a regular column about the movies. Follow us on Twitter, @griersonleitch.

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