Meet the Parents () - Connections - IMDb
Z Nation: Cast Members Thank Fans of the Cancelled Syfy Series. December 28 Midnight, Texas: Cast and Creators of Cancelled NBC Series Say Thank You. With Reba McEntire, Christopher Rich, JoAnna Garcia Swisher, Steve Howey. Reba's parents are visiting, celebrating their 46 years of marriage. Her mother. "Reba" Switch (TV Episode ) on IMDb: Movies, TV, Celebs, and more Reba meets someone she enjoyed talking to, and they made arrangements to go .
Living in Houston, something Reba Hart's husband of 20 years, dentist Brock Christopher Richdivorces her to marry his young, ditzy dental hygienist, Barbra Jean Melissa Petermanwho is pregnant with their child. As the series tackles subjects including teen pregnancy, infidelity, female friendship, and parenting, the banter never condescends to the characters and we believe their emotional bonds.
Cheyenne and Van struggle with being young parents, and everyone struggles with the change in dynamics brought on by the arrival of Brock and Barbra Jean's baby.
Reba often serves as a steadying force, reassuring her daughter that marriages can succeed even while she grapples with the dissolution of her own as she tells Brock during Cheyenne's wedding, "We were supposed to grow old together". And when Cheyenne's high school threatens to expel her because of her pregnancy, yet avoids punishing football star Van, Reba points out the double standard, convincing Van to threaten not to play football unless Cheyenne can return to school with him.
The series lends insights into a blended family's ambivalences, particularly when Barbra Jean leans on Reba for emotional support or when Brock realizes he doesn't really know his kids.
Reba works for several reasons. Emphasizing a strong ensemble of actors, it moves beyond stereotypes that might have been at home in a Blue Collar TV sketch. If Barbra Jean's big blonde Texas hair and goofiness are stock, Peterman's slapstick appeal is genuine. And if Reba offers potentially stock feuds generational, domestic rivalsits sense of place is detailed and innovative. He returned to Broadway to appear in the title role of the musical Jimmy Shine.
I was a theater person. That's how my friends were, too, Gene Hackman and Bobby Duvall. I wasn't going to be a movie star. I wasn't going to sell out.
We wanted to be really good actors. I told them, 'I'm going out to make this movie. Don't worry, I'm coming right back. As author and critic Peter Biskind explains, "it was the very contrast between his preppy character in The Graduate, and Ratso Rizzo" that appealed to Hoffman.
Some of the stuff in the press was brutal. John Schlesingerwho would direct Midnight Cowboy and was seeking lead actors, held that same impression.
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Hoffman's performance as a button-down college graduate and track star was so convincing to Schlesinger, "he seemed unable to comprehend the fact that he was acting," notes Biskind. Schlesinger was sold, admitting, "I've only seen you in the context of The Graduate, but you'll do quite well. For his acting, Hoffman received his second Oscar nomination and the film won Best Picture.
In the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.
Midnight Cowboy makes us a gift of one of the landmark performances of movie history: From a cesspool of dark, foul, even taboo material. Kramer[ edit ] This was followed by his role in Little Big Manwhere Jack Crabb, his character, ages from teenager to a year-old man.
The film was widely praised by critics, but was overlooked for an award except for a supporting nomination for Chief Dan George. Hoffman continued to appear in major films over the next few years. Hoffman next starred in Lennyfor which he was again nominated for Best Actor.
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Lenny was based on the life of stand-up comedian Lenny Brucewho died at the age of 40, and was known for his open, free-style and critical form of comedy which integrated politics, religion, sex, and vulgarity.
Expectations were high that Hoffman would win an Oscar for his portrayal, especially after his similar role in Midnight Cowboy. Film critic Katharine Lowry speculates that director Bob Fosse "never gave him a chance" to go far enough into developing the character.
It turned his life inside out," with shooting days often lasting 10 to 12 hours: But Fosse wanted to do it, and he wanted Dustin Hoffman. My wife felt it too. And I admired his guts. That intimacy is what an actor tries to get. It occurred to me that if I had known him, I would have wanted us to be friends…and he was a provocateur, and I love to provoke.
What is important is that Bruce's routines are so artfully reconstructed, the juice of his creativity so carefully strained, that the claim to genius is justified. And for that Dustin Hoffman deserves full credit, vanishing into the Bruce persona to simply stunning effectiveness,… Hoffman captures the restlessness, the velocity of a man's mouth straining to keep pace with a jet-propelled intelligence…  Lenny was nominated for six Academy Awardsincluding Best PictureBest DirectorBest ActorBest ActressBest Adapted Screenplayand Best Cinematography.
Based on actual events, Hoffman and Redford play Washington Post reporters who uncover a break-in at the Watergate Hotel and end up investigating a political scandal that reaches all the way to the presidency. The film, as earlier ones, had Hoffman take on a dramatically different character than his previous one as Lenny Bruce.
Author James Morrison compares the two roles: Described as "Schlesinger's thriller," by author Gene D. PhillipsHoffman plays the hero, Babe Levy, a part-time long-distance runner and graduate student, who suddenly finds himself being pursued by a fugitive Nazi. In the story, Hoffman thinks his brother Roy Scheider is a businessman where the reality is that the man is a spy, who has been involved with the Nazi, Szell.Meet the Parents - plane bomb scene
I was called on, as the character, to fire point-blank at the Laurence Olivier character, Dr. Szell, and kill him in that last scene. And I said that I couldn't do it.
Goldman was quite upset about it, because first of all, how dare I? He wrote the book. I said, "Go hire someone else. Are you such a Jew? And that's important to me, that I didn't shoot him in the end.
Being a Jew is not losing your humanity and not losing your soul.
He opted out of directing Straight Timebut starred as a thief. Hoffman next starred in Kramer vs. Kramer co-starring Meryl Streep and directed by Robert Benton. The film tells the story of a married couple's divorce and its impact on everyone involved, including the couple's young son.
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The film required Hoffman to change his attitude, from being a "desensitized advertising art director" into becoming a "responsive and concerned daddy" after his wife Streep walks out on him and their six-year-old son, Billy.
Hoffman, during the making of the movie, was also going through his own divorce after a ten-year first marriage. Hoffman has said, "Giving myself permission not only to be present but to be a father was a kind of epiphany for me at that time, that I could get to through my work.
I got closer to being a father by playing a father. That's very painful to say. Children are more interesting than anything. I walk my younger child to school every day and I don't like leaving the school.
I would like to sit down on those little chairs, at those little tables, and play. And a child's love is like a drug. To have a child throw his arms about you—it's instant stoned.
People talk about the rush heroin gives you: I would say children give you that rush. Kramer, Robert Benton made me emotional. He was pulling so hard for me. In TootsieHoffman portrays Michael Dorsey, a struggling actor who finds himself dressing up as a woman to land a role on a soap opera.
His co-star was Jessica Lange. Tootsie earned ten Academy Award nominations, including Hoffman's fifth nomination. Under direction by Sydney PollackHoffman's role demanded "a steady bombardment of opposites—edgy then funny, romantic then realistic, soft then quivering. He has the knack of making everything he does seem perilous, and so audiences feel protective of him and root for him.
I like to be very prepared, and I feel that the success or failure of a film is many times determined before you start principal photography. I wanted rehearsal very much. I was promised two weeks and was grieved that I didn't get it. We also followed the risky course of starting to shoot with a screenplay that wasn't completed. Hoffman first read the play at the age of 16, but today considers the story much like his own: I was the loser, the flunky, and my brother, a high-school varsity football player, was Biff.
I read that play, and I was just destroyed by it. It was like finding out something terrible about my family. I felt like my family's privacy had been invaded. I couldn't even talk about it for weeks. Cobband remembers seeing his stage performance: It was so vivid, so intense, watching Lee J.
Cobb and his sixteen-inch guns as Willy. God, how I think about what I saw on that stage! God, I would have done anything to have worked with Kazan. Hoffman and Beatty play two down-and-out singer-songwriters who travel to Morocco for a nightclub gig and get caught up in foreign intrigue.
Much of the movie was filmed in Africa. However, Hoffman and Beatty liked the film's final cut and tried to defend it. Quentin Tarantinofor one, has called it one of his favorite movies, partly due to the humorous lyrics of the songs written by Paul Williams. The thing I love about Ishtar, - and I love it with all of its flaws - is that it has a statement to make.
It is far, far better to spend a life being second rate in something that you're passionate about, than to spend a life being first-rate at that which you are not passionate about.
I thought that was worth making a movie about. They're middle-aged guys, and at the end of the movie they wind up singing " That's Amore " at a Holiday Inn in Morocco. It's fair to make a movie about that. Levinson, Hoffman and Cruise worked for two years on the film, and Hoffman's performance gained him his second Academy Award.