Kristanna Loken (Painkiller Jane)
Alicia Witt (Dune)
Julian sands (Gotham)
Samuel West (Van Helsing)
Max Von Sydow (game of Thrones)
Robert Pattinson (Twilight)
Ralf Moeller (The Bad pack)
Charlie Sheen (Hot Shots)
Jon Cryer (Superman 4)
Angus T. Jones (Bringing Down The House)
Marin Hinkle (I Am Sam)
Holland Taylor (D.E.B.S.)
Conchata Ferrell (Krampus)
Jennifer Taylor (Rumor Has It..)
RECURRING / NOTABLE GUEST CAST
Martin Mull (Sabrina: TTW)
Rena Sofer (Heroes)
Ryan Stiles (Hot Shots)
Alicia Witt (Two Weeks Notice)
Helena Mattsson (Iron Man 2)
Kelly Stables (The Exes)
Emilio Estevez (Mission Impossible)
James Earl Jones (Star Wars)
Carol Kane (Gotham)
Jane Lynch (Glee)
Michael Clarke Duncan (The Finder)
J.D. Walsh (Bones)
Melanie Lynskey (Up In The Air)
Meagen Fey (The Big Bang Theory)
Emmanuelle Vaugier (Human Target)
Joel Murray (Mad men)
Will Sasso (Movie 43)
Annie Potts (Ghostbusters)
Steve Hytner (Roswell)
Katy Mixon (Mike & Molly)
Verne Troyer (Austin Powers)
Tricia Helfer (Battlestar Galactica)
Carl Reiner (The Cleveland Show)
Stacy Keach (The Simpsons)
Courtney Thorne-Smith (Melrose Place)
Graham Patrick Martin (Major Crimes)
Elizabeth Ho (Fifty Shades of Black)
Katherine Lanasa (Lie To me)
Ming Na (Agents of Shield)
Rachel Cannon (The Big Bang Theory)
Rebecca McFarland (Faking it)
Jodi Lyn O’ Keefe (The Vampire Diaries)
Missi Pyle (Dodgeball)
Brian George (The Big Bang Theory)
Judd Nelson (The Breakfast Club)
Erinn Hayes (The Watch)
Liz Vassey (Tru Calling)
Season six is a busy season for Charlie, Alan, and Jake. There are several new developments, which include Charlie trying out a monogamous relationship again, Alan getting too involved with Judith and Herb, Jake and Evelyn bonding, and more. Along the way, there are plenty of laughs, as the cast continues to work very well together. The show also has excellent writing and plotlines that keep the content fresh.
The season begins with the episode “Taterhead Is Our Love Child”, which marks a new era for Charlie — he starts to think about people other than himself. In this episode, he runs into an old girlfriend. She has a kid named Chuck who is the spitting image of Charlie. Charlie contemplates the effectiveness of condoms, as well as having his own child. It is a fun way to start the season with lots of goofiness coming from the main characters. “A Jock Strap In Hell” is another episode that highlights Charlie’s growth and maturity as a human being. Back in season two, Charlie dated Jake’s 5th grade teacher Miss Pasternak. Unfortunately, after he dumped her, she went a little crazy. In a very awkward, yet comical moment, Charlie, Alan, and Jake run into her at the local drug store. Her life is a mess and she has gone from teacher to stripper. Charlie feels guilt and helps her regain part of her life back. Of course, the situation blows up on everyone. The end result is a riot!
Despite Charlie’s attempts to become a better person, he still hits a few kinks in the journey. One of them is Alan’s receptionist Melissa (Kelly Stables) in “The Flavin’ and the Mavin'”. He wins her over, but ends their relationship after a passionate weekend. Of course, it does not turn out well for Alan. Melissa comes back later in “Thank God for Scoliosis” as Alan’s love interest. They hit it off, but her weed smoking mother complicates things. Going back to Charlie, he makes a huge breakthrough in the romance department. “Pinocchio’s Mouth” introduces Chelsea (Jennifer Taylor), who has an on and off relationship with Charlie. They fight over trivial issues that only would bother Charlie. As the season progresses, Chelsea becomes more permanent and she slowly tames the wild beast.
Another big season development for the Harpers involves Judith and Herb. The married couple has a rocky patch in “It’s Always Nazi Week” and they patch things up in “Best H.O. Money Can Buy”. In the first episode, she kicks him out of the house when he takes some bad advice from Charlie. It is a fun development, as Herb tries to become like Charlie. Meanwhile, Judith fears being alone the rest of her life and puts the moves on Alan. Out of this situation, a sticky mess is made involving Judith, Alan, and Herb. It will be interesting to see what comes of it in season six.
As for the rest of the season, there are a lot of fun things happening for the cast. Some highlights include “Smelled The Ham, He Got Excited”, Evelyn makes a generous offer and the Harper boys pound their heads to find out why, “The Mooch At The Boo”, Alan is caught in his mom’s shoes (and dress) and Jake falls for the neighbor girl whose overprotective father Jerome (Michael Clarke Duncan) is a former NFL player, “The Devil’s Lube”, Charlie contemplates death after his friend dies and almost makes a dramatic life changing decision, “David Copperfield Slipped Me a Roofie”, Alan turns forty and no one really seems to care, “The Two Finger Rule”, Charlie, Alan, Herb, and Jerome hang out at the house–it is a real funfest, and “Above Exalted Cyclops”, Chelsea introduces Rose to the Harper boys. Overall, Two and a Half Men’s sixth season is an absolute riot. The series continues to dazzle and amaze with nonstop comedy.
When we last Charlie Harper (Charlie Sheen) he had managed to complete a season with a steady girlfriend, Chelsea (Jennifer Bini Taylor), and when we pick things back up, once again, wedding bells for Charlie are on the horizon. Charlie wastes no time consciously and subconsciously sabotaging his relationship through the reappearance of his previous fiancé, Mia and his general proclivities towards adultery.
Charlie continues to exhibit deplorable behavior and his drinking problem reaches new lows, with the character at one point so hung-over he vomits into an occupied baby carriage. The writers in a turn of originality don’t go for the instant reconciliation of Charlie and Chelsea, nor do they close the door on the relationship. It allows for some character development for the character. Other highlights include some hilarious cameos from Annie Potts as the deranged mother of one of Alan’s girlfriends, and Stacy Keach as Chelsea’s newly out-of-the-closet, man’s man father. Eventually John Amos turns up as Keach’s boyfriend. Last but not least, the dependable supporting trio of Jake (Angus T. Jones), Alan’s now foul-mouthed teenage son, Evelyn (Holland Taylor), Alan and Charlie’s abusive, self-absorbed mother, and Berta (Conchata Ferrell), are always dependable. Season seven brings more laughs but Season 8 would bring an end to the Charlie Sheen era.
Season 8 was filmed at the time Charlie Sheen had his meltdown. What is interesting is that although the real-life Charlie now seems to be a lot like the onscreen Charlie, the onscreen Charlie is a lot happier, a lot more care-free, a comic rather than tragic figure. But enough of the psycho-analysis, what’s the show like, given that this is Charlie’s last season?
Alan and Charlie are of course the classic comedy duo – the uptight dweeb and the anarchic, cool, funny guy – and although it is played very broadly and superficially, they are presented as essentially good, likeable characters. Jake remains a bit-player throughout the season, never really given any room to shine, which is a shame, but well-judged and very funny cameos from Jane Lynch, Ryan Stiles and Judd Nelson help break up the at times repetitive and derivative interplay between the leads.
The season opener is a stand-alone, but after that a series of plots lines are introduced which play out over a number of episodes, which proves much more satisfying. Most enjoyable are the episodes that involve Alan’s developing relationship with Lyndsey, the mother of one of Jake’s class-mates. It is one of those situations that is not milked to death, but is allowed to become at times desperately painful and embarrassing, but also very funny and enjoyable. The season seems to end awfully abruptly with the collapse of Alan’s Ponzi scheme and the various loose ends of Charlie’s relationship with his stalker, this was due to the fireing of Charlie Sheen and paved the way for Season 9 with a new lead.
Tom Cruise (Knight and Day)
Penelope Cruz (Grimsby)
Cameron Diaz (Bad TEacher)
Kurt Russell (Big Trouble In Little China)
Jason Lee (My Name Is Earl)
Noah Taylor (Game of Thrones)
Timothy Spall (Rock Star)
Tilda Swinton (Constantine)
Michael Shannon (Man of Steel)
Ivana Milicevic (Casino Rtoyale)
Johnny Galecki (The Big Bang Theory)
W. Earl Brown (Bates Motel)
Alicia Witt (Two Weeks Notice)
Ken Leung (Lost)
Vanilla Sky didn’t really have it easy in the year of its release. On top of being a Hollywood remake of the critically-acclaimed Spanish film, it also had to contend with the debut of Lynch’s Mulholland Drive and the wider distribution of Nolan’s Memento — both of which generated buzz by accomplishing similar things in superior ways — earlier that year. Therefore, the field was crowded in the psycho-puzzle subgenre, and the twisted story of David Aames’ conflict of romantic pursuits and amnesiac murder mystery wasn’t, in a literal sense, anything new.Crowe tweaks the narrative, though, by emphasizing the protagonist’s legacy as the heir to a publishing empire, accentuating his recklessness with the business end of things and a general self-awareness of the tools at his disposal: charisma, wealth, and appearance. That makes it all the more intriguing to watch his casual tryst with clingy actress Julie Gianni (Cameron Diaz) evolve beyond his control, and to see it all deconstructed by a beautiful but comparatively commonplace dancer, Sofia (Penelope Cruz), who immediately steals his heart.Cruise admirably embraces the understated commentary on his persona through his character’s carefree place of power and his thorny relationship with his father, with his easy charm and building anxiety driven by writer/director Crowe’s good-natured style of human interaction. An immediate spark ignites between his character and Sofia within, unsurprisingly, a cluttered celebration of the greatness of David on his birthday, and it stays credible throughout the film due to how Penelope Cruz’s down-to-earth wit and allure drags him out of the clouds, shaping into a poignant love story. The standout performance, however, emerges in Cameron Diaz with arguably the best turn of her career, encapsulating obsession and one-way affection in a beautiful shell that’s both sympathetic and unsettling, the cloud over David’s happiness.
Infusing ethereal tracks by composer (and wife) Nancy Wilson and Icelandic band Sigur Ros with classic and contemporary melancholy pop songs, director Crowe again uses his musical awareness to heighten the visual and dramatic tempo in Vanilla Sky. Instead of directly enveloping scenes in the feel of a time period or the clear emotional state of a character, however, his musical selection here transports the audience through the complicated space of David Aames’ mind, guiding the film in both similar and differing tonal directions to that of Amenabar’s original intents. Crowe’s attunement to sound mixes intriguingly with the growingly abstract nature of David’s telling of the events, embracing an attitude that’s somewhere between the earnest warmth of the director’s previous pictures and the disappearing grip on reality within David’s psychosis. Overt sentimentality does get in the way of establishing a consistent suspenseful mood, but that duality also becomes one of the film’s distinguishing attributes as the tone shifts between those margins.
Along the way, Cameron Crowe never lets the viewer forget that this is a narrative being spun by an imprisoned man in a latex mask, divulged to an inquisitive psychiatrist as he builds a case for David’s mental state surrounding a murder accusation. Paired with the evocative perspective of Braveheart and Almost Famous cinematographer John Toll, surreal cues emerge through the film’s visual language that suggest there’s more to everything than what we’re shown, where little details scattered about — photographs, drawings, even the mole on someone’s body — begin to play with the perspectives of both David and the audience’s trust level in him. It’s at this point where Vanilla Sky pulls the curtain back on what it’s really about, descending into the pandemonium of nightmares and unreliable narration through warped science-fiction that recalibrates just about everything that’s transpired thus far. Crowe doesn’t get carried away with it all, either, keeping a firm grip on what’s safe to be deduced and not as the film shapeshifts into a psychological thriller.
Vanilla Sky tumbles down that rabbit hole in a wild, slyly unsettling climax to the tragic mysteries of David’s life, both revealing the truth of what’s going on and inviting different interpretations to what it all means through layered clues, more flashes of images and whispers in the distance. It’s unsurprising that heavy emotion speaks louder than thematic lucidity in Crowe’s ending, the most divergent part of the film from the original; however, the bittersweet nature in how it feeds into the choice between moving on with one’s life or perpetuating an illusion says enough. Despite tiptoeing around some rather dark elements, it leaves the audience with a degree of cathartic optimism hanging in the air alongside swelling atmospheric music and painterly surroundings, yet there’s also the lingering sensation that everything hasn’t been, and won’t be, fully answered. Whether repeat viewings will bring that more into focus depends on the viewer, but thankfully experiencing the sweet and sour of David’s life is compelling enough to continue doing so anyway.