Tuesday, December 31, 2013

Wishing You and Yours an Absolutely Delicious New Year!

Friday, December 27, 2013

This New Years Eve, get caught in the delicious grip of 'ANACONDA'. Your sides will ache -- with laughter!

No single movie in the annals of cheesy aquatic flicks fashioned after Jaws -- we're talking Orca, Killer Fish, Tentacles and Jaws 2, 3 and 4 -- has ever provided more unintentional laughs than Anaconda
When "low budget Jacques Cousteau" Eric Stoltz sets sail down the Amazon to make a documentary on a famously elusive Brazilian tribe, he takes with him the least likely boatmates assembled since "Gilligan's Island": USC film school grads Jennifer Lopez and Ice Cube, surfer dude Owen Wilson, disco-livin' wanton Kari Wuhrer, Tim Curry imitator Jonathan Hyde, and inexplicably menacing captain Vincent Castellanos. "Pray you didn't forget your bug spray," Stoltz says to these dubious companions. What they really need, though, is B-movie repellant, since they come upon stranded Jon Voight, who, despite the exotic surroundings, is instantly recognizable as that staple of the civilized world, pure Spam.

Playing a "failed priest" from Paraguay (by way of Marlon Brando U.), Voight proceeds to mumble, mush and gargle his dialogue in an accent that is completely unidentifiable but which mercifully makes most of what he has to say incomprehensible. "Ah trap snaaakes fer a libbing," he informs us. (Out of consideration for our readers, the remainder of Voight's line readings have been translated back into English.) When a wasp sneaks into Stoltz's mouth (don't ask), putting him into an unconscious state for 90 percent of the film (obviously, Stoltz took one look at either the Amazon or Voight and demanded to be written out of this story), Voight is free to mislead the would-be documentarians into treacherous waters. You'll be grateful he does, since that's all that saves us from shot after shot of Lopez cooing at comatose Stoltz.

Turns out Voight is an anaconda fanatic who hopes to catch one of the 40-foot-long snakes to take back to civilization for beeeeg money (perhaps Voight had an inkling he might never work again after his performance here). The sinister reptile wrangler helpfully explains the lure of the anaconda: "It strikes, wraps around you, holds you tighter than your true love, and you get the privilege of hearing your bones break before the power of its embrace causes your veins to explode."

When an anaconda that is clearly not quite ready to be taken to the civilized world kills captain Castellanos, Lopez, Ice Cube et al. become further disenchanted with the Spam in their midst. "Don't make me out a monster -- I didn't eat the captain," Voight snaps in his own defense. (No, that's the scenery he's chewing.) At this point the killer snake, which looks for all the world like two flashlights mounted behind plastic eyes atop a rogue firehose, provokes further hilarity by leaping onto the boat to gobble down Wilson, who deserves to die for having said things like, "Is it just me, or does the jungle make you really, really horny?" How on earth can this boatload of filmmakers hope to get out of the clutches of dialogue like this and the overacting Voight?

Employing the wisdom of the ages, Lopez applies a fresh coat of pastel pink lipstick and proceeds to vamp Voight by cooing, "I thought this movie would be my first big break. Instead, it's turned into a disaster." Were truer words ever spoken? Needless to say, Voight succumbs to Lopez's charms, whereupon the other voyagers crash in and Hyde bashes him over the head with a golf club, crying, "Asshole in one!"

Voight will do anything to get free again, and we do mean anything: when Wuhrer shows the first and last signs of justifying her existence in the film by getting too close to him, the bound villain traps her head between his legs and--he has not been studying anacondas for nothing! -- thighs her to death. At this point, the killer snake lunges out of a tree in a giant coiled spring action that closely resembles the Beany and Cecil jack-in-the-box toy I had as a child, and gobbles down Hyde, who deserves to die for having said things like, "I was up all night picking leeches off my scrotum."

There is much more -- Stoltz wakes up briefly to attack Voight before going back into his coma; an intriguing recipe for anaconda flambe is presented--but you'll be more than ready for the finale, which takes place when Lopez and Ice Cube wander into a deserted shack searching for fuel for their stranded boat. This is obviously the least explicable plot point in the script, since if the movie has established anything, it's that Jon Voight is a natural source of gas.


Sunday, December 22, 2013

The BBC uncovers the true story behind the "true" story of SAVING MR. BANKS

The story of how Walt Disney courted P.L. Travers into letting him option the rights to Mary Poppins is brought to the screen in this non-fiction drama starring Tom Hanks, Emma Thompson, and Colin Farrell.

A doting father, Walt Disney (Hanks) promises his adoring daughters that he will bring their favorite fictional nanny Mary Poppins to the big screen. Little does Walt realize that surly author P.L. Travers has no intention of seeing her most famous creation bastardized for moviegoers, a fact that makes keeping his promise a difficult endeavor. Years later, however, when Travers' book sales begin to slow, dwindling finances drive her to schedule a meeting with Disney to discuss the film rights to the beloved story. For two weeks in 1961, a determined Disney does his absolute best to convince Travers that the film version of Mary Poppins will be a wondrous and respectful adaptation, meanwhile the author only grows more convinced that she has made the right move in preventing the proposed film adaptation. Later, just when it begins to appear that the rights to Mary Poppins have slipped through his fingers, the ingenious Disney reflects back on his childhood, and realizes that a sensitive chapter from Travers' youth could be the key to clinching the deal.

Below you will find both the trailer for the new Disney movie and the wonderful BBC documentary that delves even deeper into the truth behind the creation of one of the classic movie musicals of all time.



Sunday, December 15, 2013

DELICIOUS remembers the legendary Peter O'Toole

From the Associated Press (London):
'Lawrence of Arabia' star Peter O'Toole dead at 81

Known on the one hand for his starring role in "Lawrence of Arabia," leading tribesmen in daring attacks across the desert wastes, and on the other for his headlong charges into the depths of drinking, Peter O'Toole was one of the acting world's most charismatic figures.

O'Toole, who died Saturday at age 81 after a long bout of illness, was fearsomely handsome, with burning blue eyes and a penchant for hard living, which long outlived his decision to give up alcohol. Broadcaster Michael Parkinson told Sky News television it was hard to be too sad about the news of his passing.

"Peter didn't leave much of life unlived, did he?" he said, chuckling.

A reformed — but unrepentant — hell-raiser, O'Toole long suffered from ill health. Always thin, he had grown wraithlike in later years, his famously handsome face eroded by years of hard drinking.

But nothing diminished his flamboyant manner and candor.

"If you can't do something willingly and joyfully, then don't do it," he once said. "If you give up drinking, don't go moaning about it; go back on the bottle. Do. As. Thou. Wilt."

O'Toole began his acting career as one of the most exciting young talents on the British stage. His 1955 "Hamlet," at the Bristol Old Vic, was critically acclaimed.

International stardom came in David Lean's "Lawrence of Arabia." With only a few minor movie roles behind him, O'Toole was unknown to most moviegoers when they first saw him as T.E. Lawrence, the mythic British World War I soldier and scholar who led an Arab rebellion against the Turks.

His sensitive portrayal of Lawrence's complex character garnered O'Toole his first Oscar nomination.

O'Toole was tall, fair and strikingly handsome, and the image of his bright blue eyes peering out of an Arab headdress in Lean's spectacularly photographed desert epic was unforgettable.

Playwright Noel Coward once said that if O'Toole had been any prettier, they would have had to call the movie "Florence of Arabia."

In 1964's "Becket," O'Toole played King Henry II to Richard Burton's Thomas Becket, and won another Oscar nomination. Burton shared O'Toole's fondness for drinking, and their off-set carousing made headlines.

O'Toole played Henry again in 1968 in "The Lion in Winter," opposite Katharine Hepburn, for his third Oscar nomination.

Four more nominations followed: in 1968 for "Goodbye, Mr. Chips," in 1971 for "The Ruling Class," in 1980 for "The Stunt Man," and in 1982 for "My Favorite Year." It was almost a quarter-century before he received his eighth and last, for "Venus."

Seamus Peter O'Toole was born Aug. 2, 1932, the son of Irish bookie Patrick "Spats" O'Toole and his wife Constance. There is some question about whether Peter was born in Connemara, Ireland, or in Leeds, northern England, where he grew up.

After a teenage foray into journalism at the Yorkshire Evening Post and national military service with the navy, young O'Toole auditioned for the Royal Academy of Dramatic Art and won a scholarship.

He went from there to the Bristol Old Vic and soon was on his way to stardom, helped along by an early success in 1959 at London's Royal Court Theatre in "The Long and The Short and The Tall."

The image of the renegade hell-raiser stayed with O'Toole for decades, although he gave up drinking in 1975 following serious health problems and major surgery.

He did not, however, give up smoking unfiltered Gauloises cigarettes in an ebony holder. That and his penchant for green socks, voluminous overcoats and trailing scarves lent him a rakish air and suited his fondness for drama in the old-fashioned "bravura" manner.

A month before his 80th birthday in 2012, O'Toole announced his retirement from a career that he said had fulfilled him emotionally and financially, bringing "me together with fine people, good companions with whom I've shared the inevitable lot of all actors: flops and hits."

"However, it's my belief that one should decide for oneself when it is time to end one's stay," he said. "So I bid the profession a dry-eyed and profoundly grateful farewell."

In retirement, O'Toole said he would focus on the third volume of his memoirs.

Good parts were sometimes few and far between, but "I take whatever good part comes along," O'Toole told The Independent on Sunday newspaper in 1990.

"And if there isn't a good part, then I do anything, just to pay the rent. Money is always a pressure. And waiting for the right part — you could wait forever. So I turn up and do the best I can."

The 1980 "Macbeth" in which he starred was a critical disaster of heroic proportions. But it played to sellout audiences, largely because the savaging by the critics brought out the curiosity seekers.

"The thought of it makes my nose bleed," he said years later.

In 1989, however, O'Toole had a big stage success with "Jeffrey Bernard is Unwell," a comedy about his old drinking buddy, the legendary layabout and ladies' man who wrote The Spectator magazine's weekly "Low Life" column when he was sober enough to do so.

The honorary Oscar came 20 years after his seventh nomination for "My Favorite Year." By then it seemed a safe bet that O'Toole's prospects for another nomination were slim. He was still working regularly, but in smaller roles unlikely to earn awards attention.

O'Toole graciously accepted the honorary award, quipping, "Always a bridesmaid, never a bride, my foot," as he clutched his Oscar statuette.

He had nearly turned down the award, sending a letter asking that the Academy of Motion Picture Arts and Sciences hold off on the honorary Oscar until he turned 80.

Hoping another Oscar-worthy role would come his way, O'Toole wrote: "I am still in the game and might win the bugger outright."

The last chance came in, for "Venus," in which he played a lecherous old actor consigned to roles as feeble-minded royals or aged men on their death beds. By failing again to win, he broke the tie for futility which had been shared with his old drinking buddy, Richard Burton.

O'Toole divorced Welsh actress Sian Phillips in 1979 after 19 years of marriage. The couple had two daughters, Kate and Pat.

A brief relationship with American model Karen Somerville led to the birth of his son Lorcan in 1983, and a change of lifestyle for O'Toole.

After a long custody battle, a U.S. judge ruled Somerville should have her son during school vacations, and O'Toole would have custody during the school year.

"The pirate ship has berthed," he declared, happily taking on the responsibilities of fatherhood. He learned to coach schoolboy cricket and, when he was in a play, the curtain time was moved back to allow him part of the evenings at home with his son.

O'Toole's death was announced by agent Steve Kenis, who said the actor had been ill for some time.

His daughter Kate said the family had already been overwhelmed by the expressions of sympathy.

"In due course there will be a memorial filled with song and good cheer, as he would have wished," she said in the statement.

AP writer Raphael Satter contributed to this report.

Sunday, December 8, 2013

Disney serves up a delicious 'FROZEN' treat for the holidays!

From the outside, Elsa looks poised, regal and reserved, but in reality, she lives in fear as she wrestles with a mighty secret. Elsa was born with the power to create ice and snow. A beautiful ability that also proves to be extremely dangerous. Haunted by the moment her magic nearly killed her younger sister Anna, Elsa isolates herself, spending every waking moment trying to suppress her growing powers. However, her mounting emotions trigger the magic, accidentally setting off an eternal winter in the land that she can't control. But Elsa's sister Anna is a fearless optimist. She sets off on an epic journey - teaming up with rugged mountain man Kristoff and his loyal reindeer Sven - to search for Elsa. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save Elsa and the kingdom.

Check out the trailer and musical number sung by Broadway's own Idina Menzel at the bottom of this post:



Sunday, November 10, 2013

Today Dear Readers We'll Spend Some Quality Time Reliving The Terror Of The Imminent Killer Bee Invasion In The DELICIOUS 1978 Career-Killing Cheesefest THE SWARM

Sitting in my mechanic's - erm - for lack of a better term - waiting room, I browsed through the piles of fine magazine's available to read as I waited to have my car's oil changed. Finding anything from the recent decade seemed nearly impossible, until (miracle of miracles) I happened upon a Time Magazine from August of this year.  I turned immediately to the cover story - a cheery piece about the plight of the dying Honeybee causing the world's food supplies to dwindle, bringing about the end of the human race. How nice! With this new bee terror in my thoughts, I drifted back to the mid-1970s when our biggest bee concern was nothing more than being stung to death by swarms of African Killer Bees that were somehow emigrating over to America's shores like immigrants to Ellis Island. And why not. Isn't this the land of opportunity? I decided I had to clear my head, so I went to the last Blockbuster in the country (which happens to be in my neighborhood) and rented the 1978 disaster movie classic THE SWARM.

Arguably the zaniest of all "disaster movies," the threat here isn't fire, flood, sinking ships, or falling planes. It's bees - "African killer bees," to be exact - who can't be tricked into eating poison pellets." Why not? We're told "they seem to sense it's something that will kill them," an instinct for survival clearly not shared by the film's stars when they read the movie's script. (How else to explain Katharine Ross turning down Airport, but agreeing to be in this? Coming off, back then, a formidable one-two punch - The
Graduate and Butch Cassidy and the Sundance Kid - Ross chose unwisely, inevitably hurtling down the Hollywood Slip `n' Slide to wind up here - indisputably rock bottom.)

This is that rare "disaster" flick to be treasured because most of the hammy stars - from Olivia de Havilland, Henry Fonda, and Jose Ferrer to Richard Chamberlain, Fred MacMurray, and Ben Johnson - get offed. (But not Lee Grant or Patty Duke Astin, presumably because if your career has survived Valley of the Dolls, you can survive anything.) The dead are the lucky ones, for when the bees sting but don't kill, survivors wind up hallucinating giant bees, as if they're trapped inside a cheesy `50s drive-in sci-fi movie (which they are). Never mind that this conflicts with what noted immunologist Fonda has told us, that the bees' poison has "the highest toxic content I've found, even more virulent then the venom of the Australian brown box jellyfish." (You can practically hear producer/director Irwin Allen salivating, "If The Swarm’s a hit, there's my next picture - The Blobbies!") When the bees get up a full head of steam, they can derail speeding trains, knock helicopters out of the sky, and explode a nuclear power plant.

Finally, noted entomologist Michael Caine realizes it's a manmade "sonic alarm system" that `s driving the bees to destroy, for the sound's "an exact duplicate of the duet between the Queen bee and the young Queen bee challenging her domain." (Ah, yes - well, now - that explains everything . . . except, perhaps, General Richard Widmark's response: "Okay, I'm convinced!")

Caine orders up a massive oil spill on the waters of the Gulf, then lures the bees out there , and torches them. The movie ends with a reassuring title card - "The African killer bee portrayed in this film bears absolutely no relationship to the industrious, hard-working American honey bee to which we are indebted for pollinating vital crops that feed our nation" - put there at the last minute, we'd guess, to keep angry, politically correct American honey bees from staging buzz-ins outside the theaters.


Wednesday, October 9, 2013

DELICIOUS CONTROVERSY: This Promises To Raise The Hackles of More Than Just a Few Of The Faithful

Ancient Confession Found: 'We Invented Jesus Christ'

Biblical scholars will be appearing at the 'Covert Messiah' Conference at Conway Hall in London on the 19th of October to present this controversial discovery to the British public.

London (PRWEB UK) 8 October 2013
American Biblical scholar Joseph Atwill will be appearing before the British public for the first time in London on the 19th of October to present a controversial new discovery: ancient confessions recently uncovered now prove, according to Atwill, that the New Testament was written by first-century Roman aristocrats and that they fabricated the entire story of Jesus Christ. His presentation will be part of a one-day symposium entitled "Covert Messiah" at Conway Hall in Holborn (full details can be found at http://www.covertmessiah.com).

Tuesday, October 1, 2013



Dispelling the Myths:

Go here to find out
the Truth behind
all of the Healthcare
Reform Myths being
spread by the Right
Wing, The Tea Baggers
and that Bastion of
lies - FOX NEWS:

Some Delicious Clarity From Massachusetts Senator Elizabeth Warren

Congress passed the Affordable Care Act to solve a real, honest-to-God problem.

Our health care system was broken. 48 million people in this country had no health insurance. Women couldn't get access to cancer screenings. People with diabetes were denied health insurance because of pre-existing conditions. People with cancer hit the caps on their health insurance spending. And health spending in this country was growing far too fast. 

So we worked hard, we compromised, and we came up with a solution. A solution that will substantially improve the lives of millions of Americans – because that's the way a democracy works. 

It's time to end the debate about whether the Affordable Care Act should exist and whether it should be funded.

Congress voted for this law. President Obama signed this law. The Supreme Court upheld this law. The President ran for reelection on this law. His opponent said he would repeal it – and his opponent lost by five million votes.

Right now, Republicans are taking the government and the economy hostage, threatening serious damage to both unless the President agrees to gut the Affordable Care Act. For days, they even tried to change the law so that employers can deny women access to birth control coverage.

I am the mother of a daughter and the grandmother of granddaughters. I will never vote to let a group of backward-looking ideologues cut women's access to birth control. We have lived in that world, and we are not going back. Not ever.

I see things like this and I wonder what alternate reality some of my colleagues are living in.

So let me be very clear about what is happening in the real world: The Affordable Care Act is the law of the land. Millions of people are counting on it – people who need health care coverage, people who need insurance policies that don't disappear just when they are sickest.

The law is here to stay, and it will stay.

Now the government is shut down. We haven't fixed the sequester because of all the obstruction. We haven't finished a budget because of all the obstruction. We haven't even passed a single appropriations bill because of all the obstruction.

The least we can do – the bare minimum we can do – would be to pass a "continuing resolution" to open the doors back up and turn the lights back on. We could ensure that over a million federal workers aren't staying home for no reason. We could end the government shutdown.

But the Republicans have refused to do even that. They have shuttered the government unless the President agreed to de-fund the Affordable Care Act.

The threats may continue, but they are not working and they never will. In a democracy, hostage tactics are the last resort for those who can't win their fights through elections, can't win their fights in Congress, can't win their fights for the Presidency, and can't win their fights in Courts.

For this right-wing minority, hostage-taking is all they have left – a last gasp of those who cannot cope with the realities of our democracy.

The time has come for those legislators who cannot cope with the reality of our democracy to get out of the way – so that those of us in BOTH parties can get back to working on solving the real problems faced by the American people.

We have real work to do.

Elizabeth Warren

Ladies and Gentlemen, Your Tax Dollars At Work.

Government shutdown begins over health care feud

Tue Oct 1, 1:10 PM UTC

WASHINGTON (AP) — Congress plunged the nation into a partial government shutdown Tuesday as a long-running dispute over President Barack Obama's health care law forced about 800,000 federal workers off the job, suspending all but essential services.

The National Zoo's popular online "panda cam" went dark around 8 a.m. The White House grounds cut back to a skeletal staff. The U.S. Capitol canceled tours not personally led by Congress members.

With the Republican-controlled House and Democratic-controlled Senate at a stalemate, it was unclear how long a temporary bill needed to finance government activities would be stalled. The No. 2 Democrat in the Senate, Dick Durbin of Illinois, called the failure to pass a budget "conduct unbefitting a responsible Congress" and said he hoped it could be resolved by the end of the day Tuesday.

"Most people in the body politic are taking a look at this and saying, 'A pox on both of your houses. It should never have reached this point,'" Durbin said Tuesday morning on CNN.

But in the House, conservative Rep. Marsha Blackburn predicted the standoff would drag on if Obama and Senate Democrats refused to negotiate over delaying a key part of the health care law.

"You may see a partial shutdown for several days," Blackburn, R-Tenn., told Fox News. "People are going to realize they can live with a lot less government."

The health care law itself was unaffected as enrollment opened Tuesday for millions of people shopping for medical insurance.

The shutdown, the first since the winter of 1995-96, closed national parks across the nation.

click here to read full article:

Tuesday, August 27, 2013

A Delicious photo of my youngest (and most precious) Little Jimmy.


As I recall, this incident led my husband Jim and me to rethink the continued employment of our rather sinister nanny Mrs. Baylock and on to the hiring (and sudden, unexplained departures) of a series of governesses - ending (for the time being) with our beloved Mrs Whipcrack. Say what you will about nazis, but sometimes the best child-rearing can only come from someone with ex-gestapo on their resume.

Wednesday, July 24, 2013

Today, my dumplings, we set sail to the most DELICIOUSLY insane Island this side of Gilligan's. For pure unintentional hilarity, there is no substitute.

At a preview screening for director John Frankenheimer’s remake of The Island of Dr. Moreau, my girlfriend Sylvia mistakenly referred to it as "The Island of Jeanne Moreau." As it turns out, her error was somewhat prophetic as Marlon Brando (in the title role) out-divas all divas of recent memory by making his first appearance looking like Bea Arthur, with troweled-on pancake makeup and an elaborate extended veil.

Previously filmed in 1933 (as Island of Lost Souls) and in 1977, this graphic 1996 version of H.G. Wells’ tale about a mad scientist whose experiments in crossbreeding humans with animals goes terribly awry, was justly roasted by the critics.

Did they really need to make The Island of Dr. Moreau yet again? The answer, to any Bad Movie collector is, of course, yes. Imagine our delight when this version not only turned out to be quite different, but downright insane! One demented highlight (in a film just bursting with them!), has Brando playing classical music on a piano accompanied by a tiny creature (with a face like Ross Perot) on its own tiny piano.

David Thewlis plays a wayward scholar who is rescued at sea by Moreau’s assistant Val Kilmer and brought to the mad doctor’s island to discover the doctor’s unnatural "children." Fairuza Balk plays Brando’s half-cat daughter, but its Brando and Kilmer (found in one scene doing a killer Brando impersonation) who steal the show.

As Moreau, Brando is a waddling behemoth who spends most of his time dressing in ornate flowing caftans and matching do-rags. We never see this ballooned-up drag queen doing any actual research; with more costume changes than a Lana Turner movie, he’s obviously too busy choosing his next outfit.

Brando’s mincing fashion show and Truman Capote-like complaints about the jungle heat are equaled only by the sight of a drugged-out Kilmer, in femme lounge-wear and a white bandana that looks like it came from Joan Crawford’s closet.

Kilmer, (Hollywood’s new Shannon Doherty? Discuss.), obviously realizing how hopeless the whole project was decided to undermine the proceedings using the time-tested strategy of camp. His scenes with Thewlis have an unmistakably seductive element, where he consistently invades the latter’s "personal space" by conducting conversations an inch away from his nose.

All this homoerotic tension comes to naught as Kilmer just becomes crazier as the film trudges haplessly on. When finally there doesn’t seem to be a shred of scenery left standing, and perhaps finally sensing a complete loss of control, director Frankenheimer sics a mad dog on him, sadly ending Kilmer’s scenery-guzzling Brando impersonations for good. But until then, Bad Movie fans will find much to love in this deliriously, brainless cult film experience.

Wednesday, July 10, 2013


Fans of THE VIEW breath a heavy sigh of relief as the intellectually challenged folks at FOX and FRIENDS welcome their newest member - the departing VIEW co-host Elisabeth Hasselbeck. IQ's of Fox's morning viewers (already in jeopardy from the complete and utter idiotic ramblings of Steve Doocy and Brian Kilmeade) will face a new hurdle to truth as THE VIEW's lone conservative ex-host (with the least on her mind) replaces the departing anti-matter that is Gretchen Carlson, who moves on to an anchoring position on her own one-hour daytime show. Have mercy on us all.



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