Archivio di news mensili riguardanti la vita privata di Kim, i film in uscita, le classifiche, le apparizioni tv.

1 agosto : News! ELVIS HAS LEFT THE BUILDING uscirà in Italia distribuito dalla Warner Bros il prossimo 26 agosto. Trasmesso da ITALIA 1 lo scorso 17 luglio alle 13.30 il film BATMAN è stato il programma più visto della rete con 1.677.000 spettatori (Share: 11,06%). Il numero di CIAK di agosto 2005 segnala THE DOOR IN THE FLOOR con Kim Basinger e Jeff Bridges nella Guida ai 100 film della nuova stagione al num. 32: il film - distribuito dalla Eagle Pictures - uscirà in Italia il 2 dicembre 2005. INTERNATIONAL: ARGENTINA - June 30-July 3 1 - War of the Worlds UIP $974,012 67 $14,537 $1,087,735 1  2 2 Papá se volvió loco Sono $244,167 76 $3,213 $1,730,173 5  3 1 Batman Begins WB $198,775 82 $2,424 $1,408,238 3  4 3 Mr. and Mrs. Smith Fox $129,273 66 $1,959 $1,428,928 4  5 5 The Pacifier BVI $63,839 43 $1,485 $457,413 4  6 4 Der Untergang Alfa $58,359 28 $2,084 $622,553 5  7 6 Star Wars: Episode III - Revenge of the Sith Fox $23,750 52 $457 $2,323,409 7  8 7 Melinda and Melinda Fox $22,701 12 $1,892 $389,091 6  9 8 The Texas Chainsaw Massacre Fox $17,090 12 $1,424 $66,008 2  10 10 The Door in the Floor Alfa $16,824 10 $1,682 $97,124 3  11 9 House of Flying Daggers WB $13,131 28 $469 $345,577 6  12 12 The Woodsman Telexcel $11,595 6 $1,933 $100,558 4  13 11 The Interpreter UIP $11,573 31 $373 $673,033 10  14 13 Cama adentro Distrib. $8,292 10 $829 $174,792 6  15 - Kingdom of Heaven Fox $7,259 27 $269 $1,572,647 9  16 14 De-Lovely CGI $6,617 6 $1,103 $74,383 5  17 - La Vida por Perón P Plano $4,916 7 $702 $4,916 1  18 - Gente di Roma Indep. $4,883 2 $2,442 $4,883 1  19 17 A Lot Like Love BVI $4,542 8 $568 $92,894 6  20 18 Les Choristes BVI $4,516 10 $452 $309,731 18  INTERNATIONAL: ARGENTINA - July 7-10 1 - Madagascar UIP $847,049 160 $5,294 $869,838 1  2 1 War of the Worlds UIP $584,691 110 $5,315 $1,952,702 2  3 2 Papá se volvió loco Sono $212,152 85 $2,496 $2,017,643 6  4 - Herbie: Fully Loaded BVI $155,937 77 $2,025 $155,937 1  5 3 Batman Begins WB $99,031 90 $1,100 $1,485,553 4  6 - Son of the Mask Distrib. $72,498 55 $1,318 $72,498 1  7 4 Mr. and Mrs. Smith Fox $64,543 53 $1,218 $1,475,271 5  8 - The Bridesmaid Alfa $56,389 13 $4,338 $56,389 1  9 6 Der Untergang Alfa $38,323 18 $2,129 $681,385 6  10 - Pooh's Heffalump Movie BVI $32,430 61 $532 $32,430 1  11 8 Melinda and Melinda Fox $10,716 8 $1,340 $389,532 7  12 5 The Pacifier BVI $10,171 30 $339 $484,965 5  13 18 Gente di Roma Indep. $7,776 2 $3,888 $13,976 2  14 7 Star Wars: Episode III - Revenge of the Sith Fox $7,685 19 $404 $2,354,237 8  15 12 The Woodsman Telexcel $5,892 4 $1,473 $110,738 5  16 10 The Door in the Floor Alfa $4,566 5 $913 $106,369 4  17 11 House of Flying Daggers WB $4,515 8 $564 $352,585 7  18 16 De-Lovely CGI $3,768 3 $1,256 $80,240 6  19 20 Les Choristes BVI $3,221 6 $537 $316,260 19  20 13 The Interpreter UIP $2,676 6 $446 $683,746 11 INTERNATIONAL: ARGENTINA - July 21-24 1 1 Madagascar UIP $742,913 160 $4,643 $4,096,165 3  2 2 Fantastic Four Fox $468,356 105 $4,461 $1,457,596 2  3 4 Papá se volvió loco Sono $311,860 81 $3,850 $3,079,663 8  4 3 War of the Worlds UIP $299,037 109 $2,743 $3,222,769 4  5 5 Herbie: Fully Loaded BVI $286,000 80 $3,575 $1,179,027 3  6 6 The Adventures of Shark Boy and Lava Girl in 3-D Sony $131,829 50 $2,637 $367,128 2  7 - Land of the Dead UIP $94,971 22 $4,317 $94,971 1  8 7 Son of the Mask Distrib. $84,143 55 $1,530 $443,083 3  9 8 Pooh's Heffalump Movie BVI $62,235 63 $988 $280,713 3  10 9 Batman Begins WB $54,762 58 $944 $1,732,635 6  11 10 Mr. and Mrs. Smith Fox $44,585 51 $874 $1,638,155 7  12 13 Der Untergang Alfa $35,197 19 $1,852 $787,180 8  13 11 5x2 Alfa $34,143 10 $3,414 $93,110 2  14 12 The Bridesmaid Alfa $26,282 14 $1,877 $152,905 3  15 14 Un Buda Pacha. $13,423 17 $790 $44,098 2  16 - Melinda and Melinda Fox $11,503 6 $1,917 $410,229 9  17 15 Manuelita (Re) BVI $9,298 33 $282 $31,523 2  18 17 The Pacifier BVI $8,059 13 $620 $519,715 7  19 16 Gente di Roma Indep. $6,425 2 $3,213 $32,564 4  20 20 The Door in the Floor Alfa $5,412 6 $902 $115,960 6   CELLULAR è disponibile per il noleggio in VHS e DVD dal 20 luglio, mentre sarà in vendita in DVD dal 14 settembre. Contenuti speciali: Scene alternative/eliminate Commento al film del regista David Ellis Larry Cohen e Chris Morgan, Documentari: Celling Out (La storia del cellulare), Dialing Up Cellular (Speciale Cellular) Codice del silenzio: dentro lo scandalo Rampart Trailer cinematografico

	26 agosto : Distributo da ARTISTI INDIPENDENTI ASSOCIATI, è uscito in Italia ELVIS HAS LEFT THE BUILDING col titolo "Se ti investo, mi sposi?".
	29 agosto : ARGENTINA BOX OFFICE July 21-24: 20 20 The Door in the Floor Alfa $5,412 6 $902 $115,960 6. July 14-17: 20 16 The Door in the Floor Alfa $1,525 3 $508 $109,857 5.
	30 agosto : NEWS! I kept wondering why “Elvis Has Left the Building,” director Joel Zwick’s follow-up to the sleeper smash “My Big Fat Greek Wedding,” was going straight to video after sitting too long on the studio shelves (so long, in fact, that Zwick had time to make and release “Fat Albert”). Surely a wise studio marketing department could help create a modest hit, if not simply by riding the “Big Fat” reputation (and ignoring the “Fat Albert” one), then at least on the presence of Kim Basinger, or maybe even John Corbett. Then I saw the damn thing, and I realized that no, they couldn’t. “Elvis” is one continuous groaner of a comedy, a one-note eye-roller whose sharpest idea is to play “Burning Love” on the soundtrack when something accidentally catches on fire. Once that starts playing, get comfy: it’s going to be a long, hard slog from here. Basinger plays Harmony Jones, top seller of Pink Lady Cosmetics. It seems that Elvis himself once gave Harmony a ride in his pink Cadillac years ago, yet never asked for a favor in return. Now, Harmony believes, the King has come a-callin’ from beyond the grave; Harmony keeps accidentally causing the deaths of Elvis impersonators, and she’s sure that the Big E is working his magic through her. Or something. It’s all just a flimsy excuse to see a bunch of “funny” Elvis impersonators meet “funny” demises, leading up to a convention in which many impersonators all appear together, which, I suppose, was intended to be “funny.” And this is where rookie screenwriters Mitchell Ganem and Adam-Michael Garber get it wrong. Taking their cue from “Honeymoon In Vegas,” this new film throws us oodles of Elvises (no, I will not call them “Elvii”), yet doesn’t seem to understand that the impersonators in “Honeymoon” were punctuation, not the sentence. “Honeymoon” did not depend on Elvis alone for its humor; “Elvis” uses the King like a crutch. I’ll admit: Elvis impersonators are funny. Or, at least, they can be if played the right way. But lining up a series of actors whose cameos do not impress - the list includes David Leisure (didn’t he die years ago?) and Billy Ray Cyrus - is not enough. (Only the quickie appearance of Tom Hanks, whose head pops up for one brief shot, gets a laugh, mainly because it’s only one brief shot and therefore the only moment of restraint in the film.) We’re asked to titter at the big hair and the shiny suits and the big collars. We’re invited to chuckle at the strained scene in which undercover FBI agents Mike Starr and Phill Lewis are forced to do an Elvis act. We’re given the bizarre image of Denise Richards done up like Elvis, and, of course, expected to giggle. We don’t, of course, because none of this is actually funny. It’s cute, perhaps, at least in small doses. But as the movie’s only punchline? Nah. Worse, though, is the sad fact that this is a very sloppy film. I found it impossible to watch any scene with Sean Astin in it, merely for the fact that it’s obvious that a) his character has nothing to do with the story, other than helping to pad the running time and provide bounce-off dialogue for Corbett; and b) his scenes were shot in a day (maybe two) in a set far, far away from everything else. I started to place bets with myself over Astin’s character: Would he ever leave his office? Would we ever see him do anything other than talk on the phone with Corbett? Would he ever become useful to the story? The answers, for those wondering, are no, no, and no. And what of the movie’s final sequence, the one that finds hundreds of Elvis impersonators squished together on the casino roof, arms stretched upward, chanting the name of their idol? I guess that Ganem and Garber really, really wanted their story to end with a scene like this, but couldn’t figure out a way how. The way in which the script half-asses its way to this scene is spectacular in its idiocy, a plot cheat that I refuse to believe was thought up by professional writers. Then again, these are the same writers who give us semi-jokes like “you don’t have to yell; I’m gay, not deaf.” Whatever that means. “Elvis” plays like the rough draft of a script where the basic storyline’s been crafted, but placeholders standing where the jokes would eventually go, once somebody worked them out. Looks like nobody did. To their credit, Basinger and Corbett bring enough of their own charisma to the project that the film, if not funny, is at least bearable. Their romance is light and inoffensive, and they make their way through the lame bits as capably as you’d expect from such fine actors. But come on. You need more than two likable stars to make your movie work, and without any memorable moments, and with too many forgettable yawners, you’ll end up driving your movie straight to the video shelves. Which is exactly what Zwick, Ganem, and Garer did. So much for riding the success of a smart, fun comedy. Stone's 'Basic Instinct' is sexiest film moment! Sultry actress Sharon Stone's titillating scene, in Basic Instinct, in which she uncrosses her legs and bares all, has been voted the sexiest film moment of all time. According to The Sun, the sensuous clip beat Anne Bancroft seducing a young Dustin Hoffman in The Graduate, and Bond girl Ursula Andress emerging from the waves in Dr No. The Top 5 Sexiest Scenes were: 1. Basic Instinct: Sharon Stone crossing her legs 2. The Graduate: Dustin Hoffman: "Mrs Robinson, are you trying to seduce me?" 3. Dr No: Ursula Andress emerges from the waves 4. 9 1/2 Weeks: Mickey Rourke and Kim Basinger in front of the fridge 5. Wild Things: Matt Dillon's threesome with Denise Richards and Neve Campbell D.C. mayor makes cameo - Washington D.C. mayor Anthony A. Williams will have a small cameo role in the upcoming Michael Douglas movie The Sentinel. The movie is based on the book by former Secret Service agent Gerald Petievich about an agent who has an affair with the president's wife. Apparently that happens when the first lady happens to be Kim Basinger. Oh yeah, and the mayor made six hundred dollars for his hour and a half of work, which he'll be donating to charity. D.C.'s Mayor Films Cameo With Douglas WASHINGTON -- The globetrotting mayor of the nation's capital had a bit of Hollywood on his own doorstep Thursday. Anthony A. Williams stood in front of the swank, upscale Mayflower Hotel on Connecticut Avenue, where he filmed a cameo for the new movie "The Sentinel." Williams -- playing himself -- walks into the hotel and shakes hands with a Secret Service agent played by a more recognizable marquee name, Michael Douglas. "It took several takes," Williams' spokesman Erik Linden said of the scene which takes up 30 seconds of celluloid. Williams was on the busy downtown set for about 90 minutes Thursday morning. "I have to say that the mayor looked very good," Linden added. Based on the novel of the same name by former Secret Service agent Gerald Petievich, "The Sentinel" stars Douglas as an agent who is having an affair with the president's wife, played by Kim Basinger. Kiefer Sutherland and Eva Longoria, of "Desperate Housewives," are also in the movie, being directed by Clark Johnson of "S.W.A.T." fame. It is tentatively scheduled for release in 2006. The crew is expected to spend about six days filming in Washington. They spent May and June filming in Toronto. "I'm thrilled that more filmmakers have chosen to use our magnificent city as a backdrop," said Williams. While the terrorist attacks of Sept. 11, 2001 -- and the security measures that followed -- put a crimp in the city's filmmaking, things are looking up for the District of Columbia. In the spring, scenes for the television shows "Commander-in-Chief," "Bones" and "E-Ring" took place in the district. Scenes were also shot for the current movie "Wedding Crashers." Williams joins former New York Mayors Rudy Giuliani and Ed Koch among the list of notable big city mayors who have appeared on the big screen. Williams plans to donate his $600 fee to charity. D.C.'s Mayor Cast In Hollywood Film Mayor Williams Films Cameo With Michael Douglas WASHINGTON -- Mayor Tony Williams usually travels the globe, but this time Hollywood came to him on his birthday. He turned 54 Thursday. Mayor Tony Williams greets actor Michael Douglas in the lobby of the Mayflower Hotel on Connecticut Avenue in D.C. for the filming of the mayor's cameo appearance in the movie "The Sentinel." The mayor filmed a cameo in the new movie "The Sentinel" at the Mayflower Hotel on Connecticut Avenue. Williams, who is playing himself in a one-line part, walks into the hotel and shakes hands with a Secret Service agent played by Michael Douglas. A spokesman for the mayor said it took several takes to film the 30-second scene. Along with Douglas, the film also stars Kim Basinger and Kiefer Sutherland. The crew is expected to spend about six days filming in D.C. Williams was paid $600 for his small role and he plans to donate the money to charity. Williams said he did the bit part to promote Washington, D.C., as a good place to film movies. D.C.'s Mayor Films a Cameo With Michael Douglas WASHINGTON (AP) - He's ready for his close-up, Mr. DeMille. The globetrotting mayor of the nation's capital had a bit of Hollywood on his own doorstep Thursday. Tony Williams was ready for his close-up in front of the swank, upscale Mayflower Hotel on Connecticut Avenue, where he filmed a cameo for the new movie "The Sentinel." Williams -- playing himself -- walks into the hotel and shakes hands with a Secret Service agent played by a more recognizable marquee name, Michael Douglas. "It took several takes," Williams' spokesman Erik Linden said of the scene which takes up 30 seconds of celluloid. Williams was on the busy downtown set for about 90 minutes Thursday morning. "I have to say that the mayor looked very good," Linden added. Based on the novel of the same name by former Secret Service agent Gerald Petievich, "The Sentinel" stars Douglas as an agent who is having an affair with the president's wife, played by Kim Basinger. Kiefer Sutherland and Eva Longoria, of "Desperate Housewives" fame are also in the movie, being directed by Clark Johnson of "S.W.A.T." fame. It is tentatively scheduled for release in 2006. The crew is expected to spend about six days filming in Washington. They spent May and June filming in Toronto. "I'm thrilled that more filmmakers have chosen to use our magnificent city as a backdrop," said Williams. While the terrorist attacks of Sept. 11, 2001 _ and the security measures that followed _ put a crimp in the city's filmmaking, things are looking up for the District of Columbia. In the spring, scenes for the television shows "Commander-in-Chief," "Bones" and "E-Ring" took place in the district. Scenes were also shot for the current movie "Wedding Crashers." Williams joins former New York Mayors Rudy Giuliani and Ed Koch among the list of notable big city mayors who have appeared on the big screen. Williams plans to donate his $600 fee to charity. Alec Baldwin vows never to remarry:- Hollywood actor Alec Baldwin has vowed never to remarry after his divorce from actress Kim Basinger. The star, who is currently dating lawyer Nicole Seidel, said that split form Kim was so emotionally and physically draining it has put him off marriage for life. "It's hard with my lifestyle to settle down. If I'd been married successfully, maybe I'd have a different view, but I wouldn't consider getting married again," femalefirst quoted him as saying to Britain's Weekend magazine. (ANI). Elvis Has Left the Building (July 30/05) Given that Elvis Has Left the Building has been directed by My Big Fat Greek Wedding helmer Joel Zwick and features performances from folks like Kim Basinger, John Corbett, and Sean Astin, one can only assume that the film wasn't originally meant to premiere on home video. And while the movie's not bad, exactly, it's easy enough to see why it never quite made it to theaters. Basinger stars as Harmony Jones, a traveling saleswoman with a predilection for murdering Elvis impersonators. She's not doing it on purpose, however; it just so happens that Elvis impersonators die soon after encountering her. While on the road, Harmony meets Miles Taylor (Corbett) - a New York ad executive who is desperately trying to come up with a new slogan for a picky client. Though Harmony and Miles hit it off right away, Harmony becomes convinced that Miles is an Elvis impersonator and - out of concern for his well-being - spends the rest of the film dodging his romantic advances. There's also a silly subplot involving two FBI agents - Charlie (Phill Lewis) and Sal (Mike Starr) - who are trying to figure out why all these Elvis look-alikes are being murdered. They're presumably here for comedic relief, though their hackneyed antics are far from funny (Charlie is so anal retentive that he's afraid of dirty bedspreads). Mitchell Ganem and Adam-Michael Garber's screenplay is likewise packed with similar instances of broad, overly pronounced instances of humor that just come off as desperate (Tom Hanks' bizarre, three-second cameo is good for a few chuckles, though). Elvis Has Left the Building is undoubtedly far more effective as a romance than as a comedy, thanks to the genuine chemistry between Basinger and Corbett. Both actors deliver charismatic, engaging performances - to the extent that it's hard not to wish that they were in a better movie. ELVIS HAS LEFT THE BUILDING (PG-13) Kim Basinger plays a makeup saleswoman who seems to be inadvertently causing the death of Elvis impersonators. Wildly original idea doesn't quite live up to its potential. John Corbett and Sean Astin costar but the film's most unusual cast member is Tom Hanks, who makes a brief but memorable appearance as one of the doomed Elvises. Grade: C+. Elvis Has Left the Building (2004) Every so often, a movie that ought to have received notice passes beneath the radar. Okay, it happens fairly often, but you'd think with a cast that includes Kim Basinger, Sean Astin, Denise Richards, John Corbett, Annie Potts, Richard Kind (Spin City), David Leisure, Angie Dickinson, Billy Ray Cyrus, and Tom Hanks (albeit in a one-shot cameo), Elvis Has Left the Building would've gotten some sort of attention. Nope. It's gone straight to DVD. Harmony Jones (Basinger) is a single, successful cosmetics saleswoman who grew up a few blocks over from Elvis Presley (Gil McKinney). On the road from Texas to Nevada, she begins encountering more and more Elvis impersonators—each of whom meets an untimely demise when in her company. So when she meets a potential Mr. Right in Miles (Corbett), she runs away, believing him to be an impersonator and therefore in danger. (The audience knows the truth: Miles's bee-atch of a soon-to-be-ex wife (Richards) is the impersonator in the family.) Meanwhile, two FBI agents (Mike Starr, who has to be the busiest character actor working today, and newcomer Phill Lewis) are assigned the case of the mysteriously dying impersonators. Starr and Lewis are the classic odd couple—big and messy, small and fastidious, and the actors have great chemistry. "Romp" is a good word to describe this movie. "Campy" is another. "Over-the-top" doesn't begin to do it justice. "Goofy" is good. Get the picture? Don't think too hard—it's just screwball comedy. And as such, it works. Joel Zwick (My Big Fat Greek Wedding) managed to round up this cast with only $11 million. He did it, he explains on the commentary, by calling in favors and talking to friends—the Hollywood networking machine at work. He also offered actors a chance to play against type—Kind, for example, finally gets to play a different kind of loser; Corbett gives maybe his best performance since his Northern Exposure days. His disillusioned ad exec is far more interesting than his Greek Wedding character, his Sex and the City role, or the bland pastor from Raising Helen. Not that some actors didn't embrace their type: Leisure, best known as the pathologically lying pitchman Joe Isuzu, is still deliciously smarmy here. Potts returns to her wisecracking Designing Women roots; Pat Morita gets a cameo that becomes a bit The Karate Kid Meets Elvis; Philip Charles MacKenzie, now a successful sitcom director, essentially reprises the queeny role he played in the 1984 sitcom Brothers. Basinger is solid at comedy, a genre she hasn't tackled since Wayne's World 2 (she was even better in My Stepmother is an Alien). Because she's on the run both from the cops and from Miles, she carries her part of the film alone; that's a pretty hefty job, even for a woman with talented co-stars. Zwick received complete cooperation from Elvis Presley's estate—not an easy task except, perhaps, when one is making a movie that lambastes Elvis impersonators. Conversely, he had so much trouble with the Mary Kay legalese that he eventually created a fictional counterpart: Pink Lady Cosmetics. The DVD has only one extra feature: Zwick's commentary. Unless you want to know exactly how he landed each one of these actors, or how he made a movie on a relatively small budget, or the benefits of filming in New Mexico, skip it. The soundtrack is phenomenal, assuming you like classic Elvis songs. Some are sung by the King himself; others are covers. All fit beautifully—lyrically—into the plot, and some plot quirks hang on different songs (Harmony's mother, a mechanic, sings different songs depending on what part she's fixing). This movie doesn't get a good rating because it's a fantastic work of art (there is one major continuity error, but it's over with soon enough); it simply does what it sets out to do: be silly and make viewers laugh. You definitely have to be in the right frame of mind, though, and you have to have an appreciation for quirky indie comedies that have no particular social value (aside, of course, from killing Elvis impersonators). The key to enjoying Elvis Has Left the Building is to just roll with it, have fun, and don't expect Great Artistic Cinema. You might even consider a theme night—say, with Honeymoon in Vegas and 3000 Miles to Graceland. Who knows? Elvis might even join you.