The bad news: When City Arts & Lectures announced in November that Tina Fey would be passing through SF in April to promote her new book Bossypants, tickets sold out in less than an hour. So, they got a bigger venue, and tickets sold out again in a hot second.
The good news: Starting now, you can place a bid to score 2 premium orchestra seat tickets for the April 20 performance at Orpheum Theatre! A benefit for the Japanese earthquake and tsunami relief efforts, 100% of the moola raised will go to the Japanese Cultural & Community Center of Northern California fund to help victims of the disaster.
In case you hadn't already heard, Tina Fey is coming to the Bay Area on April 20 for a City Arts & Lectures discussion. Unfortunately, tickets to the night of film clips and conversation are already sold out and people are already reselling the $33 golden tickets for a whopping $165!
So, you could either pay way too much to guarantee your seat, or sit tight until April and brave the crowds at the Orpheum for returned tickets. Stay tuned.
It’s a formidable comedy match: Will Ferrell and Tina Fey, reunited for the first time since their years together at Saturday Night Live, each having graduated to movies and, in Fey's case, the Emmy-winning NBC comedy 30 Rock, which she created and stars in.
They find themselves gamely butting heads in Megamind, the animated satire in which Ferrell plays the titular super-villain, ordinarily hapless in his attempts to subdue Brad Pitt’s cocksure crime fighter, Metro Man. When one of Megamind's schemes actually pays off, leaving him without a worthy nemesis and Metro City vulnerable, the diabolical genius becomes the unlikely savior of a city in crisis.
Miguel Sapochnik’s love letter to American health care and the subprime lenders who felled the country’s economy takes us 20 years into a bleak, bloody future where artificial organs are sold at a premium ($600,000 for a synthetic heart) and reclaimed by knife-wielding thugs once clients default on their payments.
Remy (Jude Law) is one of those thugs, coldly carving up the hopeless saps whose bodies are essentially on loan from his employer, the Union Corporation. He is unmoved by the grislier aspects of his work, perhaps because he buys so readily into the company credo. “You’re not taking a life,” his boss (a smugly soulless Liev Schreiber) explains. “You’re keeping the Union viable so we can continue to give it.”
Former Saturday Night Live player Tracy Morgan has by now trademarked the dizzy persona that has served him well on the NBC ensemble comedy 30 Rock and here, in Kevin Smith’s weightless new farce, as a New York cop hunting a vicious gang leader and a stolen baseball card. He is self-absorbed, endearingly eccentric and rarely at a loss for words, especially when logic escapes him. He’s never all there.
Sitting before a standing-room-only crowd of 6,500, most of whom had waited hours to catch a glimpse of the silver-haired animation master and greeted him with a raucous standing ovation at last month’s Comic-Con convention in San Diego, Hayao Miyazaki played the part of reclusive auteur to perfection.
He was soft spoken and unfailingly polite as longtime friend John Lasseter, the Pixar Animation chief who describes his films as “unique and inspirational,” questioned him about Ponyo, his wondrously illustrated tale of a fish who turns into a little girl after discovering love in the human world.
If his answers came off as less than revealing, nobody seemed to mind.
New Year’s Day has come and gone, and by now you’re already too familiar with the films hailed by critics as the cream of last year’s crop, to the extent that the official announcement of nominees for the 81st Academy Awards (due in the wee morning hours of Thursday, Jan. 22) may seem like something of a formality.
Among, you know, other things, 2008 will be remembered as the year that Saturday Night Live became relevant (and funny) again. Ms. Tina Fey, obviously, has been coronated as the savior (just see January's Vanity Fair cover). Her spot-on impersonations of Sarah Palin may very well go down as the apex of SNL political satire. But Palin, of course, was the comedic gift that just kept on giving.