![]() Joel Schumacher told of holding her in between takes as she sobbed over a former high school friend selling a risqué about her story to the tabloids. One might deign to call the following movie years in which she made the aforementioned bombs her “Lovett” period.īut within each of these moments were moments offstage that hinted at turmoil, trouble in the proverbial paradise. In a few short steps, she was crowned America’s Sweetheart, the epitome of American film stardom and pop culture.Īdded to that was strong work in hit films like Sleeping with the Enemy, Steel Magnolias, Hook, Flatliners, and The Pelican Brief, as well as the tabloid nature of her love life – peaking not with her leaving her Flatliner costar Kiefer Sutherland at the altar for his fellow Lost Boy Jason Patric, but turning around and eloping with Lyle Lovett (of all people) in 1993. She then winningly cameos as herself, having landed one of these dozens of roles in the film within the film. A running joke in Robert Altman’s The Player (1992) is that, in a long unbroken take segueing from one pitch meeting to the next, every single director, screenwriter, and producer in Hollywood suggests Julia Roberts as the lead for their next project. Though she gamely lost to Kathy Bates, there was no denying that the world’s biggest movie star in one of the year’s biggest hits ha almost crossed the finish line. In two short years, she had gone from a handful of TV appearances and the lead role in the well received Mystic Pizza to coming within a photo finish of winning the Best Actress Oscar for Pretty Woman, the craziest movie to ever make someone a household name for playing a hooker. Julia Roberts’ career was white hot, a seismic supernova of the cult of celebrity, movie star charisma, approachable personality, and genuine acting talent. But for many in the industry, these movies seemed to mark a dangerous turn in the career of a performer seemingly designated as the future of Hollywood.Īnd she was. Not all of these films were without their small plaudits or defenders – for instance, Roger Ebert really liked Mary Reilly because OF COURSE he did. If not, you may understand the predicament the American public and Hollywood at large was when our Biggest Movie Star, Julia Roberts, top lined these films from 1994 to 1996 – and they all performed disastrously. Mary Reilly – a retelling of the Dr Jekyll and Mr Hyde story from the perspective of his Irish chambermaid, who’s romanced by both personalities.Īnd, of course, Everyone Says I Love You – a Woody Allen musical (!) about a modern Upper West Side family singing and dancing around Bergdorf Goodman and the Mount Sinai waiting room. Michael Collins – a period biopic directed by Neil Jordan based on the life of an IRA revolutionary and his firebrand fiancé during the Irish struggle for independence. ![]() ![]() I Love Trouble – in which two Chicago reporters squabble and fall in love while discovering a bombshell report on tainted milk supplies. I’m going to name a few movies and describe them, and in your mind, try to remember any semblance of these movies existing: You’d be forgiven if you said you didn’t, because the album tanked commercially, was a critical laughingstock, and the planned film was quickly canceled due to Brooks’ fans outright rejection of his new direction.
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