Big Hoss of 'Pawn Stars' fame is in the big house, thanks to his involvement in a California bar fight.
Hoss, whose real name is Corey Harrison, was arrested Sunday night at Murray's Saloon and Eatery in Big Bear Lake after getting into a fight with a patron at that establishment. When two men a deputy and a security guard attempted to intervene, Harrison allegedly attacked them.
Arden Wiltshire, speaking on behalf of the San Bernadino County Sheriff's Department, said that Harrison, 27, had been booked in the Big Bear jail following the event.
"He was arrested and taken to jail and held until he was able to care for himself," a spokesperson for the department confirmed.
Big Hoss was issued citations for battery and resisting arrest and was "cooperative and apologetic" upon his release.
Roeper is a successful columnist for the Chicago Sun Times a job that he has had for nearly 24 years. He is most well-known for co-hosting with Roger Ebert after Gene Siskel's passing, for the TV show "At the Movies."
Roeper has his own website and blog where he critiques pop culture. He makes appearances on radio and television on a regular basis. He was prepared on the stand, with clips from various television productions that he has worked on, including a cameo in the HBO series "Entourage" where he did a lot of his own writing.
He also came equipped with an iPad, with all of his notes and Twitter postings at his convenience. "Now everyone's a writer," Roeper said, saying that anyone can blog, tweet, etc. "It's just finding someone to pay you for it."
For his Oscar picks, Roeper chose the "Facebook-film" as his choice for best picture, but believes the academy will choose "The King's Speech." Overall, he felt that "Inception" should be nominated and should win. It's his top choice.
"The King's Speech" is what the academy loves -- British actors talking about British things," Roeper said.
He said that if it were up to him, "The Social Network" would be the winner.
Dan Allen, a freelance film critic from Deland agrees with Roeper's Oscar choices.
"Him and Roger Ebert inspired me to do this," said Allen. "It's ironic that his movie of the year is also mine."
After he spoke, students were invited to ask questions and it went on for about an hour. A lot of the students asked about what moviemakers might think of what he says.
"I think that he says what he means, it's his job," said UCF alumni Josh Browne.
Roeper said during the presentation that critiquing movies is all based on opinion. To be thoroughly entertained, you don't have to think about the film trifecta -- it just happens. He says what makes him cry isn't a death scene or a funeral; it's when a character makes a gesture that changes the course of the film. He said what makes him laugh is really smart comedy -- not physical.
So how does a moviemaker avoid negative comments from the ultimate film critic?
"What makes a really good movie is the script," Roeper said. "There's no chance for a good movie without one."
He said that a film could have great actors, directors and producers, but if the script is bad, it's just bad.
DAWN JOHN-HBO“Two players. Two sides. One is light. One is dark.”
John Locke could have been describing Tommy Lee Jones’ new HBO adaptation of Cormac McCarthy’s relentless 2006 play, The Sunset Limited. If you think that’s a reductive reading, check the script. Jones’ suicidal college professor is simply named White, while his savior, a man of faith played by Samuel L. Jackson (and a spiritual cousin to Jules Winnfield), is called Black. Essentially a 90-minute conversation in a Washington Heights tenement taking place in the immediate aftermath of White’s suicide attempt at a subway station, The Sunset Limited plays like a talky condensation of McCarthy’s great theme: How do we create meaningful lives in a chaotic world where God is silent and death is inescapable? But instead of a Western, Southern Gothic, or post-apocalyptic novel, he gave as a verbose, urban-set play, something Bergman would like (if Uncle Ingmar had had an interest in anyone but the haute bourgeoisie).
It’s fascinating to see the conversation between Jones and Jackson ebb and flow like a game of verbal ping-pong, one holding the intellectual high ground one moment, the other the next—My Dinner With Andre as a game of philosophical brinksmanship . Jones’ timorous atheist runs a whole emotional gauntlet from initial humiliation and despair to smug self-assuredness, and man of faith Jackson somewhat the reverse. If The Three Burials of Melquiades Estrada didn’t already convince you that the man can direct, Jones’ take on Sunset Limited proves his directorial skill. Instead of opening up McCarthy’s play, he embraces its claustrophobia, focusing on little sensual details like the flexing of a hand, swirling coffee in a mug, an orange peel on a counter-top, a trumpet’s muted honk wafting through the walls. Jones’ professor has forgotten that it’s these little details that really make life worth living, and so, like ze tiger in ze zoo in Werner Herzog’s Madeline, he thinks death is his only release. And to McCarthy’s credit, he doesn’t ever let the professor see the light. Maybe, like Woody Allen in Hannah and Her Sisters, he just needs to see Duck Soup again to go on living.
So, PopWatchers, where do you think The Sunset Limited falls on the McCarthy-meter of Cinematic Excellence? Just okay like The Road or an outright masterpiece like No Country for Old Men? I clearly vote for the latter. To help get you thinking, though, we assembled a list of Sunset Limited’s best lines:
McCarthy channeling Tarantino:
“I’m just studying the ways of professors.”
Channeling Charlie Kaufman:
“I ain’t got an original thought in my head. If it ain’t got the scent of divinity to it, I ain’t interested in it.”
Channeling Left Bank existential dread:
“The things I believed in no longer exist. It’s foolish to pretend they do. Western civilization finally went up in smoke in the chimney’s of Dachau and I was too infatuated to see it. I see it now.”
Channeling the ultra-violence of Blood Meridian:
“I reached out and got ahold of this table leg, and it come off in my hand just as easy. Had this long screw stickin’ out the end of it. And I went a wailin’ on that nigger’s head. And I ain’t quit. I ain’t quit. Till you couldn’t tell it was a head no more. That screw was stickin’ in his head and I had to put my foot on him to pull it out.”
Channeling the ending to The Road:
“I think whatever truth is wrote in the pages of this book is wrote on the human heart too and was wrote their a long time ago and will be wrote there a long time hence.”
Channeling Will Ferrell’s grace from Talladega Nights:
“Lord, we thank you for this food and the many blessings we have received from your hand. We thank you for the life of the professor you have returned to us and ask that you look after him because we need him. I don’t know why we need him, I just know we do.”
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Big Hoss of 'Pawn Stars' fame is in the big house, thanks to his involvement in a California bar fight.
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