What the Hell Happened to Michelle Pfeiffer?

Michelle Pfeiffer

Michelle Pfeiffer

Michelle Pfeiffer was one of the most popular actresses in Hollywood.  She starred opposite Al Pacino, Harrison Ford, Sean Connery and Jack Nicholson.  The image of Pfeiffer cracking a whip as Catwoman is iconic.  And then, she disappeared for seveal years.  Recently, Pfeiffer has resurfaced.  But her days on the A-list appear to be behind her.

So, what the hell happened?

Michelle Pfeiffer - 1978 Miss California Beauty Pageant

Michelle Pfeiffer – 1978 Miss California Beauty Pageant

Pfeiffer started out as a pageant girl before moving into TV and movies. Pfeiffer was Ms. Orange County in 1978 and competed in the Miss California Beauty Pageant where she placed sixth.

After her sixth-place finish, Pfeiffer hired an agent and got into acting.

Michelle Pfeiffer - Fantasy Island - 1978

Michelle Pfeiffer – Fantasy Island – 1978

One of Pfeiffer’s earliest TV appearances was on the TV show, Fantasy Island.  Guest star Robert Morse played a sailor who visits an island populated by beautiful women.  Pfeiffer played one of the island’s inhabitants.

Pfieffer would return to the show a few years later.

Pfeiffer - Delta House

Michelle Pfeiffer – Delta House – 1979

In 1979, Pfeiffer landed a recurring role on the short-lived Animal House TV show, Delta House.  The show recast some roles while maintaining original cast members Stephen Furst, Bruce McGill, James Widdoes and John Vernon. Pfeiffer’s character was named “The Bombshell”.

Pfeiffer wasn’t impressed by the show’s scripts, but she needed the work:

It was a no-brainer, and I detested it. But it was exposure so I did the best I could with terrible scripts. I told myself: “There are so many unemployed actors around, you should be glad you’re working at all.”

Delta House got good ratings initially.  But after fights over content, the show was cancelled after only 13 episodes.

Michelle Pfeiffer - B.A.D. Cats - 1980

Michelle Pfeiffer – B.A.D. Cats – 1980

In 1980, Pfieffer landed a regular role on the car-themed cop show, B.A.D. Cats.  Asher Brauner and Steve Hanks starred as a couple of former race-car drivers who join the Los Angeles Police Department.

B.A.D. Cats lasted 10 episodes on ABC.

Next: Hollywood Knights and Falling in Love Again


Posted on October 7, 2011, in Movies, What the Hell Happened?, WTHH Actress and tagged , , , , , , , , . Bookmark the permalink. 295 Comments.

  1. i thought dark shaodws would be a hit it had her team up with burton but came up short. depp wasnt in the slump he was then dark shaodws was kind of the beginning of it. if keaton can make a comeback so can she


    • The difference between Michael Keaton and Michelle Pfeiffer is the brutal reality that older men typically have more “good” roles at their disposal than older women. There’s a reason why Kim Basinger’s (Michael Keaton’s other Batman leading lady) career has been in the sh**-hole for at least, the past ten years.


  2. I re-watched Frankie and Johnny the other day. The 1991 movie holds up surprisingly well and is probably a good representative of Garry Marshall’s better works. He does more with less here – however did this director let himself get lost in the NYE 40-star cast stuff? He does a really great job building the intensity at a nice slow pace, but of course he has Al Pacino and Michelle Pfeiffer to help that along. For those who don’t care for his later performances, I think you’ll find Pacino is more understated as Johnny. There was critical drama at the time about how they were both too impossibly gorgeous to play the lead characters but I never thought this criticism made any sense. Some of the buzz came about because Kathy Bates wanted to reprise her Broadway role on film, and it’s understandable she was disappointed. But the movie works. Of course, I love Pacino and Pfeiffer anyway, so for me this is an easy sell.


    • It’s been a while since I have seen Frankie and Johnny. This may surprise you but I liked the movie. I just feel a little guilty about it.

      I agree that Frankie and Johnny is representative of Gary Marshall for better or worse. I am actually not a fan of Marshall. But as much as I would like to use the word “hack” I have to stop short. What Marshall excels at is taking the rough edges off of entertainment. He has said before that when he casts his leads, he casts pretty people he thinks the audience will want to see kiss. This worked very well for him when he turned a story about a prostitute into the fairy tale Pretty Woman. But most of the time, it’s less successful.

      I have seen local productions of Frankie and Johnny. In fact, I wrote a play that was my 20-something take on it. Mine involved a lot less nudity. But the actual play was about middle-aged people taking a last chance at something. The characters were flawed and not at all glamorous. Casting the most beautiful actors you can find is to completely miss the point of the play. A faithful adaptation would have starred Bates.

      Instead, Marshall takes away a lot of what made the stage play special. I still think there is some of the play’s DNA left in the movie and that is what raises it above the average Gary Marshall movie (along with a killer cast). But an adaptation of Frankie and Johnny could have been more than that.


      • The 411 Movies Top 5: The Top 5 Worst Casting Choices:

        Michael Weyer

        Michelle Pfeiffer, Frankie and Johnny So here’s some nice irony. Kathy Bates starred in the Broadway play about a short-order cook and a waitress who fall in love, nicely imbuing a character who’s ignored by men in her life. However, for the movie version, the studio felt Bates was too homely for the part and so instead cast Michelle Pfeiffer. Yes, one of the most gorgeous women alive at the time having to play a small diner waitress who’s talked of being ignored by men and living alone. It never made sense even without the age difference between her and Al Pacino and the entire film failed to work. However, it turned out well for Bates as, with her time freed by not having to do the movie, she took on Misery, which won her the Oscar. So guess who got the last laugh there?


        • Frankie and Johnny (1991) : Garry Marshall’s only good film

          And even then, there were many superior filmmakers who could have done an even better job with the material.

          But at least the hack behind ‘Pretty Woman’, ‘Georgia Rule’, ‘Valentine’s Day’, ‘New Year’s Eve’, ‘Exit to Eden’, ‘Overboard’ and those stupid ‘Princess Diaries’ films toned down his usual broad, overly-slick tone and made something that was at times genuinely affecting, thanks to the excellent play, some great music choices particularly Debussy’s ‘Clair De Lune’ (does anyone know if it was featured in the original play?) and the Doobie Brothers’ ‘What a Fool Believes’, and some wonderful performances by Michelle Pfeiffer and Al Pacino (even if they were, strictly speaking, miscast, especially Pfeiffer – I guess the sign of their brilliance as actors is that even when they’re miscast they still manage to provide extremely affecting and compelling work), and an engaging supporting cast including Nathan Lane, Kate Nelligan, and Héctor Elizondo, the saving grace in all Marshall’s films.


      • Mother’s Day (2016) : More crap from Garry Marshall

        Garry Marshall is basically a television director. All he does is direct glorified dolled up TV. shows. His claim to fame was Happy Days, as unhappy and as unfunny a sit com that has ever seen the light of day. Mother’s Day follows in the same dismal footsteps of Marshall’s earlier efforts, New Year’s Eve and Valentine’s Day. With this new movie it is a three strikes conviction. He should be banished for life from the silver screen. With Mother’s Day Marshall has put together a collection of ultra light weight actors — Jennifer Aniston, Julia Roberts, and the always-smirking Kate Hudson. Neither of these ‘actresses’ has the heft to carry a movie on their own. Marshall figured that three would be greater than the sum of their parts. No way Jose, no way at all. The movie is just three times worse to watch this contrived, predictable pile of crap. Time well over due to say good bye to Kate, Jen and Julia, RIP on your ill-gotten fortunes from making bombs like Mother’s Day.


        • Re: Garry Marshall and his HORRIBLE movies

          I kind of agree. I think Garry is best at light comedy, which is apparent in the shows he created in the 70s. I’m a big fan of most of his television series (Laverne & Shirley especially), but I don’t think his ideas work well in movies that are released today. Though his movies are enjoyable, they don’t have a lot of substance. While I like a lot of his movies, I think his sister Penny is a much better director – as most of her movies have a lot of deep, human qualities (such as Awakenings).


  3. Katie Couric pitching a morning news show comedy starring Michelle Pfeiffer:

    Couric is teaming with Murphy Brown creator Diane English on a comedy going behind-the-scenes comedy of a morning news show, with Pfeiffer playing the lead anchor. Couric is expected to serve as executive producer.


  4. I initially was going to hold off reading this again, but you had me at “her time in a cult.” I had never heard of that group before. You learn something new every day!


    • You really do. Glad you got something new out of the updated article. Even having written about Pfeiffer almost 4 years ago, I was surprised how much new ground there was to cover. Back in 2011, I didn’t do the kind of deep dive research I do on the current articles. And Pfieffer didn’t start talking about her cult experiences until 2013. I did think it was crazy that her rescue from the cult came as a result of dating Horton who had a bit role in Split Image which I had just written about in the Karen Allen article. Sometimes the little movies that almost no one remembers have a bigger impact on people’s lives than anyone realizes.


      • That was interesting! I had read a little about her and hadn’t heard about the cult before, but that makes sense if she’s only recently started talking about her experience in it.

        I’m not sure why, but the idea of James Woods as a de-programmer in Split Image amused me. Maybe because I just happened to catch those Family Guy episodes he’s in. The idea of that James Woods is fresh in my mind and envisioning that specific rendering of Woods as a de-progammer is hilariously wrong on so many levels.


  5. “New Year’s Eve is the cinematic equivalent of an episode of The Love Boat.”
    It’s a good job I wasn’t drinking when I read this or that line would have caused a spit-take.
    Although it’s sad for me to see La Pfeiffer’s career come full circle, you’ve done a great job on the re-write!


    • Terrific as always to see you! I was hoping the update would merit a visit, but I didn’t expect to see you so soon!

      I do think that Pfeiffer’s in a really good spot even if she’s not headlining major releases any more. She still gets to pick and choose projects that interest her and hasn’t had to resort to TV just to find work. How many actresses her age can say the same thing?


  6. Rock the Casbah

    Hey Lebeau, when’s the Fisher Stevens WTHH article coming? I’m sure lots of folks are waiting in anticipation of that one.


    • I’m not sure he had enough of a career to justify an article. He’s basically known for two things: Short Circuit and dating (and cheating on!)Michelle Pfeiffer. Between the Steve Guttenberg article, the eventual Ally Sheedy article and this one, I think we’ll get enough of Mr. Stevens.


      • Well, My Science Project is pretty well-remembered.


        • Before this Pfeiffer article I had never heard of Fisher Stevens. Yes, I saw Short Circuit, once, when I was a kid but all these years later he rings no bells. I think if Lebeau wrote up Fisher Stevens it shouldn’t be the usual “WHAT THE HELL HAPPENED TO?…..”, but instead “WHO THE HELL IS?…..”, which is what 99% of people would probably be asking themselves.


        • If you watched Letterman regularly in the late 80s/early 90s, he used to have Stevens on as a guest and then just talk about how he was the luckiest man in the world. It was a running gag.

          Stevens was apparently devastated when Pfeiffer left him. He protested that he hadn’t actually had sex with his underage co-star. He set a pretty low bar for himself considering how far out of his league he was dating.


        • I had forgotten about it. 😉


      • Rock the Casbah

        Ha! Thx Lebeau. I was actually being a bit snarky in my comment here. Like Craig said, Stevens would qualify for a WHO THE HELL IS HE? article instead of a WTHH one. Hmmm, maybe an idea for a future category. Actors/actresses that you might recognize their face, know something they starred in or vaguely heard about them in the news (usually in relation to more recognized celebrities), but never really got on the public’s radar in a major way. I’ll mention one that strangely interests me: Judie Aronson. Had a crush on her back in H.S. when I saw her in Weird Science. She’s one (the brunette) of the two girls that winds up with one of two main characters (can’t remember which one). Afterwards, she starred mostly in guest spots (often small) on T.V. shows. I think she dated a few famous celebrities (including George Clooney albeit before he became famous).

        Anyhow, not sure there would be potential (or much interest) for such a category but I’m just brainstorming here in the comments.

        BUT, what I am NOT being snide about is your good work on revising and updating this article. Your skill at unearthing little gems of your subject’s careers is NOT going unrecognized by us folks in the comment stream. The adulation that RB and Craig already have given you is well deserved on this one. Kudos.

        BTW, I just gotta ask: what the hell was Stevens thinking when he cheated (in whatever form) with an underage girl?! Man, if I was dating someone like Pfeiffer (with an almost ethereal beauty), you’d be damn sure I’d be on my best behavior.


        • Well said Casbah, I said it before Lebeau but you continually impress with your level of skill and commitment to the site. I’m not the least bit famous (or even an actor for that matter) but I almost wish I was just so that I could get the Lebeau treatment!


        • lol

          I think you guys over-estimate the level of skill involved. I sometimes feel like there is very little actual writing involved in these articles. Most of the time goes into the digging. But level of commitment, yeah, I’m committed all right! 😉


        • I wondered if that was the case. But I have had WTHH requests for even more obscure actors. Sometimes, people ask for articles on people I have never heard of.

          Recently I came across an interview with Fisher Stevens in which he flatly blamed Short Circuit on Steve Guttenberg. The quote will appear in the revamped Guttenberg article when I get around to dusting that one off. But basically, Stevens said that the script for Short Circuit was terrific until they hired Guttenberg. Stevens is an okay character actor. Probably a better actor than Guttenberg. But Guttenberg merits a WTHH article and Stevens doesn’t.

          A while back, I was contacted by someone who said she was a friend of Steve Guttenberg and that he wasn’t too thrilled with having WTHH to Steve Guttenberg show up on the first page of his Google results. I explained to her that the series was meant to be complimentary despite the mild profanity in the title. This is an example of that. You have to be bigger than Fisher Stevens to qualify for the series.

          I doubt I’ll ever get around to covering Judie Aronson for that reason. We’ll call it the Stevens rule. But I will cover some Weird Science stars in the future. Kelley Le Brock is very high on my list as is Anthony Michael Hall. Time permitting, I’d like to get them both covered this year. I was looking at Bill Paxton for a while but he keeps showing up all over TV.

          You’re too kind with your compliments. But I’ll take them all the same. Thanks!


        • Rock the Casbah

          I feel honored Lebeau that I played an integral role in developing (or at least the naming of) a rule here at Leblog: the Stevens Rule.
          I’ll look forward to the write-ups on A. Michael Hall and Kelly Le Brock and, of course, the revised Gute article (who woundn’t eagerly wait in anticipation especially of that one?), but it’s with a heavy heart that I realize Judie Aronson falls under the Stevens Rule.
          Judie, if you ever stop by this website, let me say that IMHO you’re the still best thing in Weird Science (except maybe for the Oingo Boingo song 😄) and you’re still as stunningly beautiful as when I first saw you in Weird Science back in H.S. And now you’ve been mentioned at Leblog. 😉


        • I have to agree that Judie Aronson (then and now) is very lovely; in matter of fact, I mentioned her recent in the comments section of the “Weird Science” music video on YouTube.
          I forgot: what’s The Stevens Rule again?


        • You have to be bigger than Fisher Stevens to qualify for WTHH. It’s a very specific rule.


        • I did Google her. She is still a looker. Looks like she showed up in Kiss Kiss Bang Bang (in a very small role). Great movie.


      • Yeah, I last remember him in film from “Hackers” and on TV from one of VH1’s “I Love the -‘s” (I don’t remember if it was 70’s, 80’s or 90’s) shows. I guess he was thinking with his genitals when he was in his trailer that way. Oh well, his loss. I wouldn’t think he would be worth an article, since I don’t think he was ever considered a rising star.


  7. Well you have been busy with this update Lebeau 🙂 It really makes me appreciate once again, how much work you put into the WTHH series. I bet Pfeiffer hersel would approve!


    • Thanks for the recognition. I won’t say that these articles are a lot of work, because I enjoy doing them. But they take a great deal of time. That is increasingly true as I get more and more detailed.

      Before I started, this article was a puny 5 pages long! It more than doubled in size.

      Since I started the series, I have continually raised my standards for the articles. I used to hit the highlights and lowlights and call it a day. I could crank out and article in 4-6 hours. But readers kept asking for more and more details. These days, I go to pretty great lengths to track down things like beauty pageant photos and Fantasy Island appearances. I still leave out minor things here and there, but the newer articles are much more comprehensive than the early articles. I don’t even know how many hours in total goes into the average article anymore. Even the Chris Tucker article took a couple of weeks.

      In the early days, I was covering some of the bigger stars. These days, I’m much more likely to cover a Karen Allen than a Michelle Pfeiffer. So you wind up with 12 pages on Judd Nelson and 4 on Kevin Costner which seems lopsided. When I started doing the birthday galleries, it seemed like an excellent time to touch up some of the old articles that aren’t up to my current standards. This has meant fewer new items as I am splitting my time between new articles and cleaning up the old ones. But I think it’s worth the effort.

      Most of the articles just get a few additional entries. Usually I’m just bringing them up to date. But for an article like this one where it is more than 50% new material, I am reposting them so readers know that this is almost the equivalent of a new article.


      • Like RB said, good work on updating this article. You went above and beyond as quite honestly I would just expect a few more job entries listed and such to make it more current, but you added real meat to the article which is to be commended.

        One of the best additions was the Star Trek thing on Frankie and Johnnie, I had never heard that story before, I’m still wrapping my head around Al Pacino with Captain Kirk and Mr. Spock. I tried Googling it looking for an image but alas no luck. What a killer pic that would’ve made! I’m sure one exists somewhere in someone’s possession.


        • I almost want to rewatch Frankie and Johnny just to see if I can spot the surprise reaction they were going for. It was a pretty cool story. I’ll see if I can track down a pic. You know they took one.

          This article got the redone because Pfeiffer has a birthday coming up. So there is a gallery ready to post on Wed. When I do the galleries, I have taken to reviewing all the pictures. I replace some, edit others. I check to see if there are any new pictures available I could find when I wrote the article. For Pfeiffer, I just kept finding more and more great stuff. There were also no trailers and very few clips because I just wasn’t doing that stuff in 2011.

          Uma Thurman also has a birthday on 04/29. (Both actresses share a birthday, appeared in Dangerous Liaisons and played Batman villains.) Her article was already a little more up to date so it just got a few additional entries. That’s typically what happens. I’m not going to call those out. But when an article is 50% or more new material like this one was, I’ll do a repost so folks know to check it out.


        • Penny Marshall’s brother, Garry, dead according to Access Hollywood

          Frankie and Johnnie was awful. Michelle Pfeiffer was horrendously miscast. The whole point of her character was that she was plain looking.

          Marshall’s penchant for nepotism was legendary. If your last name was Marshall or Reiner you were on a call sheet every single day on his sets.


          reply 62 4 hours ago


  8. Why isn’t Michelle more popular?

    Tue Aug 5 2014 11:07:01

    It’s a good question, I think. She doesn’t have nearly the amount of fans that Bullock or Kidman or others have, yet her talent is above her peers mostly. Even during her career best years, she didn’t seem to get the same amount of respect as others. Is it her own fault? As in, she didn’t like the spotlight, and can come off as aloof and cold in interviews(she has gotten MUCH better at this over the years though). I’ve always just been dumbfounded at the lack of following and respect Michelle gets compared to other actresses.

    Of course, it would help if she worked more. Bullock is still the highest paid actress in Hollywood, at the age of 50. If Michelle had made different career choices, such as doing Silence of The Lambs or Thelma and Louise, would it really be that much different for her today?

    Tue Aug 5 2014 14:04:27

    These days I think it is a mixture of Michelle’s film choices which have been pretty poor lately. I don’t think it helps when Michelle does take so long between projects either. Apart from attending a premiere we never really see Michelle attend any other events. In the last 20 years she has been at the Oscars once and always likes to sneak in the back door at these events.

    Michelle has not been the main star of a box office hit since What Lies Beneath 14 years ago. Sandra has had big hits with The Proposal, The Blind Side, Gravity, The Heat. Meryl has had plenty. I find it annoying though that she shares the same agent with Bullock, Streep, Kidman, Aniston but seems to be left with the scraps.

    Wed Aug 6 2014 06:09:05

    It’s hard to say. Some of it has to do with her admitted ambivalence about self-promotion and pubic appearances. It often appeared that she was under duress anytime she showed up on a talk show to promote a new film. Only in recent years has she seemed relaxed and confident enough to be herself in televised interviews, whereas more extroverted actresses like Bullock or Aniston can’t wait to get out there and trade quips with Jimmy Fallon or David Letterman. This is partly how they have gathered huge fan followings. People relate to them more readily than someone like Michelle who comes off as out of her element and stiff when she isn’t playing a character. However, when comes down to acting talent, I think she is light years above Bullock and Aniston (among others) and it baffles why she doesn’t get better film offers. I don’t know whether her recent string of bad films reflects poor judgement on her part or if these were the best or only jobs she was offered. Either way, there is a huge disconnect between her capabilities and what she is achieving in films. Sad to see her film career reduced to crap like NYE and The Family while the clock keeps ticking.

    Adding this comment to what I said above: fair or unfair, Bullock and Aniston, for example, get more attention because of their personal foibles: Bullock’s disastrous marriage to Jesse whats his name and the Aniston/ Pitt/ Jolie trifecta. In this celebrity crazed age, people eat that stuff up and it raises their personal profiles. Michelle, on the other hand, has been quietly married to the same man for 20 plus years with nary a trace of scandal or impropriety. This may make her a a more admirable human being, but it also contributes to the perception that she basically disappeared from public life. So in terms of popularity, her decision to live in relative obscurity in No Ca and put family first could have hurt her in the popularity sweepstakes. Personally, I respect her for making that decision and would hope it did not affect her film opportunities.

    Mon Feb 23 2015 13:57:38

    Perhaps Michelle doesn’t want to be known as a ‘high-profile’ actress. Some prefer to be ‘character’ actresses, not ‘always-in-the-limelight’ ones. I think that deserves a lot of respect because the ones who stay out of the limelight don’t seem to be stripped of their dignity.


    • Now that I think about it a little Michelle seems to be in a similar predicament as her “Batman leading lady” predecessor, Kim Basinger.

      *Both Kim and Michelle never really headlined a major blockbuster. The closest Michelle ever got (where she headlined a successful movie based on her name alone) was “Dangerous Minds”.

      *Both Kim and Michelle in recent years has seemed to be relegated to supporting roles/ensemble pieces (more than often w/ people whom they’ve worked before). Or if they do appear in movies in which they’re the main attraction, they’re not widely distributed.

      *Both Kim and Michelle arguably made poor choices (e.g. Kim’s post-“Batman” pre-“LA Confidential” choices/post-“LA Confidential” choices and Michelle’s “Oprah’s Book Club” period post-“What Lies Beneath”) that didn’t capitalize off of their greatest successes.

      *Both Kim and Michelle seem to take long periods in-between projects. More to the point, both of them (as highlighted in the comments above regarding Michelle at least) often come across as aloof, cold and stand-offish in regards to having to promote their stuff. .


      • Re: Why aren’t Kim Basigner and Michelle Pfeffier more popular these days?

        I don’t see Kim Basinger and Michelle Pfeiffer having that similar a career arc. I see Pfeiffer as more consistent. Sure there are misses but that’s normal for any actor. But she still stars in big budget movies with big directors, even if they don’t always hit the mark- “Dark Shadows” with Tim Burton and “The Family” with Luc Besson. But, throughout her career, not all of her “big” movies have been hits either, at any stage. And even before ‘What Lies Beneath’- she’d make what you call her “Oprah Book Club” choices like “The Deep End of the Ocean”, “To Gillian…” or “Love Field” -these smaller, quirkier movie choices. But you see that with actresses like Julia Roberts and Nicole Kidman as well. And aging certainly changes the types of roles they’re offered. Though after a long break Michelle did come back with “Stardust” and “Hairspray”.

        Michelle did say in an interview (during promotion for “Cheri”) that these days there are just fewer movies being made in general (the kind that she makes) and that it’s hard for all actors, including for older actresses. Because of the prevalence of tentpoles, franchises and superhero movies etc.


      • Pfeiffer returns to the big screen, learns she is funny

        Michelle Pfeiffer has been described in many ways — sultry, sexy, serious, cool, aloof. But seldom has the word “funny” been associated with the actress, either on the screen or off. Her portrayal of the evil Velma von Tussle in the big-screen remake of “Hairspray,” however, is changing that.

        “I’m surprised that I’m funny,” Pfeiffer told TODAY co-host Meredith Vieira with a laugh during an interview Tuesday. “I don’t consider myself funny.”

        She’s always been something of a mystery woman among Hollywood’s elite, reluctant to open up when she was starring in film after film and racking up Oscar nominations. Lately, she’s just been somewhat of entertainment recluse, choosing to limit her work while raising her two children, adopted daughter Claudia Rose, 14, and son John Henry, 13.


    • I hope that this comes out in a way that makes some sense but it seems like Michelle “rests on her laurels” too much. Her “Oprah’s Book Club” period seemed to be (in hindsight), Michelle’s “dork age”. But she seemed to ride that train way too long. In a weird, round about way, Michelle seemed to be afraid to mix things up. As a result, she more or less, became somewhat of a niche actress.

      Part of Michelle’s problem as of late, is that I get the impression that her movie choices are usually based on stuff that she personally wants to make (and therefore, is a tad bit too picky during a period in which one would suggest that she really can’t be such a thing). It’s like Michelle only makes movies if it gives her a good excuse to reunite w/ old friends. I’m not necessarily trying to imply that Michelle acts lazy but it’s quite obvious that many of her movies in recent times haven’t connected w/ the general public.

      I don’t think that Michelle really knows or wants to adapt or change w/ the times in regards to how to do business so to speak. She’s to the best of my knowledge, not on social media and seems to have an ambivalence to more tent-pole, blockbuster, mainstream friendly stuff.


    • Why Was Sharon Stone A-List In The 90s When She Never Had A HIT MOVIE?

      I remember Total Recall being the film that first put Sharon Stone on the map–it was an Arnie pix, but it made a huge amount of money and Stone popped in it as the bad girl. The brunette love interest, on the other hand, just disappeared.

      She then followed it up with Basic Instinct, which was the movie everybody talked about and saw.

      Her following movie, Sliver, bombed, BUT it had a decent opening–and the ability to open a movie is what determines star power.

      She then had multiple bombs, but nabbed an Oscar supporting nom for Casino, which gave her a bit more respectability, but not more bankability.

      Someone asked about Michelle Pfeiffer. Pfeiffer had more than two successful movies–she broke through with Scarface, got more notice with Dangerous Liaisons. She headlined Married to the Mob and Dangerous Minds, some years apart and both made money. Batman Returns was as much her movie as Michael Keaton’s. Fabulous Baker Boys got her good notices. Same with Age of Innocence.

      She was and is less of a flash in the pan than Stone.


      reply 132 3 hours ago

      Pfeiffer is actually a good actress. Or was anyway. Sharon Stone is always playing Sharon Stone. She’s just not very good. Even her big scene- yelling at James Woods in Casino – is poorly acted.

      —Her children

      reply 133 3 hours ago

      Again enough with the comparisons. Michelle Pfieffer was gorgeous but a really good actor. Sharon Stone is neither in her or Kathleen Turner’s world. These women actually understood what it meant to build a character. Stone was just beautiful and hot. That’s okay too. But no. They are not colleagues of hers.


      reply 134 3 hours ago


  9. Pfeiffer makes the list of WatchMojo’s Top 10 Hottest Blondes: Iconic.


    • My favorite actress from the early 1900’s would be Barbara Stanwyck. Wait, she wasn’t a blonde; aw heck, I just wanted to mention Barbara Stanwyck:-)


  10. Wow, great read; I especially liked the tidbit that Peter Horton was instrumental in getting Michelle Pfeiffer deprogrammed from that cult. It’s amazing that he did background work for the film that dealt with such a subject, and that information and connections to deprogrammer came in handy. That’s a real Knight in Shining Armor in my book.


    • Yeah, that whole episode was crazy. It’s hard to believe someone could be convinced to pay money to be told that they can live on sunlight alone. But a young actress new in town can be very vulnerable I suppose. Even though Horton and Pfeiffer split, they still remain friends. He definitely came through for her there.


  11. Why Michelle Pfeiffer Deserves a Career Comeback:

    Nearly every year brings news of a comeback or return-to-form for a major film actor. Last year’s Birdman brought renewed appreciation and a long-overdue Oscar nomination to Michael Keaton. Bruce Dern got a late-career highlight the year before with Nebraska. The past decade has seen career revivals for Mickey Rourke, Alec Baldwin, Robert Downey, Jr., and Matthew McConaughey. Each of these performers is more than deserving of their comebacks, but one can’t help but gripe that few actresses are joining them.

    Sure, Jennifer Jason Leigh will co-star with Dern in the new Tarantino film The Hateful Eight, and Patricia Arquette just won an Oscar and the lead on a new TV procedural, but their cases are far and few between. Actresses are rarely afforded the same opportunities for longevity as men, unless their last names are “Streep,” or, on television, “Lange.” Amy Schumer even parodied the media’s institutional ageism and sexism on the most recent episode of “Inside Amy Schumer,” pointing out the all-too-clear reality that top female stars of decades past are left sexless, negligible roles after a certain age. Never mind how joyous it would be to see resurgences for Geena Davis or Holly Hunter. The performer most deserving of a comeback, though? Michelle Pfeiffer.

    No actress can stay as emotionally open on screen while closing themselves off from other characters the way Pfeiffer can. No actress is as vulnerable when guarded. And few actresses can compare to Pfeiffer’s long and storied career of fervently feminist material, lack of vanity, and continuous ability to steal scenes or whole films from the charismatic likes of Kurt Russell, Al Pacino, Harrison Ford, Mel Gibson, Keaton, and Daniel Day-Lewis without seeming like she’s just showing off.

    Pfeiffer burst onto the scene after a few false starts and TV movies with two films in 1983: Grease 2 and Scarface. The former tries to counteract the original Grease’s sexism while failing miserably to match its songs, dance numbers, ensemble, or technical facility. The latter is a delightfully gaudy epic remake headlined by one of Pacino’s most enjoyably ludicrous performances. Both demonstrated not only Pfeiffer’s star power, but her ability to take underwritten roles and make them sing. Grease 2 is all clumsy noble intentions and lousy songs when Pfeiffer’s off screen, but it feels infinitely more watchable whenever she’s the center of attention. In Scarface, meanwhile, she plays Robert Loggia’s and, later, Pacino’s trophy wife with an I-don’t-give-a-f*** demeanor that makes even the eternally cocksure Tony Montana seem small.

    Since then, Pfeiffer has made a career of playing women whose situations or past lives have forced them to be cagey, lest they be hurt again. In the otherwise lighthearted The Witches of Eastwick (1987), she’s abandoned by her husband because of her advanced fertility, and her good-humored nature can’t quite hide her dissatisfaction. In Robert Towne’s underrated Tequila Sunrise (1988), she’s torn between a cop with ulterior motives (Russell) and an honest ex-drug dealer (Gibson), and smart enough to know that she could be easily hurt by either or both of them. In her sublimely campy performance in Batman Returns (1992), the mousy secretary becomes femininity’s avenging angel against misogynists, all while falling for (and fighting) Keaton’s own haunted hero.

    Pfeiffer earned a trio of Oscar nominations in her golden age, starting with the 1988 adaptation of Dangerous Liaisons, where her reasonable suspicions of John Malkovich’s wolfish count fall by the wayside. She’s heartbreaking there, but a year later brought a more assured, “cool” damaged character with her work as singer Susie Diamond in The Fabulous Baker Boys. Her glamorous, sexy renditions of “Makin’ Whoopee” and “More Than You Know” give way to world-weariness offstage as she talks candidly about her past as an escort, knowing that Jeff Bridges’ self-destructive drunk is no good for her even as she falls in love with him (all without losing her frankness: “You look good.” “You look like shit. “I mean it, you look good.” “I mean it, too. You look like s***.”). Even the mediocre Love Field (1992), for which she earned her third nomination, is elevated by her mixture of flamboyance and hidden grace.

    Pfeiffer’s finest films from this period make her past, her relationship, and her need to reconcile the two the whole of the film. Jonathan Demme’s delightful Married to the Mob (1988) sees her ex-mob wife Angela reinventing herself as an independent working-class woman and shaking off the macho creeps that have plagued her (Baldwin, Dean Stockwell) for a warmer, kinder man (Matthew Modine, not quite up to task as an eccentric FBI agent). The film’s true climax is not the violent shootout but rather Modine apologizing for deceiving her, with her remarking that “everybody deserves a second chance…even you.” Married to the Mob works because neither Demme nor Pfeiffer condescend to Angela, making her a smart, good-natured woman who has every reason to be reserved with her emotions. It makes the film’s happy ending all the more hard-won.

    The hidden treasure of Pfeiffer’s golden age is 1991’s Frankie and Johnny, an uncharacteristically mature film from Pretty Woman director Garry Marshall, based on the play “Frankie and Johnny in the Claire de Lune” by Terrence Rafferty. Pfeiffer’s casting was criticized at the time for putting a beautiful movie star in a role originated by Kathy Bates, but Frankie is defined more by her emotional baggage than her looks. It’s one of Pfeiffer’s most charming yet reticent performances, her chilliness towards Pacino’s sweet and playful ex-con becoming clearer and more painful as she slowly warms to him and discloses her past. The film’s final scene, a quiet coming-to-terms moment set to Debussy’s “Claire de Lune,” is among the most elegant in a modern romantic comedy, a sequence of tiny gestures and grasps for shared moments that demonstrates how expressive both stars can be with just the slightest shifts. Again, it’s a hard-won romantic ending, a love borne from understanding and healing.

    That emphasis on kindred spirits finding each other is present in her best film, Martin Scorsese’s The Age of Innocence (1993), but to a far more devastating effect. Like in Married to the Mob, Pfeiffer plays a woman trying to break free of a constrictive society and an unhappy marriage, but things are complicated when Day-Lewis first advises her not to go through with her divorce and then falls in love with her (complicated further by his engagement to her cousin, played by Winona Ryder). The Age of Innocence is a master class of actors revealing their emotions to the audience while believably masking them from others. Scorsese’s glorious form complements all three leads, especially Pfeiffer, whose introduction is marked by a subtle shift from heavy shadows to light when Day-Lewis first sees her.

    It’s with reason: Pfeiffer is at her warmest and most radiant here, an unfettered soul who’s nevertheless bound to the society she rebels against. It’s easy to see how private rebel Day-Lewis falls for her, and difficult to watch as they’re both forced to endure an unhappy life, rarely given the chance to even express their love for each other, hiding their gazes and seeming like they’re about to implode in banked frustration. If it has competition as Pfeiffer’s best performance, it may be the canniest use of her screen persona, a role that pushes her to simultaneously be the most free-spirited person in the room and the one who’s the most successful at hiding what she wants when she needs to, to tear-jerking effect.

    The Age of Innocence comes at the end of Pfeiffer’s most fruitful period, but even with her misfires, she continued on the path of making movies about women, for women and giving better performances than many of the films she starred in deserved. Dangerous Minds is a deeply patronizing white savior movie, but Pfeiffer escapes with her dignity intact, never displaying the self-congratulatory qualities that won Sandra Bullock a pat-me-on-the-back Oscar for The Blind Side. Up Close & Personal neutered the story of troubled news anchor Jessica Savitch, but Pfeiffer gives a performance worthy of a smarter movie. A Thousand Acres turns the acclaimed “’King Lear’ on an Iowa farm” novel into a sudsy, simplistic version of the kinds of women’s pictures Pfeiffer made in her prime, but she and Jessica Lange both navigate their characters’ emotional trauma deftly. Even the rare stumbles for Pfeiffer as a performer (I Am Sam, The Story of Us) ultimately lie at the feet of the emotionally fraudulent material she can’t redeem.

    There are gems from this middle period, too, especially those that see the middle-age-entering Pfeiffer dealing with motherhood and lifetimes of disappointments. The underrated romantic-comedy One Fine Day is a lighter flipside to Frankie and Johnny, with romance borne out of mutual understanding among divorced single parents Pfeiffer and George Clooney. Robert Zemeckis’ Hitchcockian thriller What Lies Beneath shows Pfeiffer exploring the emotional minefield that is life after kids go to college, with Zemeckis emphasizing her isolation and volatility even before she begins to suspect the neighbor has murdered his wife and has to deal with her own dismissive husband (Harrison Ford, whose natural crotchetiness hasn’t been used half as well since).

    Pfeiffer earned a Screen Actors Guild Award nomination for her work in White Oleander, an uneven but powerful adaptation that sees her damaging her teenage daughter (Alison Lohman) by trying to “set her free” (read; keep her bound to her and no one else). The explanation for her own lack of emotional attachment might seem too pat if not for the conviction Pfeiffer brings to her monologue and the way the role twists her caginess and vulnerability into something that could potentially harm others.

    Given the lack of bombs attributable to Pfeiffer, what’s with her relatively dimming star? The answer is a mixture of absence and age: she took a four-year break between 2003 and 2007 to spend time with her husband (“Ally McBeal” creator David E. Kelley) and children. It wasn’t that long of a hiatus, but it made a difference. While she gave a pair of enjoyably hammy performances in 2007’s Stardust and Hairspray, her two star vehicles, I Could Never Be Your Woman and Cheri, flopped, with the former going direct-to-DVD and the latter making back less than half of its $23 million budget. She’s since been underutilized or misused in films by collaborators both old (Marshall with New Year’s Eve, Tim Burton with Dark Shadows) and new (Transformers screenwriter Alex Kurtzman with People Like Us, Luc Besson with The Family).

    And yet, one could watch any of those films and see that Pfeiffer has still got it. Robert De Niro sleepwalks through The Family, but Pfeiffer does not. People Like Us is a noxious, falsely uplifting dramedy, but a scene between a pot-smoking Pfeiffer and son Chris Pine has an emotional truthfulness and frankness that the rest of the film sorely lacks. And while neither I Could Never Be Your Woman nor Cheri are perfect, both show her willing to explore the concept of being an aging woman, of being paired with younger men, and the difficulties that both circumstances bring that can only be described as brave (Pfeiffer’s phenomenal in both, to boot).

    With all of these, there’s no indication of a star who’s slowed down, fallen off, or become complacent. Pfeiffer herself commented in 2012 that she feels “my best performance is still in me” and that “I don’t ever want to lose that fire I have for it.” She may even have a chance for a revival with the morning news-set comedy series that Katie Couric is shopping to a number of networks with her attached to star. Whether it comes with that or something else, there’s only a need for smart producers and directors to realize that Michelle Pfeiffer never stopped being big, it’s just the pictures that got small.


  12. Flashback Friday: Michelle Pfeiffer is the best Catwoman and the best in general:

    Nowadays you’re likely to find more people praising the virtues of Anne Hathaway’s take on the much beloved Catwoman character. Anne did a fine job, but for my money, no one captured the character better than Michelle Pfeiffer. Totally crazy, totally hot, violent, playful and twisted, her patent leather pussycat is where my mind goes when I think of Batman’s on again, off again nemesis.



    That’s a great Michelle Pfeiffer performance, one of two that stand as my personal favorites. She’s had a number of memorable roles over the years, working alongside some of the great leading men of the last 40 years. Most people probably saw her first in SCARFACE way back in ’83. Her role as Elvira, the titular character’s squeeze, was her big break, yet stands as my least favorite of the more well known Michelle roles. Sure, Tony Montana was a thoroughly despicable person, but at least he had personality. All Michelle’s character had were several addictions and an ever-present moodiness in almost every scene. She did look pretty hot in that early 80s Debbie Harry style, but man was she walking a fine line. I’m really surprised she didn’t get typecast as the bitch from that role.

    I’m sure Michelle’s looks were her saving grace there. An angel face like that makes her sympathetic. People want to root for her, idolize her, pine for her. I know I used to crush pretty bad on Michelle, thanks to that other favorite role I mentioned earlier. My fellow children of the 80s will join with me in hailing her role as Isabeau in LADYHAWKE as perhaps just as memorable as her time spent in patent leather.

    Such a precious slice of 80s nostalgia right there. You’re just not human if your heart doesn’t ache for Michelle and Rutger in that scene and then later in the happy ending. That’s one of those “remote droppin'” movies. If I see it’s coming on, I gotta watch it. It’s like a duty. Michelle is a big reason for that. Even with the 80s short hair, she’s still a vision of beauty unparalleled

    All these years later, Michelle’s looks are still there, even as she approaches 60. She’s still a beautiful woman. Unfortunately she doesn’t show up in things as much as she used to (her last role was in 2013’s THE FAMILY). Some of that Hollywood ageism, perhaps? Or maybe just Michelle feeling like she’s done what she came here to do. Whatever her absence is about, Michelle’s place as one of the great beauties of my day, or anyone’s day, is fully secure.


    • I think Michelle Pfeiffer was a fantastic Catwoman. Actually, I like most of the Catwoman turns (I really like cats regardless; we seem to have a natural bond). I have to say, my favorite Catwoman line is from “Batman: The Animated Series” and by Adrienne Barbeau (no relation to Lebeau): “Never trifle with the affections of a woman”. Words to live by:-)


      • Catwoman Meows in ‘Batman Returns’

        The follow-up to the 1989 film adaptation of Batman see the Caped Crusader face off against a fishy villain bent on taking over Gotham while a mysterious woman in black presents a twist of allure and menace.


        • ‘Batman Returns’ at 25: Stars Reveal Script Cuts, Freezing Sets and Aggressive Penguins

          Michelle Pfeiffer was crushed when another star was cast as Catwoman.

          Pfeiffer may be the definitive big-screen Catwoman, but it was a role she almost missed out on.

          “As a young girl, I was completely obsessed with Catwoman. When I heard that Tim was making the film and Catwoman had already been cast, I was devastated,” says Pfeiffer. “At the time, it was Annette Bening. Then she became pregnant. The rest is history. I remember telling Tim halfway through the script that I’d do the film, that’s how excited I was.”

          Determined to make the most out of her time as Catwoman, Pfeiffer threw herself into mastering the whip and kickboxing.

          “I trained for months with the whip master. On our first day together, I caught his face with the whip and it drew blood. It completely shattered me,” she says.

          Pfeiffer would go on to perform all of her own stunts with the whip, but found performing on set was infinitely more challenging than at practice.

          “I was very nervous on my first day of shooting. I’d gotten pretty good with the whip, but when you show up…you don’t anticipate all the lights everywhere,” she says. “They were set up in places that prevented me from hitting my marks with the whip. So we had to rework the lighting again and again.”


        • Re: Joel Schumacher apologizes for ‘Batman & Robin’

          Outside of Catwoman, I don’t like much of Batman Returns. Tim Burton thought he was making an arthouse film and started pulling in many elements that really have nothing to do with Batman as a character. It’s apparent the studio had reined Burton in on Batman and with its success gave him carte blanche on the sequel.

          Everyone should be very thankful he never got to make that Superman he wanted.


    • 10 Unmade Tim Burton Films That Would Have Been Awesome:


      Now this is one film that definitely would have been better under Tim Burton’s direction. Originally intended as a sequel to Batman Returns, a Catwoman solo film languished in development hell for years until Halle Berry starred in the unanimously derided movie in 2004. At first, though, the film had a lot promise.

      As directed by Burton and scripted by Batman Returns writer Daniel Waters, Catwoman (still played by Michelle Pfeiffer) would have left Gotham for the Las Vegas-like Oasisburg. According to Waters, the movie would have had “great fun at making fun of the whole male superhero mythos.”

      Of course, this version could have turned out just as bad as the eventual film – it certainly doesn’t sound any more faithful to the comics – but it would at least have brought together the team that created Michelle Pfeiffer’s superior sultry-yet-mad-as-a-bag-of-cats version of the character.


      • Whatever happened to Tim Burton’s Catwoman movie?

        After Batman Returns, Tim Burton and Michelle Pfeiffer were set to make a standalone Catwoman film. So why didn’t they?

        We’ve a lot of time for Tim Burton’s Batman Returns around these parts, a dark and bold blockbuster movie that in many ways – not least because of the number of villains in it – was ahead of its time. The film, though, didn’t do the business that Warner Bros was hoping for, and thus the studio opted to go down a lighter path for the next film, that would become Batman Forever.

        Batman Forever has a nominal producer’s credit on it for Burton, but it only takes minutes (if that) to spy that he had very little to do with the film.

        Over the last few weeks, the fascinating documentary The Death Of Superman Lives: What Happened? has successfully told the story of Tim Burton’s never-made Superman film. But what went wrong with Catwoman?

        Well, the project certainly got going and the ingredients were in place. Michelle Pfeiffer was left out of Batman Forever (as this 1993 Variety article confirms), with the idea being that her take on Catwoman would instead move into her own movie. Daniel Waters, screenwriter on Batman Returns, was hired to write the screenplay, and Tim Burton was seemingly attached to direct the film.

        He signed a development deal with Warner Bros, and in 1994, he was weighing up whether to direct Catwoman or an adaptation of Edgar Allan Poe’s story, The Fall Of The House Of Usher. He would, of course, go on to make neither.

        But Tim Burton’s Catwoman did stay active for a while. In fact, Daniel Waters would turn in his draft of the screenplay in 1995.

        Speaking to Film Review magazine in the summer of that year, he described the plot as “after the traumas of the Batman Returns she has amnesia, and she doesn’t really remember why she has all these bullet holes in her body, so she goes to relax in Oasisburg. What Gotham City is to New York, Oasisburg is to Las Vegas-Los Angeles-Palm Springs. [It’s a] resort area in the middle of the desert. It’s run by superheroes, and the movie has great fun at making fun at the whole male superhero mythos. Then they end up being not very good at all deep down, and she’s got to go back to that whole Catwoman thing”.

        Waters delivered his script on the day that Batman Forever was released in cinemas, and that film would go on to become the biggest grossing feature of 1995. It would also bring in more cash for Warner Bros than Batman Returns. Going down the darker path suddenly didn’t seem to bode very well.

        Pfeiffer told the New York Times around the same time that she was still interested in the project, but also that she was juggling other commitments at the same point. It would be fair to say that things were looking a little dicey at this stage.

        Eventually, the project ran out of steam, and both Pfeiffer and Burton would move on to other films. Warner Bros was more interested in pursuing the lighter world of Batman that director Joel Schumacher had uncovered. “For a while, like a brief time, Tim was interested in maybe doing a Catwoman movie”, Pfeiffer told Empire back in 2012. “But that didn’t really last very long”.

        Not that Warner Bros lost interest, even if Burton did. Recasting soon became an option, and Ashley Judd for a while was mooted as the new big screen Catwoman, and then Nicole Kidman (who had appeared in Batman Forever in a different role).

        Ultimately though, Halle Berry would land the role in director Pitof’s $100m 2004 movie. It would go on to be named Worst Picture Of The Year at the Golden Raspberry awards, and Catwoman has become notorious as one of the worst comic book movie adaptations of all time.

        Berry also picked up a Worst Actress gong at the Razzies, and to her credit, turned up to collect the prize. “First of all, I want to thank Warner Bros. Thank you for putting me in a shit, god-awful movie. It was just what my career needed”, ran her acceptance speech.

        Tim Burton’s Catwoman film, meanwhile, would join Superman Lives as a project swallowed up in development hell…


    • It pains me to say this, but I actually think Batman Returns might be worse than Batman and Robin:


      • I think “Batman Returns” is uneven, but I do like it more than “Batman and Robin”. Honestly though, I like 1989 “Batman” and “Batman Forever” (is it a little cheesy? Yeah, probably. But I like it:-) the best of those group of Batman films. Overall, my favorite Batman is animated (though I like 1966 Batman as well; glad it’s finally on disc).


        • The animated Batman rules. And in the right frame of mind, I still enjoy the old series.


        • Nothing against the Cristopher Nolan (hey, doesn’t he look a lot like Leo DiCaprio?) Treatment, but yeah, I think animated Batman is king. Honestly, it wasn’t the the film’s fault, but that doofus that shot up the place basically ruined the final film for me. I love what Anne Hathaway was with Catwoman (I love Catwoman as a thief, not the “rise from your grave” type, and I always wanted to see Bruce Wayne and Selina Kyle together). I just don’t understand how desperate people are to make themselves famous.


        • Well, that guy clearly had problems. I don’t want to open a can of worms on mental health issues in America or gun control or any of that. We’re already discussing sexual abuse in the Edward Furlong article!

          I like the Nolan films. But I don’t love them. His approach leaves out a lot of what I love about Batman, superheroes and comics. The animated Batman took all the best elements from comics and synthesized them.


        • I know, it’s just the theater situation was why I needed time before I viewed that film. I love Catwoman (I like cats in general) and Bane is cool too.
          No, I don’t understand why someone would take out their frustrations on a group of people that meant no harm. That just shouldn’t be the way to make yourself famous. I just don’t know, I suppose:-(


        • James Rolfe from the Cinemassacre website said that the Nolan films are like crime dramas that just happen to have Batman, and I agree with that thought.


        • That’s true of Dark Knight. DKR has some pretty crazy comic book stuff in it. The police are trapped underground for months. Bane’s supervillain plan really makes no sense. I think Nolan was aiming for crime drama that just happens to have Batman in it but the last movie kind of got away from him.


        • I mean, I like the Nolan films, but they don’t capture my imagination. I guess maybe there’s too much real life tragedy and I think the animated work told a better story. I am glad that Bruce Wayne and Selina Kyle got together (I actually like “Birds Of Prey”; it helps for me that Dina Meyer is Oracle, but the fact that “Gotham Girls” is on the disc? Total Bonus:-).


        • Oh man, I wanted to like Birds of Prey. I loved the Birds of Prey comic book and I liked Dina Meyer. But that show was wretched. So much wasted potential there. The comic book was terrific.


        • I guess what sold me on the DVD was “Gotham Girls”. Yeah, “Birds of Prey” could’ve been better, But I like Dina Meyer, Shemar Moore (who I I think is fantastic in “Criminal Minds”) and Mia Sara (she played a dark Harley Quinn, and plus I liked “Ferris Bueller’s Day Off”). I suppose I like the actors more than I like the show:-)


        • Funny you say that about Nolan as it is widely regarded that Tim Burton found Batman the least interesting subject of that universe so he created Tim Burton style movies that happen to have Batman in them. In Batman Returns this is especially noticeable as it is clear he wants to tell the story of the Penguin and the story of Catwoman but is required to have Batman as well, so he gives him as little screentime as he can.

          Given that Batman Forever was mediocre and Batman and Robin turned the bad aspects of Forever up to 10, I agree with people who’ve said we really haven’t had a true to the character live action Batman yet. I doubt we are going to get that with Batfleck either.


        • I get the impression that Frank Miller fans will love Batfleck. I also expect to have a Hulk rage about half way through the movie.


        • What I like about Batman is that he has no powers, but he became good through intelligence, practice, protection, and a grudge. That being said, I do like Spiderman and Superman, I just relate more to Batman.


        • I’ll give him a chance since Keaton and Bale had people up in arms when they were announced for the part. My real concern about it is that I believe Man of Steel set the tone for the DC cinematic universe and while Batman is a better fit in a dark and gloomy world, Man of Steel’s problems went far beyond just that.


        • At one point I remember Nolan saying that his approach to Batman would not work in a world with Superman in it. Man of Steel proved him right. Now it’s being used for the entire DC Universe. I don’t see how that can work. The architect of that style said right up front “This works for Batman and only solo Batman – no one else”. And yet, here we are.


        • I do think “Gotham Girls” rules though. Anyway, I was reformatting my DVD’s, and one of those DVD’s was “The Best of Charlies Angels” (Sabrina is my favorite angel, because I think she’s a leader), but one of the episodes on the disc is ‘Angels in Chains’, which happens to have a young Kim Basinger (also Mary Woronov as a corrupt deputy).
          I know this is a Michelle Pfeiffer page, but I couldn’t help but mention Kim Basinger;-)


        • I do wonder if Michelle ever addressed the controversy and criticisms surrounding “Batman Returns” and the never made “Catwoman” spin-off movie? I kind of feel that Michelle missed out on a fairly golden opportunity to have her own franchise (which outside of maybe Sigourney Weaver in the “Alien” series, was very rare for a woman from within the action-fantasy-sci-fi genre in those days) as a proverbial “safety net”.


      • I’ll take Batman Returns over Batman and Robin any day. Batman Returns has a lot of flaws. But the good stuff is really good. I find myself going back to it more than any of the other Batman movies from that era. Yes, more than the 89 Batman.


    • 10 Sexiest Movie Villains Ever:

      Catwoman – Batman Returns (1992)

      Now, in a poll of movie villains with an excess of sexual magnetism, some bright spark is always going to call out Catwoman. Well, duh – the question is, which one?

      We can rule out Julie Newmar and Eartha Kitt straight away: they only ever played the character on television, as does the current young Selina Kyle on Gotham, Camren Bicondova. 1966 Batman’s Lee Meriwether is okay, but can’t hold a candle to Julie Newmar, and Halle Berry may be Halle Berry, but she’s a godawful Catwoman in a godawful Catwoman movie. That leaves us with Michelle Pfeiffer and Anne Hathaway, and with all apologies to Ms. Hathaway and any other professional duck impersonators who might be reading this, there’s just no competition here.

      Michelle Pfeiffer’s interpretation may not be exactly the Selina Kyle you’re used to, but she’s a quintessential pre-Crisis Catwoman, complete with haphazardly stitched black PVC catsuit, half-mad eyes and feline snarl. Thrown from a high window and left for dead, at first Burton leaves it up to the audience to decide whether she survived the fall and is awakened by cats licking her face, or whether the cats actually bring her back to life… later on he outright confirms that she has nine lives, losing them at a rate of knots throughout the rest of the film.

      Unpredictable and seductive, volatile and slinky, all curling lips and languid, throaty purr, Pfeiffer threw everything she’s got into her performance, learning kickboxing and karate as well as a little light bullwhip action. It’s been hailed as her most iconic role, the one she’ll be remembered for most: it’s certainly the most believable romance in any of the eight Batman movies released to date, Burton making the most of the significant chemistry between Michael Keaton and Pfeiffer and of course between Batman and Catwoman.

      Nearly a quarter of a century later, no one’s going to come close to Pfeiffer’s spiky, provocative portrayal of Catwoman – to be fair to Hathaway, she didn’t try, preferring the comics’ current interpretation of the character as a pragmatic duck burglar. Cat. Cat burglar. Sorry, don’t know where that came from.


  13. HBO orders a Bernie Madoff movie starring Robert De Niro and Michelle Pfeiffer:

    De Niro will play the disgraced financier in Wizard of Lies, directed by Barry Levinson. Pfeiffer will play his wife, Ruth Madoff.


    • HBO’s ‘Wizard Of Lies’: Robert De Niro & Michelle Pfeiffer As Bernie & Ruth Madoff – First Photo:



        Clears throat

        The five year break did some damage to Michelle’s career. After a box office hit with What Lies Beneath and some outstanding reviews for White Oleander, she could have had a very successful run in the mid-2000’s. But if she wanted some family time, then who can blame her?

        She also made some questionable choices post-Hairspray/Stardust. She was the only good thing about Cheri and lets not even talk about that Ashton Kutcher direct to DVD thing. That killed any momentum that Hairspray gave her.

        Also, she holds her hand up and admits that she isn’t very commercially-minded when it comes to picking roles – she was desperately wanted for Thelma & Louise… she turned it down for Frankie & Johnny. The latter IS the better movie/part but it largely went unnoticed.

        The good news? Michelle is admired and respected in the industry and will never be short of an offer in some form.

        We have the HBO movie The Wizard of Lies and the indie production Beat Up Little Seagull to look forward to. The latter made by the production company behind Still Alice. Let’s hope she gets some awards buzz for them.

        Can I also just say… Michelle rejected Still Alice when it was being directed by BRETT RATNER!!


        • Michelle said on “Inside the Actors Studio”, she picks a part on whether she can hear the character when she reads a script. She said something along the lines of being able to hear their voice the rhythm of the character. “White Oleander” therefore, was a challenge for her. Basically, she said she wasn’t sure who that woman or character was but she knew types of the other female characters in the script.


        • I think her role in “White Oleander” was a good part to play, and a good film. It’s really the last film that Michelle Pfeiffer was in that left an impression on me.


      • Future of Movie Stars: Who Will Shine? Who Will Fade Away?

        She was also mentioned in Vance Joy’s song “Riptide” (“I swear she’s destined for the screen, closest thing to Michelle Pfeiffer that I’ve ever seen”), which technically came out in 2014, but it still gets radio play now, so you’re good. 🙂

        I do wonder if her stunning looks actually gave her a bit of a disadvantage in landing serious/good roles at times (the whole “So Beautiful, It’s a Curse” thing), even she obviously has had some great roles, too. I do know she apparently turned down a LOT of roles that went to other big actresses of her time period, so that might have hurt things for her at times, too.


  14. I just watched Michelle in Married to the Mob the other night, probably her big breakthrough role–first big critical success, moderate box office success, Golden Globe nomination. She certainly had a fantastic run from 1988-93; how many actors or actresses have ever snagged a Golden Globe nomination six years in a row, I wonder. While her success may not have been as durable as she or her fans might have liked, when all is said and done I think she will be appreciated as one of the leading actresses of her generation. If you look at actresses who are currently in their fifties (as one way of pinning down her “generation”), it’s hard to find more than a couple with better career’s than Michelle Pfeiffer’s.


  15. “Cool Rider” was too good for Grease 2:

    In the world of unfortunate movie sequels, Grease 2 has a horrible rep. Since it followed an unbelievable smash like 1978’s Grease, there was little chance it would live up to the original. But the sequel hired Grease’s choreographer Patricia Birch to direct her first and still only feature film, and the result is a series of completely over-the-top musical numbers with hundreds of dancing extras, and a nonsensical plot to tie it all together. It’s not like the original Grease was Shakespeare, but it had two huge stars as leads and a soundtrack with years of off-Broadway history behind it along with new songs by songwriters like Barry Gibb. The follow-up did not.

    The then-unknowns hired to head up Grease 2 did the best they could. The sequel switched genders on the original good girl/bad boy setup, with Pink Lady Stephanie (Michelle Pfeiffer) dodging the affections of dreamy but nerdy Michael (Maxwell Caulfield, Rex Manning himself). Because even though Stephanie has outgrown greaser Johnny (Adrian Zmed), like we all have, she still wants a motorcycle guy. She professes her love for her preferred type in her solo, “Cool Rider,” the highlight of the Grease 2 soundtrack. Granted, there’s not much competition, with other cuts like the biology class sex anthem “Reproduction.” “We’re Gonna Score Tonight” (“Let’s bowl, let’s bowl, let’s / Rock ’n’ roll”) improbably pulled off a massive musical number in a bowling alley, while “A Girl For All Seasons” offered some of the most elaborate costuming ever seen in a high-school talent show. These middling songs weren’t terrible on their own, but they were a far cry from “Summer Nights.”

    So Grease 2’s most successful musical number pares down all the headache-inducing fanfare, wisely focusing on the inimitable star magnitude of Michelle Pfeiffer, who is still so popular she was referenced in two hit songs just this past summer (“Riptide” and “Uptown Funk”). In her first real lead, Pfeiffer throws herself into her Grease 2 role, but nowhere more effectively than in “Cool Rider.” The fun and nonsensical logic of musicals compels Stephanie to sing this song to explain to the cardigan-clad Michael why he is too lame for her. Fortunately, “Cool Rider” boasts an excellent hook-filled chorus, as Pfeiffer’s surprisingly sweet vocals sell the song over. She even commits to the dance moves, such as they are: a few kick-ball-changes, some Elvis gyrations, and pivots. By the end, we’re looking for a “Cool Rider” ourselves, as Michael fades away in the distance. Or does he?

    Unfortunately, Grease 2 bombed so badly that any additional sequels were immediately scrapped. But for all its faults, the sequel does not suffer from lack of effort, and “Cool Rider“ shows a glimmer of what a worthy Grease follow-up might have been.



      Pfeiffer somehow manages to be sexy in a tough, non-pandering way in a movie that is incredibly sexual, yet incredibly unsexy despite pandering relentlessly. Beyond remaking Grease, only with the foreigner a dreamy boy this time, Grease 2’s plot centers on the T-Birds’ and Pink Ladies’ suspiciously fierce determination to win the school talent show and Michael’s attempts to win Stephanie’s heart by adopting the persona of Cool Rider, a mysterious biker outlaw whose leather-fetish get-up makes him look less like an actual biker than an extra from Cruising.

      Pfeiffer is so good and so committed here that she almost sells the preposterous conceit that a woman as cool and hip and gorgeous as Pfeiffer was — and remains — would fall rapturously in love with some goon in black motorcycle fetish gear who refuses to reveal his identity and appears to die mysteriously before mysteriously coming back to life like some cross between James Dean, Jesus Christ, and Poochie from The Simpsons. In Pfeiffer’s big production number, “Cool Rider,” the superstar-to-be accomplishes the seemingly impossible feat of putting across a dire “Leader Of The Pack” knockoff through steely determination and furious exertion, although even when delivered by Pfeiffer, the character’s desire for a man “cool enough” that he can “burn me through and through” sounds suspiciously like she’s aching to be burnt by a venereal disease if the guy is hot enough.


  16. Michelle Pfeiffer, Kiefer Sutherland to co-star in indie film Beat-Up Little Seagull–227537

    According to The Hollywood Reporter, Kiefer Sutherland and Michelle Pfeiffer will co-star in the drama Beat-Up Little Seagull. After a lengthy career in almost all studio films, Pfeiffer is taking a plunge into indies with the starring role. Earlier this month, we reported that Sutherland would definitely not be back as Jack Bauer in the seemingly unkillable 24 series (which is all fine and dandy, since Fox wants a younger, hotter counterterrorist agent, anyway). Sutherland suddenly finds himself free of 24 obligations, and although he told BBC he wanted to do more television, for now it looks like he’s further exploring the indie film game, after having starred in the indie Western Forsaken alongside his father Donald Sutherland.

    Andrew Dosunmu is set to direct Beat-Up Little Seagull from a screenplay written by Darci Picoult, who worked with Dosunmu on his 2013 Nigerian drama, Mother Of George. Dosunmu collaborated with Picoult in writing the story for Beat-Up Little Seagull, which follows the life of a fragile woman (Pfeiffer) who can’t quite find her footing in a fast-paced world. When her mother dies, she has to fight to survive and support herself but hides her struggles from her new boyfriend (Sutherland).

    Beat-Up Little Seagull comes from Killer Films, which has been making some truly killer indies recently. The company produced Emmy-winning HBO miniseries Mildred Pierce as well as this year’s hotly anticipated romantic drama Carol, starring Cate Blanchett and Rooney Mara as illicit lovers in ’50s New York. The New York-based indie company also made the Julianne Moore and Kristen Stewart-starring drama Still Alice, for which Moore won the Oscar, Golden Globe, BAFTA, SAG, and Critic’s Choice Award. According to THR, Pfeiffer turned down the leading role in Still Alice, and based on how Moore cleaned up in awards season, she may have made the wrong choice. But it looks like Pfeiffer—who is currently shooting the upcoming HBO film The Wizard Of Lies—is now ready to give indies a chance. Filming is slated to start November 2 in New York.


  17. i just looked at the list of wthht articles on the right side of the screen… for most of them, the answer to “what the hell happened to ___?” is: they got old…. Hollywood has few parts for actors over 40, and many of them are supporting roles cast with people known as “you know, whatshisname – he’s in everything!”, not formerly a-list stars… and I don’t blame Hollywood… now that I’m over 40, I look around, and few of my contemporaries are going to the movies, let alone an even older audience…. it’s a business, and they’re not going to make movies that people won’t pay to see – millennials don’t give a crap about people like michelle pfeiffer, darryl hannah, sharon stone, etc….


    • No doubt age is a contributing factor especially with the actresses. But I don’t believe age is the only issue at play here. Most of these actors feel from the spotlight at a relatively young age. Besides, “they got old” wouldn’t make for much of an article.

      People have a tendency to get hung up on the question in the title, which I suppose is understandable. Titles are powerful things. Especially online. I have learned that a lot of times, the title is the only thing anyone will ever read. This is the entire reason clickbait works. It’s why WTHH is the most popular series here. The title grabs people’s attention and drives traffic. But what the series is really about is a career retrospective. Generally speaking, the answer to WTHH is something pretty mundane.


      • Re: Why aren’t Kim Basigner and Michelle Pfeffier more popular these days?

        Because they’re old.

        Plus, in the case of Pfeffier, I think Cameron Diaz probably stole Pfeffier’s spot when she appeared. They pretty much tick all the same boxes (especially wrt aesthetics and mannerisms) and Pfeffier’s demise correlates almost perfectly with Diaz’s rise.

        Incidentally, I think this goes on a lot in Hollywood. They have certain defined ‘spots’ available and one particular actor with particular characteristics holds that spot until a younger version comes along and takes it. I’d bet if you considered it you’ll find some actor similar to Basinger who took her spot as well.

        by Swidjen » 5 hours ago (Mon Dec 7 2015 07:58:10)

        Thing is you really can’t escape that argument. Hollywood is about youth and beauty, especially for women. Good roles for older women are very rare.

        In fact roles for any woman where their love lives are not central to the character are pretty rare. And the love lives of older women are not thought of as something people want to see.



      Aging Hollywood beauty Michelle Pfeiffer is having second thoughts about the decision she made decades ago to choose family over career – because now Hollywood is turning its back on her.

      “Hollywood execs rolled out the red carpet for her multiple times – and she snubbed them,” declared an insider.

      The mom of two, married to Hollywood producer David E. Kelley “assumed she could take years off to raise kids and then the offers would start flowing in again,” the source added. “Sadly, she learned a hard lesson – Hollywood has a short attention span.”

      The one-time Catwoman, 55, repeatedly turned down plum roles – including “Pretty Woman,” which earned Julia Roberts a best actress Oscar nomination; “The Silence of the Lambs,” which garnered Jodie Foster a best actress Oscar; “Basic Instinct,” which made Sharon Stone a major star, and “Evita,” which brought Madonna a Golden Globe.

      The mother of Claudia, 20, and John, 19, “now realizes she made several life-changing career mistakes,” said the insider.

      “She’s struggling to find quality roles. Michelle is particularly jealous of Annette Bening’s career.”

      Bening, 55, raised four youngsters with husband Warren Beatty while also juggling a career that includes four Academy Award nominations, six Golden Globe Award nominations with two wins, an Emmy nomination and critically acclaimed theater roles.

      “In 2010, Michelle wanted the lead in ‘The Kids Are All Right,’ but Annette snagged that too,” said the source.

      “Michelle worries she’s jinxed her once red-hot career, but she has something that many in Hollywood can’t boast of – a happy, enduring marriage.”


      • I think it’s nice that Michelle Pfeiffer chose marriage and kids over her career, but she was naive to think she could just jump back into the game like she was never gone. It doesn’t seem to work that way for actresses, unless they do that when they’re very young like Jodie Foster did.


        • Kim Basinger incidentally made the same “mistake” when she went on a three year hiatus after her Oscar win for “LA Confidential”. So basically, if you played Batman’s girlfriend on screen, you really need to try harder to keep her name and face in the public’s general consciousness.


        • It’s by now, kind of safe to suggest or argue that Michelle after experiencing a bit of comeback with “What Lies Beneath”, should have rode that train for a little while longer. Therefore, it’s easy to believe that was the biggest mistake of her career taking her hiatus right after that film. She just about missed out on a good decade and then had to play the proverbial catch-up game.



        Indeed. These are the following roles she turned down according to Wikipedia: “In the 1990s, Pfeiffer accepted and also turned down many high-profile roles, beginning with the title role in Pretty Woman (1990), which earned Julia Roberts a nomination for the Academy Award for Best Actress… she turned down the role of Clarice Starling in The Silence of the Lambs (1991),[42] which won Jodie Foster the Academy Award for Best Actress, the role of Catherine Tramell in Basic Instinct (1992), ultimately played by Sharon Stone,[9][43] and the role of Louise in Ridley Scott’s Thelma & Louise, that went to the twelve-years-older Susan Sarandon…. she turned down the role of the White Witch in the 2005 fantasy film The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, which went to Tilda Swinton.”

        To be fair, some of the roles worked for the substitute actresses so well that they all got critical acclaim from it. However, those are a lot high profile roles she said No too. At that time, she could afford to be choosy as one of the most beautiful women in the world, but still.

        After her critical and commercial success in the early 90s, the rest of her movies in the 90s didn’t do as well. So she quietly went off on a four year hiatus to focus on her family. For most actors, that is hard to come back from. Of course she was an A-lister.

        I agree that she’s a great actress and such a magnetic film presence. It’s too bad she doesn’t work as much, but she seems happy with where she has been.


  18. Name Some Of The Worst Hollywood Collapses

    “Collapse” might be an overstatement, but Michelle Pfeiffer really faded away. Some of that is just aging out of “hot chick” roles but she also made some pretty bad choices down the line.


    reply 367 Last Friday at 5:17 PM

    She also took some time off to be there for her kids.

    I haven’t liked everything she’s done recently, but she seems to have been able to pick projects that she really wanted to do, like Dark Shadows.


    reply 368 Last Friday at 5:22 PM

    I wonder how much of it is by choice [R367], considering she’s married to David. E. Kelley. He works in TV, and that may not be her preference, but if she was desperate to work I’m sure she could have a part on one of his shows.


    reply 369 Last Friday at 5:28 PM


  19. Does Michelle Pfeiffer have a modern day equivalent?

    Is there any female actor today who is the equivalent of Michelle Pfeiffer at the height of her fame? I was trying to think of at least one actress made famous within this decade who exemplifies the same level/type of ridiculous beauty, talent, and fame that Pfeiffer embodied in the 80’s/90’s. I’m kinda stumped. I can think of actresses who match her in 2 out of the 3 areas, but not all 3.

    Think of it this way: If you had to explain to a 15 year-old WHY Bruno Mars gives a shoutout to Pfeiffer in Mark Ronson’s “Uptown Funk”, WHO would you put in the blank below?

    “Michelle Pfeiffer is like… the __________ of the 80’s-90’s.”

    At first I thought: Maybe Olivia Wilde?, but I’m still not 100% sure she equates either.


  20. Michelle Pfeiffer is Getting into the Healthy-living Business

    Move over, Gwyneth — timeless Hollywood beauty Michelle Pfeiffer is getting into the healthy eating-and-living business.

    The “Scarface” and “Dangerous Liaisons” star tried to go incognito in dark sunglasses and under a fake name to the Natural Products Expo in Anaheim, Calif., on Friday.

    But the head-turning 57-year-old actress, who is a vegan, was spotted talking to exhibitors about launching her own healthy product line.

    A witness told us: “Wearing dark sunglasses, Michelle was walking up and down the aisles of the show taking meetings with anyone willing to sit down with her. Her goal, according to some exhibitors, was to secure herself some licensing deals or do her own product line with a focus on health and wellness.”

    The source continued, “Michelle had a n [more inside]


    • EXCLUSIVE: Michelle Pfeiffer Gears Up for a Career Comeback — “She Finally Has Time to Pick Up Where She Left Off”

      Michelle Pfeiffer has never been one to embrace the spotlight, but she really tried to go incognito at a recent health and wellness expo in Anaheim, Calif.

      The three-time Oscar nominee wore dark shades and a fake name tag as she strolled the aisles, meeting with exhibitors about a possible deal for her own product line. “She’s open to just about everything: foods, exercise equipment, vitamin supplements or natural skin care products,” a friend tells Closer. “She’s a huge advocate of clean eating and exercise.”

      With daughter Claudia, 23, and son John, 21, out of the house, Michelle finds herself with an empty nest, and she’s determined to spread her wings again. In addition to her potential endorsement deal, she’s tackling her highest-profile acting role in years, co-starring as Ruth Madoff opposite Robert DeNiro as Bernie Madoff in HBO’s upcoming movie The Wizard of Lies.

      After putting work on the back burner for 15 years to raise her kids with TV producer husband David E. Kelley (Ally McBeal, The Practice), “Michelle finally has time to pick up where she left off with her career,” says her friend. “She worked hard researching the character, because there are questions about whether Ruth was aware of her husband’s crooked dealings. It was challenging.”


  21. Michelle Pfeiffer’s 12 All-Time Sexiest Movie Roles

    As she moves into what most actresses would consider the twilight of their career, photos from the set of new HBO film Wizard of Lies confirm that Michelle Pfeiffer continues to defy the laws of aging. The 57-year-old has been pictured in New York filming a solo scene as Ruth Madoff, wife of notorious Wall Street fraudster Bernard Madoff, and she looks ready to bring her particular brand of sexy to her starring role opposite Robert De Niro.

    In a career spanning a whopping 35 years, Pfeiffer has taken on a variety of diverse roles across a number of different genres, receiving Oscar nominations for her efforts on three occasions. Her work today is a far cry from her initial career choice, however. After graduating from high school in 1976 Pfeiffer began training as a stenographer, though a court of law was never a suitable setting for such a bright and beautiful young woman.

    She began competing in beauty pageants, and in 1978 won the title of Miss Orange County. Pfeiffer’s performances on the pageant scene caught the attention of an acting agent and before long she was auditioning for television roles, landing parts in Fantasy Island and Delta House but losing out on the part of Sabrina Duncan in Charlie’s Angels. Her disappointment turned out to be short lived when Hollywood came calling with the script for Grease 2.

    The sequel to the hugely popular musical turned out to be a critical and commercial flop, though Pfeiffer’s agent still managed to convince a producer named Martin Bregman that she was right for the part of cocaine addicted trophy wife Elvira Hancock in his upcoming film Scarface. Her performance in the 1983 gangster film put her on the map, and in the years that have followed she has made a name for herself as an actress that is as talented as she is beautiful.

    But which of her performances were the hottest?


  22. Domhnall Gleeson and Michelle Pfeiffer board Jennifer Lawrence’s Darren Aronofsky drama


  23. Actors who were tricked into taking roles

    Michelle Pfeiffer in Grease 2

    It’s hard to believe three-time Oscar nominee Michelle Pfeiffer was once a young ingenue being suckered into bad movies, but that’s what happened when she landed a lead role in the sequel to Grease. She told that her youth and inexperience played a big part in her being lured into the musical, which didn’t even have a finished script during production. “I hated that film with a vengeance and could not believe how bad it was,” Pfeiffer said. “At the time, I was young and didn’t know any better.”


    • Yeah, anyone that has ever seen “Grease 2” would have a difficult argument that the film is being held together by nothing more than bailing wire & bubble gum (LOTS of bubble gum). A total cash grab right there.


      • HOW DID THIS GET MADE? #150

        Actress Anna Faris (Anna Faris Is Unqualified podcast) welcomes Paul, June, and Jason into her home/recording studio to discuss the 1982 musical romantic comedy Grease 2. They’ll talk about the return of Frenchy, the sex in the bunker scene, and the T-Birds being casual about murder. Plus, June shares why she knows every word of this movie and Anna’s tells us about her complicated relationship with the Grease films.


  24. Johnny Depp and Michelle Pfeiffer linked with Kenneth Branagh’s Murder On The Orient Express remake


  25. Michelle Pfeiffer hits red carpet for first time in over two years — and looks AMAZING (via @toofab)


    • I looked at that photo gallery up to Janet Jackson (about half of it), and I think most of the women look great. Heather Graham stood out to me, as her pic looks like one of those age-enhanced “Unsolved mysteries” deals. Maybe she was like me and wore mud masks in her high school years.


  26. The Ashton Kutcher curse

    Michelle Pfeiffer (Personal Effects)

    The evergreen Michelle Pfeiffer was going through something of a purple patch when she crossed paths with younger man Ashton Kutcher in 2009’s Personal Effects, a romantic drama written, directed and produced by David Hollander. Unsurprisingly, Hollander hasn’t directed a feature film since (the Kutcher curse extending beyond actors on this occasion), whereas Pfeiffer herself has gone from one high profile misfire to the next.

    The thrice Oscar-nominated actress went straight from Personal Effects into New Year’s Eve, the second in a series of holiday-themed romantic ensembles from Pretty Woman director Garry Marshall, all of which have drawn nothing but scorn from critics. Tim Burton flop Dark Shadows and poorly received mafia comedy The Family did little to steady the ship for Pfeiffer, though she’ll be hoping to right the wrongs of recent years alongside Jennifer Lawrence in an upcoming, as-yet untitled Darren Aronofsky project due for release in 2017.


  27. Michelle Pfeiffer joins board of top environmental group


  28. 2017 is already shaping up to be a good year for Michelle Pfeiffer:


      • Gee, I Wonder What The New ‘mother!’ Poster Is Alluding To

        Go to and you’ll find a clip of Michelle Pfeiffer in prime Pfeiffer-ness, lording it up over Lawrence and chastising her for not wanting children, but then the clip takes a darker turn. Jiggle around further with that website and align the images just so, and you’ll see Lawrence is definitely in a motherly condition (credit to Bloody Disgusting for the image and detective work).

        So is mother! another foray into horror for Aronofsky? How much have you missed seeing Michelle Pfeiffer on screen getting the love she deserves? Are you hoping there’s a twist to the Lawrence/Bardem relationship so it isn’t just another unacknowledged age-gap romance with a younger woman, where we’re all supposed to pretend that’s normal and not a symptom of shitty Hollywood sexism? Let us know in the comments.


        • Michelle Pfeiffer pressures Jennifer Lawrence to have kids in new mother! clip

          Michelle Pfeiffer is trying to pressure Jennifer Lawrence into having kids in the newest clip from Darren Aronofsky’s upcoming horror thriller mother!. The movie stars Lawrence and Javier Bardem as a couple whose peaceful existence is threatened when unexpected guests– including Pfeiffer’s character– invade their home.

          The clip begins with Pfeiffer’s character staring directly into the camera, asking Lawrence (much to her chagrin) why she is against having kids. “I saw how you reacted earlier,” Pfeiffer says. “I know what it’s like when you’re just starting out and you think you have all the time in the world. You know, you’re not going to be so young forever. Have kids. Then you’ll be creating something together.” 

          The movie’s creepy first trailer implied that the home will play a big part in Lawrence’s character’s journey, and this clip implies that as well, with Pfeiffer saying that the house is just “setting,” something which Lawrence doesn’t seem very happy to hear. However, her reaction could be from something else, with the clip ending with Pfeiffer coming close to a shocked looking Lawrence and saying, “Oh, you do want them.” It then goes through a quick glimpse at the creepy imagery shown in the movie’s trailer.

          Aronofsky has said that the whole of mother! is trying to capture a single emotion, so this clip could have something to do with the movie’s bigger goals. However, it’s not entirely clear at this point how it fits into the film, and what will happen through Lawrence’s character throughout. Still, considering the movie’s title, it’s pretty easy to see how children could play into all of it. 

          While not much is known about the plot of mother!, Lawrence has said that the film was very stressful to work on, with the crew building her a “Kardashian tent” full of clips of her favorite reality show stars to help her destress on set. Lawrence said one scene made her hyperventilate so hard that she actually dislocated a rib. “The themes are just huge,” the actress has said of the film. “I can’t use the word I want to use, but the movie is so unique.” 

          Ed Harris also stars in mother!, which hits theaters on Sept. 15. While we wait, see some of the scariest horror movies to ever grace the big screen.


        • Jennifer Lawrence’s mother! receives dreaded F CinemaScore grade

          Despite her quirky charms, down-to-earth personality that’s often been described as “relatable,” and dramatic acting chops that have earned her dazzling awards, Jennifer Lawrence failed to win over CinemaScore audiences in the mind-twisty new movie mother! The Darren Aronofsky-directed pic earned the greatly feared F grade from the film polling company following its Friday night screenings. 

          “Mother! receives an F #CinemaScore grade,” the company bluntly tweeted out, then asking if other viewers agreed with the scoring decision. Some felt that a harsh-as-harsh-can-be grade was right for what went down in the movie, particularly Lawrence’s performance, with one user tweeting out a GIF of Kim Kardashian saying, “It’s what she deserves.” Others didn’t think it was entirely fitting, since the core elements of the half-horror, half-psychological thriller flick “didn’t disappoint.” One user even tucked a jab at CinemaScore inside a statement of genuine confusion: Not familiar with your site but you gave mother! an F and Dark Tower [and] Emoji Movie a B so I can only assume you’re some sort of parody site.”

          CinemaScore isn’t actually a parody site, as most are aware. The company scores films based on reactions from moviegoers at the beginning of a film’s opening weekend, collected using data from a ballot of six questions, in theaters across North America and Canada. Now that the audience has revealed their true feelings about mother!, the film joins others that received an F grade, including Andrew Dominik’s Killing Them Softly, Richard Kelly’s The Box, the Lindsay Lohan-led I Know Who Killed Me, William Friedkin’s Bug, Greg McLean’s Wolf Creek, Steven Soderbergh’s Solaris, and Robert Altman’s Dr. T and the Women.

          Thankfully, CinemaScore stamping mother! with a fat F doesn’t necessarily mean that the film will be dead upon arrival. The score is a reflection of how the first wave of viewers are responding to the work’s intricate concepts and making sense of the narrative that was kept under tight wraps until the film’s official release. 

          Critics, on the other land, largely lauded the movie in early reactions, with Screen Daily calling it a “devouring and restless experience; a creative surge that’s like the lancing of a boil, releasing a torrent of despair and disgust for the greedy chaos of society today as well as a self-loathing portrait of the artist as an emotional succubus.” And even those who weren’t that sold on mother!, noting that it “isn’t quite as fascinating as it thinks it is,” encouraged people to go out and see it, as it’s “something that needs to be experienced.”

          Now that mother! is finally in theaters, you can decide for yourself whether the film, which also stars Javier Bardem, Ed Harris, Michelle Pfeiffer, Domnhall Gleeson, and Kristen Wiig is truly F-worthy. For now, take a look at some horror movies you need to see before you die.


        • The real reason why mother! flopped at the box office

          While It brought some much-needed life back to the box office after a disappointing summer, Darren Aronofsky’s mother! is the first casualty of the fall after opening to just $7.5 million. The hard-to-define film stars Jennifer Lawrence as the title character, wife to Javier Bardem’s Him and a woman who must deal with the increasing stress of unwanted visitors entering her once-peaceful home.

          The film’s vague log line has been a topic of discussion for months, and the movie became even more shrouded in mystery as confusing trailers and TV spots hit the airwaves. While mother! was as hard to track as it was to explain, no one expected the film to fall as far as it did, opening as Lawrence’s smallest-ever wide release. While the movie had some big stars on board (including Ed Harris and Michelle Pfeiffer), it still wasn’t able to find an audience. Here are the real reasons why mother! flopped at the box office.



      • mother!’s Collapse is Complete!!-s-collapse-is-complete!

        There goes Pfeiffer’s Oscar chances…


        reply 171 11 hours ago


      • Paramount Studios defends Jennifer Lawrence after flop

        I’ve heard the film is essentially “torture porn” and a misogynistic film masquerading as “feminist”. I think I’ll end up skipping this one after all.


  29. 9 Things You Didn’t Know About The Original Charlie’s Angels Series

    Michelle Pfeiffer

    After Kate Jackson was fired at the end of season three, several up and coming actresses were considered for the role Sabrina Duncan, including Michelle Pfeiffer, Bo Derek and Melanie Griffith. Pfeiffer was a favorite with producers, but her on-screen test showed that she lacked experience, so she was passed over for the part.


  30. Michelle Pfeiffer Reveals Why She Stepped Away From Hollywood

    Oh, Michelle Pfeiffer, you’ve been missed. The three-time Oscar nominee, who took a break from Hollywood after 2013’s The Family, explained her four-year absence to Darren Aronofsky for Interview magazine.

    Aronofsky, 48, directs Pfeiffer, 58, in the upcoming drama Mother!, which also stars his girlfriend, Jennifer Lawrence.

    “Well, the first thing that comes to mind is I’m an empty nester now,” Pfeiffer explained. “I’ve never lost my love for acting. I feel really at home on the movie set. I’m a more balanced person, honestly, when I’m working. But I was pretty careful about where I shot, how long I was away, whether or not it worked out with the kids’ schedule. And I got so picky that I was unhirable. And then … I don’t know, time just went on. And now, you know, when the student is ready, the teacher appears. I’m more open now, my frame of mind, because I really want to work now, because I can.”

    The Hairspray star shares two children — Claudia, 23, and John, 22 — with writer husband David E. Kelley. The couple tied the knot in 1993 following a string of her hits, including Dangerous Liaisons, Batman Returns and The Age of Innocence.

    Pfeiffer first got the acting bug years before her “surfer chick” chapter in high school. “I’m from Orange County, Southern California, and couldn’t have been more removed from the entertainment business. In fact, I didn’t really even go to the movies much. My mother didn’t drive. My father couldn’t be bothered. So, I didn’t really go anywhere,” she said. “But what I did do is I would stay up really late watching old movies on television. I can’t even tell you what they were because I was so young. But I remember watching what they were doing and saying to myself, “I can do that.”

    The actress went on to take a theater class to “avoid” her English course. “I was terrible in English. And all of the kids in the theater department were thought of as being the strange kids on campus. But I felt right at home, which meant, I suppose, that I was one of those strange kids on campus. But nobody told me. And I loved it,” she told Aronofsky for Interview. “I ditched every other class but that one.”

    After graduation, Pfeiffer landed her first gig in the series Delta House in 1979. Four years later, she launched her career by playing Elvira Hancock in 1983’s Scarface opposite Al Pacino. After more than three decades in the business, she will appear in this year’s Murder on the Orient Express and play Bernie Madoff’s wife, Ruth Madoff, in the HBO film The Wizard of Lies, airing next month.

    Nevertheless, Pfeiffer worries that the public will start to think that she’s a “fraud,” which is one reason why she hates doing interviews. “I think that’s because I started working fairly quickly and I wasn’t ready. I didn’t have any formal training. I didn’t come from Juilliard. I was just getting by and learning in front of the world,” she said. “So I’ve always had this feeling that one day they’re going to find out that I’m really a fraud, that I really don’t know what I’m doing.”


    • Michelle Pfeiffer says she’s ‘un-hireable’

      Michelle Pfeiffer believes she is “un-hireable” because she’s “picky” about her roles.

      The 58-year-old actress last appeared on screens in 2013’s ‘The Family’, and says her lack of work in front of the camera these days comes as she made such an effort to make sure her roles were suitable for the schedule of her two children – Claudia, 24, and John, 22, whom she has with her husband David E. Kelley – that it has had a negative impact on the number of studios willing to hire her.

      She said: “I’ve never lost my love for acting. I feel really at home on the movie set. I’m a more balanced person honestly when I’m working.

      “But I was pretty careful about where I shot, how long I was away, whether or not it worked out with the kids’ schedule. And I got so picky that I was un-hireable. And then … I don’t know, time just went on.”

      The ‘Scarface’ actress is currently preparing for her return to Hollywood with three movies in post-production, and has said she’s more “open” to roles now that her children have grown up.

      She added: “I’m more open now, my frame of mind, because I really want to work now, because I can. And these last few years I’ve had some really interesting opportunities.”

      Meanwhile, the blonde beauty – who is set to appear in ‘Where Is Kyra?’, ‘mother!’, and ‘Murder on the Orient Express’ later this year – has said she never lost her passion for acting during her break from the industry, and appreciates that having her passion as her occupation is a “blessing”.

      She told Interview magazine’s April issue: “What’s interesting is, there’s always a lot of talk to young people about finding their passion, following their passion. But I remember reading somewhere that a lot of people don’t have a passion. And there’s this pressure to have one. It’s perfectly fine not to have one. But to be lucky enough to know what that is at such a young age is really a blessing.”


      • Five Reasons Why “mother!” Sucks

        It makes no sense. I don’t mind a movie that’s open to interpretation, but this one falls into the category of “cryptic yet meaningless.” Here’s a quick plot summary: Jennifer Lawrence and Javier Bardem play a married couple who receive an unexpected visit from some extremely strange strangers (Ed Harris and Michelle Pfeiffer). Now repeat that and multiply ad nauseam. It’s basically a horror movie about annoying houseguests who won’t leave. Saturday Night Live did it better with John Belushi, Gilda Radner and Bill Murray — in a minute and 15 seconds.

        The cast is utterly wasted. Speaking of Saturday Night Live, one of its most gifted alums shows up late in the film — I won’t spoil who it is, though I don’t think you can spoil such a rotten movie — which makes mother! seem even more like a sick (and unfunny) joke. The four main characters have one personality trait apiece, and they’re given no backstories that might help us care about them. So we don’t.

        Darren Aronofsky is one creepy mother! Not since David Lynch sexually tortured his real-life girlfriend Isabella Rossellini in Blue Velvet has a filmmaker so reveled in the degradation of his alleged off-screen love. J-Law is stripped nude by a vicious mob, beaten, brutalized and burned. Aronofsky’s ex Rachel Weisz seriously dodged a bullet (and upgraded by marrying Daniel Craig).

        The movie isn’t disturbing, just disorienting. There’s a difference, Darren. Go back and re-watch your masterpiece, Requiem for a Dream, to remind yourself what it’s like to create a truly powerful psycho-drama. This is like Black Swan Lite — and Black Swan was pretty light to begin with, if you ask me. Keeping a camera tight on J-Law as she stumbles through a creepy old house is the definition of cheap thrills.

        It leaves us wanting less. The ending is an embarrassing cop-out — it’s like something from a freshman English major’s really long short story. We’re left with unanswered questions about what it all means. Is this suffering a metaphor for fame? Parenthood? Religion? Who cares? Perhaps picking up on a line J-Law offhandedly delivers about the apocalypse, the closing credits feature Skeeter Davis singing, “Don’t they know it’s the end of the world?” If only we were so lucky.


    • Michelle Pfeiffer Reveals Why She “Disappeared” from Hollywood

      There was a good decade and a half after Michelle Pfeiffer’s breakout performance in 1983’s Scarface when the actress was on a true Hollywood tear. She earned three Oscar nominations in a four-year span (for Dangerous Liaisons, The Fabulous Baker Boys, and Love Field). She spread her talents across costume (The Age of Innocence), romance (Frankie and Johnny), fantasy (The Witches of Eastwick), and comedy (Married to the Mob) genres. And in a rare feat for actors, she even managed to receive universal critical acclaim for her interpretation of an iconic character, Catwoman, in Batman Returns. But not long after that, Pfeiffer dropped off the radar in a self-imposed exile. In a new interview, Oscar-nominated filmmaker Darren Aronofsky—who recently directed Pfeiffer in a mysterious project called Mother!—goes so far as to call the film period sans Pfeiffer a “famine.”

      But in their conversation for Interview, Aronofsky also gets Pfeiffer to confess why she dropped off the Hollywood radar—except for the occasional low-profile project she’d tackle every few years.

      “I’ve never lost my love for acting,” Pfeiffer explains. “I’m a more balanced person, honestly, when I’m working. But I was pretty careful about where I shot, how long I was away, whether or not it worked out with the kids’ schedule. And I got so picky that I was unhireable. And then . . . I don’t know, time just went on . . . I disappeared, yeah.”

      There was one perk to her disappearance from Hollywood, though: she didn’t have to do any interviews, which she hates.

      “I was thinking today, ‘Why do I hate being interviewed so much?’” Pfeiffer tells Aronofsky. “And I think it may be that I have this constant fear that I’m a fraud and that I’m going to be found out . . . I started working fairly quickly, and I wasn’t ready.”

      “I didn’t have any formal training,” the actress says of her speedy ascent from Orange County grocery clerk to beauty pageant winner to television actress to, just four years later, her Scarface breakout. “I didn’t come from Juilliard. I was just getting by and learning in front of the world. So I’ve always had this feeling that one day they’re going to find out that I’m really a fraud, that I really don’t know what I’m doing.”

      Now that her two children are grown and out of the house, though, Pfeiffer has decided to return to the screen with a flurry of projects, including HBO’s upcoming Bernie Madoff movie, The Wizard of Lies (in which Pfeiffer plays Ruth Madoff); the mysterious Aronofsky project Mother!, which co-stars Jennifer Lawrence and Javier Bardem; and Kenneth Branagh’s adaptation of the Agatha Christie classic Murder on the Orient Express co-starring Johnny Depp and Penelope Cruz.

      Although still uncertain about interviews, Pfeiffer seems confident that the time is finally right for her onscreen comeback, saying, “When the student is ready, the teacher appears. I’m more open now, my frame of mind, because I really want to work now, because I can. And these last few years I’ve had some really interesting opportunities.”


  31. They could be sisters! Sarah Jessica Parker, 52, and Michelle Pfeiffer, 58, look remarkably similar as they tape Actors On Actors


  32. WEHT Michelle Pfeiffer?

    Michelle Pfeiffer is one of my favorite actresses. I hope she has a huge comeback.

    She still sucks, though, at picking parts. Or she needs a new agent.


    reply 2 7 hours ago

    Has anyone ever met her in person? Is her ice queen onscreen persona just an act or is she like that in real life too?


    reply 5 6 hours ago

    [R5] I’ve heard she is very private. Cher once said in an interview after they made The Witches of Eastwick together that if Michelle came up to her and said she had a nine-year-old child (at this point Michelle had no kids), Cher wouldn’t have been surprised because Michelle was so private.


    reply 6 6 hours ago

    She was never a GREAT actress. She gave decent performances and was beautiful.

    With so few roles for women her age, it’s not a wonder that we don’t see her as often as we used to see her at the height of her beauty.


    reply 7 6 hours ago

    I always think she is the bridge between “Old” Hollywood and “New.” Probably one of the most stunning looking people to ever be in a movie but incredibly talented as well. She is one of the few “beautiful” actors who can still pull off looking like a normal person in a normal situation. That’s why she is so incredibly effective in “Batman Returns.” She makes the transition between mousy secretary to Catwoman completely believable and shocking.

    The fact she lost her Oscar for Fabulous Baker Boys to Jessica Tandy’s ham-fisted , stagey performance in Driving Miss Daisy STILL annoys me.



    reply 11 6 hours ago

    She had a good decade – from Scarface to The Age of Innocence or maybe Wolf (I remember that as the last movie that seemed worthy of her more interesting qualities, even if it wasn’t all that great). After that it seemed like she got married and started picking much more conventional roles. She really was great as Catwoman. She had the ability to go from ice queen bitch (Elvira in Scarface) to funny and sympathetic (Married to the Mob).


    reply 13 4 hours ago

    I run hot and cold on her. I think she’s a very self-possessed actress who can convey sexiness, but she rarely connects in a meaningful way with her co-stars (in something like BATMAN RETURNS that doesn’t matter so much). On exception would be BAKER BOYS, which is probably her best performance. But the rest of the time she’s like a lot of movie actors who act “at” other performers rather than with them.

    I don’t care for her in AGE OF INNOCENCE, but even DDL doesn’t excel in it either. The two of them deliver not a single spark together, but then DDL is another actor who seems to exist in a sphere all by himself.


    reply 14 3 hours ago


  33. Ladyhawke (1985) Retrospective / Review


  34. Celebs who cheated with co-stars

    John Malkovich & Michelle Pfeiffer

    We’ll just start off here with the obvious question: What? How? Why? Okay, that’s three questions to which there aren’t really answers, but this one is at least no rumor. John Malkovich hooked up with Michelle Pfeiffer while they were shooting Dangerous Liaisons in 1988. According to The New York Times, director Stephen Frears confirmed that when the affair happened, Malkovich’s “marriage was breaking up,” and that he was going through “a difficult time.” Obviously, they didn’t stay together, and in fact, Malkovich actually disappeared “for nearly two years” after both the affair and his marriage to Glenne Headley ended.

    Decades later, the unendingly quirky Malkovich reflected on the affair to Esquire, saying, “It’s hard to believe Michelle Pfeiffer ever said hello to me—not that she’s not memorable, God knows. But I sort of blacked it out. What I’m trying to say is, when I think of the other person, I don’t think of me as involved with them. They’re uncorrupted by me. As if they were never troubled by my existence.” We honestly have no clue what that means, but it makes about as much sense as John Malkovich getting it on with Michelle Pfeiffer. Really can’t stress enough how weird that is. 


  35. Michelle Pfeiffer and Laurence Fishburne are joining the Marvel Cinematic Universe in #AntMan sequel #SDCC2017


  36. Celebrities who never “made it”

    Do you guys think Kim Cattrall belongs in this category? She started off as a promising ingenue in the late ’70s. During that time she appeared in some quality television series (Columbo, Charlie’s Angels) and movies (Tribute, with Jack Lemmon). When the ’80s came, however, she found herself slumming in forgettable fluff (Porky’s, Police Academy), indie movies, and flops (Bonfire of the Vanities). In the ’90s, before Sex and the City, she mostly landed one-off TV appearances and corny TV movies. Now, after Sex and the City, she has yet to achieve any major success. Was SATC a fluke, and can we count her among the almost-but-never-made-its?

    Cattrall herself even commented on her place in Hollywood (see linked interview at 8:30). She says that, after Porky’s, she began losing roles to Michelle Pfeiffer, another actress of her physical type. Is she basically a failed Pfeiffer?


    reply 256 01/26/2015


  37. How Long Before Michelle Pfeiffer is Announced to Be Playing Hillary Clinton in Ryan Murphy’s ACS?

    She’s back to work full-time with one film after the next, garnering her her first Emmy nom for “The Wizard of Lies” playing Ruth Madoff for HBO. She says she wants to do more television. Murphy put out a public plea to her a few years ago, wanting to do something with her. They share the same agent. Her husband David E. Kelley has hit it big with HBO’s “Big Little Lies”. She’s got the much buzzed “Mother!” coming up, “Murder on the Orient Express” and Marvel’s “Ant and the Wasp” for next year. I know Murphy’s Clinton series will take place during the Whitewater era, but I think Michelle can pull it off. Had it been Hillary circa Y2K, maybe Glenn Close. Now all the critics are dubbing this the Pfeiffer-sance. Michelle is a big name to get and she’s willing to dress up or down for a role and to throw herself fully into a part. It’ll be easy Emmy material for her, which I think would be a pull for her. She seems to be in “I want recognition, damn it!” mode now.

    What do you think. Will we hear her name for this series? I’d rather see her working with him for ACS than AHS.

    —Anonymous (82 views)

    10 replies 7 an hour ago

    When Michelle Pfeiffer found out that director Tim Burton was going to do the movie Dark Shadows (based on the iconic gothic soap opera), she got her nerve up, phoned Tim and asked if she could play the part of Elizabeth Stoddard, the head of the scary mansion, and he said yes. She was thrilled because she loved the series. And she did a great job.


    reply 10 21 minutes ago



    She loves being at a major international film festival again and having the lights focused on her, but this A-/B+ list mostly movie actress is trying to get through it all with her regimen of pills which makes her act like a zombie. Michelle Pfeiffer (“Venice Film Festival”)


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