He later reprised that role in the film version opposite Jason Robards and Martin Balsam in 1965. At 13, Gordon began a career on Broadway as Nick in Herb Gardner's A Thousand Clowns, a role for which he earned a Tony Award nomination. In 1962, Barry played the part of the childhood version of 'Patient' in Pressure Point. Gordon guest starred on the sitcoms The Ann Sothern Show and Dennis the Menace. Gordon was cast as Humberto in an episode of the sitcom Sally, starring Joan Caulfield, and as Chopper in Leave It to Beaver (episode 119: 'Beaver's House Guest'). Īs a child actor, Gordon also appeared on The Jackie Gleason Show, The Jack Benny Program, Richard Diamond, Private Detective, The Danny Thomas Show, Alfred Hitchcock Presents and Star Time with Benny Goodman. He begins the recording (released in 1990) by dedicating it to Barry Gordon. In circa 1956, Bill Haley recorded a private demo recording 'Six Year Olds Can Rock and Roll'.

The next year, he charted his second and final single 'Rock Around Mother Goose'. It sold over 1 million copies, and was awarded a gold disc. He was the youngest performer to hit a pre-Hot 100 Billboard chart when that song hit No. At six, Gordon recorded ' Nuttin' for Christmas'.

Gordon began performing at age three in his television debut, he won second place on Ted Mack's Amateur Hour singing Johnnie Ray's 'Cry'.

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Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libelous. It’s bargain-bin bouillabaisse.This section of a biography of a living person needs additional citations for verification. There are high points, like Jean-Claude Van Damme’s grandstanding, plutonium-crazed baddie, the return of Dolph Lundgren’s action-troll Gunnar Jensen, and screwy lines like, “We keep it light until it’s time to go dark, and then we get pitch-black.” But mostly it’s a morass of dodgy plotting, indifferent brutality and limp character-work. Stunt gags are yoinked from the likes of Die Hard 4.0, Indiana Jones And The Last Crusade and The Losers, while there’s little of the preposterous, colourful action that characterised director Simon West’s Con Air. More unforgivably, it fails to mint iconic dialogue and carnage of its own. It’s like being forced to attend a Planet Hollywood boardroom meeting after a great quarter. “Yippee-ki-yay,” comes Arnie’s grinning retort. I’ll be back,” Willis squints at one point. Less so 90 minutes on, with the cast still relentlessly referencing their glory days. It’s fairly funny when Terry Crews hands Schwarzenegger his gun near the start and says, “If I don’t get this back, you’re terminated.” Or when Chuck Norris hoves into view, like Ned Flanders with a Heckler & Koch, and relates a Chuck Norris Fact AS DIALOGUE. The comedy is, on the whole, equally painful. Each time the pair flirt (“I like Italian,” she purrs during a weird conversation about food, despite the fact there’s no indication Barney Ross is Italian), the film grinds to a hideous halt. There’s also a new romantic interest for Stallone, in the shape of Maggie (Nan Yu), who replaces a departing Jet Li, suggesting The Expendables have a one-in/one-out policy for Chinese people. He’s adamant that he’s only going to do one last job. One of the ‘serious’ story strands involves a new member of the team (Liam Hemsworth, filmed almost entirely in Doe-Eye-Vision), whose special skill is telling boring stories about how bad war is. Everything you need for a fist-pumping Friday night, right? Well, no.Īs with the original, the movie’s tone lurches between genre-lampooning humour and earnest drama. In the havoc department, meanwhile, the jacked-up budget allows for crashing planes, leaping jet skis, tanks and a Virtua Cop bodycount. Starring as many kettlebell-heaving action gods as they could cram on the poster, it boasts fight sequences with Bruce Willis, Arnold Schwarzenegger and Chuck fuckin’ Norris - all that’s missing is Steven Seagal as a merc called Mince Shrapnel. The Expendables 2 - a film which could have been titled Arsekickers Assemble - should have made Marvel’s team-up look as tough as a lollipop ladies’ book circle.

Barney actor jacked