Mexican actress Karla Alvarez has died at the age of 41. The TV star's body was found by a maid in her apartment in Mexico City on Friday (15Nov13) and officials have attributed her cause of death to cardiopulmonary arrest due to complications from eating disorders anorexia and bulimia.
Alvarez rose to fame in 1992 after appearing in telenovela Maria Mercedes, portraying Latin superstar Thalia's stubborn younger sister.
She went on to land roles in other popular Mexican soap operas, including Buscando El Paraiso, and scored the starring role in Mi Querida Isabel.
She later became known for playing villains onscreen in shows like La Mentira, Alma Rebelde and La Intrusa, while she shot her final acting gig earlier this year (13), in Que Bonito Amor with actors Jorge Salinas and Danna Garcia.
Paying tribute to her tragic former co-star, Thalia writes on Twitter.com: "Very saddened by the parting of Karlita Alvarez. Great memories of 'Maria Mercedes.' Prayers for her family. Rest in peace."
I expected Your Highness David Gordon Green's R-rated sword-and-sorcery farce to be a medieval stoner comedy something in the vein of Monty Python-meets-Cheech and Chong. This was not an unreasonable assumption given a) the film’s clearly suggestive title and b) the fact that its stars (Danny McBride and James Franco) and director previously collaborated on the THC-laced epic Pineapple Express. But I was waaaaaay off. Sure drug references abound in Your Highness but they are relatively benign in comparison to the film’s exhausting barrage of adolescent sexual humor and often shockingly crude language. Less bongs more schlongs is Your Highness' overriding ethos.
Taking care not to stray too far from the winning comic persona established in Eastbound & Down and The Foot Fist Way McBride plays Prince Thadeous a royal ne’er-do-well who lives in the shadow of his handsome older brother Prince Fabious (Franco) gallant knight and heir apparent to the throne of the kingdom of Mourne. While Fabious is out defending his father’s realm against various supernatural threats and earning acclaim for his illustrious deeds cowardly and entitled Thadeous parties with loose maidens and smokes hallucinogenic herbs with his twink-ish toadie Courtney (Rasmus Hardiker). But he finds he can no longer shirk his heroic duties when an evil sorcerer named Leezar (Justin Theroux) crashes Fabious’ wedding and absconds with the crown prince’s fiancée Belladonna (Zooey Deschanel). Urged to aid in his brother’s quest to rescue her Thadeous resists — that is until his father threatens to cut him off from the royal teat.
Very soon into his journey we discover why Thadeous was heretofore so reluctant to join in his brother’s adventures: Quests in the Your Highness universe entail an awful lot of encounters with homoeroticism – both latent and blatant. Knights dress in tights and codpieces and seem unusually affectionate toward one another. The price for advice from the Great Wize Wizard a bedridden seal-like creature wearing what looks to be a jellyfish as a skullcap is an open-mouthed kiss and a handjob. A sassy manservant is stripped of his clothing and revealed to be a eunuch. A tribe of feral women is ruled by a half-naked highly effete cherub-like figure named Marteetee. And so on.
Your Highness reaches its homoerotic apex during a pivotal scene in which Thadeous in his first real act of bravery intervenes to prevent Courtney from being raped by a minotaur which minotaur happens to be sporting a massive erection. Wanting a trophy to commemorate the deed he severs the slain beast’s still-engorged member and hangs it around his neck giving us for the remainder of the film a vivid monument to the filmmakers' most reliable comic device. (It’s an impressive sight – I fully expect “hung like a minotaur” to gain much greater prevalence in the lexicon should Your Highness be a hit.)
Not that there’s anything wrong with that. And Your Highness does throw in a few hetero bits to help balance the sexual ledger especially when the cast is joined by Natalie Portman playing a feisty fellow-quester and McBride’s unlikely romantic foil. Portman should at the very least be commended for being able to utter lines about a "burning in her beaver" with unvarnished sincerity.
Your Highness is often wickedly funny – a filthy spot-on send-up of The Beastmaster Krull and other campy '80s fantasy flicks. But there’s precious little beyond the filth and eventually the bawdy language and infantile shenanigans grow repetitive especially when the plot starts to meander in the second act. Green's primary comic instinct is to aim for shock value — as in Pineapple Express the action in Your Highness is punctuated by cartoonish violence — which grows tedious toward the end credits. His efforts would have been better devoted to expanding Theroux's and Deschanel's roles — they are woefully underutilized — or giving McBride something funnier to say than "motherf*cker."
While the original 1950s sci-fi cult classic pointed to the Cold War and the threat of nuclear war in a timely manner this The Day the Earth Stood Still is just a rehash. Do we really need Keanu Reeves to tell us how we’ve messed up the planet? In any case he plays Klaatu an alien being inside a human body who comes to Earth in a giant sphere to “talk” to our world leaders about our destructive behavior. In fact he’s the deciding factor on whether to destroy the human race in order to preserve Earth OR give us another chance. Of course no one is going to let Klaatu speak to the U.N. which leaves the alien no other choice. Until that is he joins up with a pretty scientist (Jennifer Connelly) and her stepson (Jaden Smith) and sees just exactly how warm and fuzzy humans can be. Oy. It might be too late though since Klaatu’s giant robot friend (“Gort” in the original) is already gearing up for his mission to kill and destroy. At least casting Keanu Reeves was a smart move. Klaatu’s lack of emotion and few words is right up the actor’s alley; he makes it look soooo easy. Connelly on the other hand is making the same mistake she did when she starred in Hulk -- playing a brilliant scientist of some kind who is inevitably wasted onscreen. Jaden Smith is kind of an impertinent little snot through most of the movie who wants Klaatu dead but suddenly changes his mind just at the right moment. And then there’s Kathy Bates as the Secretary of Defense who stonewalls Klaatu’s request to meet the world leaders. She nearly ruins the whole thing! It’s not that The Day the Earth Stood Still is a poorly made film. Director Scott Derrickson sets the right tone and aptly applies the state-of-the-art special effects when it’s needed -- especially when the robot starts to work his particular destructive mojo by unleashing millions of tiny mechanical bugs who eat through everything. The main problem with this remake is bad timing. The original was creepy and quiet and menacing with its alien takeover theme in a way moviegoers had never experienced in 1951; it hit a chord which has carried it through its cult status. But to redo it now when we’ve seen the same kind of movie done in so many better ways doesn’t make any sense. In trying to keep to the original’s spirit this Day comes off as derivative unimaginative and tedious. Should have left it alone folks.
In a screen adaptation of the Philip Roth novella The Dying Animal this highly charged sexual drama comes to the fore as its central character wraps himself around a dangerous life-changing relationship. David Kepesh (Ben Kingsley) is an engaging very successful professor whose personal life he closely controls--never letting commitment get in the way and keeping the women in his life at arm’s distance. Although he can go on The Charlie Rose Show and charm with the best of them his emotional needs have remained hidden to him--that is until a gorgeous young student Consuela Castillo (Penelope Cruz) enters his classroom and rocks his tightly monitored world. Suddenly everything he thought he knew about his own human nature and longings are thrown out the window. He becomes obsessively involved with the much younger Consuela--SO obsessive in fact that his jealousy and possessiveness take their toll and eventually drive her away. Drowning his sorrows in other personal matters he will discover that this relationship is not quite over and the woman who haunts his dreams is going to come back into his life with an urgency neither one could possibly have imagined. Kingsley an Oscar winner over a quarter of a century ago for Gandhi has perhaps his richest role since then as professor Kepesh a man overwhelmed by desire he never knew he was capable of. It’s certainly unusual and definitely refreshing to see an actor who is just hitting retirement age get such a full-bodied and sexual role. Let’s face it Kingsley is no Brad Pitt but he certainly represents a group of men who are still in the game and even just discovering their full romantic potential in the autumn of life. Of course what red blooded American male wouldn’t fall hook line and sinker for the rapturous Cruz. Her Consuela is a woman in complete charge of her being--until events out of her control bring out the vulnerability. Without revealing plot spoilers there are two distinct parts to this complicated and fascinating performance and Cruz effortlessly nails both. The supporting cast is also top notch with Patricia Clarkson a particular standout as Carolyn the professor’s long-time lover who finds her mutually convenient affair threatened for the first time. There’s also Dennis Hopper as a distinguished poet and David’s good friend; Deborah Harry as Hopper’s long-suffering wife; and Peter Sarsgaard as the prof’s distant son are all fine in the exceptionally well-cast film. Spanish director Isabel Coixet (My Life Without Me) brings an intimacy and strong woman’s touch to a story that might have had a different spin if directed by a man. After all how many Hollywood films have we seen with 60 and 70 year-old male stars cast opposite much younger actresses that fail to examine the irony of those pairings? This relationship is shown warts and all in a much more emotionally complicated way than most films dare. Emphasis on Clarkson’s spurned lover also adds a nice touch and we can completely empathize with this smart sexually alive woman whose main sin is her age similarity with the man she has slept with hassle free for over 20 years. A major studio would never touch a story like this that deals with the sexual proclivities of mature adults unless it had something to do with Batman and Catwoman. We can thank Coixet’s sharply detailed work behind the camera particularly in intimate bedroom conversations and a smart adaptation by Nicholas Meyer which gets right to the heart of Roth’s ultimately heartbreaking story. Those expecting something along the raunchy lines of the aging author’s Portnoy’s Complaint will be in for a surprise with this independently made contemplative beautifully crafted and acted romantic drama. Finally a film for grown ups.
At least Bewitched has the smarts to reinvent itself contemporizing rather than going for a straight remake. First we meet Isabel (Nicole Kidman) a naïve good-natured witch who wants to give up her supernatural powers to lead a "normal" life--much to the chagrin of her warlock father Nigel (Michael Caine). He doesn't believe she can do it. Neither do we. Then on the other side of town we meet Jack Wyatt (Will Ferrell) a nearly washed-up actor who's done one too many bad films. To get back on track he decides to do an updated version of the beloved 1960s sitcom Bewitched. As the mere-mortal Darrin Wyatt would be the star of the show not the actress cast as Samantha. In order for that to happen a nobody must play the witch. Lo and behold Jack runs into Isabel who can manipulate her dainty nose in just the right wriggle. He persuades her to take the part while she sees Jack as the quintessential mortal man with whom she can settle down and lead the normal life she so desires. Think it'll work out? (Cue the Bewitched theme song).
We all know Kidman can play complicated and romantic and Ferrell can do comedy. But in Bewitched they each try to do something beyond those skill sets. Unfortunately they can't quite pull it off. Kidman of course is a consummate actress. She can take on just about any character and make it her own including the slightly ditzy eternally cute Isabel. And so she taps into her inner witch once again (like she did in Practical Magic). But trying to remake comedies (like The Stepford Wives) especially something as balls-out as Bewitched doesn't really suit the Oscar winner all that well. And in Ferrell's case he hilariously handles all of Bewitched's improvisational comedic moments as expected. But watching him try to be a romantic leading man is a bit cringe-worthy. I mean if you can make smooching on Nicole Kidman look uncomfortable you certainly aren't doing the job. As far as the rest of the cast everyone is pretty much wasted in one form or another. Caine as Isabel's debonair roué of a father and Shirley MacLaine as the diva-esque actress who plays Bewitched's wonderful Endora have a couple of bright moments but don't get nearly enough to do. The same goes for Jason Schwartzman (Rushmore) as Jack's unctuous agent and Kristin Chenoweth (from the Broadway musical Wicked) as Isabel's spirited neighbor. Even Steve Carrell (TV's The Office) as the irascible Uncle Arthur can't offer the right spontaneity. What a shame.
One of Bewitched's saving graces however is writer-director Nora Ephron. She knows romantic comedies having helmed such hits as Sleepless in Seattle and You've Got Mail as well as writing the quintessential romantic comedy When Harry Met Sally…. Bewitched is right up her alley and she fluffs it up like a pro. Yet overall the film is just too darn silly for its own good. Maybe Bewitched suffers from the whole TV-turned-film phenomena in general. The idea of taking such classic TV favorites and adapting them into feature films continues to prove there isn't a shred of originality left in the studio system. But sometimes the concept works (Starsky & Hutch is one that comes to mind). Fans like me are curious as to how filmmakers will rework the material and are especially interested in who they decide to cast to play those beloved icons. We end up giving each one of these big-screen treatment iterations a chance--and are usually disappointed. Bewitched is no exception. Besides being only mildly entertaining to diehard fans Bewitched's inside jokes will most likely go over the heads of those who can't tell Samantha Darrin Endora Aunt Clara Uncle Arthur or Mrs. Kravitz from the characters on I Dream of Jeannie. Probably best just to own the sitcom's DVD collection instead.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
Bille Golden (Isabel Rose) is a 30-something nightclub singer-slash-waitress who wishes she were performing doing the golden years of the 1950s cabaret. Billie's dream seems impossible: she's not a teenager anymore she's poor lives with her alcoholic mother and doesn't completely believe in herself…all the makings for depression. Along comes Prince Charming to rescue her in the form of one Greg Ellenbogen (Cameron Bancroft) her old high school crush who is now a very handsome and successful lawyer. The drawback? Greg does not believe in Billie's dream. Enter one Elliot Shepard (Andrew McCarthy) a pianist who is more into his art than earning money. Sparks fly when Elliot becomes Billie's music teacher. Of course in a very formulaic way she must choose between her two loves between money and passion.
An unknown Isabel Rose shines in this indie; she is an excellent singing and acting talent taking every scene and making it her own. However most of the others don't exactly hold their own--the already predictable movie proves more so with the mediocre acting of Cameron Bancroft and Andrew McCarthy. Both seem to go through the motions and only stick to the stereotypes of what their characters are: one rich and selfish the other artistic and caring. Victor Argo as Sal the nightclub owner is genuine and carries out his part well but is not seen enough. Eartha Kitt appears in a welcome cameo but in a key role that only plays up the film's unlikelihood.
Robert Cary co-wrote the screenplay (with star Rose) and directed the movie which may explain why there are no surprises. Without a different point of view he was unable to really give this film the space it needed to grow and develop. "I've always loved the musicals and romances of Hollywood's golden era specifically those films produced by the majors between the mid-30's and mid-50's " Cary has said. Those formulaic romantic plots of yesteryear may have worked in their time but Anything But Love ends up being just too unrealistic for today's savvier audiences. The plot in addition to Billie's dream sequences is too fairytale-like. Anything But Love fails at being old-fashioned and instead merely forces the audience to wait for the inevitable ending.