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."
WHAT IT’S ABOUT?
Like hundreds of others in the mad-for-baseball Dominican Republic Miguel Santos (aka Sugar) struggles to try to make it in the local major leagues which would help pull his family out of poverty. His big break comes when U.S. scouts transfer the pitcher to a minor league team in Iowa giving him the opportunity to succeed in America. But when his game goes bad on the mound and an injury occurs he must decide what he really wants to become.
WHO’S IN IT?
Writer/directors Anna Boden and Ryan Fleck (Half Nelson) spent months scouting teams in the Dominican Republic to find a ball player capable of acting the leading role finally settling on Algenis Perez Soto who had never been in front of a movie camera. He’s authentic and mesmerizing to watch as Sugar — his performance owing a great deal to his own similar background. He nails it and is completely convincing as a pitcher even though he wasn’t initially comfortable on the mound (his own position was really second base). Many of the other roles are also cast with amateur actors adding to the realistic tone of the film.
Boden and Nelson clearly show the love they have for the game but their film is really a striking document of the immigrant’s journey reminiscent in many ways of Elia Kazan’s Oscar nominated America America (1963). We usually only hear about the superstar players but these filmmakers put the emphasis on the great majority that never make it past the minors.
Many scenes are long and drawn out but despite the fact that the film could have used some tighter editing (particularly in the baseball segments) there is still a nice rhythm established.
Due to its desire to be as authentic as possible much of the film is not in English; so those who don’t like to read subtitles might be advised to steer clear.
The heartbreak of illegal immigration is vividly displayed in this poignant story of nine year old Carlos (Adrian Alonso) a boy living in Mexico with his grandmother while his mother (Kate del Castillo) works as an illegal domestic in Los Angeles trying to make enough money to send home so the son she has been separated from can live a good life--even if it means being without her. When the grandmother suddenly dies Carlos decides to cross the border and look for mom. As his journey continues he encounters a woman (America Ferrera) and her brother (Jesse Garcia) who make tuition money taking babies into the U.S. In this instance she decides to help smuggle Carlos across by hiding him in her van. Once he lands in Tuscon he meets a sympathetic middle- aged migrant worker named Enrique (Eugenio Derbez) who accompanies him to East L.A. Once there they try to locate his mother--their only clue being a vague description of the area around a pay phone she used in her weekly calls home to Carlos. The film which is shot mostly in Spanish with some English language scenes as well offers great big screen opportunities to some of Mexico’s biggest television stars including telenovela favorite Kate del Castillo. She delivers a moving performance as a mother living separated by borders with her only son but living “under the same moon.” The film really belongs however to young Alonso--a natural in front of the cameras who impressed American audiences as Catherine Zeta-Jones and Antonio Banderas’ son in The Legend of Zorro but breaks out here as the determined Carlos. Both create a touching mother-son relationship even though they are never in any scenes together. Also playing against type is superstar Derbez unquestionably one of Latin America’s most popular actors who develops a winning chemistry with Alonso making every moment of their screen time count. Ugly Betty’s Ferrera also turns up for some effective moments including a heart-stopping sequence in which she is questioned by border guards while the van carrying the hidden Carlos is searched. Although she has made some award winning shorts Under the Same Moon represents the first feature length film for Mexican-born Patricia Riggen. She succeeds on all levels emphasizing the characters in the story over the potentially political hot button topic of immigration which her film so eloquently humanizes. Working with screenwriter Ligiah Villalobos the two women give urgency to the tragic separation of mother and son caught between two disparate cultures. Given the time restraints and low budget Riggen’s command of the camera is impressive particularly in the inventive and almost spiritual ways she manages to bring mother and son together on screen even though they never share a shot. Use of music is also hugely effective with Carlos Silotto’s melodic score recalling a similar film about a young dreamer Cinema Paradiso. Ultimately though Under the Same Moon lives or dies with the actors and Riggen’ spot-on casting decisions--particularly in the case of Alonso--really lift it to new levels. Most of the actors have extensive TV followings and Riggen knew by casting them she would risk the wrath of Mexican film critics who uniformly look down on television. Doesn’t matter. Under the Same Moon has universal appeal and should find approving audiences around the world.
Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.
Three Burials is languid simplicity at its best. The story starts off as a murder mystery of sorts when a Mexican man Melquiades Estrada is found shot dead outside a dusty Texas town near the U.S./Mexican border. Without any family he’s written off and unceremoniously buried in a shallow grave. This is not at all satisfactory for Pete Perkins (Jones) a local ranch foreman and Melquiades’ only friend. Pete decides to investigate his friend’s murder on his own and finds out the culprit is a young hot-headed border patrolman named Mike Norton (Barry Pepper). He kidnaps Mike and forces him to disinter the body. With his captive in tow and the body tied to a mule Pete then undertakes a dangerous and romantic journey into Mexico to give Melquiades a proper burial. The older he gets the more Tommy Lee Jones excels at portraying a man of few words. Maybe its because his face--filled with years of deep lines and crevices--can explain everything just by staring off into the distance or by coldly glaring at an enemy. As Pete (for which Jones won best actor prize at the Cannes Film Festival) the actor hands us a lonely cowboy who finds a friendship with an unlikely amigo (played by Julio Cedillo). These two don’t head towards Brokeback Mountain territory but the bond is there. And when Melquiades is killed it sends Pete into a spiral of pain revenge and eventual self-discovery. As Pete’s captive Pepper (25th Hour) turns in an amazing performance as the bewildered border patrolman who goes on his own journey towards redemption. And on the sidelines is January Jones (American Wedding) as Mike’s wife and Melissa Leo (21 Grams) as Pete’s sometimes girlfriend who give boredom a whole new outlook and aptly show just how stuck a beautiful woman can be in such a nowhere town. It’s clear Three Burials is indeed very close to Jones’ heart. Shot almost entirely on his sprawling West Texas ranch Jones’ directorial debut was apparently born out of years of deer-hunting trips he took with Three Burials’ screenwriter Guillermo Arriaga (who also wrote the happy little film 21 Grams). “You don’t have to spend much time along the Rio Grande before you realize that [Arriaga’s] country and mine and the same ” Jones told Entertainment Weekly. Jones paints a vivid picture of this land--and the people--he obviously loves dearly while also depicting the racial and political tensions brewing along the border. But it’s Arriaga’s script that deftly changes the film’s pace. It’s a Western a dark comedy a revenge thriller that eventually turns into a Don Quixote journey of sorts--and the whole thing just keeps you glued save for a few extraneous moments here and there. This could be the start of a beautiful collaborative team.
You remember Gina (Queen Latifah) from Barbershop 2? She's the one who worked at a beauty shop next door to the barbershop and gave Eddie (Cedric the Entertainer) all kinds of grief. In Beauty Shop the widowed Gina has moved from Chicago to Atlanta so her daughter can attend a prestigious music school. With scissors in hand Gina quickly becomes the most sought-after stylist at a chic-chic salon. Unfortunately the guy who runs it is a superficial egotistical jerk named Jorge (pronounced "Hor-eh") (Kevin Bacon) who tosses his weight--and his stringy hair--around a lot. Obviously the headstrong Gina isn't going to stand for that nonsense for very long. She eventually tells him off and storms out to open her own shop taking a few choice clients with her. And what a shop it is! The ever-creative and determined Gina stocks it with her own hair products or "hair crack" as it's lovingly referred to a cappuccino maker and a myriad of colorful employees who also aren't afraid to speak their minds. So grab a seat under the hairdryer and watch how these women get busy.
Beauty Shop also has a myriad of animated performers. Everyone seems to be having a great time except maybe the Queen Bee herself. In Barbershop 2 Latifah's Gina got to be one of those full-of-life supporting players sparring with Cedric the Entertainer and delivering some of the film's better moments. Now that the actress has to carry the film she also has to play it straight most of the time which doesn't suit her quite as well as it did for Ice Cube. But she still manages to infuse her own particular brand of charm every once in awhile when the film warrants it. The rest of the cast keep things light and lively especially the over-the-top Bacon who plays Jorge as a cross between one of those pretentious hair salon owners we all know and a bit player in a bad disco movie complete with a faux Austrian accent and gold chains. It's good to see him have some fun. It's also good to see Alfre Woodard who plays one of the shop's more eccentric hairdressers wearing low-cut leopard prints and spouting poetry by Maya Angelou. Also making an impression are Alicia Silverstone as the token white girl in the salon who eventually gets a ghetto makeover; and Keisha Knight Pulliam all grown up from playing little Rudy Huxtable on The Cosby Show as Gina's lackadaisical sister-in-law.
Initially it's fun to see the same Barbershop dynamics applied to Beauty Shop this time from a woman's point of view. Director Bille Woodruff (Honey) does a nice job setting up all the different personalities in the shop from the sardonic to the bubbly to the unconventional as the women talk about anything from bikini waxes to men crying during sex to interracial love. It's amusing and will hit home for many of the women in the audience but you'll soon realize Beauty Shop's script is far more tame and predictable than outrageous. Basically Beauty Shop doesn't have an Eddie character which is what makes the Barbershops work so well. He's there to say the most outlandish--and sometimes offensive--things that make people stop think and then laugh their butts off. Beauty Shop only touches upon social and cultural differences never really digging in deep and rarely making you laugh out loud.