The Green Card star has been pals with the revolutionary for 20 years and travelled to the Caribbean island republic in 2006 to attend his lavish birthday party.
Depardieu, who has even invested in an oil field in Cuba, has now opened up about the unlikely partnership, insisting he loves hunting with Castro and younger brother Raul.
The actor tells U.K. chat show host Graham Norton, "I met him (in) 1992 when I made him pate. He loves to eat also, and is very curious about food. He is a friend and I go hunting with him and with Raul. They know everything about everything and they are normal people."
The Oscar winner - who has come under fire for his support of the anti-U.S. revolutionary and his president brother Raul - is claimed to have flown to the communist country to discuss how U.S. President Barack Obama's administration has affected Cuba.
The interview with the former leader will reportedly be used for an article Penn is writing for America's Vanity Fair magazine.
The Mystic River actor has been heavily criticised for his connections to Castro and Venezuelan President Hugo Chavez, with a U.S. journalist accusing him of discrediting his good work in the gay community by lending his support to the controversial politicians.
Director Steven Soderbergh creates a $60 million dollar art film aimed to be an epic look at the life of famed Argentinean rebel Che Guevara (Benicio Del Toro). Split into two parts that may be shown either together or in separate engagements the director seems intent on rewriting the book on biopics and in doing so has completely muted a potentially interesting study of the man who became a revered figure in Fidel Castro’s rise to power in Cuba. Part I aka The Argentine charts Che’s beginning career as a charismatic young doctor who meets Castro and sails to Cuba with the common goal of overthrowing corrupt dictator Fulgenico Batista. Proving himself to be a crafty and smart fighter particularly when it comes to guerilla warfare Che becomes a heroic figure among his colleagues and the Cubans. In Part II aka Guerrilla Che is portrayed after his peak power days when he mysteriously disappears only to re-emerge in Bolivia where he organizes the Latin American Revolution. Largely focusing on the grunt work of the battles this section details his dedication to a cause that ultimately will also become his tragic downfall. When an even LONGER version of Che premiered in May at the Cannes Film Festival international reaction to the film was decidedly mixed at best -- even though Benicio Del Toro’s performance was universally praised. Although he’s physically perfect for the role his approach is to basically mumble through the proceedings like a faux Marlon Brando in his Viva Zapata period. If Del Toro was indeed born to play this part it doesn’t really show as he fails to connect with the audience. In the livelier first section -- in which the material is more political and intriguing -- Del Toro almost comes alive especially when visiting New York and the U.N. but frustratingly he mainly chooses to underplay to the point of tedium. The shootouts in the last part of the film come across as amateurish something out of a ‘50s TV Western. The rest of the mostly Spanish cast does what they can with the hackneyed script with standouts Rodrigo Santoro as Raul Castro Catalina Sandino Moreno as Che’s second wife and Demian Bichir who manages to be quite convincing as Fidel Castro. Unlike the lively portrait director Walter Salles achieved in the far more engaging and pertinent The Motorcycle Diaries the usually talented Steven Soderbergh (Traffic Ocean's Eleven) paints a dry profile of Che Guevera diminishing whatever excitement may have existed in his life. By concentrating on these two narrow portions of Che’s life the director fails to deliver even the tiniest proof or argument as to why this man was so revered and remains so iconic to this day. The film completely skips over major points and fails to find the character’s flaws. And the reported $60 million dollar budget is nowhere to be seen -- Che even looks dull and unexciting. It’s clear Soderbergh simply got too close to the subject after seven years of research and somehow viewed this wannabe bio-epic as his own Lawrence of Arabia. Far from it. See it only if you need a good nap.
Poor Donna Keppel (Brittany Snow). Some years back her parents and brother were slaughtered by Richard Fenton (Jonathan Schaech) a teacher who had developed a psychotic fixation on her. Richard went to an insane asylum but he broke out and now he’s back in town just in time for Prom Night where he resumes his pursuit of Donna and knocks off some of her friends for good measure. Bringing up the rear is dogged Detective Winn (Idris Elba) desperately trying to nail Fenton as the body count mounts. Sooner or later--and it’s much later unfortunately--Donna will come face to face with Fenton one last time. With characters as one-dimensional and dumb as these there’s not much the cast can do except stand around in their prom outfits waiting to get killed off. As the deranged killer Schaech stares glares and skulks around. Leading lady Snow widens her eyes and worries accordingly throughout while Elba tries to inject a little intensity into the stock role of the cop on the case. Working from a bad screenplay by J.S. Cardone first-time helmer Nelson McCormick displays little enthusiasm--either for the genre or for this particular film. The scare tactics are hackneyed and usually involve characters surprising each other--a gag that gets really old really quickly. When one character mutters “This is getting silly. Enough already ” we couldn’t agree more. And we’d add “boring” to that statement. It should be noted however that there’s an awfully high body count for a film rated PG-13 even if the film isn’t as bloody as one might expect. McCormick and Cardone have re-teamed on the upcoming remake of The Stepfather and if their collaboration here is any indication horror fans may have reason to be afraid--very afraid.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
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.