Open Road Films via Everett Collection
David Ayer's Sabotage is just the latest stop in Arnold Schwarzenegger's comeback tour, though it probably won't do the actor too many favors. Schwarzenegger plays John "Breacher" Wharton, the leader of an elite DEA task force that specializes in taking down drug cartels. Each member of the team is a blunt instrument drunk off of their alpha male (and female) machismo, but to be fair, they are damn good at what they do. They're masters at going in hard, killing whoever needs killing, and heading to the strip club and drinking themselves into a stupor before the next round of street sweeping. Unfortunately, it turns out years of busting cartel bosses and being deeply unpleasant to everyone you come into contact with eventually catches up to you, and members of the squad start dying in ghastly and elaborate ways. And just like that, we have what basically amounts to an Agatha Christie novel with a gym membership and a pile of meth.
Unfortunately, and as expected, giving Agatha Christie a couple of reps at the gym and a pile of drugs turns her into a blithering idiot, because Sabotage is incredibly stupid. The central mystery somehow manages to be both preposterous and predictable at the same time. The film's one saving grace is its action. The action scenes are adrenal and exciting and unbelievably gory. Bloated corpses are poked and prodded, viscera hangs like ropes from a rafter. This film takes immense pleasure in being completely disgusting. It’s downright gleeful about it. Here's a full shot of a soiled toilet, just because. Here's a piece of skin hanging on some metal, why not. Isn't that cool?
While Sabotage does manage to thrill in spurts and stutters, there's absolutely nothing beating at the heart of the film. All of the main characters are completely and utterly repugnant, and you'll pity anyone who has to endure their company throughout the film. When characters do start to die, you won't feel all that broken up about it. In fact, you may even feel a twinge of joy, like the earth was suddenly unburdened from a pure source of rampant douchebaggery. Just imagine the most disgusting, and off-putting person you can, and then give them a gun, a badge, and a fierce sense of entitlement, and you have every single member of the film's DEA squad. They're all terrible.
And if that weren't bad enough, the acting ranges from mediocre to terrible. The usually wonderful Olivia Williams and the capable Sam Worthington continually forget which continent they're on, their accents dropping in an out like a bad radio connection; Schwarzenneger has a complete inability to emote anything apropos of the situation at hand. When looking upon a pile of ooze that was formerly in the shape of one of his best friends, his disappointment is more akin to seeing a temporarily occupied gym bench on chest day. All of the charm the actor showcased in something like the recent Escape Plan is washed out by Breacher's moping about his dark past, and when Schwarzenneger isn't allowed to be fun, then he's completely boring.
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Really, I should hate Sabotage. It’s a completely stupid and mean spirited film, but there’s a strange charm to the depravity of it all. There's an audaciousness to it. The film goes as far as it can to push limits, and succeeds at being appaling. It’s a film that knows how stupid and ugly it is and champions that fact. It’s playing in its own filth, and as gross as that is, at least it’s having fun. This is the kind of film that will be in heavy rotation at the local frat house. That’s doesn’t mean the film is good or even okay, but if you like watching horrific violence, awful mysteries, and awful people being awful, then boy do I have a film for you.
Dionne Warwick and Keith Sweat are set to be honoured at the upcoming Soul Train Awards in Las Vegas. R&B veteran Sweat has been named the recipient of a 2013 Lifetime Achievement Award and Warwick will receive the night's Legend Award.
The accolade will mark a full circle moment for Warwick, who helped late TV mogul Don Cornelius perfect the 1970s music show that was to become Soul Train, and inspire the awards. Gladys Knight, Ronald Isley and Eric Benet will be among the stars who will pay tribute to the singer at the event.
Meanwhile Sweat will perform a medley of his hits and join Faith Evans for a special performance.
Comedian and actor Anthony Anderson will host the awards on Friday night (08Nov13). Janelle Monae is hoping to bounce back from a throat infection to perform alongside Toni Braxton and Kenny 'Babyface' Edmonds at the awards, which will also feature a Cirque Du Soliel tribute to Michael Jackson.
Hip-hop sensation Kendrick Lamar leads this year's nominations with six, including Best New Artist, Album of the Year and Song of the Year. Tied with five nominations each are Miguel, Justin Timberlake, Robin Thicke, Chris Brown, Tamar Braxton and Janelle Monae.
Comedian and actor Anthony Anderson will host the awards on Friday night (08Nov13).
Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
The Green Mile actor, who was a security-man-for-hire before his acting career took off, has confessed he was assigned to guard the heavyweight star at the Soul Train Music Awards in Los Angeles in March, 1997, but he swapped the job with a pal to cover R&B singer Kenneth 'Babyface' Edmonds instead.
Notorious B.I.G., real name Christopher Wallace, was gunned down in a drive-by shooting hours later.
And Duncan admits the incident was a rude awakening - one which prompted him to make a career change.
He explains, "One of my last assignments, it was really bad, because we were doing the Soul Train Music Awards and I was assigned to Biggie Smalls that night. The night that he got killed. A guy called me at the last second and said, 'Did you want to switch?' So I switched and went to Babyface and my friend went to Biggie Smalls - and that was the last time I worked security."
And the actor can't help but think that the rapper would have survived the attack on his life if he had been in charge of his security for the night.
He says, "In hindsight, everybody says I would have done this (differently) but my thing was never let the client sit on the passenger side door in the front. If you were my client, I'd have you... sitting in the middle (seat).
"When things like that happen you have to ask yourself, 'Am I really ready to give up my life to do this?' And I figured if you're not ready to do that, you need to find some other type of work."
Notorious B.I.G.'s murder remains unsolved.
This month will mark Betty White's 90th birthday. In celebration of the actress' long and prosperous career, and her continued prominence in the media, NBC is hosting a special televised event, Betty White's 90th Birthday: A Tribute to America's Golden Girl, on Jan. 16 (the night before her actual birthday). The tribute, which was announced back in the Fall, continues to attract a large variety of celebrity appearances. New prominent names reported to be paying a visit, and possibly offering some of their talents as showpeople, include Ellen DeGeneres, Tina Fey, Morgan Freeman, Seth Meyers, Tracy Morgan, Ray Romano, Jennifer Love Hewitt, Carl Reiner, Vicki Lawrence and John O'Hurley. Other attendees you may have already heard about include White's Hot in Cleveland costars Jane Leeves, Valerie Bertinelli and Wendy Malick, her old The Mary Tyler Moore Show castmates Mary Tyler Moore, Ed Asner, Valerie Harper and Gavin McLeod, as well as other notable stars including Amy Poehler, Joel McHale, Jay Leno, Carol Burnett and William Shatner. Not too shabby, Betty. -NBC
The Voice returns to television for a second season early next month, and it is bringing with it a wide assortment of celebrity advisors to help its next string of contestants along with their stint on the musical competition series. Appearing on the show this year will be musicians such as Lionel Richie, Kelly Clarkson, Alanis Morisette, Ne-Yo, Jewel, Kenny "Babyface" Edmonds, Robin Thicke and Miranda Lambert. This array of noteworthy musicians will be joining the judging panel of Christina Aguilera, Cee Lo Green, Adam Levine and Blake Shelton to make for an exciting second season. The Voice's second season premiere will air Sunday, Feb. 5 on NBC, immediately following the Superbowl. -NBC
This has been a season of changes for Law & Order: SVU. Old detectives have left, new ones have arrived. And now, we'll be meeting another new character: Assistant District Attorney David Haden, played by none other than actor/musician Harry Connick, Jr. Best known for his music career, but also for acting gigs like his recurring stint on Will & Grace, Connick, Jr., will be enjoying a multi-episode arc as an attorney who strikes up a beyond-professional relationship with Mariska Hargitay's Det. Olivia Benson. As you can see in the video below, things are already starting to heat up between the pair. Hargitay also confirms that she has no intentions to leave SVU, much to many a fan's relief. Connick, Jr., will join the cast starting on Wednesday, Jan. 18 at 10 p.m. ET/PT on NBC. -NBC
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Funnyman Eddie Murphy is dating R&B producer/singer Kenneth 'Babyface' Edmonds' ex-wife Tracey, following his split from pregnant singer Melanie Brown.
The Shrek comedian, 45, told Dutch TV show RTL Boulevard yesterday that he was "not together anymore" with the former Spice Girl, who is six-months pregnant with her second child.
Murphy and Brown, 31, started dating in June--just two months after the actor divorced his wife Nicole. Despite Brown's recent claims the couple are having a baby together, Murphy insists he isn't prepared to assume parental responsibilities just yet, saying, "I don't know whose child that is, until it comes out and has a blood test."
Last night, Murphy went public with Tracey at the New York premiere of his latest film Dreamgirls, where the pretty producer admitted they are dating.
Tracey tells People magazine, "(We've been dating) for about a month and a half.
"Yes (we're happy), very happy. We're having fun."
Tracey and Kenneth Edmonds split in October 2005 after 13 years of marriage and two children.
Murphy Baffled by Richards Backlash
Eddie Murphy is puzzled by the backlash aimed at Michael Richards following his racist tirade during a stand-up routine in a Los Angeles club because what is said onstage should stay onstage.
Murphy is refusing to join the African-Americans launching attacks on the Seinfeld star, who stunned an audience at a recent Laugh Factory show by calling two hecklers "n**gers" over and over again.
Instead, the comedian says, "Back in the old days in comedy clubs, you could do anything onstage... I'm not saying what the guy said was cool, but in the old days you would've never saw that on the news."
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