Actors Kim Raver and William Devane are set to reprise their roles for 24: Live Another Day. The stars were last seen in the 24 season six finale when Keifer Sutherland's anti-terrorism expert character Jack Bauer bid farewell to Raver's catatonic character Audrey Raines, the daughter of the show's U.S. Secretary of Defense, James Heller (Devane).
Mary Lynn Rajskub will also return as Chloe O'Brian in the 2014 12-part series, which will be shot on location in London.
An orange jumpsuit may once again be in Lindsay Lohan's future. The Liz and Dick star's latest arrest and charges — one a misdemeanor assault charge associated with a fight she had with a woman at a New York City night club on Thursday, and three others misdemeanors associated with her June car crash in Santa Monica, Calif. — could mean more jail time for Lohan. Jenny Carroll, Associate Professor of Law at Seton Hall University School of Law who specializes in criminal law and criminal procedure but has no affiliation with Lohan's case, tells Hollywood.com that Thursday's arrest could cause a judge to modify the 26-year-old's informal probation, perhaps sending her back behind bars.
"I don't know exactly what the terms of her probation are, but basically a standard term of probation is not only that you not be convicted for violating the law but that you not be arrested," says Carroll. "So yes, absolutely under a standard probationary document it would not be surprising at all if the arrest alone, without a conviction, would affect the terms of her probation."
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Carroll explains that a probation officer would have been notified of Lohan's arrest in New York when it happened, and then it would be his job to look into whether Lohan's arrest was meritorious, meaning that it actually happened and whether the violation warrants what is called a probation modification. From there, Lohan's fate is placed in the hands of a judge, who could decide to do as little as issue Lohan a warning or as much as set a minimum period of jail time.
According to Carroll, someone in Lohan's position would have an opportunity to contest the probation modification. "Now, she can come in and show some evidence that the arrest is completely without foundation, that the charge is false or the charge was improperly made, she might be able to convince the judge or the probation officer that it doesn't warrant modification," says Carroll.
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"But a lot of defendants are reluctant to do that because she is doing all of this before she actually goes to trial on the charge that forms the basis of the arrest," she says. "So [Lohan] may feel like, 'Gosh, I don't want to dip my hand into what my potential defense is ahead of time if all we're talking about is a probation modification.'" Carroll continues, "The other way it may affect her is outside the context of probation, which is that it may affect her conditions of release for the New York charge, the fact that she's on probation in another jurisdiction." It's a complicated web Lohan has woven for herself — one that might not be so easy to untangle unscathed.
Lohan's attorney, Shawn Holley, was not responsive to Hollywood.com's request for comment. (Reports quoting Mark Heller as Lohan's lawyer are false — a rep for Lohan confirmed with Hollywood.com that Heller does not represent the actress.)
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[Photo Credit: INFphoto]
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Jason Statham headlining a gritty action thriller is as routine as the sun coming up. But the man has the role down to a science — whether he's a down-on-his-luck cop former CIA agent ruthless assassin or any of the other stock characters that open up the Pandora's Box of butt-kicking Statham can deliver. Safe embraces these expectations throwing together an amalgamated central character (Luke Wright a currently homeless former NYPD cop who was secretly black ops maybe assassin hired by the blah blah blah) who goes to battle with every bad guy New York City can offer. Russian mafia Chinese mafia corrupt cops — name the group Statham breaks their tracheae. If that sounds delightful and fresh Safe is a must-see.
Wright's metropolitan misadventure begins after he crosses path with a young Chinese girl Mei (newcomer Catherine Chan) whose endless memory holds the combination to a locked up unknown prize. Every immoral guy in town wants the information — Han Jiao (James Hong) and his gang who kidnapped the girl from her home country want their lost property back; Vassily Docheski (Joseph Sikora) wants to make his mob operation richer; Mayor Tremello (Chris Sarandon) and Captain Wolf (Robert John Burke) want to keep the whole thing under wraps so they continue extorting the crime families. Then there's Wright just a nice guy looking to do a nice thing for a girl in trouble. Commence gun fire and painful deaths.
Writer/Director Boaz Yakin does his best to innovate within the Statham formula utilizing some tricky camera work and snappy comedy dialogue. Simple things keep us on our toes; when Wright first rescues Mei from the clutches of pursuing goons the two jump into a car. We're in the back seat witnessing Statham slamming people back and forth the rear view mirror catching all of the action behind us. In a movie where violence is prioritized over plot the little things really count. Yakin knows it.
Tonally Safe never clicks and it's a major barrier for enjoyment. On one hand it's all about realism — the emotional trauma undergone by a child the real world implications of criminal activity and the bigger picture issues at hand (Sarandon's mayor character just had to go and make it a 9/11 thing didn't he). On the other countless people are gunned down in array of cartoonish violence. Safe isn't Crank; this fact makes rooting for Statham as he punches and shoots his way through crowds of mafiosos a little uncomfortable. The movie's too heavy for its own good even for a strongman like Statham.
Commercials for MacGruber have been airing for weeks proudly boasting quotes that refer to it as “the best SNL skit movie since Wayne’s World” and “arguably the best action-comedy since Beverly Hills Cop.” Such outsized blurbs — usually accompanied by miniscule attributions — have long been a sine qua non of movie marketing strategy but what makes MacGruber’s case unique is that its praise came not from the usual studio fluffers but from The Atlantic the venerable 150-year-old publication that counts the likes of Longfellow and Ralph Waldo Emerson among its founders. Calling anything “the best SNL skit movie since ...” may be faint praise akin to "You're the smartest stripper I've ever met " but it’s still impressive for a film based on a shtick that typically struggles to conjure enough laughs to fill a two-minute sketch.
And it’s true. MacGruber star Will Forte and director Jorma Taccone (who also co-wrote the film along with John Solomon) much like the character Richard Dean Anderson they mercilessly parody took the scrap that was their middling SNL sketch and somehow turned it into one of the funniest films of the year.
The film which pits the super-handy MacGruber against his sworn enemy a nuke-stealing terrorist named Dieter Von Cunth (Val Kilmer gracefully entering the self-mocking stage of his career and selling it like a champ) works in part because it heartily exploits all the advantages unavailable to its television counterpart: a hard-R rating that lets it showcase among other things MacGruber’s unmatched throat-ripping skills and his willingness to suck a c**k to save American lives (let's see Jack Bauer try that); a script that clearly took more than a week — possibly as many as two — to construct; and guest stars who actually care enough to learn all of their lines. Forte's SNL co-star Kristen Wiig is fantastic as MacGruber's partner/love interest — a role more crucial to the comedy than you'd think — and even the much-maligned (by me mainly) Ryan Phillippe is pleasantly serviceable opposite Forte as his beleaguered straight man. In fact — dare I say it — he’s almost likable.
Don’t tell him I said that.
Exposition is often an unfortunate but necessary evil in movies but at least Smokin' Aces hammers it immediately. After we are privy to everything two FBI agents (Ray Liotta and Ryan Reynolds) overhear during a tapped phone call at mob boss Primo Sparazza’s (Joseph Ruskin) home the table is quickly set: There’s a $1 million bounty on the head of magician Buddy ‘Aces’ Israel (Jeremy Piven) for squealing. It’s a hefty sum and as we’re then told by a bail bondsman (Ben Affleck) interested in collecting the “reward ” a veritable all-star team of criminal masterminds has lined up to try and smoke Aces--including: the Tremor brothers (Chris Pine Kevin Durand Maury Sterling) a trio of uber-sadistic skinheads; a tag team of feministic hitwomen (Alicia Keys Taraji P Henson); a ruthless knife-wielding madman (Nestor Carbonell); a near shapeshifter (Tommy Flanagan) himself a sort of magician; and the bail bondsman narrator’s two buddies (Martin Henderson Peter Berg) and oddball lawyer (Jason Bateman). Not only is everyone up against the Feds but they’ll also have to survive Aces’ henchmen (Common Christopher Michael Holley) and each other’s lust for the (blood) money. Not that he’s the proverbial “lead”--no one really is--but Piven in his first true Entourage-afforded role is the story’s central figure. Surprisingly deep and multilayered Piven’s performance is very strong and affecting but buried beneath constant rapid cuts to one of the seemingly infinite other characters’ high-octane arcs. Reynolds ably switching from Van Wilder-type roles to cop with a 'tude is the closest thing to a good guy along with his partner in non-crime Liotta who was a perfect fit in the director’s Narc just like he is here. But the baddies are where the real fun’s at. It’s fine that Affleck’s role is extremely short but out of his crew for Henderson (The Ring) to get more face time than Bateman is criminal. Bateman’s performance is quick-witted a la his Arrested Development character but even funnier. Oh well--onto the musician actors: Common and Keys both essentially making debuts simply perpetuate the truism of musicians having a much easier time of acting than vice versa especially Keys who plays totally against the pop-queen image she’s built via music. Andy Garcia also has a small and predictable role as an FBI deputy and Matthew Fox makes a blink-and-you’ll-miss-him cameo.
Writer-director Joe Carnahan picked a bad release time. The buzz-ards feel the need to compare it to the recently Oscar-ed The Departed and hell you'd think Pulp Fiction was just released too with the way Tarantino's name is being name-dropped. Neither is fair and truth is the only similarity is the casual bloodshed and its often comedic context courtesy of Carnahan. The director who burst onto the scene with ‘02’s aforementioned Narc doesn’t reinvent the wheel here but he’s not ripping off anyone more than any other director. He actually imparts a good deal of originality for the better part of the movie blending comedy with carnage at breakneck speeds. The issue of not having a traditional “hero” also has its pluses because you’ll never be able to look at someone’s face and name and predict his or her lifespan. But still the story is where Smokin' Aces falters. The beginning and end seem like pieces of two different flicks and nothing more than stabs at coolness is actually transpiring in between. Ultimately Carnahan’s spunky effort makes for great but forgettable fun; however you get the feeling he didn’t quite want it to be so forgettable.