Jordan Strauss/Invision/AP Images
He said he'd be back. That venerable source for every unconfirmed movie rumor imaginable, Latino Review, has another doozy that sounds like it just might fit. They're claiming James Cameron's longtime friend and sometime Terminator Arnold Schwarzenegger has signed on to play the villain in Avatar 2, due for release in 2016. The glowering musclebound baddie in the first film was played by Stephen Lang, and it seems like Ahnuld could easily play a similar character.
This is great news for the Austrian Oak, since his post-governorship roles haven't exactly caught on fire — though we stand by giving The Last Stand a four star review. But it does make you wonder about what Cameron sees in Schwarzenegger. No, I'm not taking a potshot at his acting ability. Rather why Cameron is the only director who's ever cast him as a villain. First, he played the unstoppably icy title character in The Terminator. Then perhaps more disturbingly — and presciently — he cast him as a CIA agent who's basically a pathological liar, especially to his family, in True Lies. That movie was an uncanny prelude to Schwarzenegger's later tabloid antics that sundered his family.
The question is, does Cameron on some level actually hate Schwarzenegger? He's found a compelling actor to inhabit his characters, yes, but Cameron seems to suggest that there's an underlying current of the sinister in Arnold. They seem like good friends, but then again Werner Herzog called Klaus Kinski his "best friend" (and "best fiend") while plotting to kill him on the sets of Aguirre: Wrath of God and Fitzcarraldo. It's possible that Cameron likes his work...without really liking him on some level. At least we're almost guaranteed to hear Arnold say "Abadah" at some point.
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Rock 'n' roll legend Little Richard is considering retirement after declaring he "doesn't feel like doing anything now". The Tutti Frutti singer almost collapsed during a rare show in Washington, D.C. last summer (Jun12) after falling ill during a gig at the Howard Theatre - and he hasn't performed since.
Now, after turning 80 in December (12), he feels the time is right to step back from the spotlight.
In a new interview with Rolling Stone magazine, he says, "I am done, in a sense, because I don't feel like doing anything right now."
Interviewer Neil Strauss reports the singer/songwriter now spends his days designing clothes and praying, and the hitmaker has started thinking about the legacy he'll leave after death.
Little Richard, real name Richard Penniman, tells the publication, "I think my legacy should be that when I started in showbusiness, there wasn't no such thing as rock 'n' roll... When I started with Tutti Frutti, that's when rock really started rocking."
Physically, Arnold Schwarzenegger is built for the action genre. But even more impressively sculpted than the actor's deltoids is his comic timing. Schwarzenegger's greatest triumphs to date are arguably not his chilling, head-crushing adventure flicks, but those imbued with a bit more humor. His return to Hollywood has seen a revival of this sort of picture — The Expendables, The Last Stand, and the latest: a Toxic Avenger remake, in which Schwarzenegger will play black ops agent the Exterminator.
A loose remake of the 1984 superhero comedy, Hot Tub Time Machine director Steve Pink's new Toxic Avenger will land a high school student at the center of a corrupt chemical companies experiment, affording him superhuman abilities (and a rather grotesque countenance). Schwarzenegger's character, a government renegade, will train the newly deformed lad (seen below in the original Toxic Avenger) on his path to heroism.
Frist known for a 1969 Mr. Universe title, the behemoth actor earned monstrous, muscular roles like Conan the Barbarian and The Terminator. And although Schwarzenegger might always be most strongly associated with this sort of teeth-gritting ass kickery, his real triumphs came a bit later: the comedies. An older Schwarzenegger was granted roles in Total Recall, Kindergarten Cop, and Last Action Hero — action-comedies that proved the slow-speaking, heavily accented powerhouse had comic timing to boot. And now, following a string of political endeavors and highly publicized personal controversies, Schwarzenegger seems right back where he belongs: in the lap of this hybrid genre.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
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Oscar winner Christoph Waltz is stepping into the world of classical music after signing up to direct his first opera. The Django Unchained star recently told German newspaper Frankfurter Allgemeine Zeitung he will be in charge of a new production of Der Rosenkavalier by Richard Strauss, reports the Los Angeles Times.
Waltz, a longtime opera fan, also described his latest venture as "an experiment" in the interview.
The show is scheduled to debut on 15 December (13) at the Vlaamse Opera in Antwerp, Belgium, and is expected to transfer to London's Royal Opera House in 2016.
The Austrian-born star studied opera in the early days of his career as a performer.
With Rebel Wilson as host of the 2013 MTV Movie Awards, audiences can expect a show with a few jokes about body image, Australia, and, of course, the comedienne's vagina. But when such jokes take over the entire night? It's a little hard to pick out some genuinely good moments.
GALLERY: 10 Best (and 10 Worst) Moments at the MTV Movie Awards
But we tried anyway! Team Hollywood.com sat through the entirely too long — and, at times, painful — awards show on Sunday night to pick out the best and worst moments so you didn't have to! Check out our Best and Worst Moments of the 2013 MTV Movie Awards Gallery above to see all the inappropriate, awkward, cringe-inducing, and the rare amazing moments from Sunday night's show.
Follow Sydney on Twitter: @SydneyBucksbaum
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Lil Wayne may not be back on stage sagging his pants and rapping out the lyrics to "No Worries" just yet, but he is on the track to recovery. On Monday, he was discharged from the hospital after spending six days recovering following multiple seizures.
Young Money Entertainment President Mack Maine revealed the news on Twitter. "Thanks to Cedar Sinai for everything!!! @LilTunechi has been officially been released and is headed home....God is great" he wrote Monday night.
Thanks to Cedar Sinai for everything!!! @liltunechi has been officially been released and is headed home....God is great
— Mack Maine (@mackmaine) March 19, 2013
RELATED: Lil Wayne Tweets He Is Good Despite Reports of Coma
On Friday, many people falsely believed that Lil Wayne was in a medically induced coma. But Weezy cleared up the hoax by taking to Twitter to update fans on his condition. "I'm good everybody," he wrote Friday. "Thx for the prayers and love."
I'm good everybody. Thx for the prayers and love.
— Lil Wayne WEEZY F (@LilTunechi) March 16, 2013
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Jordan Strauss/Invision/AP Photo]
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The final months of the Civil War a time when President Abraham Lincoln struggled to end slavery and bring the Confederate States of America back into the fold of the Union are among the most important moments in Unites States history. They're also the murkiest. Eleventh grade American History tried to teach us — war four scores Emancipation Proclamation the 13th Amendment and a fateful night at the theater — but with a few hundred years' worth of events to process most people leave school knowing that Lincoln made a couple of important moves that turned the world what it is today.
Thankfully we now have a film courtesy of the legendary Steven Spielberg that brings the 16th President's amazing uphill battle to cinematic life. The cold hard facts could not be more impressive.
For Lincoln an adaptation of the Doris Kearns Goodwin's biography Team of Rivals: The Political Genius of Abraham Lincoln Spielberg scales down his usual blockbuster sensibilities (last seen in 2011's World War I melodrama War Horse) to craft an intimate portrait of an iconic political figure. To pull it off writer Tony Kushner (Munich and the two-part Angels in America) constructs the film like a play relying on the soothing chameleon presence of Daniel Day-Lewis to breath life into Lincoln's poetic waxing. The president hits roadblock after roadblock on his quest to free the slaves and end the war Kushner and Spielberg weaving in handfuls of characters to pull him in various directions (and accurately represent the real life events). Each time Day-Lewis' Lincoln gracefully dances the dance solving every problem with action and words. Today Lincoln is held in high regard as an inspirational figure. Spielberg shows us why.
Lincoln isn't a full-blown birth-to-death biopic of the Great Emancipator and is all the better for it. Picking up in January of 1865 years into the Civil War Lincoln summons his Secretary of State William Seward (David Strathairn) to say enough is enough — the time is ripe for the abolishing of slavery. Against the vocal naysayers of the Union and even his personal confidants Lincoln attempts to rally the congressmen he needs to make his bill an amendment. He hires three men (John Hawkes Tim Blake Nelson and the wonderfully outrageous James Spader) to use whatever nonviolent means possible to swing the vote. All the while well-spoken adversaries (like Lee Pace's Fernando Wood) take to the House of Representatives floor to discredit Lincoln and dissuade congressmen. Keeping the progressive foot in the door is Thaddeus Stevens (Tommy Lee Jones) a foul-mouthed powerhouse who shares Lincoln's ambitious dreams of equality.
The story is simple but Kushner doesn't shy away from laying down lengthy passages of political discussion in order to show the importance of Lincoln's task. It's dense material spruced up with Kushner's ear for dialogue. But even so it occasionally meanders into Ken Burns documentary territory. Case in point: there are so many characters with beards in Lincoln Spielberg even flashes title cards underneath their opening scenes just so we're not lost. The fact-heavy approach takes getting used to but Spielberg and Kushner adeptly dig deep beyond the political gabfest to find a human side to Lincoln. He's a gentle man a warm man and a hilarious man. The duo's Honest Abe never shies away from a good story — at times he's like Grandpa from The Simpsons lost in his own anecdotes (much to the dismay of his cabinet). Day-Lewis chews scenery as hinted at in the trailers but with absolute restraint. That makes his sudden outbursts really pop. When Lincoln becomes fed up with pussyfooting politicians like the quivering representatives played by Walton Goggins and Michael Stuhlbarg Day-Lewis cranks the high-pitched president up to 10. He never falters.
There's a great deal of humor and heart in Lincoln — partially because the circus-like antics of Washington D.C. feel all too close-to-home in this day and age — and Spielberg paces it all with expert camera work. The drama is iffier: a side story involving Lincoln's son Robert (Joseph Gordon-Levitt) teases an interesting family dynamic that is never fully explored and is clunky when dropped to the wayside in favor of larger issues. Same goes for Lincoln's wife Mary Todd (Sally Field) who continues to grieve for the couple's lost child. They are important issues but they don't quite work in the fabric of this specific narrative.
The larger world outside the offices of the White House and Congress is often forgotten too — we hear a lot of war talk without seeing a whole lot of war. Instances where Lincoln ventures out into fields of the dead have emotional impact but we feel disconnected from it. Where Spielberg really gets it right is in the chaos of the presidential occupation. There is no easy task for Lincoln. "I may have been wrong about that " says Abe referencing his issuing of the Emancipation Proclamation "but I wanted the people to tell me if I was." Day-Lewis understands Lincoln's complex internal thought and brings it forward in each scene: humble confident deadly and compassionate.
Spielberg's technical team once again wows and echoes the lead performance. Director of Photography Janusz Kaminski's contrasting photography near chiaroscuro makes the beautiful set and production design hyper real and highlights the actors' aging faces. Composer John Williams returns once again but with a score as low-key as Day-Lewis' character — a change of pace when compared to War Horse. It's all up to par with Spielberg's past work without turning Lincoln into a flashy period drama.
Day-Lewis was the talk of the town when the first Lincoln trailers made their way on the web. Surprisingly however Lincoln wows because it's a well-balanced ensemble drama. Lee Jones delivers his best work in a decade as the grouchy idealist Spader delivers the comedic performance of the fall season and every scene introduces another familiar face to add additional gravitas to the picture (as opposed to being a distracting cameo fest). S. Epatha Merkerson's late-in-the-game scene opens up the tear ducts in a way that none of her male costars can.
If history isn't one of your interests Lincoln may not rouse you — background reading not required but conversation moves at lightning speed and without much hand-holding. It's a change of pace for Spielberg and a welcome one. With all the bells and whistles that come with being the biggest director of all time Lincoln looks amazing sounds amazing and has enough talent to make it an exhilarating learning experience.
The French businessman was forced to step down as the IMF's chief last year (11) after he was caught up in a hotel rape scandal. Charges against him were dropped, but the fall-out cost him his job and his marriage.
Adjani recently told French publication Journal de Dimanche the film, to be directed by Abel Ferrara, will be hard hitting, revealing, "It should be fascinating because we have a director who isn't French in charge and he's going to go where it hurts... With him, there's no risk of being politically correct."
And newswoman Sinclair is delighted with the casting.
She tells local paper Le Parisien she's a big fan of Adjani's 1988 movie Camille Claudel, in which the actress starred opposite Depardieu.
Sinclair tells the newspaper, "I like that woman a lot."
And Depardieu insists he won't be holding back anything as the disgraced businessman Strauss-Kahn - because he found him to be "arrogant" throughout the rape scandal.
Announcing the casting earlier this year (12), the actor said, "Because I don't like him I'm going to do it."
David Benioff, D.B. Weiss, Frank Doelger and Carolyn Strauss won the Outstanding International Producer Prize for Game of Thrones, Woody Harrelson was named Best Actor for his role in Game Change and Modern Family’s Christopher Lloyd and Steve Levitan were named Best International Producers of a Comedy Series as the 52nd Monte Carlo TV Festival wrapped up with the ceremony.
Also honoured were Jason Priestley and Tina Fey, who were recipients of acting awards, CSI: Crime Scene Investigation, which was named the Best Drama, and Desperate Housewives, which took home the Best Comedy trophy.
Meanwhile, The Bold and the Beautiful was named Best Soap Opera.
Individual awards also went to Mille Denisen (Best Actress in a Drama Series for Danish show Rita) and Henning Baum (Best Actor in a Drama Series for German thriller The Last Cop).
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.