Singer Marc Anthony is fighting back against his ex-wife's demand for an increase in her monthly child support payments, despite revealing he earns a massive $1.25 million (£781,250) a month. Former Miss Universe Dayanara Torres filed court papers in November (13), demanding Anthony boost her regular $13,000 (£8,125) instalments to $112,000 (£70,000) as his salary had changed dramatically since they settled their divorce and custody issues in 2004.
She claimed the lack of adequate funds meant she had to sell her previous home and move with their young sons Cristian and Ryan into a cramped apartment in the San Fernando Valley in California, instead of live in luxury like his twins with Jennifer Lopez do.
However, the salsa star has hit back, insisting Torres is to blame for her own financial issues as she has allegedly failed to manage her funds properly.
In the legal documents, Anthony reveals he pays Torres a total of $28,416 (£17,760)-a-month for spousal and child support, which should be more than enough to pay for a comfortable home.
The court papers required the singer to detail his monthly salary, which he listed as $1.25 million, while he also claimed he is worth $20.8 million (£13 million), according to TMZ.com.
Anthony, who makes millions from touring, his clothing line with U.S. department store Kohl's, and his stake in the Miami Dolphins American football franchise, also detailed his child support expenses for his kids with Lopez, which amount to $18,000 (£11,250)-a-month.
He wed Lopez shortly after his divorce from Torres was finalised in 2004, but the superstar couple split in 2011.
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.
Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Puerto Rico's Chayanne and Mexico's Pilar Montenegro were the big winners at the Billboard Latin Music Awards in Miami Thursday night, taking home three awards each.
Spanish trio Las Ketchup, Mexican group Mana, Argentine-Mexican duo Sin Bandera and Mexico's Los Temerarios and Lupilla Rivera all walked away with two awards each.
Latin stars Jennifer Lopez, Marc Anthony, Enrique Iglesias, Luis Miguel, India and Juanes picked up one trophy each at the ceremony.
For the first time in the show's history, awards were also given for label of the year in various genres. Sony Discos led the way as the top label on six Billboard charts, including Hot Latin Tracks, Top Latin Albums, Latin Pop Airplay, Tropical/Salsa Airplay, Latin Pop Albums, and Tropical/Salsa Albums.
This year's event included two special award presentations. Mexican composer/singer Armando Manzanero was honored with the Billboard Hall of Fame Award for his contribution to Latin music.
Panamanian rapper El General, meanwhile, received the Spirit of Hope Award for his work with Ninos Pobres Sin Fronteras (Poor Children With No Borders), the Panama-based foundation he created and supports.
Ricky Martin, who performed the song "Tal Vez (Maybe)," was honored with Telemundo's Star award.
Other performers included Chayanne and Montenegro, who performed their hit songs, and Mexican star Thalia, who won the female pop album of the year for Thalia and the Telemundo Viewers Choice award. A.B. Quintanilla, Alexandre Pires, Gilberto Santa Rosa, India Kumbia Kings, and Lupillo Rivera also performed at the ceremony.
Below is a complete list of winners at the 2003 Billboard Latin Music Awards, presented May 8 at the Miami Arena.
Hot Latin Track Of The Year: "Y Tu Te Vas" Chayanne (Sony Discos)
Hot Latin Track Of The Year, Vocal Duo: "Por Ese Hombre" Brenda K. Starr With Tito Nieves and Victor Manuelle (Sony Discos)
Hot Latin Tracks Artist Of The Year: Alexandre Pires (RCA/BMG Latin)
Songwriter Of The Year: Estefano (10 titles)
Producer Of The Year: Rudy Perez (8 titles)
Latin Pop Album Of The Year, Male: Un Dia Normal Juanes (Surco/Universal Latino)
Latin Pop Album Of The Year, Female: Thalia Thalia (EMI Latin)
Latin Pop Album Of The Year, Duo or Group: Revolucion De Amor Mana (Warner Latina)
Latin Pop Album Of The Year, New Artist: Las Ketchup Las Ketchup (Shaketown/Columbia/Sony Discos)
Top Latin Albums Artist Of The Year: Los Temerarios (Fonovisa/UG)
Latin Rock Album Of The Year: Revolucion De Amor Mana (Warner Latina)
Tropical/Salsa Album Of The Year, Male: Viceversa Gilberto Santa Rosa (Sony Discos)
Tropical/Salsa Album Of The Year, Female: Latin Songbird: Mi Alma Y Corazon India (Sony Discos)
Tropical/Salsa Album Of The Year, Duo or Group: Confesiones... Monchy & Alexandra (J&N/Sony Discos)
Tropical/Salsa Album Of The Year, New Artist: Un Gran Dia En El Barrio Spanish Harlem Orchestra (Ropeadope/AG)
Regional Mexican Album Of The Year, Male Solo Artist: Amorcito Corazon Lupillo Rivera (Sony Discos)
Regional Mexican Album Of The Year, Male Group: Una Lagrima No Basta Los Temerarios (Fonovisa/UG)
Regional Mexican Album Of The Year, Female Group or Female Solo Artist: Libre Jennifer Pena (Univision/UG)
Regional Mexican Album Of The Year, New Artist: A Toda Onda La Onda (EMI Latin)
Latin Greatest Hits Album Of The Year: Grandes Exitos Chayanne (Sony Discos)
Latin Compilation Album Of The Year: Las 30 Cumbias Mas Pegadas Various Artists (Disa/UG)
Latin Jazz Album Of The Year: The Shadow Of The Cat Gato Barbieri (Peak/Concord)
Latin Dance Club Play Track Of The Year: "Escape/Escapar (Remixes)" Enrique Iglesias (Interscope/Universal Latino)
Latin Dance Single Of The Year: "Alive (Thunderpuss Remix)" Jennifer Lopez (Epic)
Latin Rap Album Of The Year: A La Reconquista Hector & Tito (VI Music/Universal Latino)
Publisher Of The Year: EMI April, ASCAP
Publishing Corporation Of The Year: EMI Music Publishing
Latin Pop Airplay Track Of The Year, Male: "Y Tu Te Vas" Chayanne (Sony Discos)
Latin Pop Airplay Track Of The Year, Female: "Quitame Ese Hombre" Pilar Montenegro (Univision)
Latin Pop Airplay Track Of The Year, Duo or Group: "Entra En Mi Vida" Sin Bandera (Sony Discos)
Latin Pop Airplay Track Of The Year, New Artist: "Entra En Mi Vida" Sin Bandera (Sony Discos)
Tropical/Salsa Airplay Track Of The Year, Male: "Viviendo" Marc Anthony (Columbia/Sony Discos)
Tropical/Salsa Airplay Track Of The Year, Female: "Por Ese Hombre" Brenda K. Starr (Sony Discos)
Tropical/Salsa Airplay Track Of The Year, Duo or Group: "Te Quiero Igual Que Ayer" Monchy & Alexandra (J&N/Sony Discos)
Tropical/Salsa Airplay Track Of The Year, New Artist: "Asereje" Las Ketchup (Sony Discos)
Regional Mexican Airplay Track Of The Year, Male Solo Artist: "Te Solte La Rienda" Lupillo Rivera (Sony Discos)
Regional Mexican Airplay Track Of The Year, Male Group: "Perdoname Mi Amor" Conjunto Primavera (Fonovisa)
Regional Mexican Airplay Track Of The Year, Female Group or Female Solo Artist: "Quitame Ese Hombre (version nortena)" Pilar Montenegro (Univision)
Regional Mexican Airplay Track Of The Year, New Artist: "Quitame Ese Hombre (version nortena)" Pilar Montenegro (Univision)
Latin Christian/Gospel Album Of The Year: Storm Fernando Ortega (Word)
Latin Tour Of The Year: Luis Miguel (Warner Latina)
Hot Latin Tracks Label Of the Year: Sony Discos
Top Latin Albums Label Of the Year: Sony Discos
Latin Pop Airplay Label Of the Year: Sony Discos
Tropical/Salsa Airplay Label Of the Year: Sony Discos
Regional Mexican Airplay Label Of the Year: Fonovisa
Latin Pop Albums Label Of the Year: Sony Discos
Tropical/Salsa Albums Label Of the Year: Sony Discos
Regional Mexican Albums Label Of the Year: Univision Music Group
The winners are determined by sales and airplay measured by Nielsen SoundScan and Nielsen Broadcast Data Systems, respectively, reflected in the Billboard charts for the issues dated Feb. 16, 2002, through Feb. 8, 2003.