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.
More: James Cameron Confirms ‘Avatar’ 2, 3, and 4 Matt Damon in ‘Avatar’? 12 Iconic Roles Actors Turned Down 20 ‘Star Wars’ Origin Stories We Want to See with the Directors for the Job
From Our Partners:A Complete History Of Twerking (1993-2013) (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
Kinski's actress daughter Pola has spoken out 22 years after the Doctor Zhivago star's death in a headline-grabbing new interview with German magazine Stern, in which she alleges she was repeatedly raped by her father, who would hide his guilt by lavishing her with expensive gifts.
Pola, now 60, tells the publication, "He ignored everything, including that I tried to defend myself and said 'I don't want to'. He didn't care. He just took what he wanted.
"(He turned me into) his little sex object, bedded on a silk cushion."
Kinski was known for his raging outbursts on the set of director Werner Herzog's films, such as Woyzeck in 1978 and Nosferatu the Vampyre in 1979, and he also portrayed a violent evil killer in 1987 sci-fi movie Timestalkers - a temperament Pola Kinski claims she had become used to in real life.
She says, "When I saw him in films, I always thought that he was exactly like that at home. He really abused everyone."
Pola opens up about her child abuse hell in her upcoming autobiography Kindermund, and insists she finally decided to reveal the real truth about her dad because she couldn't stand his fans' adoration.
She adds, "I couldn't take it anymore: 'Your father! Great! Genius! I always liked him!' The idolisation has got worse and worse since he died."
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.
A great cast can be a powerful weapon. In the case of the new family dramedy The Oranges it's the saving grace.
The formula for a quirky suburban dissection is on full display in the feature from TV veteran Julian Farino and first-time writers Ian Helfer and Jay Reiss which follows two best friend couples Terry and Carol Ostroff (Oliver Platt and Allison Janney) and David and Paige Walling (Hugh Laurie and Catherine Keener) whose BFF relationship implodes when David strikes up a romance with the Ostroff's daughter Nina (Leighton Meester). The scandalous affair lights a fire under the well-to-do New Jersey families and when David realizes that his connection with Nina is deeper than just a one night stand their white picket fence lives completely crack.
Even with a divisive subject matter (to follow love or to stick with family?) The Oranges floats by without much edge. David and Nina's romance begins with passion but is entirely void of sexual fire. As it evolves they become complacent and boring — everything David hated about his first marriage. That would be a great twist but The Oranges isn't satire. The conflict comes with the scowling world around the unlikely pair the Ostroff's distraught over their daughter's choices Paige off exploring other options for her own now-single life and David's daughter Vanessa (Alia Shawkat) juggling her own aimless path as a furniture designer. For a risky life choice David and Nina's decision to declare their love for one another doesn't come with many repercussions even in the "squeaky clean" land of Jersey.
But the cast turns The Oranges into one to watch. Laurie has a life beyond the uptight Dr. House playing David as a compassionate conflicted acceptedly selfish man. It's easy to see why he falls for Meester's Nina who isn't simply a 20-something with an interest in older guys. They both see qualities in each other that are apparent to the audience and they play it with energy not present in the material. There's a been-there-done-that feeling to Platt and Janney in The Oranges but only because they're continually perfect as the hilarious overbearing parents. Sadly Keener goes to waste; another indie vet she spends most of the time of screen until one momentous outburst that arrives without build up.
Farino adeptly directs The Oranges and avoids the eye-rolling tropes that go hand and hand with movies of this nature (I'm looking at you head-on shots featuring Linus-like characters moping about). He knows how to let his actors play and when you have a man like Laurie in the lead that's a must. The movie never peels back the rhine to find something new to say about the 'burbs but with great actors in tow The Oranges rises above the lookalikes.