The sequel to Machete, Machete Kills just released its second trailer in anticipation of an October 11 release date. The B-movie of all B-movies seems to offer even more of what we've come to expect and love from Robert Rodriguez. This new trailer unveils a little more of the plot and reveals a few gems from the movie to get excited about.
A ringing phone gets passed from one woman lying in a bed, to another… to another, to… the President of The United States (played by Charlie Sheen, or as Rodriguez has appropriately re-renamed him, Carlos Estevez). We can only assume that this tequila-drinking womanizer of a Commander-in-Chief got some bad news on that call; a madman (played by Mel Gibson) is firing a missile at the Whitehouse. As the most powerful man in the world, he knows there's only one machete-wielding badass for the job: Machete (played by Danny Trejo).
Sounds like we’re in for a good'un. Here are the top three treats from the trailer:
IPhone SwitchbladeCan’t wait to see how he uses that one
Sofia Vergara's machine gun braHaven't seen firearms of this caliber since Austin Powers
"Machete don't tweet"#machetedonttweet is trending
So what can you do to prep for Machete Kills? Get your Pacificos, Coronas, and Tecates ready, because with the sequel to Machete also comes the sequel to the Machete Drinking Game. Steven Segal isn't in this one, and there probably won't be as many references to Grindhouse trailers, so you'll have to get creative… Luckily not too creative; stick with what you know. We're just shooting in the dark here, but if you take a sip of your cervesa every time someone dies, there's nudity, or Machete shares his disdain for technology, then you should be in for a good time. Please drink responsibly.
Don’t be too quick to think you know what will happen in this sequel though. Madman Luthar Voz (Gibson) claims to know Machete's every move, but Machete, always armed with a strong counterargument, rebuts, "Nobody knows Machete." We'll take him at his word and enjoy a slew of new and inventive ways of killing bad guys on October 11.
More:'Machete Kills' Trailer Goes Totally Insane'The Canyons' ReviewJennifer Aniston Strips in 'We're the Millers' Trailer
From Our PartnersBattle of the Bikini Bodies (Celebuzz)Complete Guide to Strippers in Movies and TV (Vh1)
A new West End production of black comedy The Ladykillers starring Ralf Little and Simon Day has raised a laugh among U.K. theatre critics after opening in the British capital this week (beg08Jul13). The Royle Family star Little, Gregory's Girl actor John Gordon Sinclair and Shakespeare in Love's Day are among the ensemble cast in the new show which also includes theatre veterans Con O'Neill, Chris McCalphy and Angela Thorne.
The play, about a group of criminals who pose as amateur musicians to take a room in the house of an eccentric old lady, opened at London's Vaudeville Theatre on Tuesday (09Jul13) and it convinced even the toughest critics to crack a smile.
Charles Spencer of Britain's Daily Telegraph insists the new production, adapted for the stage by Father Ted writer Graham Linehan, is "even funnier" than the original 1955 movie on which it is based.
He writes, "The great thing about the film is that it is at times genuinely chilling as well as hilarious... (This) hugely enjoyable stage production... never quite matches the creepiness of the original. I would venture to suggest, however, that it is even funnier than the movie."
The Guardian's Michael Billington praises the show's move into "slapstick" comedy, while Mark Shenton of industry publication The Stage describes the production as a "giddy summer delight that provides plenty of good reasons for theatregoers to go indoors again" and he also praises the "stellar cast" and "infinite skills" of the actors.
The opening night audience was packed full of famous faces including actress Sheridan Smith and Spooks star Rupert Penry-Jones, who turned out to support his mother Angela Thorne, as well as comedienne Victoria Wood and Simon Day's The Fast Show co-star Paul Whitehouse.
Ralph Fiennes (the esteemed actor now best known for embodying Voldemort in the Harry Potter films) gave himself no small challenge for his first directorial effort. Coriolanus is a dense political Shakespeare play modernized by Fiennes and writer John Logan (Gladiator The Aviator Hugo) into a raw bloody war movie. The film maintains the play's original text a theatrical speech that manages to both heighten and impede the drama in certain instances. But Fiennes injects the material with unfiltered energy and even when the story is lost in its own intricacies it's visceral and commanding.
Presented against the nightmarish backdrop of "Rome " a Children of Men-esque land devastated by raging battles Coriolanus follows the troubled political career of Caius Martius Coriolanus (Fiennes) a general who fights resistance movements butts heads with local protestors and evades attack from influential statesmen. Martius is driven by one goal: to defeat his former friend and long-time nemesis Tullus Aufidius (Gerard Butler) leader of the opposing Volscian army. Rather than attend to the city's rioting population the general joins his military squad to breach the Volscian's walls in hopes of going mano a mano with Aufidius. Martius achieves victory after victory (without putting an end to his Aufidius troubles) becoming a hero to his government. Eventually through his overbearing mother's persuasion Martius is convinced to put down his semi-automatic and begin an ascent to political greatness. It doesn't go so well.
Even if the abridged version of Coriolanus presented in the adaptation was a slow-paced talky drama every detail of Shakespeare's complicated narrative may still be difficult to parse but Fiennes isn't looking to hold any hands. He shoots his movie with the kineticism of a Bourne movie or the recent Hurt Locker full of shaky cam movement and too-close-for-comfort close-ups. He uses the extreme presentation of 24 news networks to replicate in Shakespeare's expository asides while bombarding our senses. He has a cast who can deliver The Bard's poetic dialogue with a cadence that fits realistic setting. The sound and feel of the language is as important as the meaning.
Fiennes isn't as concerned with audiences registering every last minutiae of Coriolanus and he takes every opportunity he can to let his cast off their leash to dig into the drama's inherent intensity. The director/actor plays Caius Martius Coriolanus like a rabid dog—crazed behind the eyes and ready to unleash a barrage of hellfire and spit. Butler's Tullus Aufidius is a low-key foil but when the two finally butt heads neither gentleman holds back. The real stand out is Vanessa Redgrave as Martius' mother Volumnia whose hushed manipulation is even more terrifying than Martius' over aggression.
Coherence isn't the priority in Coriolanus and attempts to connect with the characters becomes a chore but Fiennes's first foray into directing is enjoyable in the exhilaration it delivers to a time-honored text. Forget your memories of 11th grade English—this is unique adrenaline-infused Shakespeare.
Nearly a century and a half after Alice’s Adventures in Wonderland first acquainted readers with the Mad Hatter the Cheshire Cat and the rest of the peculiar inhabitants of author Lewis Carroll’s fertile imagination filmmaking technology has finally developed the tools capable of properly rendering Carroll's exquisitely twisted world on the big screen. And who better to oversee the translation than Tim Burton Hollywood’s foremost mass-market purveyor of dark quirky fantasy? If there’s any director working today who can lay claim to Carroll’s creative inheritance surely it is him.
His creation Alice in Wonderland is fashioned not as an adaptation of Carroll’s two Alice-centered books but rather a kind of sequel to them its titular heroine (Mia Wasikowska) redrawn as the mischievous 19-year-old daughter of English aristocrats. Given more to chasing small animals than attending society functions Alice is the kind of adventurous free-thinking Victorian renegade who thinks nothing of drinking suspicious beverages found at the bottom of rabbit holes.
If only she were more interesting. Burton’s Alice isn’t so much a character as she is a tour guide leading us through the director’s $150 million museum of digital delights. Virtually everything on display in the film from the giant mushrooms of the Underland forest to the bulging eyes of Johnny Depp’s (literally) mercurial Hatter was either created or enhanced inside a computer presumably one with a direct connection to Burton’s cerebral cortex. (Interestingly the enhanced Depp bears a more than passing resemblance to Elijah Wood who the producers could have gotten for a lot less money.) Much like Alice herself it’s gorgeous to look at but never particularly engaging.
Were he alive today — and reasonably coherent — Carroll himself would no doubt marvel at the visual grandeur of Alice in Wonderland its CGI world as detailed and immersive as the most vivid of his migraine-induced hallucinations. But he might frown at the short thrift given to his characters. Esteemed cast members like Anne Hathaway (The White Queen) Crispin Glover (The Knave of Hearts) and even the mighty Depp can’t hope to compete with the beauty of their surroundings — instead of actors chewing the scenery the scenery devours the actors. (A notable exception is Helena Bonham Carter the cast’s lone standout as the screeching acerbic Red Queen.)
Alice in Wonderland is really designed to function as an inoffensive family flick and in that regard it boasts more than enough pretty fluff to keep the minds of most pre-teens occupied for the duration of a Saturday matinee. But afterward they might be hard-pressed to recount details of the story which involves Alice having to find a magic sword so she can slay a giant dragon and unlock the Legend of Zelda. Or something like that.
Filled with moments of fleeting exhilaration and empty whimsy Alice in Wonderland never really grabs the viewer in any meaningful way its overall experience more akin to that of a theme park ride than a movie. Which I half suspect was Disney’s intention all along.
The Kevin & Perry Go Large star's computer was taken when his wife Lucy's car was broken into outside their home in north London last week (beg12Oct09).
The laptop contained gags for his upcoming BBC comedy series The Harry & Paul show, with fellow funnyman Paul Whitehouse.
Enfield subsequently received a phone call demanding $1,125 (£750) for the device's return, according to Britain's Daily Mail newspaper.
The 48 year old is said to have refused the demands and is working with the police to get the laptop back.
A police spokesperson says, "We can confirm we are investigating an allegation of theft from a motor vehicle. There have been no arrests and enquiries continue."
Inspired by a Russian folktale Corpse Bride begins with the promise of a wedding. The snobby Everglots (voiced by Joanna Lumley and Albert Finney) are pushing their daughter Victoria (voiced by Emily Watson) into marrying Victor (voiced by Johnny Depp) the bachelor son of the social-climbing Van Dorts (voiced by Tracey Ullman and Paul Whitehouse). Neither Victor nor Victoria wants this arrangement--that is until they meet each other on the eve of their wedding and sparks fly. But when Victor screws up his vows during the rehearsal he is humiliated and rushes off. Once in the fresh cool air he is suddenly able to recite his vows perfectly down to even putting the ring on what looks like a gnarled tree root. Ah but that's not what it is at all. It's the very dead hand of the Corpse Bride (voiced by Helena Bonham Carter) a lovely but rotting young lady who rises out of the ground to claim her groom and drag him down into the Land of the Dead which is actually a pretty festive place. Even though Victor doesn't want to break the heart of the Corpse Bride who has her own sad tale to tell he just can't see how the marriage is going to work--being that's he's alive and in love with someone else. What's a decaying bride looking for her lost love to do?
Corpse Bride has amassed a nice eclectic group of British voices except for Depp of course (although at this point he should be considered an honorary Brit since he's played so many). It's easy to see Depp as Victor--gangly floppy hair sunken cheeks. And Watson as Victoria--big eyes round face petite femininity. But that's because they are the most normal of the Bride's bunch. The rest of cast don't look anything like their vocal counterparts either as highly exaggerated human caricatures (check out Lady Everglot's hair) or as one of the dearly departed. Bonham Carter probably has the most fun as the moldering newlywed who is just in the wrong place and the wrong time. Same goes for her friend Maggot voiced by Enn Reitel and sounding very much like Peter Lorre who has one of the better lines when he tells the Bride "I'm sure if I weren't just sitting in it I'd think you'd lost your mind."
All I can say is Tim Burton must have been a very different child who nonetheless watched a lot of the Rankin/Bass Christmas specials. But then again Burton's version of stop motion animation is a far cry from Rudolph the Red-Nosed Reindeer. After producing The Nightmare Before Christmas and James and the Giant Peach he has finally taken the reins and perfected what looks like a very cumbersome but amazing way of doing animation. "What I love about stop motion animation is that it's so tactile " Burton explains. "There's something wonderful about being able to physically touch and move the characters and to see their world actually exist." He isn't kidding. Corpse Bride is real eye candy from start to finish with an interesting twist on themes: the living world is washed out dull with little color--and little life actually--while the Land of the Dead is effervescent and jazzy where the denizens drink and party all night. I'm sure Burton truly believes this is what the hereafter is really like. So must Burton's longtime composer Danny Elfman the former lead singer of the '80s band Oingo Bongo whose hit "Dead Man's Party" aptly validates this feeling. However Elfman's songs in Corpse Bride--yes it's a musical too--are pretty tame and frankly pointless. If the film could have shaved off the musical numbers it would have zinged.
Nice guy Jerry (Matthew Lillard) is the same numbingly trite character we've seen in hundreds of other movies. He faces 30 with uncertainty. He doesn't know if he should propose to his beautiful girlfriend Denise (Bonnie Somerville). He just can't commit darn it! Oh life is so confusing! Meeting up with his best buds Tom "the rebel" (Dax Shepard) and Dan "the runt" (Seth Green) at the funeral of their dead friend Billy they reunite in the-what else?--tree house of their youth. There they discover a map of Billy's longtime obsession: The disappearance of hijacker D.B. Cooper with $200 000 cash. (Never mind that the real Cooper's flight took off in 1971 well before any of these characters would be born.) So these three friends set out on an expedition from the heart and learn a few valuable life lessons along the way. They embark on a canoe trip in the Pacific Northwest in search of Cooper's lost treasure with a very large bear and two even larger hillbillies in hot pursuit. Which is of course just a big excuse for some crazy hijinks in the woods the obligatory stoner sequence gorgeous but unshaven tree-huggers living atop a redwood a crazed mountain man the usual.
Lillard has an off-kilter charm that works in his supporting roles but not so much as the lead. One imagines the producers offering the role first to Adam Sandler and then to Vince Vaughn or Luke Wilson before finally settling on Lillard after they all refuse. His overbearing earnestness in the role recalls his work in SLC Punk straining for normalcy when something completely off-the-wall would work so much better. Shepard (from MTV's Punk'd) fares better he is amusingly annoying but at least he takes a side. Green is usually funnier than this but he doesn't usually have to lug an inhaler around with him as a prop or constantly stoop for laughs as the token scaredy cat. The three of them do have an easygoing chemistry that makes them good company. Burt Reynolds turns up with a foot-long beard as the mountain man who might know something about the treasure. It is certainly the most vanity free performance of Reynolds' career and while it doesn't amount to much it's a step in the right direction for a guy who could still be a great character actor if he could finally get over the fact that he is no longer Stroker Ace.
Steven Brill is best known as the director of the first Adam Sandler movie that didn't reach nine figures at the box office Little Nicky and he hasn't exactly advanced the art of screen comedy here. Nevertheless the pacing is brisk the timing is crisp and the repartee (credited to five writers) is snappy. Even the action comedy sequences mostly running away from the bear and the hillbillies are convincingly done. But make no mistake this is clearly the work of a man hell-bent on paying homage to The Goonies and for that miniscule target audience that not only saw The Goonies in the theater it can also differentiate the Coreys. Of course '80s music has been back in vogue for several years so it's inevitable that the '80s comedy embodied in this movie The Girl Next Door
Harold & Kumar Go to White Castle and others would return. But somebody had better make a good one soon or it will disappear faster than you can say Kajagoogoo.
While filming the movie From Hell in England last year, Johnny Depp became such a fan of the BBC comedy series Brilliant! that
he asked to appear on the show. He does so on the season premiere,
carried on BBC America at 8:00 Saturday night.
In a sketch featuring
regular cast members Paul Whitehouse and Mark Williams, Depp portrays an
American movie star visiting the Suit You shop, where he is measured by
suit salesmen Ken and Kenneth while being pestered with questions about
his sex life.
In a BBC press release, Depp is quoted as saying, "I got off a plane, sweating like some kind of hideous swine, and grabbed all
my luggage and [raced] over to the BBC and went straight to the stage,
not knowing the lines really well. With these guys, there's no way to be
funny around them, so you just shut up and nod your head."