The man behind the Asterix empire is suing his daughter and son-in-law for "psychological violence". Albert Uderzo, the creator of the beloved comic book character, has been embroiled in a legal battle with his daughter over the legacy of his work for the past five years and now he insists she has gone too far in her efforts to block his sale of his 60 per cent stake all things Asterix.
Sylvie Uderzo filed a legal claim in 2011, insisting her father was being exploited.
But judges have ruled that the Asterix creator, 86, is mentally stable, and her suit is expected to be dismissed.
Now, Uderzo claims his daughter and her husband Bernard Boyer de Choisy, who were previously dismissed by Asterix publisher Editions Albert Rene as managers of the Uderzo estate, have been harassing him.
His lawyer says, "We have decided to let Sylvie Uderzo and her husband understand that we will not let it go."
Meanwhile, the most recent Asterix saga, titled Asterix and the Picts, was published in October (13). It was written by new author Jean-Yves Ferri and illustrated by Didier Conrad.
Based on yet another novel by The Notebook’s Nicholas Sparks (the new king of romance) Rodanthe’s story is a simple but touching one. Adrienne Willis (Lane) escapes to Rodanthe in the Outer Banks of North Carolina to take care of a friend's inn for the weekend and fret over the fact her wayward husband wants to come back. Almost as soon as she gets to this small coastal town a major storm is forecast--and the only guest for that weekend Dr. Paul Flanner (Gere) arrives. He’s there with his own issues to work out. Quite a fun pair these two make but they end up helping each other work through their problems. And as the storm closes in they finally succumb to their attractions. Soon it becomes a magical weekend for them both and sets in motion a life-changing romance. Lane and Gere have had quite a progression in their onscreen pairings. They first played reckless young lovers in Cotton Club at the beginning of their careers teaming up again much later as a long-married couple in Unfaithful which saw Lane stray from her leading man. Now with Rodanthe it seems a fitting denouement to their evolution as Hollywood’s favorite onscreen couple; they fall in love all over again but this time with a world of experience. The two actors truly have a certain something together which makes a fairly sappy story more poignant. Also good is Mae Whitman (HBO’s In Treatment) as Adrienne’s surly teenage daughter who at first hates her mom for not getting back with her dad but then comes to understand Adrienne in new and more profound ways. She and Lane have some nice moments together. Director George C. Wolf (Lackawanna Blues) understands his material and handles it with delicate strokes. Of course shooting in the Outer Banks can’t be a bad way to go with it’s gorgeous beach vistas. And the house they found to represent the inn is one of a kind which oddly enough is located in the real town of Rodanthe. Imagine that. Maybe one drawback to Rodanthe is its limited appeal. The Notebook had the younger audiences enthralled with the flashback romance between the fetching Rachel McAdams and Ryan Gosling while the older audiences identified with the James Garner and Gena Rowlands characters. Rodanthe is strictly for the older set but I find this refreshing in the fact it IS a modern-day romance between two mature people. Just don’t know how much of a reach it will have.
Ricky Bobby (Will Ferrell) has been hotdoggin’ since the day he was born--when legend has it his momma (Jane Lynch) popped him out of her belly in the back seat of a car. Now grown up and living his dream as a NASCAR driver he takes his swagger out onto the tracks with mixed results. Even though he and lifelong friend Cal (John C. Reilly) usually end up in first and second place respectively his owner deems him a financial liability after he finishes a race in reverse. Consequently a prim proper and gay French F-1 driver (Da Ali G Show’s Sacha Baron Cohen) is recruited as a new investment and Ricky gets in a horrific crash trying to beat him winding up paralyzed…in his mind. After a long road back--which sees Cal steal Ricky’s lady (Leslie Bibb) and limelight and Ricky reunite with his estranged racer dad (Gary Cole)--Ricky learns to leave showmanship homophobia and pyrophobia (fear of fire) in his dust and just drive the damn car! Ah...Will Ferrell in his total element--it’s a beautiful thing and one we haven’t much seen since SNL. Until now. In Talladega Ferrell brings his energy satire and out-of-the-blue pop-culture references to new highs in his best post-SNL performance yet. And if you close your eyes and listen to Ferrell’s faux South-speak you can hear his great George Dubya send-up of yore. Matching Ferrell scene for scene--in quality not quantity--is Reilly. With his role as a tractable doofus with a good heart Reilly has now completed the whole spectrum of roles and can be unequivocally branded an acting chameleon. Oddly he seems best fit a tractable doofus but that’s merely a testament to his abilities. Cohen’s biggest mainstream role to date is also a hit as he applies equal parts Ali G’s Borat and hyperbolic French stereotype for often hilarious results. And Amy Adams stars as Ricky’s neglected assistant; it’s a role so small that she must’ve signed on before Junebug took her to the Oscars. If after his hit ‘70s San Diego news show Ron Burgundy were to have done something to necessitate placement in a witness protection program it’s not inconceivable that he could've relocated to the South found his true calling as a pompous NASCAR driver and taken the fake-sounding name Ricky Bobby. That’s no coincidence: Talladega like Anchorman is written by Ferrell and Adam McKay who also directed. But the two have filled in the blanks from their previous collaboration for a more well-rounded effort. The duo best complement one another when it comes to Ferrell’s sense of humor; it is at its core drier than most care to realize but the co-writers manage to moisten it in such a way for all to thoroughly enjoy. What really separates this film from its predecessor though is the action--the racing scenes will surprise! And to that end McKay uses the NASCAR angle to reel in its massive contingency as well as Ferrell/comedy fans all of whom should go home happy.