The Splash star, a longtime environmental campaigner, was taken into custody alongside 78-year-old Eleanor Fairchild on Thursday night (04Oct12) after taking part in a demonstration against TransCanada's controversial Keystone XL pipeline, which is being built to transfer crude oil from Canada to refineries on America's Gulf Coast.
The women were booked on suspicion of criminal trespassing after they stood in front of construction equipment on Fairchild's farm in the town of Winnsboro, near Dallas and they were released from Wood County Jail in Quitman late on Thursday.
Hannah, who is also facing a charge of resisting arrest, has now spoken out about the drama, insisting the pair had done nothing wrong.
She tells local news channel KLTV, "I was peacefully protesting the unwanted advances of TransCanada on Eleanor Fairchild's land. She has stated very clearly that she doesn't want them there and they insist on bullying her and taking away her land through eminent domain."
And the actress has accused a burly guard allegedly working for the oil company of hurting her for no reason: "We just sort of stood in front of them (police) and held our hands in a stop motion. I'm holding my wrist because there was this private security guard... and he injured my wrist."
It's Hannah's second arrest fighting the pipeline - she was taken into custody in August, 2011, after protesting outside the White House in Washington, D.C.
The Splash star, a longtime environmental campaigner, has been leading a demonstration against the controversial Keystone XL pipeline, which is being built to transfer crude oil from Canada to refineries on America's Gulf Coast.
She was arrested on Thursday along with 78-year-old Eleanor Fairchild on suspicion of criminal trespassing and resisting arrest after they stood in front of construction equipment.
The pair was taken to the Wood County Jail in Quitman, Texas.
Hannah was previously arrested in August 2011 after protesting against the pipeline at the White House in Washington, D.C.
Daryl Hannah had a interesting Thursday night. The famed 51-year-old Splash star was arrested on Thursday for criminal trespassing and resisting arrest, a Wood County Texas Jail official tells Hollywood.com. While she did have to spend some time behind bars, Hannah bonded out around midnight. In order to be released, Hannah had to pay a $1,500 bond on the criminal trespass charge and $3,000 for resisting arrest.
So what landed Hannah behind bars in the first place? Hannah was supposedly protesting the construction of the Keystone XL oil pipeline, CBS News reports. Hannah and 78-year-old landowner Eleanor Fairchild were reportedly standing in front of equipment on Fairchild's farm in Winnsboro, Tex. in an attempt to keep the construction from progressing.
This isn't the first time that Hannah has been arrested for protesting the TransCanada pipeline. She was picked up in August 2011 in Washington, where several hundred other individuals were arrested the same month for standing up against the building of the $7 billion pipeline, which will bring crude oil from Alberta, Canada to Texas Gulf Coast refineries.
"It is unfortunate Ms. Hannah and other out-of-state activists have chosen to break the law by illegally trespassing on private property," David Dodson, a spokesman for TransCanada, said, of Hannah's recent arrest. He also claimed that the protestors were "putting their own safety and the safety of others at risk."
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Hollywood has a difficult relationship with science fiction. Whether they're translating classic sci-fi stories into brainless action movies or too caught up in the otherworldly details there's always something they can't seem to get right about the imaginative genre.
Looper defies the odds by fleshing out a unique future world while honing in on a specific story with real people at the center — a balance that defined works by greats like Bradbury Asimov and Dick. Joe (Joseph Gordon-Levitt) is a Looper an assassin for the mob bosses of the future who use illegal time travel to send back their targets for disposal. It's an easy lucrative life — one that affords him a party lifestyle of fancy cars and drops (drugs taken through the eye) albeit with the added knowledge of a definite grisly end. Eventually the mob "closes the loop" on its employees finding the Looper in the future and sending them back to be offed by… themselves. When it's Joe's turn to end his own life he's outsmarted his future self (Bruce Willis) escaping Joe's grasp. Driven to fulfill his duties as a Looper Joe goes on the hunt to kill himself.
Director Rian Johnson's Kansas City of 2044 feels appropriately lived in and extended from present day. When Joe's not blasting people away shrouded by the stalks of a cornfield he's dining on steak and eggs at a local diner. It's only the casual presence of hovercycles mutant telekinetics and the occasional visitor from the future that would give away the action of Looper isn't happening today. The realism gives Joe and the metropolis around him a necessary grit — there is danger and violence and pain in this world and when Johnson rouses up an action sequence there's something on the line.
Looper's greatest flaw is that it steps away from the confrontation between Young and Old Joe sending the two in different directions as they pursue answers to the film's spoilerific MacGuffin. On a farm away from the city Young Joe crosses paths with single mother Sara (Emily Blunt) who may hold the key to what Old Joe needs to survive. After being introduced to an ensemble of delightfully wicked characters — including Looper coordinator Abe (Jeff Daniels) Young Joe's sleazy coworker Seth (Paul Dano) and hotshot marksman Kid Blue (Noah Sagan) — plus Young Joe's stripper with a heart of gold confidant Suzie (Piper Perabo) Looper takes a sharp left turn leaving most of the cast in the dust. The interesting sci-fi mosaic slows down and enters a new chapter and it's rarely as engrossing as the first half.
When Willis and Gordon-Levitt are at odds Looper is simply magic. Nathan Johnson's industrial score pounds away as the two fight to stay alive all while grappling with the implications that come with glimpsing into your own future. One riveting sequence follows the timeline that played out before Old Joe tinkered with the space-time continuum a roller coaster through the years after the events of the film that see Gordon-Levitt evolve into Willis. The montage is a playground for Johnson's visual style. He never misses a beat.
For sci-fi nuts Looper corrects the past with an understanding of what makes the genre more than just an array of tropes and iconography. There are shaded characters duking it out in Looper's chaotic web of time travel logic and while their arcs fizzle out without much pay off they're a joy to watch.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
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 Illusionist is also a bit sluggish sort of like a complicated magic trick building to its climatic conclusion. It starts at the turn of the century when mysterious stage magician Eisenheim (Edward Norton) arrives in Vienna and begins performing his astounding illusions. He arouses not only the curiosity of the people who believe he has otherworldly powers but of the ruthless Crown Prince Leopold (Rufus Sewell) an unsavory fellow who’d like to prove the man a fraud especially after he witnesses a budding attraction between his beautiful fiancé Sophie von Teschen (Jessica Biel) and the magician. What Leopold doesn’t know is that Eisenheim and Sophie were once childhood sweethearts—and now that they’ve reunited a dormant and forbidden love affair has been rekindled. Now it’s up to Vienna's shrewd Chief Inspector Uhl (Paul Giamatti) to uncover the truth charged by Leopold to intensify his efforts to expose Eisenheim. With Uhl doggedly pursuing the man behind the magician Eisenheim prepares to execute his greatest illusion yet. The stars of The Illusionist all shine. Yes even Ms. Biel who may not be of the same caliber as her cast mates but certainly doesn’t embarrass herself either as the aristocratic Sophie with a feisty spirit. Norton who has always prided himself on choosing his projects wisely is sad and wonderful as The Illusionist’s regal and masterful purveyor of chimera. Oscar could come calling. Gold might also be in Giamatti’s horizon who seems unable to turn in a sour performance in whatever he does (even if its swimming with water nymphs). As the steadfast policeman Uhl Giamatti takes the brilliantly juicy part and runs with it. He really comes alive when trying to figure out Eisenheim’s trickery but is continually baffled by it at the same time. Sewell (The Legend of Zorro) plays the bad guy once again. Guess he doesn’t really care to try something new so long as he gets the job done. The reason The Illusionist feels like an independent film despite its opulent art direction and period costumes is because writer/director Neil Burger is a newbie. And it’s obvious the story is something close to his heart. Taken from a short story called “Eisenheim The Illusionist ” Burger has cleverly interwoven an intimate murder mystery with a grand and romantic saga of two lovers torn apart by class struggles all within the frame work of magic. It’s a brilliant first effort. Burger’s inexperience does show up at times especially in how the film plods a bit in the beginning but once it gets going you’re hooked. It’s also interesting to note there are TWO 19th century period movies about magicians coming out in the same year. Christopher Nolan’s The Prestige with Hugh Jackman and Christian Bale as rival magicians is due out in October. Magicians and their tricks can certainly be cinema worthy it’s just funny to see how those Hollywood execs all think alike: “Hey did you hear about that new guy doing a movie about a turn of the century illusionist or whatever? Let’s do one too!” “OK and let’s release it two months after the first one!” “OK!” Oy.
February 13, 2002 10:10am EST
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?