After the world’s worst Thanksgiving, when Gabriel Aubrey was arrested after a brutal fight with Halle Berry’s fiancé Olivier Martinez over the custody of 4-year-old daughter Nahla, the two parties have reached a truce.
Berry’s attorney Blair Berk and Aubry’s attorney Shawn Holley released a statement after Thursday's hearing that said, “The parties have reached an amicable agreement. There will be no further statements regarding this matter.”
Berry and Aubry have been fighting a brutal custody battle since their split in 2010. Though Aubry had a victory in early November when a judge denied Berry's request to move overseas with Nahla, Berry won a protective order after the Thanksgiving brawl, requiring her ex to stay 100 yards away from Berry, Martinez, and Nahla. Aubry was arrested after the fight, which left him looking quite worse for the wear, and was granted a temporary restraining order against Martinez.
It is still unclear whether or not authorities will pursue any criminal charges against Aubry.
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[Photo Credit: Andres Otero/ Wenn]
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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.
Following the CW’s good news yesterday, CBS has given full season orders to Vegas and Elementary. These back-nine pickups are the first for the network this season.
“Vegas and Elementary have opened strong, delivering big audiences and winning performances in important time periods,” said CBS Entertainment president Nina Tassler. ”Each of the shows has rich characters, big stars and a unique visual style that have stood out in the crowd, helping make two of our strongest nights even stronger.”
Both of the 10 pm dramas (airing Tuesdays and Thursdays, respectively) have had good ratings so far. Dennis Quaid’s Vegas premiered to a 2.5 rating and nearly 15 million viewers, and the modern-day Sherlock Holmes series Elementary opened to a 3.1 rating, winning its time slot.
With Vegas and Elementary both picked up, and Made in Jersey as the Eyeball's first cancellation of fall, the CBS’s only series still up in the air is the comedy Partners.
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[Photo Credit: John Paul/CBS]
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Nicki Minaj just released the music video for “The Boys” featuring Cassie, and it is just as crazy fun as you would expect it to be. The neon-loving video shows off Minaj's booty rap skills as well as her penchant for out-there themes. With a video like this, imagine what her performances on her new gig, American Idol, will be like! Check out “The Boys” featuring Cassie below:
I’m feeling a little déjà vu, here. Not for the bubble gum pink, bootylicious videos Minaj always puts out (while that certainly is the case here, also), but the components that make up “The Boys” are reminding me of a couple other songs and music videos. Let me break it down for you.
In the bridge, Cassie sings “Your lipstick stains / smells like a cheap hotel.” First time I heard it, I thought they were parodying Train’s “Hey Soul Sister.” In Train’s verse, the lyrics go, “Your lipstick stains / on the front lobe of my left side brains.” Looks and sounds similar, right?
Next, when Cassie and Minaj sing the chorus, the lyrics are “They wanna touch it / taste it, see it, feel it / bone it, own it, yeah yeah / dollar dollar paper chaser / get that money, yeah yeah.” Does that not sound like Daft Punk’s “Technologic”?
When Cassie dons the blue suit and yellow hair, impersonating the boys she and Minaj are rapping about, I had another moment of déjà vu. Remember that time Lady Gaga became Joe Calderone at the 2011 MTV VMA’s? Let me refresh your memory (below). I thought Jo Calderone was Gaga's most brilliant performance, and I guess Cassie agreed.
Lastly, the scene where Minaj is strutting around the diner she burnt down, recalled another colorful-haired bootylicious star’s most recent music video.
And yet, in spite of all these similarities, you just can’t get antics like Minaj’s anywhere else, making her video one of a kind.
"The Boys" is Nicki's first single from Pink Friday: Roman Reloaded - The Re-Up, which will include tracks that appeared on Roman Reloaded plus a separate disc with her new tunes.
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As Halloween creeps closer, along with gorging ourselves on fun-sized candy we can look forward to our favorite shows getting the scary holiday treatment. And the classic Toy Story franchise is no different.
Pixar Animation Studios just announced that next Halloween, our favorite Toy Story characters will make their small screen debut in a TV special, Toy Story of Terror [Animation World Network].
What starts out as a fun road trip for our favorite toys takes an unexpected turn for the worse when the trip detours to a roadside motel. After one of the toys goes missing, the others find themselves caught up in a mysterious sequence of events that must be solved before they all suffer the same fate.
2010's Toy Story 3 was a huge box office success, grossing over $1.6 billion worldwide, becoming the highest grossing film of the year. This Halloween special will be the fourth film in the franchise.
Toy Story of Terror will premiere in October 2013.
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[Photo Credit: Pixar]
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.