The former Colors co-stars fell out last year (10) when Alonso publicly criticised Penn's backing of Chavez and penned an open letter urging him to investigate "the dark side behind the person you choose to idolize".
And she stepped up the feud after spotting the Milk star at Los Angeles' LAX airport on Sunday (18Dec11), branding him a "communist a**hole" in an angry clash as shocked airline staff and passengers looked on.
Alonso tells New York Post gossip colum Page Six, "I was very calm. I said, 'I would like to talk to you.' He said, 'I have nothing to say to you... You have been saying a lot of things about me in the press.' I said, 'How can you defend Chavez?'
"I said, 'You are a communist, Sean Penn.' He said, 'You are a pig!' So I said, 'And you are a communist a**hole! Is it great to live the way you do as a communist?'
"I went back to my mother, and he started yelling at us. I yelled back, 'Communist a**hole!' Nearly 60 people were watching, shocked."
Penn tells the publication, "I only knew that a hostile woman was nonsensically berating me. I didn't realise it was that actress. I think I worked with her once. But she looks really different. She was uninformed and impolite to all the other passengers."
Alonso later apologised for the incident, telling WMAL radio, "I do apologise... He is an intelligent man... But if someone calls me a pig, I am not going to turn the other cheek. But I don't regret calling him a communist."
Stone was mobbed by press members and angry protesters as he arrived for a screening of controversial film South of The Border in Santa Monica, California.
Alonso took the chance to confront Stone outside the screening, but the director was seen waving off the actress when given the chance to debate.
The Venezuelan-raised Vampire's Kiss star has previously blasted the director for his "considerable prowess to crafting a cinematic lie".
She explained to WENN: "Why not tell the truth about the conditions in Venezuela, where the middle class has shrunk from a third to five per cent, kidnapping has risen to the top five in the world and murder rates are higher than in Baghdad resulting from pillaged oil wealth, increased drug running and exportation of political unrest?"
Meanwhile, Alonso plans to continue protests challenging Stone's portrayal of Venezuela under the Chavez government. The actress narrates new movie, Crossing Our Borders, which chronicles what she claims the director left out in South of The Border.
The Vampire's Kiss star has teamed up with Central and South American Community officials to make a movie, Crossing Our Borders, which chronicles what Stone left out of his South of The Border film in an effort to tell "the true facts" and challenge the director's "selective storytelling".
Alonso also plans to confront Stone and Venezuelan leader Chavez, with live and online protests and media appearances.
A spokesman for the activists opposed to Stone's road trip film, which attempts to explore the social and political movements in South America and perceptions of the continent, tells WENN, "Missing from the light-hearted moments of a dictator (Chavez) riding a bike are the questioning of the alarming and growing rates of poverty, kidnapping and murder.
"We want to know who financed Mr. Stone’s film, why did he refuse to interview everyday Venezuelans about their lives under this brutally oppressive regime and why would Mr. Stone use his influence and art to sell a dictator who has dissolved parliament and jailed judges for ruling against his illegal activities?"
Alonso, who has narrated the film that counters Stone’s, has challenged the director to debate the realities of life in Venezuela under the Chavez government.
She tells WENN, "Oliver Stone is a gifted storyteller who has lent his considerable prowess to crafting a cinematic lie. Why not tell the truth about the conditions in Venezuela, where the middle class has shrunk from a third to five per cent, kidnapping has risen to the top five in the world and murder rates are higher than in Baghdad resulting from pillaged oil wealth, increased drug running and exportation of political unrest?
"I challenge Mr. Stone to answer these questions and explain where he got the funding for the production, distribution and marketing of this lie. Oliver Stone has become Hugo Chavez’s Minister of Propaganda."
She will join Venezuela Awareness and members of the Central and South American Community in protest of Oliver Stone’s film when the movie opens on Friday (02Jul10). The activists will picket a 7.20pm screening in Santa Monica, California, where Stone is expected to attend a post-film question-and-answer session.
Penn has voiced his admiration for Chavez on numerous occasions - the actor visited the politician in 2007 when he was writing an article about the leader, and caught up with him again in 2008.
In a 2007 interview following his first trip to the South American country, Penn said: "The first thing I'm going to say is that we know more lies about him in the United States than we know truth. If you want a soundbite from me about Chavez, then I would say that, for the moment, he's much more positive for Venezuela than he is negative."
But Venezuelan native Alonso, who appeared alongside Penn in 1988's Colors, has challenged his political views in a new missive which she hopes will "set the record straight for you regarding the Chavez regime".
She writes, "Why do you validate a government that has converted Venezuela into the second most dangerous country in the world, where impunity is above 90 per cent and its people live in a constant state of stress and fear of getting killed?
"My intention isn't to convince you, but to let you know what is truly happening in this beautiful country of noble people, Venezuela. I would encourage you to investigate in depth the 'inside story' and realize for yourself the dark side behind the person you choose to idolize.
"Agreed, Chavez did win his first elections, but like Hitler, he betrayed what the country gave him: The vote of confidence."
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Tanzie (Hilary Duff) and Ava Marchetta (Haylie Duff) are heiresses to the multimillion-dollar Proactiv-like cosmetics company started up by their late father. Much like all the celebutante sisters in Hollywood (the Hiltons the Olsens the Simpsons et. al.) they live the privileged life--seamless entry into the hottest clubs maids waiting on them hand-and-foot actor boyfriends etc. But early on in Material Girls their high lives come crashing down when at a gala feting their beloved dad a video exposes the cosmetics line as dangerous. Their father’s oldest friend Tommy (Brent Spiner) tries to work damage-control magic but the damage is already done only to be worsened when the ditzy sisters accidentally set fire to their mansion. Forced to relocate to their maid’s (Maria Conchita Alonso) tiny apartment blacklisted by the people that matter--and their credit cards declined--the gals decide to go to work as um private investigators looking into what they believe was a scheme to sabotage the company. Along the way self-discovery bangs ‘em over the head. Separately the Duff sisters stay the ‘tween course recycling virtually the same type of role in the same movie and TV show after movie and TV show. The riskiest role either of the two has taken was Haylie’s turn in Napoleon Dynamite--not because it was edgy but rather because it had a potentially larger or smaller appeal than just the Lizzie McGuire crowd. Together in their first movie collaboration it’s double the nausea. It’s as if they decided to come together under an even wider safety net. Their talent as actresses won’t be clear until they take an ever-so-marginal chance but un-ironically they know how to play mini-mogul sisters. Anjelica Huston also stars as Fabiella the one trying to swoop in on Marchetta Cosmetics’ misfortune. We know precisely what we’re getting with Huston but we may never know why she took this role. Same can be said for Lukas Haas as a pro-bono lawyer who went from fare like Gus Van Sant’s Last Days to this (should-be-made-for-Nickelodeon) movie. Martha Coolidge has directed so much TV (The Twilight Zone Sex and the City) and film (Lost in Yonkers The Prince & Me) over the years it’s surprising to learn she wasn’t behind the movie that looks like Material Girls’ biopic: White Chicks. In all mock seriousness though it’s sad to see anyone attempt to helm what can essentially be considered “Duff Corporation” movies let alone a talented Hollywood vet like Coolidge. She had to know the limited parameters she was cornering herself into here but the director still manages to seem a bit lost. For example when she uses visual techniques such as juxtaposed scenes—which looked cool in say Sideways--it feels almost offensive here. It’s the dead-tired rich-girls-to-blissfully-bourgeois-girls story however that delivers the deathblow to the gut. And it’s Coolidge’s (possibly correct) assumption a movie that can be so narrowly focused toward a specific sect of moviegoers is the one that delivers a blow to the soul.
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What's that? You say these guys are box-office poison? Guess again. Even though they were scratched off the Hollywood A-list a while ago, these names still mean something in places such as Australia, Germany, Italy, Spain and Japan. And if you'd dropped in here at the weeklong American Film Market, or AFM, wrapping up today, you'd realize that being big in the Netherlands might not be glamorous, but it's nothing to sneeze at.
Case in point: Jeff Fahey.
You might remember Fahey from his supporting roles in movies such as "Silverado" and "Wyatt Earp," or maybe even "The Lawnmower Man." But you might not know that Fahey is a certifiable movie star overseas, top-billed in dozens of thrillers and action films (search the Net and you'll find numerous Web sites paying homage to the hard-working actor). Strolling through the hallways of the Loews Hotel, where distributors at the AFM hawk their wares, you'd have seen posters for some of his latest: "The Sculptress," "Blind Heat" (co-starring the venerable Maria Conchita Alonso) and "Epicenter."
"Jeff's got a lot of movies out there right now," says Anthony J. Lyons, vice president of IFM Film Associates, an Aussie company based in Los Angeles that makes movies for $1 million to $3 million. "He's an internationally known actor, and he's not too expensive to get. Rather than charge $200,000 for one movie, he might charge you $50,000, but he'll get 20 movies instead of two. These days you need known actors to sell your films overseas, and Jeff is a good value."
How many times have you heard an actor praised as a "good value?" Money talks at the AFM, and Fahey is a favorite son here because his films fall into those tried-and-true genres (action movies, thrillers, lowbrow comedy, T-and-A, horror/sci-fi) that cross cultural and language barriers. These kinds of movies appeal to the dozens of international distributors who come here each year looking for stuff to buy. Films that will go straight to video or cable TV in the United States (that is, if they are released here at all) but can pull in a nice chunk of change in overseas markets.
The foreign rights to about 350 movies were up for grabs at this year's AFM, and an estimated $400 million in deals were made. Not all the films represented were of the low-budget, guns-and-car-crashes, monsters-and-scantily-clad-babes variety. TFI International was peddling foreign rights to "The Golden Bowl," the forthcoming Merchant-Ivory production starring Uma Thurman and Anjelica Huston; the new Roland Joffe movie "Vatel," with Thurman, Gerard Depardieu and Tim Roth, was also advertised, as was "Brother," the new movie from Japanese director "Beat" Takeshi Kitano.
But it was loads more fun to troll the market for the wreckage of once-thriving acting careers. There was Judge Reinhold from the "Beverly Hills Cop" movies, heading up a slam-bang actioner called "Crackerjack 2: Hostage Train," from North American Releasing. Reinhold plays Jack Wild -- no, not the guy from H.R. Pufnstuf -- a "rogue cop with a mission ... obsessed with capturing the notorious Hans Becker, a '60s-style Red Brigade type who has transformed himself into a '90s-style terrorist for hire," or so says publicity materials from the production. The film co-stars Michael Sarrazin as the bad guy. (Curiously, Reinhold did not appear in "Crackerjack 1," nor is he in the forthcoming "Crackerjack 3." Really.)
Other blasts from the past who have become AFM stalwarts include Steve Guttenberg, who gets the Most Interesting Title award for his directorial debut, "P.S. Your Cat is Dead!" Guttenberg is billed by the film's backers as the "acclaimed star of several billion dollars worth of top box-office and critical winners." Elsewhere, another company was dealing a different Guttenberg film, "Second Chance," a comedy with an all-star lineup of Pauly Shore, Robert Wagner and Tim Conway (no word, however, if Conway did the film in his ever-popular "Dorf" disguise).
If the definition of celebrity is skewed a bit in the films paraded here, the same can be said for the event itself. The American Film Market isn't a film festival -- there are no awards ceremonies, no paparazzi stampedes, and although there are premieres, they don't include big red-carpet entrances for celebrities.
It's not unusual for workaday actors such as Eric Roberts or Gary Busey to show up and do a little press for one of their films here, and they can walk through the hotel without being hassled. And you don't hear about wild antics on the after-hours party scene here. This is about as racy as it gets: One night last week, Jamie Kennedy (the film geek from the "Scream" films) got lost while walking around in search of the buyers' party for "The Specials," his new low-budget superhero comedy -- and he had to ask a bystander for directions.
"I've been to a few festivals before, but I've never been to something quite like this, which is pure marketing," said "Star Trek" actor George Takei, who was here promoting an as-yet unmade sci-fi film, "Overload," made by and starring a crew of former child actors including Tony Dow ("Leave It To Beaver") and Bill Mumy ("Lost in Space"). "But I know what the rules of the game are. I'm here to help sell the movie, which is something I never did with 'Star Trek.'"
If they ever hand out a lifetime achievement award to an actor at the AFM, it should probably go to Karen Black, the veteran of "Five Easy Pieces," "Nashville," "Airport 1975" and other 1970s classics who still works constantly, albeit in the relative obscurity of low-budget offerings, including many titles up for grabs at the market in recent years.
Black does it all -- from children's films ("Malaika," a movie about an elephant), to boring dramas about people over 40 ("The Donor," with David Carradine) and soft-core stuff (such as "Dinosaur Valley Girls," a movie from a few years back, in which she wore a loincloth) -- which makes her a fine role model for some of the other actresses such as Jasmine Guy, Carol Alt and Tahnee Welch following in her footsteps at the market.
"Karen is making a comeback, believe it or not," said Eric Louzil, president of RHG/Lions Share Pictures, which is peddling an independent film called "Oliver Twisted," in which Black stars. "... I've seen her name in quite a few films lately. She's quite a talent."
And at the AFM, a little talent goes a long way.