The athlete went missing last week (begs27Mar12) after going for a 12-mile (19.3 kilometre) jog in Gila National Forest and on Saturday (31Mar12) a search and rescue team discovered his body beside a small stream.
A cause of death is not yet known as officials are waiting to perform an autopsy.
New Mexico State Police Lieutenant Robert McDonald tells ABCNews.com, "The body was released to the office of the medical investigator who will conduct an autopsy. From what everybody was told, they didn't find anything out of the ordinary whatsoever where he was found. No signs of blunt trauma or anything like that."
True first rose to fame as the subject of Christopher McDougall's best-selling novel, Born to Run, which focused on how he lived among a desert-dwelling tribe in the Copper Canyons of Mexico. Maggie Gyllenhaal's actor husband Peter Sarsgaard has recently signed on to bring the book to life as a big screen adaptation.
Salt the propulsive new thriller from Phillip Noyce (Clear and Present Danger Patriot Games) has been dubbed “Bourne with boobs ” but that label isn’t entirely accurate. In the role of Evelyn Salt a CIA staffer hunted by her own agency after a Russian defector fingers her in a plot to murder Russia’s president Angelina Jolie keeps her two most potent weapons holstered hidden under pantsuits and trenchcoats and the various other components of a super-spy wardrobe that proudly emphasizes function over flash.
But flash is one thing Salt never lacks for. Its breathless cat-and-mouse game hits full-throttle almost from the outset when a former KGB officer named Orlov (Daniel Olbrychski) stumbles into a CIA interrogation room and begins spilling details of a vast conspiracy. Back in the ‘70s hardline elements of the Soviet regime launched an ambitious new front in the Cold War flooding the western world with orphans trained to infiltrate the security complexes of their adopted homelands and wait patiently — decades if necessary — for the order to initiate a series of assassinations intended to trigger a devastating nuclear clash between the superpowers from which the treacherous Reds would emerge triumphant.
The Soviet Union may have long ago collapsed (or did it? Hmmm...) but its army of brainwashed killer orphan spies remains in place and if this crazy Orlov fellow is to be believed they stand poised to reignite the Cold War. It’s a preposterous — even idiotic — scheme but no more so than any of our government’s various harebrained proposals to kill Castro back in the ‘60s. As such the CIA treats it with grave seriousness even the part that that pegs Salt who just happens to be a Russian-born orphan herself as a key player in the conspiracy.
Salt bristles at the accusation but suspecting a set-up she opts to flee rather than face interrogation from her bosses Winter (Liev Schreiber) and Peabody (Chiwetel Ejiofor). A former field agent she’s been confined to a desk job since a clandestine operation in North Korea went south leaving her with a nasty shiner and a rather unremarkable German boyfriend (now her unremarkable German husband). She’s clearly kept up her training during while cubicle-bound however and in a blaze of resourceful thinking and devastating Parkour Fu she fends off a dozen or so agents of questionable competence and takes to the streets where she sets about to clear her name and unravel the Commie orphan conspiracy before the authorities can catch up with her. That is if she isn’t a part of the conspiracy.
The premise which aims to resurrect Cold War tensions and graft them onto a modern-day spy thriller is absurdly clever — and cleverly absurd. But Kurt Wimmer’s screenplay isn’t satisfied with the merely clever and absurd — it must be mind-blowing. Salt is one of those thrillers that ladles out its backstory slowly and in tiny portions every once in a while dropping a revelatory bombshell that effectively blows the lid off everything that happened beforehand. No one is who they seem and every action every gesture no matter how seemingly trivial is imbued with some kind of grand significance. The effect of piling on one insane twist after another has the effect of gradually diluting the narrative. When anything is possible nothing really matters.
But spy thrillers by definition trade in the preposterous and the principal function of the summer blockbuster is to entertain. In that regard Salt more than fulfills its charge. Noyce wisely keeps the story moving at pace that allows little time for asking uncomfortable questions or poking holes in the film’s frail plot. And he has an able partner in the infinitely versatile Jolie who having already exhibited formidable action-hero chops in Wanted and the Tomb Raider films proves remarkably adept at the spy game as well.
It’s well-known that Jolie wasn’t the first choice to star in Salt joining the project only after Tom Cruise dropped out citing the story’s growing similarities to the Mission: Impossible films. But she’s more than just a capable replacement; she’s a welcome upgrade over Cruise not least because she’s over a decade younger (and a few inches taller) than her predecessor. Should Brad Bird require a pinch-hitter for Ethan Hunt he knows where to look.
Green Zone is a story we’ve already heard shot in a manner we’ve already seen and starring Matt Damon in a role he’s already played. Remember those WMDs that were never found in Iraq and later exposed to be the invention of a dubious and poorly-vetted informant? Remember the misguided and hideously botched attempt at establishing democracy after the fall of Saddam and the violent prolonged insurgency that ensued? If you’ve been away from the television for the past hour and somehow managed to forget any of these details Green Zone is here to remind you.
Damon plays Chief Warrant Officer Roy Miller an Army weapons inspector whose frustration over repeatedly coming up empty in his search for Iraqi WMDs leads him on a quest to track down and expose the people responsible for leading him (and us) down that infamously bogus path. Though his hand-to-hand skills are a notch below Jason Bourne’s Miller’s single-mindedness moral certainty and permanent expression of square-jawed defiance — always threatening another “How do you like them apples?” rebuke — in the face of an insidious multi-level government conspiracy are essentially equivalent to those of Damon’s Bourne trilogy soulmate.
And like Bourne his most dangerous adversary isn’t found on the battlefront but rather within the government he once served so proudly. As Miller delves ever deeper into the Case of the Faulty WMD Intelligence Clark Poundstone (Greg Kinnear) the duplicitous arrogant Defense Department bureaucrat in charge of U.S. operations in Iraq summarily relieves him of his post. (Hint: the better dressed a Green Zone character is the more sinister his ambitions.) But Miller remains undeterred and he goes rogue to locate the CIA informant “Magellan ” a formerly high-ranking Iraqi official whose supposed confirmation of Saddam’s nuclear ambitions served as the basis for U.S. invasion.
We know how the story ends. Green Zone’s pervasive overarching sense of deja vu is accentuated by director — and veteran Bourne helmer — Paul Greengrass who employs the trademark hand-held super-shakycam style which was so fresh and inventive in 2004 but now feels stale and predictable. (Admittedly my aversion to Greengrass’ approach was no doubt heightened by a previous night’s viewing of Roman Polanski’s excellent The Ghost Writer a political thriller as subtle and precise and finely tuned as Green Zone is ham-fisted and haphazard — and which also uses the phantom WMD controversy to far greater narrative effect.)
Green Zone culminates in essentially a violent footrace between Miller and the Army Special Forces as they scour a heavily-armed insurgent stronghold to find Magellan with Miller hoping to secure his potentially damning testimony before the Army can silence him for good. The climactic sequence for all I could tell was either shot in Damon’s backyard culled from Bourne trilogy deleted scenes or assembled from scattered YouTube clips. This punishingly chaotic often incoherent and ultimately exhausting approach to storytelling isn’t cinema verite; it’s dementia pugilistica.
"The Wedding Planner" marched down theater aisles this weekend, celebrating in first place with $14 million.
The PG-13-rated romantic comedy from Columbia Pictures and Intermedia Films easily captured the top spot on Super Bowl Weekend with a sexy ESTIMATED $14.0 million at 2,785 theaters ($5,027 per theater).
"Planner" had the highest per-theater average for any film playing in over 1,000 theaters last weekend.
"Great news for us this weekend," Sony Pictures Entertainment worldwide marketing & distribution president Jeff Blake said Sunday morning, noting that Sony had four of the top ten films ("Planner," "Crouching Tiger, Hidden Dragon," "Finding Forrester" and "Snatch").
"$14 million is allowing for an over 50% drop on Sunday because we (should) do a little better than the rest of the world (against) the Super Bowl," Blake explained. "We got a real clear mix of an audience. It was almost evenly divided under-25 and over-25 and clearly a large part of the under-25 crowd was driven by Jennifer Lopez, who couldn't be hotter right now with both her album and now her No. 1 movie. I think, certainly, the attraction of the over-25 crowd was that this is also a very romantic movie and Jennifer Lopez and Matthew McConaughey make a very romantic couple. I think that will be a key as we go forward into February. I think we look like the romantic choice for the next couple of weeks through Valentine's Day."
Sony is very pleased, Blake noted, with the opening of "Planner," which is "a co-production between Columbia and Intermedia. Columbia has all domestic rights and Intermedia is selling the foreign territories. The negative cost is $28 million, so this is one we can really do well on."
Directed by Adam Shankman, "Planner" stars Jennifer Lopez and Matthew McConaughey.
Paramount's PG-13-rated teen appeal drama "Save the Last Dance" from MTV Films fell one slot to second place in its third week with an okay ESTIMATED $10.00 million (-35%) at 2,561 theaters (+22 theaters; $3,905 per theater). Its cume is approximately $59.5 million.
"I think it gets to around $80 million (in domestic theaters)," Paramount distribution president Wayne Lewellen said Sunday morning. "We're assuming like everyone else that we get a pretty good hit (from the Super Bowl) today, or at least we don't hold up as well.
"It basically hurts everything pretty well. But the female-oriented stuff seems to hold up a little better. And by that I mean, maybe we're down 50% to 60% over yesterday (Saturday), whereas the male-oriented stuff will be down 70%-80% over yesterday."
Directed by Thomas Carter, "Save the Last Dance" stars Julia Stiles and Sean Patrick Thomas.
20th Century Fox's PG-13-rated drama "Cast Away" slid one peg to third place in its sixth week, still holding well with an ESTIMATED $8.94 million (-20%) at 2,890 theaters (-171 theaters; $3,092 per theater). Its cume is approximately $194.1 million, heading for $215 million-plus in domestic theaters.
"We had a heck of a weekend," Fox distribution executive vice president, sales Rick Myerson said Sunday morning. "Off only 20%. It will probably go a little bit north of $215 million and you can't tell (yet) what happens with Academy Awards. That's sensational."
After winning the Golden Globe for best actor/drama, Tom Hanks is a likely best actor Oscar nominee for "Cast Away."
Directed by Robert Zemeckis, "Cast Away" stars Tom Hanks and Helen Hunt.
USA Films' R-rated Oscar contender drama "Traffic" dropped one rung to fourth place in its fifth week, still showing great legs with an ESTIMATED $6.49 million (-24%) at 1,580 theaters (+9 theaters; $4,105 per theater). Its cume is approximately $56.3 million.
"Traffic," which won Golden Globes for best screenplay (Stephen Gaghan) and best supporting actor (Benicio Del Toro), is considered a likely contender in the Oscar race. Its director, Steven Soderbergh, is a Directors Guild nominee for both "Traffic" and "Erin Brockovich."
Directed by Steven Soderbergh, "Traffic" stars Michael Douglas, Don Cheadle, Benicio Del Toro, Dennis Quaid and Catherine Zeta-Jones.
New Line's opening of its PG-13-rated youth appeal cheerleaders drama "Sugar & Spice" placed fifth with a not-so-spicy ESTIMATED $6.03 million at 2,150 theaters ($2,802 per theater).
Insiders had been anticipating a more exciting launch in the area of $8 million for "Spice," given word that it was flying higher on the Hollywood radar screen.
Directed by Francine McDougall, it stars Marla Sokoloff, Marley Shelton, Melissa George and Mena Suvari.
Sony Pictures Classics continued to expand its critically-acclaimed PG-13-rated action adventure "Crouching Tiger, Hidden Dragon," which rose two slots to sixth place in its eighth week with a very encouraging ESTIMATED $5.1 million (-16%) at 869 theaters (+32 theaters; $5,846 per theater). Its cume is approximately $44.5 million.
"Tiger," which won Golden Globes for best director (Ang Lee) and best foreign language film, is considered a likely contender in the Oscar race. Lee is a DGA nominee.
Directed by Ang Lee, "Dragon" stars Michelle Yeoh and Chow Yun-Fat.
Columbia Pictures' PG-13-rated drama "Finding Forrester," which was sixth last week, tied for seventh place in its sixth week, holding well considering the weekend's Super Bowl competition with an ESTIMATED $4.8 million (-28%) at 2,002 theaters (theater count unchanged; $2,398 per theater). Its cume is approximately $35.9 million.
"It continues to hang in there," Sony's Blake said Sunday morning. "I think we'll continue to be one of the top adult choices going forward."
Directed by Gus Van Sant, "Forrester" stars Sean Connery.
Sony's Screen Gems label's R-rated drama "Snatch," which was fourth last week, tied for seventh place in its second week with a less exciting ESTIMATED $4.8 million (-40%) at 1,444 theaters (theater count unchanged; $3,324 per theater). Its cume is approximately $15.8 million.
"Clearly, the picture's still got a good chance to get to, perhaps, $30 million and, certainly, $25-30 million and will be very profitable for us, especially with already being in profit out of the international markets," Sony's Blake said.
Written and directed by Guy Ritchie, "Snatch" stars Benicio Del Toro,Dennis Farina, Vinnie Jones, Brad Pitt, Rade Sherbedgia and Jason Statham.
Paramount's PG-13-rated romantic comedy "What Women Want" from Icon Productions slid four rungs to ninth place in its seventh week with a less sexy ESTIMATED $4.3 million (-37%) at 2,611 theaters (-414 theaters; $1,647 per theater). Its cume is approximately $169.5 million.
Directed by Nancy Meyers, "Women" stars Mel Gibson and Helen Hunt.
Rounding out the Top Ten was Warner Bros. and Castle Rock Entertainment's PG-13-rated comedy "Miss Congeniality," down three slots in its sixth week with a still okay ESTIMATED $4.01 million (-36%) at 2,409 theaters (-194 theaters; $1,665 per theater). Its cume is approximately $93.1 million.
"We're (heading for) between $105-110 million," Warner Bros. Distribution's Jeff Goldstein said Sunday morning. "We're tracking very positively against 'Analyze This,' which came in at $106 million. Right now we're 12% ahead of that. I think we comfortably get to $105 million and we could get to $110 million, too."
Directed by Donald Petrie, "Congeniality" stars Sandra Bullock, Michael Caine, Benjamin Bratt and Candice Bergen
OTHER OPENINGS There were no other wide openings this weekend.
SNEAK PREVIEWS There were no national sneak previews this weekend.
EXPANSIONS On the expansion front, Warner Bros. and Franchise Pictures' R-rated thriller "The Pledge" went wider, placing 12th with a calm ESTIMATED $3.57 million (-38%) at 1,410 theaters (+135 theaters; $2,528 per theater). Its cume i approximately $11.0 million.
Directed by Sean Penn, "Pledge" stars Jack Nicholson.
Miramax's PG-13-rated romantic comedy drama "Chocolat," a likely contender for Oscar nominations, went wider in its seventh week, placing 13th with a still hopeful ESTIMATED $3.2 million at 1,203 theaters (+545 theaters; $2,660 per theater). Its cume is approximately $17.3 million.
"Obviously, our Sunday's going to be hurt from the Super Bowl, a little bit," Miramax senior vice president, marketing David Kaminow said Sunday morning. "But the holdover runs are doing great, even as we're expanding these markets. Whatever happens on the 13th (of February with Academy Award nominations), I think this is still a movie that's going to be a crowd pleaser and that's going to stick around for a while."
Directed by Lasse Hallstrom, "Chocolat" stars Juliette Binoche, Judi Dench,Alfred Molina, Lena Olin and Johnny Depp.
Buena Vista/Touchstone went wider with its PG-13-rated dark comedy "O Brother, Where Art Thou?," placing 16th in its sixth week with an okay ESTIMATED $2.3 million at 547 theaters (+128 theaters; $4,205 per theater). Its cume is approximately $12.6 million.
Directed by Joel Coen and written by Ethan Coen & Joel Coen, it stars George Clooney, John Turturro, Tim Blake Nelson and John Goodman.
Lions Gate Films' R-rated drama "Shadow of the Vampire" went wider, placing 18th with a calm ESTIMATED $2.0 million at 513 theaters ($3,890 per theater). Its cume is approximately $2.6 million.
"We're going to hold at this level of screens for a few weeks and then we're going to expand once more on Feb. 16, the weekend after the Academy nominations, when we're expecting a couple to come our way," Lions Gate co-president Tom Ortenberg said Sunday morning.
Directed by E. Elias Merhige, "Vampire" stars John Malkovich and Willem Dafoe.
WEEKEND COMPARISONS Key films -- those grossing more than $500,000 for the three days -- took in approximately $93.93 million, up about 55.13% from the comparable weekend last year when key films grossed $60.55 million.
This weekend's key film gross was down about 13.06% from the previous weekend this year when key films grossed $108.04 million.
Last year, Destination Films' opening week of "Eye of the Beholder" was first with $5.96 million at 1,751 theaters ($3,403 per theater); and New Line's third week of "Next Friday" was second with $5.75 million at 1,335 theaters ($4,309 per theater). The top two films one year ago grossed $11.8 million. This year, the top two films grossed an ESTIMATED $24.0 million.