Enrique Iglesias and Romeo Santos dominated the Univision Network's Premios Juventud Awards in Miami, Florida on Thursday night (17Jul14), winning five trophies each. The Hero hitmaker scooped awards including best Pop/Rock Artist and several music prizes for El Perdedor, his track with Marco Antonio Solis, while Santos scooped the Favorite Video prize for Propuesta Indecente among others.
Iglesias also took home the special Supernova prize for his career achievements.
Marc Anthony was honoured for his Vivir Mi Vida Tour, while other winners included Bruno Mars (Favorite Hitmaker) and Pitbull (Urban Artist).
Performers included Iglesias, Jenni Rivera's daughter Chiquis, and Latin star Wisin, who took to the stage with holograms of Ricky Martin and Jennifer Lopez at the BankUnited Center venue.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Spanish actor Antonio Banderas is still waiting to receive the final script for his new film about the 2010 Chilean mining disaster, weeks before production is set to begin in South America. The Desperado star is set to join Martin Sheen and Rodrigo Santoro in The 33, which will document the 69 days 33 Chilean miners spent trapped underground after a shaft collapsed in 2010.
Director Patricia Riggen is expected to start shooting on location in late November (13), but Banderas suggests there may be a slight delay.
He tells Spanish news agency EFE, "Everything (for the project) started quite a while ago, more than a year-and-a-half, but so far, right now, despite having a commitment with the producers of the film, I still have not received the final script."
However, the actor can understand why screenwriters are taking their time to finish the script.
He says, "They're continuing to work on it, cleaning it up, having conversations with those people who experienced this event... Whenever you play a person who existed, along with the acting work, there's a sense of responsibility, because it's a living character."
Riggen is also still searching for a replacement to step in for Jennifer Lopez, who was reportedly forced to pull out of the drama in September (13) due to scheduling clashes with her upcoming return as a judge on reality show American Idol.
The 33 is currently scheduled for release next year (14).
Jennifer Lopez has reportedly pulled out of a new movie about the 33 Chilean miners who were trapped underground in 2010 over scheduling conflicts. The singer/actress signed on to join Antonio Banderas, Martin Sheen and Rodrigo Santoro in The 33, which will document the 69 days the workers spent in the darkness before they were rescued.
However, Lopez has now stepped down from the job amid reports filming would clash with shoots for her upcoming return as a judge on reality show American Idol, according to Deadline.com.
A replacement for the superstar has yet to be announced. Director Patricia Riggen is expected to begin production on The 33 in late November (13) in South America.
On July 18, the English-language, Latino-focused network NUVOtv will be relaunching with a few brand new shows. The program we're most looking forward to is undoubtedly Jennifer Lopez: Her Life. Her Journey. The tell-all documentary will focus on a series of interviews with Lopez and the people who were instrumental to her success. Check out this clip for a taste of J.Lo's story, from her Bronx beginnings to her superstardom.
She may not be "Jenny from the Block" anymore, but Jennifer Lopez has not forgotten the long journey that led her to where she is today.
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Happy Birthday, Mr. Dictator. On Saturday night, Jennifer Lopez stirred up controversy by performing at an event in Turkmenistan where she sang "Happy Birthday" to authoritarian leader Gurbanguly Berdymukhammedov. According to Human Rights Watch, the former Soviet Republic's government is "among the most repressive in the world," with President Berdymukhammedov imprisoning and torturing citizens who have criticized his regime.
During the event hosted by the China National Petroleum Corporation, J.Lo performed her hit songs and shimmied away onstage at a lavish $2-billion resort on the Caspian Sea. According to the New York Times, she "graciously obliged" to sing to the country's dictator to celebrate his 56th birthday. The singer was reportedly paid $1.4 million for her performance — guess it's not true that "Love Don't Cost a Thing."
J.Lo is by no means the first celebrity to have performed in countries or for leaders with human rights violations. Beyoncé, Mariah Carey, Nelly Furtado, Usher, and 50 Cent have all performed at parties for family members of the oppressive Libyan leader Muammar Gaddafi. Hilary Swank attended a birthday party for Chechen leader Ramzan Kadyrov, who has been "linked to a litany of horrific human rights abuses." For the most part, these celebrities apologized profusely when they learned that these leaders were connected to serious human rights violations, from brutal torture to acts of terrorism. They also donated their performance earnings to charity.
But some celebrities have shown no qualms about their associations with suspect political figures. Sean Penn, Oliver Stone, Danny Glover, and Kevin Spacey were never shy about their friendships with controversial Venezuelan President Hugo Chavez. Michael Jackson was close with and accepted money from Prince Abdullah al-Khalifa of Bahrain, whose family has quite a track record of human rights violations. Steven Seagal is a pal and supporter of Vladimir Putin, and he has allegedly signed on to be the face of Russian weaponry abroad. Seagal has also been known to defend Chechen President Ramzan Kadyrov — yep, the same guy whose party Hilary Swank "deeply regrets" having attended.
Hey celebs, do the world a favor and make sure you've done some research before you legitimize brutal leaders who violate human rights. Thanks.
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More:Hilary Swank 'Regrets' Attending Chechen ConcertJennifer Lopez to Star in Chilean Miner Drama 'The 33' with Antonio Banderas'Unflattering' Jennifer Lopez Photo Sparks Controversy
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Jennifer Lopez and Justin Bieber were among the stars celebrating a big moment in basketball on Thursday night (20Jun13) as Miami Heat beat San Antonio Spurs in a crucial end-of-season game. The Heat won the crunch match 95-88 in a nail-biting final to retain the National Basketball Association (NBA) title for a second year, and a number of famous faces were among the crowd to see the game, including rocker Lenny Kravitz, who tweeted pictures from the AmericanAirlines Arena in Miami, Florida.
Justin Bieber was spotted in the crowd, and he posted on Twitter.com, "Great game", while actress Gabrielle Union was there to cheer on her Miami Heat star boyfriend Dwyane Wade. She later posted pictures online showing her toasting the victory with a glass of Champagne.
Jennifer Lopez was also following the game and she was delighted with the result, writing on Twitter, "Congrats (sic) to the Miami Heat!!!!!!!!!!!!! Great game!" while stars including LeAnn Rimes, Eliza Dushku, Spike Lee, Sean Kingston and John Legend sent messages of congratulation.
Glee star Matthew Morrison was in London at the time of the big match, but he woke up in the early hours to watch the action on TV: "Wow! Up at 5AM in London watching game 7 Loving it!"
Singer, former reality TV judge, fashion designer, and mother Jennifer Lopez is adding a new project to her huge resume. The 43-year-old actress has officially signed on to star alongside Antonio Banderas in the buzz-worthy upcoming film The 33.
Based on the true story, the film will revolve around the captivating tale of 33 Chilean miners who were rescued after being trapped underground for 69 days in 2010. Lopez and Banderas join the previously announced actors Martin Sheen and Brazilian actor Rodrigo Santoro in The 33. Mike Medavoy — who gained the rights to this story soon after the miners' rescue — will direct the A-list ensemble cast.
Details on Lopez's character have not been released just yet, but we do know that Banderas is playing the role of Mario Sepulveda, the charismatic miner nicknamed "Super Mario." Santori is portraying another trapped miner, while Sheen will portray the father of one of the laborers. This is Lopez's first big screen role since her action thriller Parker that underwhelmed audiences earlier this year.
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