Puerto Rican rappers Calle 13 are set to be honoured by New York City officials. Rene Perez Joglar and Eduardo Jose Cabra Martinez will be feted by Mayor Bill de Blasio and City Council Speaker Melissa Mark-Viverito for their social justice efforts ahead of Sunday's (08Jun14) Puerto Rican Day Parade, which Joglar will lead.
Mark-Viverito tells Buzzfeed.com,"I approached (de Blasio) and told him I would like to jointly host (the reception at the mayor's official residence of Gracie Mansion) since I'm the first Puerto Rican in (my) position."
She adds of Calle 13, "I believe when you have a level of notoriety or a prominent position it's important when you're not afraid to express an opinion, especially the way they challenge through their lyrics. They speak out against injustice and issues that others may shy away from. I may not agree with them on everything, but the fact that they even dare to challenge people is good."
Joglar admits he is honoured to be recognised and is looking forward to hosting the parade.
He says, "I am proud to have been chosen to preside over the Puerto Rican Day parade in New York. This is a celebration that permits us to come together to honour our culture and celebrate our nationality and identity."
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.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
The first time we meet José (Eduardo Verástegui) the up-and-coming soccer star is boasting to a bunch of kids about the big-time contract he's just signed. The next thing you know he's slaving away as the chef at his ungrateful brother's upscale restaurant. How did he go from riches to rags so quickly? Bella takes its sweet time fully revealing the circumstances leading up to José's fall from grace though you can pretty much deduce for yourself what he did just by the way his eyes tear up whenever he gazes at a child playing on the street. For some unfathomable reason José abandons his post to comfort Nina (Tammy Blanchard) a waitress who's just been fired for her tardy ways. Turns out Nina's pregnant and has her mind set on having an abortion. Rather than butt out of Nina's business and go back to work José takes it upon himself to gently persuade Nina to have the baby. Clearly José's seeking a little redemption for his own past transgressions and what better way to achieve this than by making Nina see the error of her ways. Nina's willing to play along especially when José lands her a new job without any effort. Thus begins Bella's leisurely-though quite uneventful-stroll around New York City. The decision Nina makes won't come as a surprise but Bella's epilogue will likely leave you shaking your head in disbelief. It's pretty clear why the distraught Nina would happily spend the day hanging out with a handsome co-worker she barely knows. The soft-spoken Eduardo Verástegui—the Mexican model pop singer and actor who starred as the three-timing himbo in Chasing Papi—exudes an easy charm that would make any woman feel safe and comfortable in his presence. José obviously has an agenda—one born of guilt not religious zealotry—but Verástegui's casual demeanor ensures that the chef never comes across as pushy anxious or judgmental. But every now and then Verástegui allows us a glimpse at the terrible pain and suffering that's reduced José to a shadow of the man he once was. Tammy Blanchard who develops a nice rapport with Verástegui brings a necessary sense of fear and confusion to the role of Nina. That said Blanchard also makes Nina seem particularly strong willed so you never really think that José's soft sell would be enough to make this unemployed waitress change her mind about being a single mother or putting her child up for adoption. As José's unsympathetic brother Manny Perez does his best impression of Gordon Ramsey on a bad day. Perez never quite gets the comeuppance he deserves though he does share a nice moment with Verástegui at the end of Bella that shows that some brotherly bonds are hard to break. Oh and supermodel Ali Landry puts in an appearance during a couple of Bella's many flashbacks for no other reason than she's married to the director. José is a man on a mission. But is director Alejandro Gomez Monteverde? Bella does not appear to be a film overtly driven by faith and the politics of abortion do not serve as a motivating factor for José's decision to persuade Nina to keep her baby. So it is unclear whether Monteverde's using Bella to subtly advance an anti-abortion agenda or to implore women to think long and hard before making their decision to terminate their pregnancy. Either way it's not hard to imagine activists on either side of the abortion issue co-opting Bella for their own purposes. After all it’s Nina who makes the choice admittedly with a bit of prodding from José. Unfortunately Bellas biggest problem is that you never truly feel that José's accomplished what he set out to do even though the outcome is never in doubt so the big reveal at the end doesn't ring true. In other words Bella's just too sunny to end on a pessimistic note. Perhaps Monteverde intended to leave the door open for a sequel one that has romance on its mind. But Monteverde leaves too many gaps left unfilled for us to accept that this is the decision Nina would make no matter how much she is touched by the kindness of a relative stranger.