The man behind the Asterix empire is suing his daughter and son-in-law for "psychological violence". Albert Uderzo, the creator of the beloved comic book character, has been embroiled in a legal battle with his daughter over the legacy of his work for the past five years and now he insists she has gone too far in her efforts to block his sale of his 60 per cent stake all things Asterix.
Sylvie Uderzo filed a legal claim in 2011, insisting her father was being exploited.
But judges have ruled that the Asterix creator, 86, is mentally stable, and her suit is expected to be dismissed.
Now, Uderzo claims his daughter and her husband Bernard Boyer de Choisy, who were previously dismissed by Asterix publisher Editions Albert Rene as managers of the Uderzo estate, have been harassing him.
His lawyer says, "We have decided to let Sylvie Uderzo and her husband understand that we will not let it go."
Meanwhile, the most recent Asterix saga, titled Asterix and the Picts, was published in October (13). It was written by new author Jean-Yves Ferri and illustrated by Didier Conrad.
Former New Order and Joy Division star Peter Hook is in negotiations to buy a treasure trove of lost recordings by his old bands which were found in the trash. The master tapes were rescued by Julia Adamson, a former studio assistant who became a member of influential British rock band The Fall, and when she made it known she was ready to sell up, the bass player made her an offer.
The tapes reportedly include a master copy of Joy Division's Unknown Pleasures album.
Hook tells Pitchfork.com he has big plans for the trashed recordings, stating, "It'd be nice to issue something that fans would love and cherish."
But he's still a little upset to think he has to pay for something he believes is rightfully his: "There's a culture of finder's keepers, so invariably, over the years, I've bought many items of memorabilia back from various people. But English law is very explicit about ownership. The band owned the copyright and the music, and under English law it's illegal to give away people's music without their consent. So, if Julia did want to give them away, she needs our permission. It's the same as illegal file-sharing on the Internet."
And he admits he has become quite the expert at tracking down lost New Order and Joy Division material over the years, adding, "It's like finding an old diary tucked away at the back of a cupboard... I got some tapes recently that had (New Order singer) Bernard (Sumner)'s handwriting on them. It’s always a strange thing. Whilst your relationship may sour over the years, it is a bit like finding an old love letter."
Hook is currently embroiled in a bitter dispute with his former New Order bandmates after they reunited without him and went out on tour.
And we’re back! After dropping a bombshell that we’re thisclose to finally meeting the mother, How I Met Your Mother returned this week with series-altering episode for Marshall and Lily, and a dark foreshadowed warning from Ted to his bro Barney. Oh and Robin is single-handedly sabotaging her relationship with Barney. But what else is new?
For the past few months, Lily has been happily working her dream job as an art consultant for the sea-obsessed Captain. However her perfect world came to a hault when The Captain announced that he was packing up and moving to Rome — and he wanted Lily to come with him. Lily was thrilled at the idea of living abroad for a year but she ultimately turned down the offer.
What are her reasons for passing up this opportunity you ask? She’s married, she has a baby, and they just opened a Shake Shack on her block and there’s never a line. (Solid argument girl! We’d never leave our street if that were the case…) In reality, Lily knows how much Marshall loves working as an environmental lawyer. She does not want to be the one responsible for taking away his identity as a lawyer and forcing him to be an Italian househusband who spends his days making pasta and watching the Italian version of The Price is Right.
But when Lily went to surprise her man with brownies at the office, she discovered that ever since the Gruber case, Marshall’s law firm has lost nearly all their clients. It’s now just Marshall and one other co-worker named Bernard, filling their days with as many fun things as possible — but Marshall was always clear not to lie to Lily about what he was doing.
Every time Lily has called her hubby at work, Marshall has urgently hung up the phone explaining that he’s working on a “huge case” (of beer) or that he’s “got a lot on his plate” (It was a plate full of burgers.) Marshall also once told Lily that he “was about to get reamed” but it turns out he and Bernard like to throw reams of paper at each other. Phew! Marshall did not want to admit to Lily that his dream job has fallen apart.
In an endearing surprise, Marshall explained that he would be more than happy to uproot their lives so his wife could follow her dream job abroad and he quickly went to convince The Captain to offer Lily the position again. Of course being HIMYM, Lily turned down the job offer once again to express to the gang how nervous she is that she is going to fail. In an adorable faux-Italian speech, Marshall and Lily had a heart-to-heart, and decided that they were definitely moving to Rome.
While it’s wonderful that Lily and Marshall are the couple that always seems to make their dreams come true, what does this mean for us? Will future episodes flash over to the couple’s crazy antics over in the “Rome” sets or does this mean that Marshall and Lily are going to bow out next season so we can watch Ted’s relationship with the Mother blossom? While you all ponder that, let’s take a look at the couple that we’re supposed to be rooting for, but we really just don’t care about anymore: Barney and Robin.
It’s the classic HIMYM story: Ted and Barney are in the bar when a super hot girl walks in that Ted knows from yoga class. (Yoga? Really? Since when does Ted do yoga?) Apparently this girl has a “redonkulous” body and Barney quickly becomes obsessed with getting her out of the freakishly oversized coat so he can take a look at her curves — he even pays the bartender $100 to turn up the heat.
It turns out that super hot yoga girl is actually Liddy, Robin and Barney’s wedding planner and despite the awkward connection, Barney is still trying to find a way to get that coat on the rack so he can see the rack that’s under the coat. Barney wishes that Marshall were there to suggest that Liddy takes off her coat because he does not have “the stink” of desperation that all single guys ooze into the atmosphere. (Side-Note: As a lady, I can confirm this is true. It kind of smells like a mixture of body odor, old pennies, and fear.)
Robin then poises an interesting question, “Aren’t you a guy who has found the girl of his dreams and want to spend the rest of his life with her and only her? Then why don’t you ask her to take her coat off?” So Barney gathered up his courage, asked the girl to take her coat off and was able to drool over another woman while sitting directly next to his fiancé. So basically Robin just taught Barney how to channel his douchebagery and disguise it behind a non-threatening soon-to-be-married façade. I hope you feel dumb girl.
Barney later expressed his gratitude to Robin for giving him that little push saying, “Robin thanks to you I can now go up to any girl and say whatever creepy disgusting thing that I want and totally get away with it! I think I’m going to like being married.” Later at the bar Barney expressed to Ted that he can’t wait for his wedding day because he is excited to see Liddy wearing something “slinky and backless.” Aww how romantic!
Ted then offered some friendly best man advice: Be careful. Despite Robin’s cool exterior, Ted is worried that Barney is not acting like a guy should who is about to get married in three weeks. Barney quickly shut down Ted’s concerns and snapped, “But you’re not getting married in three weeks Ted, I am. Robin is marrying me, not you.” Ted apologized, bought the next round, and when Barney got back to his apartment we see a coat-wearing Robin is waiting for him with a smug smirk on her face.
Are we supposed to believe that everything is a-okay with Barney and Robin? And at this point who should we be angry with? Barney for never shedding his single-guy mentalities, or Robin for not wanting to lose the title of “Coolest Fiancé” and telling him the truth? Obviously we’ve seen in multiple flash-forwards that Robin is going to have some serious second-thoughts at the wedding — but will she actually pull a Stella and leave her man at the alter? If she has any shred of respect for herself then she most certainly should. Sorry Barney, but it’s true.
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The stars were presented with awards for their philanthropy during the event at New York's Bernard B. Jacobs Theatre in aid of the Only Make Believe charity, which aims to bring theatre to chronically sick and disabled children.
The star-studded gala was hosted by former Law & Order: Special Victims Unit actor Christopher Meloni and featured special performances by Broadway actors and singers including Matthew Broderick, Norm Lewis, Ashley Brown and Derrick Baskin.
The charity was established in 1999 by Dena Hammerstein, daughter-in-law of Broadway legend Oscar Hammerstein.
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.
There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
UPDATE: Dina Lohan is super pissed.
In a move that doesn't surprise anyone, Vulture reports that she is threatening to sue "anyone involved with Dogs in Pocketbooks" -- the new movie based on Lindsay Lohan's crazy-ass life. The Lohan's family lawyer Stephanie Ovadia said that "they are again using [Lindsay's] likeness without her being compensated."
This isn't the first time the Lohan's have sued for referencing Lindsay without permission. In September, E*TRADE released a commercial with a "milkoholic" baby named Lindsay. Dina Lohan believes they "have a very strong case" and the new situation with Dogs is "shadowing E*TRADE."
In a smart move, Lydia Hearst Shaw is now distancing herself from this movie. She tweeted, "As for any theatrical roles I am currently filming Two Jacks directed by Bernard Rose. My next project is Catwalk by Tony Hickox. At this time I am not officially signed onto any other projects."
So the lesson here? It's okay to make a movie about Lindsay Lohan's life, just make sure that she is compensated with some of the money made while you depict her topless, doing blow and generally just ruining everything good that's ever happened to her.
Lydia Hearst Shaw -- aka the 26-year-old heiress to the Hearst Publishing empire -- is set to play a character based on Lindsay Lohan in the upcoming film Dogs in Pocketbooks.
Remember Lindsay Lohan? You know, that cute little red headed 12-year-old from the adorable The Parent Trap? After she was done fighting with herself, she continued her wholesome family fun with movies like Freaky Friday and Confessions of a Teenage Drama Queen, until becoming a household name with her break-out role in Mean Girls. Then, shit hit the fan and Lindsay went, uh, kind of crazy. She discovered this little thing called cocaine and, you know, lost her god damn mind. And now, as all great Hollywood self-destruction stories go, it's time to make a movie based on her story!
Dogs in Pocketbooks scribe Charles Casillo told the New York Post that "Lydia will play a bratty movie goddess in and out of rehab, in trouble with the law, and hounded by greedy agents, predatory paparazzi, off-the-wall stalkers and crazed media -- a role obviously based on Lindsay Lohan."
But, in a move to probably cover his ass from Lohan's lawyers, Casillo went on to say that the movie "is in no way mean-spirited towards Lindsay. It's the kind of thing she has spoofed about herself in the past. It's more of a satire about the crazy people around her and the situations they generate. It satirizes the obsession with modern celebrity."
And of course that makes perfect sense. It's not Lindsay's fault that she's drinking too much or snorting cocaine. It's the people around her! Duh, guys. And lastly, don't you get it? It will be satire. Not reality. So you know, it's all good.
Source: New York Post
The Tourist is about as difficult to get through as spotting the vowels in the name of its director. Florian Henckel von Donnersmark was last seen receiving a Best Foreign Film Oscar in 2007 for The Lives of Others which was about a couple living in East Berlin who were being monitored by the police of the German Democratic Republic. Its positive reception made way for the assumption that Donnersmark would continue to populate the USA with films of seemingly otherworldly and underrepresented themes. But his current project is saddening in its superficiality and total implausibility.
The film’s only real upside is its stars: two of our most prized Americans. Johnny Depp plays Frank Tupelo a math teacher from Wisconsin who travels to Europe after his wife leaves him presumably because of his weakness and simplicity. While en route to Venice he meets Elise Clifton-Ward (Angelina Jolie) who situates herself in his company after she receives a letter from her criminal lover Alexander Pearce (who stole some billions from a very wealthy Russian and the British government) with instructions to find someone on a train who looks like him and make the police believe that he is the real Alexander Pearce to throw the authorities and the Russians off his track. Elise picks Frank and after they are photographed kissing each other on the balcony of Elise’s hotel everyone begins to believe Frank is the real Pearce and so begins the chase.
While Donnersmark could not have picked two better looking people to film roaming around Venice his lack of faith in the audience is obvious. Every aspect of the characters is hammed up again and again as if Donnersmark felt burdened with the task of making us see his vision. Doubtful that we’re capable of getting to where he wants us he has crafted a movie completely devoid of subtlety. Elise’s strength and superiority over Frank are portrayed by close-ups and repeated instances of men burping up their lungs upon seeing her (as if her beauty is in any way subjective?). And in case we forgot that Frank is the victim in this story -- even though he’s been tricked chased and shot at - Donnersmark still felt the need to pin him with a lame electronic cigarette to puff on. Frank and Elise somehow manage to lack mystery even though we get very few factual details about each of them.
Nothing extraordinary comes to us in the way of the film’s structural elements either. There is very little of the action that The Tourist’s marketing led us to believe and the dialog is often painful. The plot itself is almost shockingly unbelievable especially when we’re asked to believe that Elise falls in love with Frank after a combination of kissing him once and her disclosed habit of swooning over men she only spent an hour with (yes that was on her CV).
The Tourist is rather empty and cosmetic. It’s worth seeing if you’re a superfan of Jolie or Depp but don’t expect to walk out of the theater with anything more than the stub you came in with.
The actor has played Detective Kevin Bernard on the hit TV show since 2008, but admits some family members still turn to him when they get in trouble with the law - thinking he can put in a good word on their behalf.
He says, "My family's a little crazy, sometimes they confuse reality with fiction. A couple days ago my cousin called me up and was whispering on the phone, 'Look man, I just got popped (busted) for driving without a permit and failure to yield to a uniformed officer.'
"I was like, 'Wait a minute, what do you want me to do about it?' He was like, 'Can you make a phone call for me?' I was like, 'No, I can't do that. I'm a TV cop, I can't be listening to stuff like this!'"