On Sunday, fans of Jenni Rivera were shocked to learn the Latin singing and reality TV star was presumed dead after her plane — which took off from Monterrey, Mexico Sunday — went missing. When Mexican authorities began reporting that remains from an aircraft believed to be holding Rivera and six others were discovered, fans — famous and otherwise — took to Twitter to mourn the star, well-known for the mun2 series, I Love Jenni. Read below to see how Hollywood is paying tribute to the singer.
RIP Jenni Rivera... bit.ly/TPt76q
— Russell Simmons (@UncleRUSH) December 10, 2012
Our deepest sympathy to the family & fans of @jennirivera & those that accompanied her on what was to be her last voyage. Rest in peace…
— Gloria Estefan (@GloriaEstefan) December 10, 2012
Esto es triste. Un poco en shock. Mucha paz para su familia. RT @elnuevodia: Desaparece avión en q viajaba Jenni Rivera end.pr/U6TMch
— Ricky Martin (@ricky_martin) December 9, 2012
Rest in peace @jenniriveraYou will me missed. My condolences go out to the Rivera family. instagr.am/p/TCVo6YTN2C/
— Kat DeLuna (@KatDeLuna) December 10, 2012
"@sandrablue925: @evalongoria She was a great lady, and did a lot for the Latino community. She will be missed." RIP Jenni Rivera
— Eva Longoria (@EvaLongoria) December 10, 2012
#Jenni was such an inspiration to so many & definitely made an impact in the Hispanic community! RÎP Jenni Rivera! R??R with your love ones??
— La Toya Jackson (@latoyajackson) December 10, 2012
Heard confirmed news about our dear @jennirivera.. this breaks my heart in a million pieces.. it is just a huge loss for our community.
— Wilmer Valderrama (@WValderrama) December 10, 2012
Spent some time with Jenni Rivera recently. What an amazing lady... Cool, smart, funny & talented. Such a travesty... God Bless her family
— Mario Lopez (@MarioLopezExtra) December 9, 2012
I highly respected #JenniRivera 4 being a gr8 performer but more then tht being real & gr8 example 4 us all que dios la bendiga &may she RIP
— Pitbull (@Pitbull) December 9, 2012
So sad!! Praying for Jenni Rivera's children and family and the passengers families. Que dios los bendigan!! Descansen en paz...
— Jennifer Lopez (@JLo) December 10, 2012
Praying for Jenni Rivera and her family.
— Adrienne Bailon (@Adrienne_Bailon) December 9, 2012
This is a tragedy! RIP Jenni Rivera prayers are with her family right now ow.ly/fXlQQ
— Loren Ridinger (@lorenridinger) December 10, 2012
[Photo Credit: Apega/Wenn]
Jenni Rivera Plane Crash: Mexican Officials Say No Survivors Singer Jenni Rivera Missing After Plane Disappears — REPORT Kim Kardashian's Kitten, Mercy, Dies from a Virus
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Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.
“I don’t know if I can do this much longer ” groans an exhausted Milla Jovovich shortly after dispatching a horde of corporate paramilitary goons in the explode-tastic introductory sequence of Resident Evil: Afterlife. I feel her pain. But Jovovich in her fourth turn as Alice the genetically enhanced zombie-slaughtering heroine of the video game-inspired series isn’t the only one looking a bit tired. The entire film suffers from a severe case of franchise fatigue the hallmarks of which no amount of “big guns beautiful women [and] dogs with heads that explode ” as producer Jeremy Bolt so artfully boasts in the film’s official press notes can possibly hide.
This latest edition finds Alice stripped of her superpowers by her arch-nemesis the blond Matrix reject Albert Wesker (a cringe-worthy Shawn Roberts) whose evil Umbrella Corporation created the virus that inadvertently turned most of the planet’s population into flesh-devouring zombies. Though she can no longer pull off fancy tricks like triggering spontaneous earthquakes she’s still able to withstand powerful blasts without shielding and fire handguns the size of her head without any visible recoil. Both traits come in handy when she's charged with leading a small ethnically diverse group of human survivors through an army of undead many of whom are armed with face-sucking tentacles in lieu of tongues to a refugee camp located on a ship anchored off the coast of Los Angeles.
For all of its recycled plot elements predictable twists and cliched dialogue Resident Evil: Afterlife does feature one genuinely interesting new wrinkle (and no it's not the aforementioned dogs with heads that explode though they are quite nice): It’s the first film of the franchise to be shot and edited entirely in 3D — the real non-Clash of the Titans variety. Who knows perhaps writer-director (and Jovovich hubby) Paul W.S. Anderson returning to the helm after ceding directing duties on the prior two Resident Evil films was simply too drained from the work of adding an additional dimension to all of the film's flying limbs and bursts of blood to devote much creative energy to anything else. More likely there was never any creative energy there in the first place.
And still Anderson sees fit to end the film with a transparent pitch for yet another sequel. Might I suggest Resident Evil: Straight to Video?
Finally a brilliantly told fractured fairy tale for children and adults alike that does not feature a grouchy green orge anywhere. Once upon a time a young man sneaks into the mysterious magic kingdom of Stormhold that’s walled off from his quiet English village. He soon meets a lovely young lady who just so happens to be a princess enslaved by a not-so-wicked witch. Nine months later a basket is dropped on his doorstep. Yes this baby boy is the unexpected result of his one-night liasion with the royal lass. The boy grows up blissfully unaware of his regal roots so when he reaches manhood Tristan (Charlie Cox) doesn’t understand why he so drawn to the land on the other side of the Wall. He finally hops over the Wall when a star falls out of the sky and lands deep in the heart of Stormhold. His goal: to bring back the star as proof of his love for Victoria (Sienna Miller). Too bad this scheming temptress doesn’t think too much of the penniless and mild-mannered workingclass stiff. This being a fairy tale the star isn’t just a star. The star’s actually a beautiful celestial being named Yvaine (Claire Danes). And she fell to earth as part of a devious plan by Stormhold’s dying king (Peter O'Toole) to determine his successor. But the king’s scheming sons (Jason Flemying and Mark Strong) are not the only ones seeking Yvaine. The oh-so-wicked witch Lamia (Michelle Pfeiffer) needs Yvaine to help her restore her youth. So that means Tristan must become the hero he’s destined to become—and take on witches princes airbourne pirates (Robert De Niro’s Capt. Shakespeare) and shady black marketeers (The Office’s Ricky Gervais)—so he can return home to Victoria. But Cupid has other plans for Tristran and it’s not hard to guess what those are. If all stars took on the human form of Claire Danes many more of us would probably pursue a career in astronomy. But it doesn’t take a working knowledge of the Hubble telescope to see how relaxed and luminous Danes is when she’s not carrying the weight of the world on her shoulders. And sparks definitely fly between Danes and Charlie Cox even when they’re at hurling hilarious insults at each other. Newcomer Cox makes a smooth transition from ill-at-ease lovesick puppy to swashbuckling hero. He also doesn’t seem to be intimidated at the prospect of staring down Robert De Niro. There’s always concern whenever De Niro takes on a comedic role for a big paycheck. He usually gets by with pure talent and nothing more. And when De Niro’s pirate crosses paths with Cox and Danes you immediately fear that he’s going to offer yet another variation on his tough gruff Alpha males from Analyze This and Meet the Parents. But he blindsides us by instead going all Jack Sparrow on us—that is if the old sea dog had no interest in the ladies—to deliriously campy effect. What with Hairspray and now Stardust Michelle Pfeiffer’s comeback seems to be predicated on getting in touch with her inner bitch. She’s splendidly nasty and scary as Lamia. And the uglier and older she gets the meaner and funnier she gets. Equally cruel—though more cheerfully so—is Sienna Miller. Providing small but amusing cameos are Gervais once again revealing an unparallel mastery of toadying and Peter O'Toole who kicks the bucket quicker than John Cleese’s King Harold does in Shrek the Third. There’s legitimate reason to question whether Layer Cake director Matthew Vaughn has what it takes to direct a big-budget effects-driven summer blockbuster. Remember after making his name producing or directing relatively inexpensive British crime capers Vaughn walked away from X-Men: The Last Stand. Judging by Stardust though Vaughn would have done a masterful job leading those misunderstood mutants into battle. Then again he couldn’t have done worse than Brett Ratner. Based on the graphic novel by Neil Gaiman and Charles Vess Stardust possesses both a big heart and an uncommon adventurous streak. Unlike the recent Pirates of the Caribbean: At World's End which was too long and too cumbersome for its own good Stardust moves nimbly and confidently through a strange and wonderful land populated with noble heroes to cheer for fiendish villains to boo at and gorgeous damsels in distress to sigh over. Vaughn keeps us on the edge of our seats whenever Tristan must think or fight his way out of danger. But he invests as much time in making believe that Tristan and Yvaine are made for each other. He also strikes a fine balance between honoring the sword-and-sorcery genre while playfully sending up its many cliches. The humor’s a lot more risqué than the bedtime story that was The Princess Bride but most of the sexual innuendoes will zoom over the heads of those still too young to pick up on many of Shrek’s pop-cultural references. Clearly Stardust cannot escape all other comparisons to The Princess Bride but Stardust boasts more than enough magic and daring-do to win over those who remained enthralled to this day by Cary Elwes’ brave efforts to rescue a kidnapped Robin Wright Penn. So this is one fairy tale that richly deserves its happily ever after--and for that matter so does Vaughn.
SANTA MONICA, Calif., Feb. 9, 2000 -- So he got to shoot on an island off Thailand for months, flying friends in for visits and soaking up an island paradise. But Leonardo DiCaprio, star of "The Beach," has one little quibble.
Says Leo to the British magazine The Face, "It truly bothered me ... that [Richard, DiCaprio's character] never had any kind of sexual contact with Francoise," a stunning Frenchwoman played by Virginie Ledoyen, with whom he does a little smooching and frolicking in the surf.
"The constant foreplay between the two characters never amounted to anything," the 25-year-old DiCaprio says. "And I really wanted something, whether it be complete and utter rejection or some sort of wild sexual encounter. ... It just had to happen." Well, it just goes to show that even the King of the World can't have it all.
SCANDAL SHEET: Vanity Fair's 13-page article this month has revived controversy over Natalie Wood's mysterious 1981 drowning by suggesting that she and husband Robert Wagner argued on the night of her death.
The story, written by Sam Kashner, says previously unpublished police records appear to contradict statements that there was no fight between Wood and Wagner that night. The report features a new interview with Christopher Walken, who says he and the couple had been drinking on the night of Nov. 28, 1981, and had a conversation in which "you put all your cards on the table." The confessionals snowballed into a marital argument, and Walken "stepped outside for some air" and when he returned, everyone was apologizing and everything seemed fine. Wagner says it was a political discussion.
Wood, 43, was found drowned wearing a nightgown, socks and a jacket after apparently trying to leave her yacht off Catalina Island in California to board an inflatable dinghy. Her death was ruled an accident.
DAS FESTIVAL: In Germany, the 50th Berlin Film Festival kicked off today with a screening of "The Million Dollar Hotel," starring Mel Gibson and Jeremy Davies and co-written by U2 frontman Bono.
In the fest's coming days, French actress Jeanne Moreau, who recently did a diva walk-off during a planned guest appearance on "ER," will receive a special homage, as will Robert De Niro.
Other stars to raid Berlin: George Clooney and Ice Cube, on hand to promote "Three Kings" and the aforementioned Leo, a possible for "The Beach."
HONORS: Legendary writer/director Billy Wilder, who fled Nazi Europe in the 1930s for France (and later the United States), will receive the Federal Republic of Germany's Knight Commander's Cross (badge and star) on March 10. The 93-year-old Wilder is also to be honored by the Producers Guild on March 2 at Los Angeles' Century Plaza on the occasion of his "Some Like it Hot" joining the guild's landmark movie list ...
... Blake Edwards will receive the Art Directors Guild's Contribution to Cinematic Imagery Award on Feb. 26 at the Beverly Hilton. The 77-year-old director-writer-producer, who is married to Julie Andrews, is the director of films such as "Breakfast at Tiffany's," "Days of Wine and Roses" and eight "Pink Panther" movies ...
... The U.S. Comedy Arts Festival, running today through Sunday in Aspen, Colo., will honor funnyman Robin Williams with its American Film Institute Star Award. Also on the docket: Baltimore-loving director Barry Levinson receiving the AFI Filmmaker Award and career tributes for Jerry Lewis, Mike Nichols and Elaine May.
QUICK TAKES: Martin Lawrence's cop comedy "Big Momma's House" is getting an early move-in date, says The Hollywood Reporter. Twentieth Century Fox is moving the film's release up from October to June 2. It was originally moved to fall after Lawrence was hospitalized Aug. 22 from heat stroke after jogging under heavy clothing in 100 degree heat. He fell into a coma but emerged after three days and began production on the film ...
... James Coburn will join the ranks of presenters at this year's Academy Awards on March 26 at the Los Angeles Shrine Auditorium. Coburn won a Best Supporting Actor statue last year for "Affliction," and, as tradition dictates, will likely present this year's Best Supporting Actress award ...
... And if you turn to the Grammys this year, you'll see the following artists perform (no, not together): The Dixie Chicks, Faith Hill, Whitney Houston, Kid Rock, Britney Spears, Santana, the Backstreet Boys, TLC and Ricky Martin. The Grammys air Feb. 23 on CBS.
LOVE LINES: In honor of the upcoming Valentine's Day, we give you the skinny on how to kiss Woody Allen -- straight from the lips of his "Mighty Aphrodite" co-star, Helena Bonham Carter.
"He tells you up front certain ways of kissing, he does not want,'' Bonham Carter tells the UK Sun. "No exchange of liquid is permitted."
As if that weren't enough info, Bonham Carter adds: "There's absolutely no tongue encounter. ... It can be a bit offensive because he makes no effort at all. But he does warn you, and says everyone gets the same treatment. His mouth is a no-go area. It's like kissing the Berlin Wall, really."
Somebody get the Listerine.