Rapper Gucci Mane has pleaded not guilty to aggravated assault. The hip-hop star, real name Radric Davis, appeared at Fulton County Superior Court on Monday (13May13) to enter his not guilty plea over allegations he hit a soldier over the head with a bottle in an Atlanta, Georgia nightclub in March (13).
Mane handed himself over to authorities after a warrant was issued for his arrest following the incident and was indicted for aggravated assault on 9 April (13).
He was released from custody on 12 April (13) after posting $75,000 (£46,875) bail, but found himself back behind bars 24 hours later (13Apr13) amid allegations of a separate issue with his probation.
Mane was freed earlier this month (02May13) and his lawyer, Drew Findling, argued during Monday's court session that no evidence exists against his client other than the alleged victim’s report.
The rapper has endured several run-ins with the law over the years and served time behind bars in 2011 following his conviction on charges of battery, reckless conduct and disorderly conduct for pushing a woman out of a moving car.
In the real world, copying somebody else's written material for your own personal gain is called plagiarism. In the movie biz, it's called adaptation.
Since 1940, the Academy Awards have distinguished the adapted screenplay in its own category, honoring films whose scripts were derived primarily from books, plays, and short stories. But the occasional Best Adapted Screenplay nominee can credit its source to other media — such is the case for this year's nod, the true story thriller Argo.
Ben Affleck's directorial feature, written by Chris Terrio, was actually born from a WIRED magazine article by journalist and film producer Joshuah Bearman in 2007. The piece, titled "How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran," was a chronicling of CIA operative Tony Mendez's unorthodox plan to retrieve a group of American diplomats from a hostage crisis in Iran in the late 1970s. Bearman penned the article following the declassification of the CIA documents describing the events.
Argo's company in this year's Best Adapted Screenplay category draw from more traditional sources: the scripts for Life of Pi and Silver Linings Playbook each comes from its eponymous novel, written by Yann Martel and Matthew Quick, Respectively; Steven Spielberg and screenwriter Tony Kushner cite the nonfiction book Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin as the source for their biopic Lincoln; and the story of Beasts of the Southern Wild writer/director Benh Zeitlin was inspired by his co-writer Lucy Alibar's own play, Juicy and Delicious. Heck, even Argo does accredit some hardcover material with the machination of its script alongside the aforementioned original article (Bearman's book The Great Escape, in which he expands on the topic, and Agent Mendez's own account of the event, his memoirs The Master of Disguise). The category has housed a great majority of projects with roots in the forms of book and play. But there are a handful of interesting outliers, spanning from 1931 all the way to the present...
Skippy (1931): Predating the separate Best Adapted Screenplay and Best Original Screenplay categories, the family-friendly Jackie Cooper starrer was adapted from the syndicated comic strip of the same name.
Mrs. Miniver (1942): The romantic drama about the dawn of World War II drew from a series of columns in Great Britain's The Times newspaper, wherein the titular character Kay Miniver was created.
Boomerang! (1947): The true story of this film noir was first chronicled in a Reader's Digest article by journalist Fulton Oursler (under the pen name Anthony Abbot).
Marty (1955):The classic romantic drama was the first of several films to be adapted from a teleplay — Paddy Chayefsky wrote both the big and small screen versions of the story.
I Want to Live! (1958): Another film noir drawn from true events, this film extrapolated its story about a woman on death row from letters penned by the basis and namesake for its main character, Barbara Graham. A second source for the movie came from a collection of newspaper articles from journalist Ed Montgoomery.
Lawrence of Arabia (1962): The life of British Army officer T.E. Lawrence was chronicled in this classic epic, thanks to the adaptation of the collective writings from the hero himself.
Pennies from Heaven (1981): Ever since Marty, a handful of films has earned nominations for adapting television movies to film; this was the first, however, to earn a nod for adapting a television miniseries (the 1978 BBC drama of the same name).
The Insider (1999): Another film drawn from a magazine article, this time from Marie Brenner's Vanity Fair piece "The Man Who Knew Too Much," about tobacco industry whistleblower Jeffrey Wigand, played in the film by Russell Crowe.
O Brother, Where Art Thou? (2000): Classing up the list a bit is this Coen Brothers comedy, which adapted its script from Homer's epic poem The Odyssey.
Ghost World (2001): The first film to earn a nomination for a script adapted from a graphic novel came from Daniel Clowes, who turned his own comic book Ghost World into this comedy-drama.
Shrek (2001): In the same year, this blockbuster animated film pioneered the category's nomination of a script with another type of source: picture book (William Steig's Shrek!).
American Splendor (2002): The brilliant comedic biopic drew its material from the works of subject Harvey Pekar and his wife and fellow comic book author Joyce Brabner (American Splendor and Our Cancer Years, respectively).
Before Sunset (2004): Richard Linklater's screenplay was considered an adaptation, due to its use of characters from the preceding film Before Sunrise, which was written by Linklater and Kim Krizan.
A History of Violence (2005): Another graphic novel adaptation — screenwriter John Olson brought John Wagner and Vincent Locke's A History of Violence to screen with this picture.
Borat (2006): It might surprise you to recall that the Academy recognized this bawdy film with a Best Adapted Screenplay nomination; the film was considered an adaptation of the character developed by Sacha Baron Cohen for his small screen venture, Da Ali G Show.
In the Loop (2009): In the same vein, Armando Iannucci transported his The Thick of It hero Malcolm Tucker to the big screen in this satirical film.
District 9 (2009): Cutting it a little close to home, this sci-fi drama/parable for human intolerance and oppression was actually adapted from another movie — a short film titled Alive in Joburg.
Toy Story 3 (2010): Borrowing the characters from the original Toy Story, a new assortment of screenwriters vied for the Oscar in this magnificent threequel.
[Photo Credit: Warner Bros; Fine Line Features]
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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.
Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
Dreamer is another one of those family films--based on a true story no less--that makes you feel guilty for not liking it because it means so well. The film revolves around the Cranes who have worked on their Kentucky horse farm for generations. But gifted horseman Ben Crane (Kurt Russell) loses his love for the job when the farm hits hard times. His estranged father Pop (Kris Kristofferson) feels like his son has given up unnecessarily. Even Ben’s young daughter Cale (Dakota Fanning) can’t get through to her dad. The only way this family can heal is by helping an injured horse named Sonya get ready for a seemingly impossible goal: to win the Breeders' Cup Classic. Say it together: “Awww!” At least the film gets it half right in its casting. Russell is perfect as the beleaguered Ben a man who needs a little inspiration to get back on track and he thankfully never takes it over the top. Same goes for Kristofferson who is aptly crusty and unwilling to give his son an inch--that is until his granddaughter and that darned horse melt his heart. And the family resemblance is uncanny; apparently the two actors have been told quite often how much they look like each other. The one misstep here is Fanning. Yes she is an extraordinarily gifted actress for her age but Cale should have been played by a happy sunny child. The oh-so-serious Fanning doesn’t really qualify. Also Elisabeth Shue as the mom is all wrong. A horse farmer’s wife? Please. Writer-director John Gatins takes a big gamble making his directorial debut with a movie about an underdog horse. First there’s the underdog part. This year seems a bit saturated with the plot device what with films like Cinderella Man and most recently Greatest Game Ever Played. Second there’s the whole horse thing. It’s just going to be hard to top the Oscar-nominated Seabiscuit--the quintessential true horse-racing movie to beat them all. True Dreamer is based on a true story and is nicely--albeit conventionally--framed. But the film isn’t unique in any way. It’s the same feel-good family stuff we’ve been swallowing all year. See? I told you I’d feel guilty for knocking it.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?