Mission Briefing:This week on Agents of S.H.I.E.L.D, a woman named Hannah Hutchins, who might or might not have telekinesis has become a danger to herself and others when strange events start to manifest whenever she feels threatened, and she feels threatened a lot ever since she became the neighborhood pariah by causing a laboratory explosion that killed four people. The team brings her aboard the jet for her own protection, but when her mysterious powers cause the jet to crash into a desolate forest, and they lose communications and power, the gang is has to deal with a mysterious force that goes bump in the night and threatens to kill everyone on board.
The Agents:This Week, it’s Melinda May’s turn for the spotlight. While everyone else want’s to treat the woman causing the mysterious accidents with kid-gloves, "The Calvary" is all business, and her business is shooting unsuspecting people with Tranquillizers, much to Skye’s dismay.
Mission Fallout:It turns out that Tobias, one of the people that went missing in the explosion, never died but gained the ability to warp between an alien dimension and earth. Ever since, he’s been trying to protect Hannah from everyone and everything that might hurt her (by blowing up the gas station she’s in, and crashing the jet she’s in, and causing everyone around to hate her… he’s not doing the greatest of jobs, really). Tobias was the one who caused the explosion because he just wanted Hutchins, who was a safety regulator at the factory, to visit him sometime — and the concept of asking her out on a date somehow escaped him. We also get to learn more about Agent May, and why she’s so deadly serious all the time. Apparently, she used to be a bit of a goofball before she needed to kill a ton of people to save a couple S.H.I.E.L.D agents, and has become cold and standoffish shell of herself. She helps Tobias understand that he can’t change the awful things that he’s done, and needs to let go, which he does in a wisp of smoke when he teleports away for the last time.
Mission Highlights:— It turns out that Ward and May’s late night drink turned into a full on hook up. I don’t think Skye is going to be very thrilled when she finds out, what with all that sexual tension she’s been throwing Ward’s way.— Doing a "ghost" episode like this where the cast was trapped the wreckage of their ship was a great change of pace from the usual S.H.I.E.L.D adventure, where the team simply uses hi-tech gadgets to solve all their problems.— Fitz-Simmons' ridiculous account of May’s backstory, which includes Melinda riding in on a horse while dual-wielding rifles, was infinitely more entertaining than the real version.— Why exactly is a person having telekinesis so unbelievable? Last episode an ancient alien staff gave Agent Ward angry superpowers. Something as pedestrian as mind powers can't be all that absurd.
Country star Rodney Atkins is a married man after exchanging vows with singer/songwriter Rose Falcon in Florida. The happy couple tied the knot on the beach on Captiva Island on Sunday (10Nov13), with Atkins' son Elijah, from his first marriage, serving as the groom's best man.
The nuptials were made extra special by the fact that Atkins had asked Charles Hutchins, the founder of the children's home where he spent much of his youth before he was adopted by Allen and Margaret Atkins, to officiate the ceremony.
The date was already of significance to Atkins - his parents wed on that day 51 years ago, and the newlyweds decided to mark the special occasion by presenting the singer's mother with a three-carat aquamarine ring.
Atkins began dating Falcon following his 2011 split from first wife Tammy Jo amid allegations of domestic violence. He was cleared of the assault charge and their divorce was finalised in September, 2012.
Eddie Redmayne showed off his serving skills on Sunday (16Jun13) as he took to a tennis court for a charity match at the Aegon Championships in London. The Les Miserables star joined London's Mayor Boris Johnson, U.K. TV host Jonathan Ross, tycoon Sir Richard Branson and comedians Michael McIntyre and Jimmy Carr for the Rally Against Cancer charity game.
The famous faces donned their whites for a tag-team match, which pitted them against professionals Andy Murray and Tim Henman.
The money raised from tickets sales will go to The Royal Marsden Cancer Charity, where British tennis player Ross Hutchins is receiving treatment following his Hodgkin's lymphoma diagnosis in December (12).
Before the charity match, Murray beat Croatian Marin Cilic to win the tournament.
Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.