Music group Los Tigres Del Norte are set to receive the first ever Lider Award at the 2013 Billboard Mexican Music Awards. The legendary Norteno band will be recognised for its leadership role and social activism at the awards ceremony in California on 9 October (13).
Los Tigres del Norte have been named the world's most influential regional Mexican group by Billboard and they boast a career that spans more than three decades.
Jorge, Luis, Hernan and Eduardo Hernandez, and Oscar Lara have sold over 32 million records worldwide since forming the group as teenagers in the 1960s.
What do you get when the Girl With The Dragon Tattoo and Peter Parker's Uncle Ben are dumped into a landfill? Trash.
Rooney Mara and Martin Sheen have joined the cast of Working Title's upcoming film Trash, Deadline reports. Adapted by Love Actually screenwriter Richard Curtis from Andy Mulligan’s like-titled novel, the movie has been in pre-production since Variety reported in 2011 that Stephen Daldry would direct the contemporary thriller.
The film tells the story of three poor boys (played by newbies Rickson Tevez, Eduardo Luis, and Gabriel Weinstein) who are picking through a city dump when they discover a leather bag whose contents thrusts them into a dangerous world of corruption and injustice. Sheen will play Father Juilliard, a priest who helps the boys, and Mara will play Olivia, an NGO worker, alongside Wagner Moura and Selton Mello, who have also been cast in the movie.
While the movie has been in the works, Daldry produced the opening and closing ceremonies at the London 2012 Summer Olympics in addition to directing Tom Hanks and Sandra Bullock in 2011's Extremely Loud And Incredibly Close. The film will begin production in Rio de Janeiro in early August and is scheduled for release in May 2014.
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A frequent formula in most action-packed movies features the triumphant hero and an oh-so sneaky villain. We all know that good always defeats evil, but what happens when the bad guy has a change of heart?
Despicable Me’s Gru is the perfect example of a villain ditching his diabolical ways and opting for a new life filled with friendship and love. Aww, now isn’t that nice?! To celebrate Gru’s quest to stay sweet in the box-office hit Despicable Me 2, we’ve rounded up the top ten movie villains who realize that being good is totally badass.
1. Gru, Despicable Me
During his successful mission of snatching up the moon, Gru came to love his three adopted daughters and realized that he wanted to change his wicked ways and live a happy life with his new family.
2. T-800, Terminator 2
Having spent the entire first movie attempting to murder Sarah Connor, movie-goers witnessed a change of heart when the new T-800 Model Terminator had been re-designed to protect her son John.
3. Severus Snape, Harry Potter
It’s still hard to believe but our least favorite potions professor was actually a sweetheart all along! At every opportunity, Snape tried to protect Harry from Voldemort, he was just pretending to make his life a living hell. That’s so sweet of him!
4. Copper, The Fox and the Hound
Sure, Copper and Todd grew up as the best of friends, but when Copper grew up he was trained that hound dogs and foxes could never be friends. Luckily, Copper learned the error of his ways and protected his childhood pal just in time.
5. Ralph, Wreck-it-Ralph
Ralph realized that he didn’t want to just be the bad guy all the time — he even went to a support group for it. So in his quest for goodness, Ralph did the unthinkable: he left his game! By the end of the movie he realized that it’s alright to just be himself.
6. Diego, Ice Age
Sure, Diego started out as a villainous saber-tooth tiger hell-bent on back-stabbing his new friends, but by the end of the movie he ends up saving everyone. He even fights off his old evil pack in order to do so — what a hero!
7. The Beast, Beauty and the Beast
Having been turned into a Beast after years of selfishness, the prince is only returned to his handsome self after falling for and protecting his beloved Belle. A fantastic u-turn for the man harshly labeled a “beast” for most of his life.
8. The Grinch, How the Grinch Stole Christmas
All the Who’s down in Whoville, were not upset when the Grinch stole all their Christmas presents, food and decorations. And by the end of the movie, their singing and selflessness made his small heart grow three sizes that day.
9. Stitch, Lilo and Stitch
Experiment 626, or more commonly known as Stich, was designed to be unstoppable. He is fire-proof, bullet-proof, and can think faster than super computer. He can see in the dark, and lift objects three thousand times his size. His only instinct is to destroy everything he touches. Luckily the love of having a family changed him and he became even more adorable than he looks.
10. Regina George, Mean Girls
Don't be fooled, Regina George may seem like your typical selfish, back-stabbing slut faced ho-bag, but in reality, she's so much more than that. After being hit with a bus, Regina George decided to channel all of her negative energy into sports instead of calling people “fugly whores” and hooking up with Shane Oman in the projection room above the auditorium. We’re proud of your progress Regina!
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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.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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.
Mia Maestro -- one of The Twilight Saga stars that's not Kristen Stewart or Robert Pattinson -- has just joined the new psychological thriller The Darkness of the Road. She will play a young mother who, after picking up a hitchhiker, unsurprisingly disappears (because, well, she did pick up a hitchhiker…). Anyway, Eduardo Rodriguez penned the screenplay, and Luis Guerrero and Chris Lemos of Vital Pictures will produce alongside Moctesuma Esparza of Maya Entertainment. According to The Wrap, Maya's goal is to make movies that appeal to the "new mainstream" of American Latino and multicultural audiences; so we guess "new mainstream" means new movies about new people who disappear in new ways, not just those lame old movies where lame old people disappear in lame old ways, like getting kidnapped by hitchhikers. Wait...
Source: The Wrap
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.