Kasabian rocker Sergio Pizzorno is celebrating after becoming a father for the second time. The guitarist's wife Amy has given birth to a baby boy named Lucio, according to British newspaper The Sun on Sunday.
Pizzorno has not yet commented on the news, but Kasabian fans have flooded the band's official Twitter.com page with messages of congratulations.
The new arrival will be a little brother to the couple's two-year-old son Ennio Silva.
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.
It hasn't just been a weighty year in politics -- culminating with President Barack Obama's inauguration. It was also an issue-heavy year in snowy Park City.
At the 25th anniversary of the Sundance Film Festival, the issue-focused subject matter -- global and national -- spanned the gamut: from assassination-fearing, aspiring pop singers (Afghan Star) … to fastidious fashionistas on deadline (September Issue) ... to laid-off female factory workers in revolt (Louise-Michel) … to Chris Rock taking-on the politics of smooth vs. kinky hair (Good Hair).
And the big triple winner: Push, a story of survival, literacy and hope by Lee Daniels co-starring Mo'Nique, accomplished its own story-making feat with a captivating leading young lady (Gabourey Sidibe).
Out of the 118 features, 7 prestigious awards were won by a small group of buzz films we profiled in our "Sundance Preview Guide." Narrative winners: Push (Grand Jury Prize; Audience Award; Special Jury Prize for Acting for Mo'Nique) and Paper Heart (Waldo Salt Screenwriting Award); Documentary winners: Afghan Star (World Cinema Audience Award); Good Hair (Special Jury Prize: U.S.); Big River Man (World Cinema Cinematography Award).
Not to mention the stars who created their own paparazzi avalanche -- some even splitting their time in D.C. -- on and off the slopes. This year's attendees included Spread's Ashton Kutcher canoodling with Demi; Twilight princess Kristen Stewart pushing Adventureland; Push's partying Mariah Carey and hubby Nick Cannon; Reporter producer Ben Affleck schmoozing at MySpace cafe; 50 Cent giving Phillip Morris' Jim Carrey a birthday shout out; Amy Poehler hangin' with Spring Breakdown co-star Parker Posey; Paper Heart's Michael Cera looking very Michael Cera; Kevin Bacon promoting Taking Chance, La Mission's Benjamin Brat adding to the hunk count; pink-hatted Emma Roberts on double-duty for Lymelife and The Winning Season, and Mr. Redford, himself -- and so on, and so on.
So on to the winners:
The Grand Jury Prize: U.S. Documentary was presented to We Live in Public, directed by Ondi Timoner. The film portrays the story of the Internet's revolutionary impact on human interaction as told through the eyes of maverick web pioneer, Josh Harris, and his transgressive art project that shocked New York.
The Grand Jury Prize: U.S. Dramatic was presented to Push: Based on the Novel by Sapphire, directed by Lee Daniels and written by Damien Paul. The film tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.
The World Cinema Jury Prize: Documentary was presented to Rough Aunties, directed by Kim Longinotto. Fearless, feisty and unwavering, the 'Rough Aunties' protect and care for the abused, neglected and forgotten children of Durban, South Africa. United Kingdom
The World Cinema Jury Prize: Dramatic was presented to The Maid (La Nana), directed by Sebastian Silva. When her mistress brings on another servant to help with the chores, a bitter and introverted maid wreaks havoc on the household. Chile
The Audience Award presented by Honda: U.S. Documentary was presented to The Cove, directed by Louie Psihoyos. The horrors of a secret cove nestled off a small, coastal village in Japan are revealed by a group of activists.
The Audience Award presented by Honda: U.S. Dramatic was presented to Push: Based on the Novel by Sapphire, directed by Lee Daniels and written by Damien Paul. The film tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.
The World Cinema Audience Award: Documentary was presented to Afghan Star, directed by Havana Marking. After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. Marking's film follows the dramatic stories of four contestants as they risk their lives to sing. Afghanistan/United Kingdom
The World Cinema Audience Award: Dramatic was presented to An Education, directed by Lone Scherfig from a screenplay by Nick Hornby. In the early 60s, a sharp 16-year-old with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents. United Kingdom
The Directing Award: U.S. Documentary was presented to El General and director Natalia Almada. As great-granddaughter of President Plutarco Eliás Calles, one of Mexico's most controversial revolutionary figures, the filmmaker paints an intimate portrait of Mexico.
The Directing Award: U.S. Dramatic was presented to Sin Nombre, written and directed by Cary Joji Fukunaga. Filmmaker Fukunaga's first-hand experiences with Mexican immigrants seeking the promise of the U.S. form the basis of this epic Spanish-language dramatic thriller.
The World Cinema Directing Award: Documentary was presented to Afghan Star, directed by Havana Marking. After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. Marking's film follows the dramatic stories of four contestants as they risk their lives to sing. Afghanistan/United Kingdom
The World Cinema Directing Award: Dramatic was presented to Five Minutes of Heaven, directed by Oliver Hirschbiegel from a screenplay by Guy Hibbert. Two men from the same town but from different sides of the Irish political divide discover that the past is never dead. United Kingdom/Ireland
The Waldo Salt Screenwriting Award was presented to Nicholas Jasenovec and Charlyne Yi for Paper Heart. Even though performer Charlyne Yi doesn't believe in love, she bravely embarks on a quest to discover its true nature - a journey that takes on surprising urgency when she meets unlikely fellow traveler, actor Michael Cera.
The World Cinema Screenwriting Award was presented to Five Minutes of Heaven, directed by Oliver Hirschbiegel from a screenplay by Guy Hibbert. Two men from the same town but from different sides of the Irish political divide discover that the past is never dead. United Kingdom/Ireland
The U.S. Documentary Editing Award was presented to Sergio. Directed by Greg Barker and edited by Karen Schmeer, the film examines the role of the United Nations and the international community through the life and experiences of Sergio Vieira de Mello, the U.N.'s High Commissioner for Human Rights.
The World Cinema Documentary Editing Award was presented to Burma VJ. Directed by Anders Østergaard and edited by Janus Billeskov Jansen and Thomas Papapetros. The film takes place in September 2007 as Burmese journalists risk life imprisonment to report from inside their sealed-off country. Denmark
The Excellence in Cinematography Award: U.S. Documentary was presented to The September Issue. With unprecedented access, director R.J. Cutler, cinematographer Bob Richman and their crew shot for nine months to capture editor-in-chief Anna Wintour and her team preparing the 2007 Vogue September issue, widely accepted as the "fashion bible" for the year's trends.
The Excellence in Cinematography Award: U.S. Dramatic was presented to Sin Nombre, written and directed by Cary Joji Fukunaga. Cinematographer: Adriano Goldman. Filmmaker Fukunaga's first-hand experiences with Mexican immigrants seeking the promise of the U.S. form the basis of this epic Spanish-language dramatic thriller.
The World Cinema Cinematography Award: Documentary was presented to Big River Man, John Maringouin's documentary about at an overweight, wine-swilling Slovenian world-record-holding endurance swimmer who resolves to brave the mighty Amazon in nothing but a Speedo. U.S.A./United Kingdom
The World Cinema Cinematography Award: Dramatic was presented to An Education, directed by Lone Scherfig from a screenplay by Nick Hornby. Cinematographer: John De Borman. In the early 1960s, a sharp 16-year-old girl with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents. United Kingdom
A World Cinema Special Jury Prize for Originality was presented to Louise-Michel, directed by Benoit Delépine and Gustave de Kervern, about a group of disgruntled female French factory workers who, after the factory abruptly closes, pool their paltry compensation money to hire a hit man to knock off the corrupt executive behind the closure. France
A World Cinema Special Jury Prize: Documentary was presented to Tibet in Song directed by Ngawang Choephel. Through the story of Tibetan music, this film depicts the determined efforts of Tibetan people, both in Tibet and in exile, to preserve their unique cultural identity. Choephel served six years of an 18-year prison sentence for filming in Tibet. Tibet
A World Cinema Special Jury Prize for Acting was presented to Catalina Saavedra for her portrayal of a bitter and introverted maid in The Maid (La Nana). Chile
A Special Jury Prize: U.S. Documentary was presented to Good Hair, directed by Jeff Stilson, in which comedian Chris Rock travels the world to examine the culture of African-American hair and hairstyles.
A Special Jury Prize for Spirit of Independence was presented to Humpday, Lynn Shelton's farcical comedy about straight male bonding gone a little too far.
A Special Jury Prize for Acting was presented to Mo'Nique for her portrayal of a mentally ill mother who both emotionally and physically imprisons her daughter in Push: Based on the Novel by Sapphire.
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