If there's a cinematic alchemy award to be given this year director Bill Condon deserves to take it home after magically turning the tedious Twilight franchise into entertainment gold. 2011's Part 1 was a horror camp romp that turned the supernatural love triangle — the naval gazing trio of Bella Edward and Jacob — on its head. Breaking Dawn - Part 2 continues the madcap exploration of a world populated by vampires and werewolves mining even more comedy thrills and genuine character moments out of conceit than ever before. The film occasionally sidesteps back into Edward and Bella's meandering romance (an evident hurdle of author Stephenie Meyer's source material) but the duller moments are overshadowed by the movie's nimble pace and playful attitude. Breaking Dawn - Part 2 will elicit laughs aplenty — but thankfully they're all on purpose.
Part 2 picks up immediately following the events of the first film Bella (Kristen Stewart) having been turned into a vampire by Edward (Robert Pattinson) to save her life after the torturous delivery of her half-human half-vampire child Renesmee. She awakes to discover super senses heightened agility increased strength… and a thirst for blood. One dead cougar later Bella and the gang are able to focus on the real troubles ahead: Renesmee is rapidly growing (think Jack) and vampiric overlords The Volturi perceive her a threat to vampiric secrecy. Knowing the Volturi will travel to Forks WA to kill the young girl (a 10-year-old just a month after being born) The Cullens amass an army of bloodsucking friends to end the oppression once and for all.
Packed with an absurd amount of backstory and mythology-twisting plot points (some vampires can shoot lightning now?) Condon and series screenwriter Melissa Rosenberg mine revel in the beefed up ensemble of Breaking Dawn - Part 2 and thanks to a wildly funny cast it never feels like pointless deviation. Along with the usual suspects Lee Pace adds swagger to the series as a grungy alt-rock vampire Noel Fisher appears as a hilarious over-the-top battle-ready Russian coven member and Michael Sheen returns has Volturi head honcho Aro and steels the show. Flamboyant diabolical and a steady stream of maniacal laughter Sheen owns Condon's high camp vision for Twilight and he lights up the screen. There are a few throw away nations of vampires — the oddly stereotypical Egyptian and Amazonians sects are there mostly there to off-set the extreme whiteness — but the actors involved bring liveliness to a franchise known for being soulless. Even Stewart Pattinson and Taylor Lautner give personal bests in this installment — a scene between Bella and her dad Charlie (Billy Burke) is genuinely heartfelt while Jacob's overprotective hero schtick finally lands.
Whereas Breaking Dawn - Part 1 stuck mostly to the personal story relying on the intimate moments as Bella and Edward took the big plunge into marriage and sex Part 2 paints with broader strokes and Condon has a ball. Delving into the history of the vampires and the vampire world outside Forks is Pandora's Box for the director. One scene where we learn why kids scare the heck of the Volturi captures a scope of medieval epics — along with the bloodshed. Twilight might be known for its sexual moments but Breaking Dawn - Part 2 will go down for its abundance of decapitations. The big set piece in the finale is something to behold both in the craftsmanship of the spectacle and in its bizarre nature.
The Twilight Saga: Breaking Dawn - Part 2 had the audience hooting hollering and even gasping as it twisted and turned to the final moments. There's little doubt that even the biggest naysayer of the franchise would do the same. No irony here: the conclusion of Twilight is a blast.
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.
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.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
America Ferrera wed longtime boyfriend Ryan Piers Williams on Monday at the Chappaqua, New York home of her former co-star, Vanessa Williams. Sources claim the wedding was, “an intimate setting amongst close friends and family.” That doesn't mean it wasn't a star-studded event though. Other Hollywood attendees include Blake Lively and Amber Tamblyn (her Sisterhood of the Traveling Pants co-stars), along with her Ugly Betty co-stars: Rebecca Romijn, Mark Indelicato and Judith Light -- who officiated the wedding (fun!).
There were certainly no Ugly Betty outfits for her on the big day. The former Ugly Betty star wore an Amsale’s Christos dress and Fred Leighton earrings. The couple had been living together since 2007 and share a golden retriever named Buddy, whom they refer to as "our baby." Too cute. The engagement was announced in June 2010 after Ryan proposed with a 4-carat round cut diamond worth about $70,000. Way to go Ryan -- go big or go home!
These two lovebirds met long before America became the lovable-but-quirky fashion assistant on ABC's Ugly Betty which ended its four season run back in April 2010. The pair actually met when Ryan cast America in a film he was doing while he was a student at the University of Southern California. Let this be a lesson to all current college students -- sometimes doing your homework can indeed pay off. Congratulations to the happy couple and here's to a lifetime of love and happiness! At long last, Betty has found her prince charming.
Source: Access Hollywood, US
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.
After making a sparkling debut in 2004 with his first feature film the slacker comedy Napoleon Dynamite offbeat writer-director Jared Hess seemed poised for a fruitful career as an earnest more accessible alternative to hipster auteur Wes Anderson. But he stumbled a bit with his sophomore effort the uneven Mexican wrestling flick Nacho Libre despite Jack Black’s desperate mugging for laughs. And he falls apart completely with his latest comedy the crude maddeningly insipid Gentlemen Broncos.
It’s a shame too because Gentlemen Broncos held so much potential. Its trailers promised a lively battle of wits between a pompous sci-fi author played by Flight of the Conchords’ Jemaine Clement and the teenage protege (Michael Angarano) from whom he plagiarized his latest bestselling novel. It could have been Hess’s Rushmore. But what the trailers don’t tell you is that Clement plays merely a supporting role in Gentlemen Broncos and that his character Dr. Ronald Chevalier virtually disappears after the film’s splendid setup. Clement is by far the best part of the film and when he isn’t on the screen the story devolves into an increasingly irksome blend of manufactured quirk and lame sight gags. Hess’s sense of humor has regressed to sub-adolescent levels with Gentlemen Broncos. Defecating snakes breast-puncturing blowdarts and jars of human testicles are just a few of the lowbrow delights that await the brave soul who attempts to make it through a viewing. When Clement returns at the end of the film and mounts a quixotic attempt to rescue it from the mire his heroic effort is sadly for naught: The disastrous fate of Gentleman Broncos was sealed long before.
English school teacher David Edwards can now retire from teaching.
Edwards, a physics teacher from Denstone, has become the second person to win the £1 million jackpot on Britain's Who Wants to be a Millionaire, BBC News reports. The first person to win the jackpot was garden designer Judith Keppel in November.
The big win had still not quite sunk in yet, Edwards said at a press conference.
"One afternoon, I had a couple of hours of smug contentment. I had some idea of what is going on," said Edwards, whose win aired Saturday.
The new millionaire and his wife, who have two children in college, plan to go on vacation
Host Chris Tarrant said Edwards "was so cool and had an amazing general knowledge."
Martin is no "Zorro"
Ricky Martin will not wear the mask of Zorro. Martin's reps have dismissed British tabloid reports claiming that the Latin singer would star as Zorro in a new West End musical.
" [He's] not planning on taking over the lead in the show and has had no discussions with its producers," a rep for his record company said, according to ABC News reports.
The singer has had some acting experience, first as an actor in soap General Hospital and in Les Miserables.
David Lee Roth and Van Halen reunite
Former Van Halen singer David Lee Roth recorded three songs last year at Van Halen's private studio, ABC News reports.
"About a year ago, myself and the great Van Halen band played together once or twice and it sounded amazing, phenomenal," Roth said on his Web site.
The recording was made in July, but he hasn't made music or kept in touch with the band since, Roth said.
"But I am holding forth. I'm in the shape of my life and I got the high note. I'm ready to go," Roth said.
Van Halen fans hoped to see a such a reunion after Roth joined the band to present an award at the 1996 MTV Video Music Awards. Roth also recorded two songs for a Van Halen's compilation album, but soon departed ways again with his former bandmates.
Producer Jack Haley dead
Jack Haley Jr., longtime Hollywood producer, actor, writer and the former husband of Liza Minnelli, died early Saturday of respiratory failure, The Associated Press reports. He was 67.
Haley, who had been in poor health, was admitted to the UCLA Medical Center in Santa Monica, Calif., on Friday in a semi-comatose condition, said his assistant, Kelly Brandt. He died Saturday at the hospital.
During his 30-year career, Haley produced numerous films and television specials, including a number of the Academy Awards presentations. He also produced The Wonderful Wizard of Oz, a 1990 documentary on the making of the classic movie. His father, actor Jack Haley, starred in The Wizard of Oz as the Tin Man.
The Oz connection did not end there. In 1974, Haley married Minnelli, the daughter of Judy Garland, who played Dorothy in The Wizard of Oz. Haley and Minnelli divorced in 1979, but remained close friends.
" I fell in love with him the first time I met him, and I have loved him with all my heart ever since," Minnelli said in a statement released Saturday.
Conductor Giuseppe Sinopoli dead
Italian conductor Giuseppe Sinopoli, best known for his daring interpretations of the works of Verdi and Puccini, died late Friday after suffering a heart attack while conducting at a Berlin opera house, The Associated Press reports. He was 54.
Sinopoli was rushed to the city's German Heart Center clinic after collapsing during the third act of Giuseppe Verdi's four-act Aida. Doctors first tried to resuscitate Sinopoli at the Opera house and then at the hospital. The opera house sent home its shocked audience members.
Sinopoli founded the Bruno Maderna ensemble in 1975. He began his career as an avant-garde composer before turning to conducting.
Poland to sell unpublished Monroe pictures
The Polish state treasury will sell thousands of unpublished photographs of Marilyn Monroe and other Hollywood legends, Reuters reports.
Celebrated photographer Milton Greene's collection, which also features Marlene Dietrich, Elizabeth Taylor and Frank Sinatra, was acquired in 1995 by Poland's foreign debt agency from an American businessman.
" The time is ripe to turn it into cash,'' said Piotr Grzeskiewicz, an administrator of the assets of the liquidated Foreign Debt Servicing Fund.
Greene worked for such magazines such as Life and Vogue. He died in 1985.
The collection contains about 300,000 negatives from the 1950s and is valued at least several million dollars. Grzeskiewicz said he hopes the collection arouses strong interest from Monroe collectors.
" We have to decide on the best way to sell the collection. We do not want to spoil the market by flooding it with the photos,'' he told Reuters.
Stax Museum breaks ground
Numerous R&B musicians gathered Friday at the site of Stax Records in Memphis, Tenn., to reminisce and celebrate the groundbreaking of the museum and music conservatory honoring the former label.
A crowd of 3,000 met on the empty lot where Stax's famed recording studio - dubbed "Soulsville, USA" - once stood, The Associated Press reported.
The planned $20 million Stax Museum of American Music and adjoining Stax Academy and Performing Arts Center will serve tourists and budding musicians, said Deanie Parker, president of Soulsville, the nonprofit group behind the project.
"All around the world, this is the stamp of approval of what we did back in the '60s," said Steve Cropper, one-time guitarist for organist Booker T. Jones and his Memphis Group (MG's). "It will educate the people, and especially the kids, about the music."
"Boys Don't Cry" mother deserves more compensation
The mother of murdered cross-dresser Teena Brandon - the inspiration behind Boys Don't Cry - deserves more compensation, the Nebraska Supreme Court ruled Friday. The Supreme Court determined that a lower court had blundered by awarding $17,361 in damages to JoAnn Brandon for official negligence in the death of her daughter. The Supreme Court remanded the case to a District Court to determine new damages. The damages were awarded against Richardson County, Neb., and its sheriff, Charles Laux.
In his review of the case, Supreme Court Chief Justice John Hendry said Judge Orville Coady's decision not to award damages to Brandon's mother for the loss of her daughter's companionship "shocks the conscience."
"Nothing will bring Teena back, but I will sleep better knowing that we found some justice for her, and because of this case, fewer parents will find their children abused and exposed to danger by law enforcement officials," Brandon told the Omaha World-Herald.
Hilary Swank won an Oscar for her portrayal of Teena Brandon in the 1999 film, Boys Don't Cry.
Actor Bill Bellamy to host Miami soul festival
Actor and comedian Bill Bellamy will host the inaugural Soul Beach Music Festival at the Orange Bowl in Miami, The Associated Press reports.
Among the performers are: Angie Stone, Eric Benet, Erykah Badu, Jill Scott, Musiq and the Isley Brothers.
The concert shows how much the city's racial climate has improved since the early 1990s, Miami-Dade County Mayor Alex Penelas said. At the time, Miami was boycotted by black tourists after the Miami City Commission snubbed visiting anti-apartheid leader Nelson Mandela for his refusal to repudiate Cuban President Fidel Castro.
``We have overcome some very painful experiences in this community,'' Penelas said.
The festival runs from May 30 through June 3.
Rapper Suge Knight leaves jail
Rapper Suge Knight, the co-founder of rap music label Death Row Records has been paroled five days earlier than expected, at Mule Creek State Prison, The Associated Press reports.
Knight told Sacramento, Calif., television station KXTV before his parole that prison had been a good experience for him and hopes to persuade young people not to follow his path.
" I had everything. I still do," he told the station. "But I had everything I could possibly have and I had six of the best lawyers and I still got nine years."
Death Row Records remains successful despite Knight's incarceration. The late Tupac Shakur's newly released album has been at the top of Billboard's R&B/Hip-Hop chart for three weeks.
"Wind" parody publication blocked
U.S. District Judge Charles Pannell on Friday blocked the publication of a novel that he said borrows too liberally from Gone With the Wind and infringes on the copyright of Margaret Mitchell's classic novel.
Alice Randall's novel The Wind Done Gone is essentially a retelling of Gone With the Wind from a different point of view using the same fictional characters and places, Pannell wrote.
Publisher Houghton Mifflin argued that the story, told from the point of view of Scarlett O'Hara's mulatto half-sister on the plantation Tara, was a political parody. Pannell disagreed, writing that Randall's "recitation of so much of the earlier work is overwhelming'' and constitutes an unauthorized sequel.
Attorneys for Mitchell's estate had sued to stop publication of Randall's book.
" It's a wonderful decision," said Martin Garbus, a lawyer representing the Mitchell trust. "It protects authors and publishers."
Writers, such as Pat Conroy, Harper Lee and Toni Morrison, who signed a petition in support of Randall's novel, were surprised.
" I can't believe the book will be suppressed,'' historian Arthur M. Schlesinger Jr. said. "The Mitchell estate is doing a wonderful job of advertising for Houghton Mifflin."