alice braga Tagged Articles at Cinematical

When you think of a man of brawn who can outwit the ruthless Predator, you think of two men: Arnold Schwarzenegger and Adrien Brody. What, you didn't picture that last one? Well, Robert Rodriguez and Nimrod Antal did. According to The Hollywood Reporter, Brody and Topher Grace are both set to join Alice Braga, Mahershalalhashbaz Ali, Walt Goggins, Danny Trejo and Oleg Taktarov in Predators, a franchise reboot of sorts that will follow several of earth's "killers" who are kidnapped and dropped on the Predator's home planet for a game of hide, seek and be brutally murdered.

All joking aside, Brody and Grace's unassuming demeanors will be a big part of their characters. Brody will play a soldier forced to become a leader (presumably because the Predator killed the old one), but is fit for the job because he's "a hunter of men." Grace will play a nerdy, accountant type whose very ordinariness hides the fact that he's a serial killer.

The rest of the cast is a little better suited for the lethal jungle. Braga will play a tough female killer, while Ali is a man who is unafraid to die. Goggins is a loose cannon (there's always one!) and Takatarov will be a former Russian operative. But baddest of them all is Trejo's Cuchillo, "a hardened warrior with two uzis strapped to his back." I don't know about you, but my leader would be the one with the twin uzis. That's just me though.

Shooting begins next month in Hawaii, and then moves to Austin. Variety notes that Brody lobbied very hard for the role, and has already signed on for future installments. So, I guess we know which operative makes it out of the jungle ...

The projects never seem to stop gravitating towards Mickey Rourke, ever since he became a Wrestler. He doesn't seem to be going the way of Iron Man 2, but he is one of The Expendables, and now he's getting back into some familiar territory -- steamy, sexy, bodice-ripping dramas.

Variety reports that Rourke, Alice Braga, and Vincent Cassel are going to star in an adaptation of Paulo Coelho's 11 Minutes, which Hany Abu-Assad is directing. Braga stars as a naive girl who swears off romance after a bad experience with her first lover. But she only swears off the romance part; the girl becomes a high-priced call girl working at a club in Geneva, owned by Rourke's character. Then Cassel gets thrown into the mix, playing a music executive "who gets her hooked on S&M."

On the one hand, Rourke is once again getting involved with steamy tales set in moments of time (from Nine 1/2 Weeks to 11 Minutes) -- even if it doesn't look like he's the recipient of the steam. On the other, this is yet another story of women being scorned by men and then learning how to enjoy her sexuality through them. One would've thought that after projects like Secret Diary of a Call Girl, we'd at least get a litttle smarts and verve thrown into the ever-popular prostitute theme. Guess not.

It's way too early to tell, but we can speculate: Will 11 Minutes be the next Nine 1/2 Weeks?

Follow Me on Twitter

Wayne Kramer's Crossing Over is a bad movie, but it's not bad in the usual ways. The camerawork doesn't shake, boom mikes don't dip into the frame, and the actors tend to remember their lines. The story moves forward in a reasonably cohesive way. On most levels it even resembles a good movie. In fact, it very closely resembles something that once won an Oscar for Best Picture: Crash (2005). Like that movie, It tells the story of a cross-section of characters in Los Angeles, all of whom are connected in some way to a sticky issue, immigration this time, rather than racism. Harrison Ford leads the way as Max Brogan, an ICE agent whose colleagues often tease him for being a softie. During a raid on a sweatshop, his heart goes out to a woman, Mireya Sanchez (Alice Braga), who claims to have a young son at home. He nearly lets her go, and later regrets his decision not to.

Next up, we get Ashley Judd as Denise Frankel, who is an immigration attorney focused on finding a foster home for a young Nigerian girl; Denise wears a little Africa pendant just to show how much she cares. Her husband is a louse of an INS official, Cole (Ray Liotta). One day, he gets into a car accident outside his office building. The driver of the offending vehicle is an illegal Australian immigrant, the beautiful Claire Shepard (Alice Eve), who has already found work as an actress but whose paperwork has been lost in the system. Cole quickly arranges to help her in exchange for a series of sleazy, sweaty hotel room encounters.

I sat in on a roundtable luncheon for the film Blindness the other day; as far as roundtables go, it was a nice affair; there were four tables of journalists, and they rotated the talent through the tables, giving us about 15 minutes with each set. It's always interesting to me to talk to the actors and filmmaker about a film like this; it gives you a different perspective that you have from just watching the film.

A word of caution: There are spoilers in these interviews about certain aspects of the film, but I'm including them because they provide a good deal of context about the film and the motivations of the characters. If you prefer to go into seeing the film blind, as it were, you'll not want to read this until after you've seen it. If you do want to learn more about the film, the interview writeup is after the jump ...

This morning James and I and a couple thousand other press folks took in a screening of the Opening Film at Cannes 2008, Fernando Meirelles's Blindness, starring Julianne Moore, Mark Ruffalo, Danny Glover and Gael Garcia Bernal. You can check out James' review here, and tomorrow I'll be attending a luncheon/roundtable for the film. And in related Cannes news, Jack Black arrived at the 2008 Festival de Cannes in style. He's here to promote Kung Fu Panda, which premieres later in the week. Check out our gallery of Black and tons of panda bears down below.

Meantime, though, my take on Blindness is that it's ambitious and good, but falls short of being great. In part, I think, this is because the source material was challenging to adapt to a visual experience, but it's also due to some clunky expositional voiceover that detracts from the experience more than it adds. I don't want to be told how this or that person feels or reacts, I want to see it.

Fernando Meirelles's new film Blindness begins with the rush and push of urban life; traffic, crowds, activity, purpose. And then, one man cries out: "I'm blind." He eventually makes it to an ophthalmologist, but there's nothing physically wrong with his eyes; he simply can't see. "It feels like I'm swimming in milk," he explains, and we see, through his eyes, the blank, empty swirl of what used to be the world. And then another person says they are blind, and then another, and soon those few, frightened voices form a chorus of chaos as "the White Sickness" spreads like wildfire and leaves a ruined world in its wake.

Adapting Nobel Prize winner Jose Saramago's novel, Blindness feels like a curious mix of highbrow literary aspirations and lowbrow genre fiction; as the White Sickness spreads from person to person in a clear chain of connection and things fall apart, it'd be easy to dismiss Blindness as Dawn of the Dead for NPR listeners or Outbreak for grad students. Meirreles has taken a similar two-pronged approach before -- The Constant Gardener is an excellent critique of the failings of modern capitalism that also works as a strong, suspenseful thriller -- and while Blindness may not work as well as that film, it's also a clear case of a film, and filmmaker, failing to hit the mark occasionally only because they've set the bar so high for themselves.

When David Mamet's Redbelt was announced, the initial simple summary seemed bizarrely incongruous: A noted playwright and dramatist making a film about martial arts? But while Redbelt involves the worlds of Jiu-jitsu and mixed martial arts, it's really just another way for playwright, screenwriter and director Mamet to look at the world. As martial arts instructor Mike Terry (played by Chiwetel Ejiofor) is taken from his noble (but underfunded) studio and plunged into the greed and glitz of Hollywood and commercial fighting.

As Mike tries to hang on to the things that matter to him in a world that dismisses honor as unprofitable, Mamet's script and direction create a film that somehow puts a philosophical twist on traditional fight films while also embodying everything we love about them. Cinematical spoke with Mamet and Ejiofor in Los Angeles.

One of the challenges of being a great artist is that not all of your art is going to be great. The Beatles wrote several songs that lesser acts would have turned into careers, but that nonetheless lack the power of "Yesterday" or the joy of "I Wanna Hold Your Hand"; George Orwell's The Road to Wigan Pier is an excellent work of journalism, but not nearly as good as Homage to Catalonia. Redbelt, the latest film from writer-director David Mamet, is not as impressive or thought-provoking as some of his other dramatic works, like Glengarry Glen Ross or House of Games or Oleanna; at the same time, it's an exciting, engaging mix of drama and action supported by an immensely appealing lead performance by Chiwetel Ejiofor (Dirty Pretty Things, Children of Men).

Redbelt's subject and setting may make it seem incongruous -- Why is one of America's greatest playwrights making a film about mixed martial arts and Jiu-jitsu? -- but it's actually in keeping with Mamet's other recent entertainments like Spartan, his work as a co-creator of The Unit and his pseudonymous work on the screenplay for Ronin. Redbelt fits in with these projects: They have a kind of heroic stoicism under them; they're stories of honorable men in a dishonorable world. They've all got a kind of muscular poetry, too, a hard-bitten nobility that's still a little sad about the edges.

I don't think I'm alone when I say that I Am Legend was a little bit of a disappointment. Although there were a lot of good things going on (mainly in the performance of Will Smith), it wasn't a great film, and something was missing. Based on Richard Matheson's sci-fi classic, Smith stars as Dr. Robert Neville, a scientist who is immune to a "vampiric plague" that has wiped out humanity. Now an alternate ending to the film has been leaked to the net (thanks to Slash Film for the heads up), which you can check out above, and it gives you the chance to play 'What If?' If you haven't already seen the film, you might want to stop reading now, because I am about to give you one heck of a spoiler.

You know, if this movie had been made by anybody else but David Mamet then I would have fully expected to catch this flick late at night on the USA network and for it to star Michael Dudikoff. One look at the trailer above, though, and you know you are not dealing with the usual action cheese.

Redbelt stars Chiwetel Ejiofor as master of Ju-Jitsu who has dropped out of the unscrupulous world of professional fighting. After he helps out a mouthy movie star in a bar one night (as played by Tim Allen) he is eventually forced back into the ring of UFC fighting to defend his honor. There is also a hint of a freaky fighter selection process involving marbles and tying your hands behind your back, but that explanation is best left to the trailer.

Appearing alongside Ejiofor are Emily Mortimer (aka, the woman with 'Avian Bone Syndrome' on TV's 30 Rock), Alice Braga (I am Legend), Ricky Jay (who you might recognize as the cameraman from Boogie Nights and a few million other films), and Joe Mantegna. Mamet, who is a big fan of Ju-Jitsu and UFC fighting, wrote the script himself, and besides a few photo releases this trailer is our first chance to see what the film is actually about. Like many, I was having a hard time reconciling a master like Mamet with this kind of subject matter, but luckily it looks like it is all going to turn out for the best. Redbelt will hit theaters in a limited release on April 25th of this year.