The Rhythm Section

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Blake Lively’s “The Rhythm Section” has been bumped back nine months to Nov. 22, 2019, Paramount announced Friday. The film was previously scheduled to be released on Feb. 22, 2019. The spy thriller will now compete against Disney’s “Frozen 2,” which is opening during the same time frame. The Wrap previously reported that production had been temporarily suspended in December 2017 because Lively had injured her wrist while filming an action sequence.

In a strategic decision, Paramount Pictures has moved the release date of “The Rhythm Section,” the studio’s action-franchise hopeful starring Blake Lively, from February to Nov. 22.

Insiders familiar with the studio’s thinking said the new date is attractive for several reasons, including the holiday box office boon. The gritty spy tale, adapted from Mark Burnell’s novels surrounding character Stephanie Patrick, is thought by Paramount insiders to be ideal counter-programming to Disney’s “Frozen 2,” which is opening at the same time.

James Bond producers Barbara Broccoli and Michael G. Wilson are mounting the project through their Eon banner. Given their track record in the genre, the film could be a game-changer for Lively, hot off the success of her noir comedy “A Simple Favor.” Reed Morano (“The Handmaid’s Tale,” “I Think We’re Alone Now”) is directing the pic.

Reed Morano is directing “The Rhythm Section,” the first film in what’s intended to become a franchise with Michael G.Wilson and Barbara Broccoli producing. The film also stars Sterling K. Brown as Lively’s love interest.

“The Rhythm Section” is based on a series of spy novels by Mark Burnell, which tells the story of a woman scorned by the loss of her family in a mysterious plane crash.

Lively most recently starred in “The Shallows,” “All I See Is You,” and “A Simple Favor.” She is represented by WME, Management 360 and Vision PR.

We’ll kick things off with Sony’s comic book adaptation Morbius (aka “Morbius the Living Vampire”), which has been moved back a few weeks from July 10, 2020 to July 31, 2020. The movie has that date to itself for now. Daniel Espinosa (Life, Safe House) will direct Morbius, which stars Jared Leto, Adria Arjona, and Matt Smith. In the comics, Morbius (Leto) is dying from a rare disorder dissolving his blood cells and secretly begins working on a cure. After experimenting with serums that include distilled fluids from bats, Morbius turns into something resembling a vampire and is fearful that he will hurt his fiancée, Martine (Arjona).

Moving into Morbius‘ previous July 10, 2020 date is Jason Reitman’s recently-announced Ghostbusters. The new Sony movie is the next chapter in the original franchise and not a reboot. Reitman is reportedly casting four teens for the movie, two boys and two girls. In addition to the Ghostbusters release news, you can watch the first teaser here.

Next up is Sony’s Greyhound, the adaptation of C.S. Forester’s novel The Good Shepherd starring and written by Tom Hanks. Also starring Elisabeth Shue, the Aaron Schneider-directed film was originally scheduled for March 22, 2019 but will now hit theaters on May 8, 2020. The only other film currently on that date is Legally Blonde 3. Greyhound is described as follows: “In the early days of WWII, an international convoy of 37 Allied ships, led by captain Ernest Krause (Hanks) in his first command of a U.S. destroyer, crosses the treacherous North Atlantic while hotly pursued by wolf packs of Nazi U-boats.”

Moving up into 2019, Sony has pushed back the Mister Rogers movie, A Beautiful Day in the Neighborhood, from October 18, 2019 to November 22, 2019. The film will be competing with Frozen 2 and the below-mentioned The Rhythm Section on that date. Also starring Tom Hanks, the movie is directed by Marielle Heller (Diary of a Teenage Girl). A timely story of kindness triumphing over cynicism, the movie based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. After a jaded magazine writer (Matthew Rhys) is assigned a profile of Fred Rogers, he overcomes his skepticism, learning about empathy, kindness, and decency from America’s most beloved neighbor.

The Turning Full Movie

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You’d be hard-pressed to find a better actor for a survival movie than Mads Mikkelsen. The guy’s chiseled features, stoic gaze, and quiet melancholy seem custom-designed to be placed in opposition to impossibly harsh elements, on screen at least. So it’s unsurprising he was cast in Arctic, a survival movie that isn’t a reinvention of the genre – just a really strong example of it.

Not to be confused with Polar, also starring Mikkelsen, Arctic opens some time after Mikkelsen’s supply pilot Overgård has crashed his plane in the inhospitable North. Through smart improvisation and rigorous scheduling, Overgård has managed to stay alive thus far inside the plane’s crashed fuselage, while attempting to signal for rescue. When a rescue helicopter arrives in the middle of a blizzard, promptly crashing, Overgård retrieves its injured pilot and attempts to nurse her back to health. But medical supplies run out fast, and discovering a supply camp on his unconscious companion’s map of the region, Overgård sets out to drag her across the icy mountain range to safety.

The trek that follows is, as with most survival films, episodic in nature, each step further dampening Overgård’s hope for survival. There’s little you haven’t seen here – frostbite, snow caves, gangrene, pneumonia, crevasses, cliffs, storms, and polar bears all make appearances – but Arctic deals robustly with each new challenge. You’ll wince, you’ll cry, and you won’t ever laugh, except maybe out of relief at Overgård’s few minor victories. Job well done.

What Arctic – as with most survival films – really shows us is how fragile we are as human beings. At any given point in our lives, we’re one injury, one illness, one freak bit of misfortune away from death, and it’s only the perks of civilisation that (usually) prevent such things from taking our lives. In the Arctic, and in Arctic, that help isn’t there, and the danger feels all that much more palpable.

Mikkelsen is, predictably, excellent in his nearly-wordless role, going from grim determination to the edge of defeat. Remarkably, we basically learn nothing about his character – his sole costar (apart from a corpse-only appearance by an actor who isn’t even listed on the film’s IMDb page) María Thelma Smáradóttir, who utters three words in the entire film, at least has a photo of her family to base her character on. All we know, really, is that he’s resourceful in a crisis, and that he considers the unlikely survival of two people more important than the likely survival of just one. The lack of development doesn’t detract from the story, though, or from Mikkelsen’s performance. As a blank slate, Overgård is a surrogate for the audience – a man reduced to his most basic primal and basic need to survive. This kind of thing is an opportunity for actors to dig deep, and Mikkelsen does so both figuratively and literally.

Improbably, Arctic is directed by Joe Penna, who’s better-known as MysteryGuitarMan on YouTube. This is Penna’s feature debut, and it’s a strong choice of debut, taking a lean script and turning it into a functional, visual-driven narrative. In the first act, Penna creates a strong sense of geography around Overgård’s camp; as the film progresses, he presents each obstacle with the barest minimum required. Like Overgård, Penna’s direction is straightforward and focused on the essentials, which is the right way to play this kind of thing.

Shot mostly on location in Iceland, Arctic depicts its setting in a manner as beautiful as it is deadly. Penna makes the most of Iceland’s sweeping vistas, constantly reminding us of how small and fragile human life is when in an environment the body isn’t equipped to withstand. It’s a testament to the power of location shooting – one can imagine the greenscreened studio version of this movie – and it makes Overgård’s struggle that much more immediate.

Arctic comes to a close with a final shot that’s perfectly timed and orchestrated to lend it a sense of ambiguity. It’s one of the few elements that sets it apart from a more typical survival film, sharing DNA with Joe Carnahan’s underrated 2012 film The Grey. There’s not a huge amount else remarkable about Arctic, but that doesn’t matter. It’s a rock-solid film, and sometimes it’s enough for a film to simply do what it says on the box. Arctic promises a Mads Mikkelsen survival movie, and it’s exactly as good as that suggests.

Birds of Passage Full Movie

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The first thing we see in Birds Of Passage, a drama set among the Wayúu people of northern Colombia, is a ritual courtship dance that seems to accompany a young woman’s coming-of-age ceremony. Entering a circle of family and friends, the man seeking the woman’s favor proceeds to run backwards, while she, face painted and wearing a cape-like fabric, charges toward him with the cape’s “wings” stretched out wide. It’s a memorable sight, suggesting that the film will explore a culture unfamiliar to most American viewers. Instead, however, Birds Of Passage quickly veers onto a well-trod path, becoming just the latest portrait of a bloody war among drug dealers and distributors. Unique background elements provide flavor, but apart from the drug of choice here being marijuana rather than cocaine, what unfolds could hardly be less rote.

Directed by Cristina Gallego and Ciro Guerra, who previously collaborated on the Oscar-nominated Embrace Of The Serpent (though only Guerra was credited as director on that one, with Gallego as producer), the movie has been divided into five “cantos,” or songs, spanning 1968 to 1980. After dancing with Zaida (Natalia Reyes) in the opening sequence, Rapayet (José Acosta) is told that he’ll need to come up with a hefty dowry: 30 goats and 20 cows, plus some expensive jewelry. Desperate, he forges an alliance with a neighboring, apparently different-yet-related group, trading coffee for weed and then selling the latter to some Peace Corps hippies. This arrangement quickly blossoms into the same illicit business model recently seen in such films as American Made and Loving Pablo, with gringos flying the drugs out in small planes and leaving giant bundles of cash in return. Rapayet and Zaida wed and start a family, which of course only means that there are more ready victims on hand when things inevitably turn violent.

Gallego and Guerra clearly want to show how the advent of the drug trade destroyed previously peaceful indigenous communities, and they make a point of noting longstanding customs—like a taboo against harming a “word messenger”—that get tossed aside in the name of greed and revenge. The more Wayúu-specific Birds Of Passage is, the more compelling. Its broad strokes, however, frequently amount to Embrace Of The Cliché. “I knew you didn’t have it in you,” sneers a man being held at gunpoint by his best friend, following a brief interlude of trigger-free tension.

Anyone care to guess what occurs half a second later? Plus, all of the tragedy that befalls these characters over more than a decade is generated by not one but two impulsive idiots in the time-honored mold of De Niro’s Johnny Boy (with Rapayet as the pragmatic Charlie). The film needs this figure so badly—to gun down business partners for no good reason, or to rape the weed supplier’s beloved daughter and kick off a cascade of vengeance—that it starts grooming a replacement even before the first one gets killed! That sort of generic macho posturing, borrowed from dozens of previous action movies, turns fascinating cultural elements into mere window dressing for a standard-issue trafficking body count.
In modern movie terminology, “epic” usually just means long, crowded and grandiose. “Birds of Passage,” Cristina Gallego and Ciro Guerra’s follow-up to their astonishing, hallucinatory, Oscar-nominated “Embrace of the Serpent,” earns the label in a more honest and rigorous manner. Parts of the story are narrated by a blind singer — a literally Homeric figure — and the story itself upholds Ezra Pound’s definition of the epic as “a poem containing history.” It’s about how the world changes, about how individual actions and the forces of fate work in concert to bring glory and ruin to a hero and his family.

The history in question, divided into five chapters, involves the Colombian drug trade from the late 1960s to the early 1980s, but the film defies narco-drama clichés and superficial period atmosphere. Set among the Wayuu of northern Colombia (an Indigenous population whose language and customs survived the Spanish conquest and the rise of the modern nation-state), it also resists the temptations of exoticism and hazy magic realism. Even as you may be reminded of other sweeping chronicles of fortunes made and souls undone by ambition and greed — “Giant,” “The Godfather,” even “Breaking Bad” — your perception of the world is likely to be permanently altered. The experience made me think of some of my favorite movies (I’ll add Visconti’s “La Terra Trema” to the list), but it’s also like nothing I’ve ever seen before.

Not only because of the cultural and geographic milieu, which may be as unfamiliar to many Colombians as it will be to most North American viewers. The landscape the Wayuu inhabit, on a peninsula jutting into the Caribbean, includes patches of desert and lush, green hillsides. Mostly ranchers and farmers, the Wayuu conduct trade and manage potential conflict through a system based on ritualized exchange and communication. A family’s honor is bound up with its word, and certain members, designated “messengers of the word” are treated with special deference. “Don’t shoot the messenger” is close to a sacred principle.
The Colombian film “Birds of Passage,” directed by Cristina Gallego and Ciro Guerra, is an ethnographic thriller—a drama set in rural northern Colombia, centered on one indigenous group, the Wayuu, and based on the true story of a drug war that, from the late nineteen-sixties through the early nineteen-eighties, inflamed the region and engulfed a Wayuu family. It’s a movie involving a wide spectrum of experience, but its elements are nonetheless profoundly integrated. It’s not a thriller with some local color adorning the action or a documentary study with an imposed dramatic structure but, rather, a view of Wayuu life and the built-in fault lines that, in the inevitable contact with the surrounding world, tragically give way.

“Birds of Passage” also has the contours of a classical romance, in which a young couple faces obstacles that are particular to the Wayuu and yet grandly archetypal. The drama begins with the Wayuu ceremony for a woman’s coming of age: Zaida (Natalia Reyes) has spent the customary year of literal confinement, under the tutelage of her mother, Úrsula (Carmiña Martínez), mastering handicrafts (weaving, knitting) and emerging before her clan in a public coming out that’s also a courtship ritual. Wearing a billowing cape and head scarf, her face painted, surrounded by a crowd of people defining a stage-like circle for her emergence, Zaida does an onrushing dance in which the young man who chooses to court her, Rapayet (José Acosta), joins her, running and dancing backward as she charges, and deftly showing his physical aplomb, in meeting her step for step and gaze for gaze—and concluding, to the crowd’s admiration, by whispering to Zaida, “You are my woman.”

 

 

 

This One’s for the Ladies Full Movie

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A group of African-American male strippers in New Jersey are making the dancers in Magic Mike look downright chaste in the upcoming documentary This One’s for the Ladies. Directed by Gene Graham, the film explores the world of exotic dancing through the eyes of the underground strip troupe The Nasty Boyz and the hundreds of women who gather every Thursday night for the chance to throw dollar bills at them.

At its core, the documentary is about ‘the sexual and social identity of contemporary black America,’ but the film’s wild red-band trailer makes it clear that there is plenty of raunchy fun that will likely make more than a few viewers blush.
The Nasty Boyz, an exotic dancing troupe founded by twins Tyga and Raw Dawg, bring the heat every Thursday when they perform in Newark at the Dojo, a karate school by day and a male strip joint by night.Much like Tyga and Raw Dawg, the performers have cheeky nicknames such as Satan, Fever, and Young Rider. Among the group is Blaze, a lesbian ‘dom’ dancer who tours with her male counterparts.

The trailer for This One’s for the Ladies opens with an emcee hyping up the crowd before the strippers take the stage.

‘Y’all want to see some d**ks tonight? Say God damn!’ she yells, as the women in the audience jump out of their seats and scream.The NC-17 trailer features one dancer slowly taking off his shirt and another doing a split on two chairs while a dollar bill is hanging out of his black G-string.

The crowd is going wild the entire time, and the scene puts any moments from the fictionalized Magic Mike films to shame.’I’m looking at ladies, and they are like, [makes shocked expression]. Like they’ve never seen d**k,’ one woman says of the crowd, while someone else adds: ‘Women get horny even though they won’t admit to it.’

Many of the women featured in the trailer agree that the Thursday night potluck celebration with a side of bumping and grinding is an escape from their everyday lives.’It’s just grown people having a good time — good music, drinking, eating, just a step out of your reality for a few hours,’ one woman says.

‘This is my de-stress to me. I go hang out, have fun, maybe have a shot,’ another adds.One fan actually thanks God for the raunchy dances, saying: ‘If the Lord didn’t make this profession, then we wouldn’t be enjoying it.’

Throughout the trailer, the barely-dressed performers can be seen gyrating, rolling on the ground, and being touched by their titillated fans.Unsurprisingly, the popular night out is a prime money maker for the dancers, who take home hundreds of dollars if not more.’Based on their performance and who they are, they easily have made a thousand dollars a night,’ one woman explains.

Many of the dancers seem just as enthusiastic about their chosen profession, with one man saying: ‘This is a great life. It’s provided for me and my family.’Another dancer reveals he is the first male in his family to go to college. Like the women, some of the performers find dancing to be a release.’When I’m entertaining, that’s my outlet, that’s my own therapy,’ one man says.

This One’s for the Ladies debuted last year at the SXSW Film Festival, where Neon snatched it up for film distribution.Although there is no specific release date as of yet, the documentary is slated to hit theaters in spring 2019.That’s not the only thing spanking about the new label — “The One’s for the Ladies” is sure to slap.

As the official synopsis details: “Every Thursday Night hundreds of women gather for a potluck celebration and the chance to throw singles at the hottest dancers in New Jersey, The Nasty Boyz — featuring Satan, Mr. Capable, Fever, Young Rider and lesbian ‘dom’ dancer Blaze. ‘This One’s for the Ladies’ isn’t just about the tips or the dancing. It’s a heartwarming story of friendship and the resilience that comes from the community. Hilarious, eye-opening, and breathtakingly sexy, ‘This Ones for the Ladies’ is a virtual how-to guide for letting go of your troubles and having a good time.”

As one middle-aged woman announces in the newly released Red Band trailer: “Women get horny, even though they won’t admit to it.” Another reassures her (and any potential audience tongue clickers): “If the lord didn’t make this profession, then we wouldn’t be enjoying it.”

“Magic Mike” may have been a movie fantasy for some women, at least until “Magic Mike Live” launched in Las Vegas. “This One’s for the Ladies”showcases a vibrant and thriving community of dance shows and the people who enjoy them, and finds the humanity behind the G-strings.

Super, LTD will release “The One’s for the Ladies” in theaters in spring, 2019.
The New Jersey Nasty Boyz, a group of black “dom” dancers founded by twins Tyga and Raw Dawg, make a lot of women horny at the Dojo, a karate studio by day and a male strip club by night. But director Gene Graham’s documentary isn’t for the Boyz, it’s for the ladies who have been coming together and throwing dollars at the boys’ penises for years. (Heads-up: This One’s For The Ladies shows lots of big hard naked dicks.) There are so many ways these stories could have been mishandled or misrepresented, and yet the cast is treated with dignity and humor. It’s funny. It’s hot. And many of the interviews are so compassionate and complex, they could easily be iconic if the documentary gets a large enough audience. It feels like the Paris Is Burning of underground male strippers in New Jersey, and it’s astonishing how much humanity can come out of a little dick dancing.

OG Movie

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Watch the O.G. trailer below.Jeffrey Wright is one of those actors who is good in everything. He tends to end up in supporting parts more often than not, but in O.G., he gets to take the lead. Wright plays Louis Menkins, “once the head of a prominent prison gang, in the final weeks of his 24-year sentence. His impending release is upended when he takes new arrival Beecher (Theothus Carter), who is being courted by gang leadership, under his wing. Coming to grips with the indelibility of his crime and the challenge of reentering society, Louis finds his freedom hanging in the balance as he struggles to save Beecher.”

This looks intense, and Wright will no doubt turn in another memorable performance. He won the award for Best Actor in a U.S. Narrative Feature Film for this role when O.G. premiered at the 2018 Tribeca Film Festival. And the fact that the movie was filmed in an actual prison, using real inmates in roles in the film, certainly adds a level of stark realism the proceedings.

“In some ways regardless of the outcome of the film just the process of working on it was meaningful,” Wright said in one interview. “The men that we worked with were incarcerated, and most of the actors or most of the roles of incarcerated men in the film were played by men on the inside.”

In another interview, Wright added: “Some of these guys are really interesting actors. They’re gonna bring it. You see some charismatic guys who were the star of their hood or their block. They were forceful and had presence, because they had to. They have skills of persuasion.”

“The biggest challenge was figuring out how to shoot a film in a maximum-security prison, casting men who are incarcerated there,” director Sackler said. “It was challenging logistically, but also how to do it creatively, since most of the cast had never acted or been around cameras before. But at the same time, that challenge was also what made the experience of making “O.G.”…so powerful, and what brought so many people together who wouldn’t otherwise even be in the same room. Having the opportunity to get to know hundreds of people I wouldn’t otherwise have met, with experiences so different from my own, was a dream for me. As a woman who chose to make a movie with an almost entirely male, incarcerated cast, making these films broadened my perspectives about the human experience, and the connectivity between all of us. I feel very lucky to have had that experience.”

Run The Race

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Ever had a dream die? Or a loved one? Perhaps you struggle with why bad things sometimes happen to good people. Maybe you enjoy romance, brotherly bonds, or football. If so, this film should appeal to you.

“Run the Race” uses sports and family to encourage young and old as they face life’s peaks and valleys. With football star Tim Tebow and his brother Robby among the executive producers, it’s not surprising there is plenty of football and track action.

Two-time NCAA champion at the University of Florida, Heisman-trophy winner in 2007, NFL quarterback, professional baseball player, and now sportscaster. Tim Tebow knows a lot about victory and defeat, dreams and disappointment, true significance, and what happens when you get knocked down. The actors in this film portray pain and recovery with authenticity.

Refreshing authenticity
“‘Run the Race’ is about so much more than football,” notes Tim. “This is a story about overcoming the hard issues of life, about the power of sacrifice, the power of family, and the power of forgiveness.” Calling it “encouraging and inspirational,” he says it portrays “two brothers struggling with real life, but getting through it by supporting each other and their faith. I hope those who see it can walk away with more faith, hope, and love.”

Robby and Tim Tebow, executive producers 2019 RTR Movie Holdings, LLCAll Rights Reserved.
Robby and Tim Tebow, executive producers
2019 RTR Movie Holdings, LLC
All Rights Reserved.

Robby Tebow concurs: “As somebody with brothers in a big, super-close family that has gone through a lot together, [the script] resonated with me on a deep level.”

The cast includes Mykelti Williamson (“Fences,” “Forrest Gump”), Frances Fisher (“Titanic,” “Unforgiven”), Tanner Stine (“NCIS,” HBO’s “Here & Now”), Evan Hofer (“Kickin’ It”), Kristoffer Polaha, Mario Van Peebles, and Heisman-winner/NFL star Eddie George.

Sports and life
George comments on the sport-as-metaphor-for-life motif: “Sports really is a microcosm of how life is. Somebody’s going to deal with adversity … with loss … with pain … with victory and success. I think this film reflects that.”

In the film, brothers Zach (Stine) and David (Hofer) face life’s challenges as housemates after their mom’s cancer death and their alcohol-laced father’s abandonment. High school football glory becomes Zach’s dream ticket out of their life of poverty.

When injury seems to kill that dream, Zach questions how a good God could take his mother, leave him with an uncaring father, and rob him of his future. His godmother gently shares a biblical promise to which she has clung during her own struggles with infertility and loss: “God causes everything to work together for the good of those who love” him (Romans 8:28).

 

The Divorce Party

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It was commonly said to young women by older family members, who believed that being married was the most important aspect of a woman’s life.Taken literally, it means that being a woman with a man, is better than being a woman on her own in an empty house sitting by the wall.

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Back in the day, Arab societies considered divorce as the worst-case scenario and a terrible option for a couple. The idea that a man and woman should officially separate their lives was never acceptable.Socially, a divorced couple had a strong sense of taboo hanging over them. In both Islam and Christianity, divorce is known as a concept hated by God. It is even forbidden by most of the eastern churches as well. So if you are a Coptic Christian in Egypt, you have an even more difficult time to file for a divorce.

But today, the perception of divorce has slowly gone from extremely negative to slightly neutral. As the cultural taboo of divorce has gone down, Arab countries are facing a dramatic spike in divorce rates, and new rituals are being adopted.

Women initiate divorce According to William Doherty, a marriage therapist and professor of family social science at University of Minnesota, most divorces are initiated by women, because of the changes in women’s expectations to what a “good life” is.Women today generally expect an equal partner, who will carry the weight of marriage with her; someone who will support her pursuit of a career as well as the pursuit of motherhood.

But in many cases, men become very dependent on the woman, and that was not the intention going into the marriage. In the Arab world, a country with one of the highest divorce rates is Egypt: On average, a divorce case is being recorded every 4 minutes in the country’s courts.

A 2018 report issued by the Egyptian Central Agency for Public Mobilization and Statistics shows divorce cases in the country rose to 18,600 in August, from 18,100 at the same month the year before.

“Marriage is hard. It’s a lot of work.” Dalia, an Egyptian, told Gulf News. “As a woman in the Middle East, you are usually the one who draws the short string. Unless you end up with someone who actually will carry 50 per cent of the weight, which is rarely the case, you have to adjust your expectations. People make it seem so fun. It’s so much more than people know.”

Trading Paint Full Movie

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Shania Twain has more than made a name for herself in country music, and now she’s set her sights on the silver screen. Twain has an acting role — her first ever — in a new film called Trading Paint, out Feb. 22.
“I can’t wait for you all to see this Trading Paint,” Twain tells fans.
Yes, that’s her alongside iconic actor John Travolta in the trailer for a film that follows a dirt track racer who’s battling the years both on and off the track. It also looks to focus on a strained father-son relationship — their troubles often find their way onto the track.”I’m filming a movie called Trading Paint with some amazing actors right now. John Travolta’s the lead,” Twain revealed in a 2017 interview about the movie. “That’s super fun and exciting, I’m having a blast. It’s my first acting movie experience so I didn’t know what to expect, I had no idea what this was going to be at all, but it’s been really comfortable. And John’s such a great support. It’s an elite group of people and I’m just learning from them and having a blast.”
Twain seems to be enjoying this time navigating a new path in her life and career.

“It was definitely a mark in time, psychologically,” Twain said of turning 50 a few years back. “I reflected a lot on, ‘Wow, 50 years have gone by.’ It made me more thoughtful about where I’d come from and where I started more than about the actual number. Turning 50 was about taking the time to recognize where I’ve been and how far I’ve come.”Jason Aldean made his acting debut in 2013 in Sweetwater playing Daniel, a henchman to actor Jason Isaacs’ Prophet Josiah. The singer has a few lines and gets to kill some people, but he spoiled how the movie ends — for him, anyway. It’s sad. January Jones and Ed Harris also star in the movie.The Lincoln Lawyer was Trace Adkins‘ most high-profile role until he took one of the leads in The Virginian. He didn’t slow down from there, either. The singer played a sheriff in 2013’s A Country Christmas and worked alongside Grey’s Anatomy star Sarah Drew in Mom’s Night Out (2014). Adkins got his TV start on an episode of Yes Dear in 2004 and then did voice work for several episodes of King of the Hill.John Travolta has starred in 46 motion pictures. Together, they have grossed $2,404,381,964 at the box office alone. For an average of $52,269,173.This racing movie was filmed on the grounds of the Talladega Superspeedway. But, it wasn’t filmed on the NASCAR track like the ‘Talladega Nights’ blockbuster. Instead, it was filmed at the tiny dirt track across the street.A big Hollywood movie about dirt track racing with A-list movie stars side-by-side with other characters named ‘Redneck’ hasn’t been done. Thus, Trading Paint has grabbed the attention of hardcore grassroots racing fans all over America.This next film by Travolota isn’t intended to break box records. Since 2013, Travolta has done three movies with a combined gross of 4.5 million. He’s elected to choose films that he enjoys. Thus, we are soon to be gifted with a movie about dirt track racing.This was Travolta’s first time behind the wheel of a dirt race car. And yes, he did the driving himself. It started in the parking lot of the Talladega Short Track as Travolta got used to the feeling of the dirt late model.Watch the Trading Paint trailer below.Travolta will star as Sam Munroe. His character is a ‘washed up’ race car driver who’s turned car owner. He fields a dirt late model with his son Cam Munroe behind the wheel. Cam is played by Toby Sebastian.Cam elects to break away from his father’s race team. That puts Sam back behind the wheel. It’s a father son battle on the local dirt track for the championship.It’s always a gamble when a film studio does a movie about racing of any sort. Hollywood has done Formula 1 and NASCAR with varying degrees of success, finally deciding that NASCAR is better done as a comedy while Formula 1 needs a heavy dose of plot signposts to get a general American audience through the intricacies of the sport. But now, it’s dirt track racing’s turn in the spotlight.

A bearded and strangely accented John Travolta stars alongside Shania Twain and Michael Madsen in “Trading Paint,” a drama about dirt track racing filmed in Alabama. Travolta’s blue-collar character appears to have been dialed up way past 11, right down to a nametag on his shirt, a well-worn baseball cap and the obligatory fight in a bar with interior decorations from 1980.

Madsen plays the villain, of course, with the help of his trademark hat (when was the last time Madsen did not wear a cowboy hat in a film?), while Twain appears to be in the cast to lend the film some Southern credibility. Meanwhile, Toby Sebastian plays Travolta’s impatient and rebellious son who wants to strike out on his own and comes under the influence of the villain, a plot twist revealed in the trailer, forcing Travolta’s character to get back into racing — another plot point revealed in the trailer. Kevin Dunn (playing a character nicknamed Stumpy), Buck Taylor and Luis Da Silva round out the genuinely impressive cast — how did they get all these actors together? — while Karzan Kader directs.
The singer-turned-actress says that having Travolta’s seasoned on-camera experience was a life-saver, making her first acting role a pleasure. Acting is something she says she hopes to do more of in the future.

“I enjoyed it and I enjoyed getting to know John,” Twain says. “He’s a very sweet person. I’ve known him for several years now just on short little chats, but now [working on] this movie, we got to know each other a little bit better. I’m just lucky to have this film experience because he’s been very nurturing. He coached me through it.”

Twain appeared in the 2004 feature film I Heart Huckabee for a brief cameo as herself, and has starred in numerous music videos, but Trading Paint marks her first official acting role in a movie. The film was filmed in Alabama in 2017, and is set for release on Feb. 22, 2019.

Pajaros de Verano

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If you visit Panama city on vacation, you would do well to visit the Embera Indians in Darién province. They live as you would imagine indigenous people live, using little electricity, dressing in colorful albeit minimalist garb, and putting on a great show for tourists who are treated as well to a fantastic lunch of fried fish, caught that day.

You may think that they are amazed every time they see Americans (other than Native Americans) but it turns out that these folks are quite educated, cultured, with many having traveled worldwide. They live as they are partly because they like it but also because the Panama government gives them special financial benefits provided that they continue welcoming tourists, thereby raising the chance of attracting more people to their shores than otherwise.

You might think that this is corruption via money, and perhaps it is, but only a really small scale. If you want to see large-scale degeneracy, take in Cristina Gallego and Ciro Guerra’s “Birds of Passage,” or “Pájaros de verano” in the original, Spanish title.

What you see here could be called “Godfather 3,” simplistic though that is, because the body count is high (most violence off screen, though) and because the various indigenous clans of Colombia’s Guajira region in that country’s northeast have gone to war with each other, most having fallen under the influence of blood money.

At the same time, there is a struggle between tradition and commerce, between doing things the way they have been done for a thousand years, of falling prey to the competition and evils of modern times. “Birds of Passage,” the title’s referring both to the one-engine planes that carry marijuana from Colombia to the U.S. for a special of fowl that have lived there at least as long as the indigenous people.

Before money makes its entrance, the clan is living according to tradition. Under the guidance of Ursúla (Carmiña Martinez), a strong leader and matriarch, her daughter Zaida (Natalia Reyes) is declared “a woman,” as would a debutante in our own society.

As the group dance, Raphayet (José Acosta), following a long-standing mating ritual, proposes, but the dowry demanded by the girl’s uncle Peregrino (José Vicente Cotes) is too high for the newly engaged man. Ironically, the old tradition of the dowry is to cause the conflicts which will destroy the indigenous society.

The action of the movie takes place from 1960 to 1980. A clash of civilizations occurs when Raphayet and Moíses (Jhon Narvaez) run into young Peace Corps workers who are not the idealistic youths you’d expect. Their goal is to buy marijuana from the locals and have it flown back to the States, not the way our President believes that drugs are being imported by land. With the jungle-based plantation run by Aníbal (Juan Martinez), Raphayet becomes a businessman, trading in his traditional hut for some lavish digs, thereby uprooting everything the clan had stood for over the centuries. When the pilots of the one-engine planes are discovered hiding weed, thereby indicating that they are buying from other clans against their agreement, the killings begin, families fighting families like the violence prone mafia in the “Godfather” series.

One cast member performs as a Greek chorus, reciting poetry and singing hymns both announcing and foreshadowing the gunplay to follow. Tradition simply cannot compete with the love of money, which is the root of this evil, in a movie that’s surprisingly slow-moving for most of the way but exploding in mayhem during the concluding scenes. This is an epic tale involving communities that most of us rarely see on the screen or in real life, an involving story that takes us step by step toward the breaking up of a rich culture.

 

How to Train Your Dragon : The Hidden World Full Movie

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Based on a book series of the same name by Cressida Cowell, the “How to Train Your Dragon” trilogy is coming to an end with a heart-melting movie you shouldn’t miss.

Director and writer Dean DeBlois has crafted movie magic once more that is certain to bring you to tears if you’re as invested in the love between Hiccup and Toothless as we are. Actors Jay Baruchel, America Ferrera, Gerard Butler, and Cate Blanchett return for this perfect endcap to the trilogy.

“How to Train Your Dragon” is one of the best family-friendly movie trilogies to grace our screens in a long, long time. Nearly 10 years ago, “How to Train Your Dragon” made its debut to critical and commercial success. In the years since, its been cemented in the canon of incredible animated features you shouldn’t miss.

While watching “The Hidden World,” the immense growth of the characters crystallizes with each passing scene. Hiccup particularly shines as a now-21-year-old man and Chief of Berk. His relationship to both Astrid and Toothless has adapted too, and the script smartly explores what adulthood means for both of those bonds.

Toothless and Hiccup’s endearing friendship has morphed into hybrid of a father-son or brother-brother dynamic that is both sweet, at times funny, but most importantly it is an incredible display of love and affection.

“The Hidden World” has a touch more action, the same doofy sense of humor, and soaring score from John Howell and Sigur Rós frontman Jónsi that will make your heart sing.Though the first movie remains the best in terms of tight, nonstop engaging storytelling, the final set of scenes in “The Hidden World” are an incredible culmination of emotional payoff. Don’t expect many dry eyes in your theater. Bring the tissues, and prepare to feel your heart grow about three times in size.

The heart and message at its mythological core boils down to the importance of love and friendship and searching for the compassionate solution in the face of hatred and bigotry.

The reason why the first movie remains the strongest of the bunch comes down to the conception and execution of villains — namely, that there aren’t really any. Instead the conflict comes from Hiccup’s own father and the clashing of traditional violence with innovation and peace.

But the second and third movies attempt to contend with outside threats which never feel particularly, well, threatening. While Grimmel is a better-developed villain than Drago Bludvist (from the second movie), he still doesn’t quite strike the right chord of terror.

Then there is the recasting of T.J. Miller’s role, Tuffnut, with comedian Justin Rupple. While Rupple does a solid recreation of Tuffnut’s voice from the first two films, the character is strangely given more screen time than ever which made the switch become more noticeable. This could lead to a bit of distraction, though it’s possible many fans will simply not notice.

But the downsides to this movie are far and few between.

So many themes contained within the “How To Train Your Dragon” trilogy deserve recognition. The message of celebrating our differences, and how embracing change makes our communities stronger. The treatment of someone with a prosthetic leg as a hero whose physical abilities are not the most important factor in their lives. The upholding of sensitivity, problem-solving, and respect as the defining traits of what makes a good man, and more importantly, a good leader. The ethos that love and friendship will outlast hatred every time.

“There is no greater gift than love,” one character says in the movie. Well, a fantastic trilogy of movies we can return to again and again, through all walks of life, is a close second in our eyes.How To Train Your Dragon is one of the best animated film series of this generation, and we are so excited to see what’s next for Hiccup and company in the upcoming installment, titled The Hidden World. We are offering our readers in Orlando a chance to see the film early and for free at a special advance screening. Watch the trailer for How To Train Your Dragon: The Hidden World below and learn how you can redeem advance screening passes.

From DreamWorks Animation comes a surprising tale about growing up, finding the courage to face the unknown … and how nothing can ever train you to let go. What began as an unlikely friendship between an adolescent Viking and a fearsome Night Fury dragon has become an epic adventure spanning their lives. Welcome to the most astonishing chapter of one of the most beloved animated franchises in film history: How to Train Your Dragon: The Hidden World.

Now chief and ruler of Berk alongside Astrid, Hiccup has created a gloriously chaotic dragon utopia. When the sudden appearance of a female Light Fury coincides with the darkest threat their village has ever faced, Hiccup and Toothless must leave the only home they’ve known and journey to a hidden world thought only to exist in myth. As their true destines are revealed, dragon and rider will fight together—to the very ends of the Earth—to protect everything they’ve grown to treasure.

For How to Train Your Dragon: The Hidden World, series director Dean DeBlois returns alongside the all-star cast. The film is produced by Brad Lewis (Ratatouille, ANTZ) and Bonnie Arnold (Toy Story, How to Train Your Dragon, How to Train Your Dragon 2).

It’s been nine years since DreamWorks Animation’s epic adaptation of Cressida Cowell’s book series How to Train Your Dragon set new standards of excellence in terms of storytelling, complexity of characters and masterful cinematic CG animation. This month, the third and final chapter of the trilogy about the adventures of a likeable young Viking named Hiccup and his majestic black dragon Toothless reaches its inevitable conclusion.

Directed and written by the brilliant Dean DeBlois, who masterminded the trilogy from the beginning, How to Train Dragon: The Hidden World is the culmination of a decade of exquisite craftsmanship and the technical marvels created by the team at DreamWorks Animation. Not surprisingly, the film sparkles with numerous instances of sheer magic, and it manages to deliver a conclusion that is satisfying, believable and dazzlingly powerful.