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Want to help the environment? Eat less meat and reduce your heat. That's the message being sent home in a new video released by Arnold Schwarzenegger and his longtime friend and collaborator James Cameron. Together, they have created such iconic classics as The Terminator and True Lies. Now, they are joining forces for something far more important than surviving the summer heat in an air conditioned movie theater. They are attempting to help save the world in a unique way. And it is all part of WildAid's '5 To Do Today' climate action campaign.
The Chinese Nutrition Society and WildAid have teamed up to help reduce meat consumption in China, which is expected to rise by an astounding 50% by the year 2030. And this can only be curbed if people begin acting now. The campaign now has the support of Hollywood icons and climate activist, including Mr. Cameron and Mr. Schwarzenegger, »
Terminator actor and director fronting a new campaign to try and curb animal product consumption, endorsing initiatives in China to reduce meat eating by 50%
More than two decades since the first, gut-crunching Terminator movie, James Cameron and Arnold Schwarzenegger have collaborated again on a campaign encouraging people to cut down on the amount of meat they eat.
Spearheaded by WildAid, the drive has American and Chinese audiences in its crosshairs, and endorses efforts by the latter government to reduce the population’s meat consumption by 50%.
Continue reading »
- Catherine Shoard
Cohen is directing from a script he co-wrote with Scott Windhauser, Jeff Dixon, Anthony Fingleton, and Carlos Davis. The movie follows a team of tech hackers embarking on a $600 million robbery from a coastal U.S. Mint facility the same time a disastrous Category 5 storm is set to strike.
Kebbel plays a meteorologist left in the deserted beach town along with a treasury agent (Grace) and his brother, an ex-Marine played by Kwanten. Ineson heads the team of thieves trying to accomplish the heist of the century.
Producers are Damiano Tucci, Danny Roth, Karen Baldwin, Howard Baldwin, Michael Tadross Jr. and Rob Cohen. Bill Immerman, Mark Damon, Tamara Birkemoe, Christopher Conover and Allie Greenleaf Maldonado are executive producing.
- Dave McNary
When cinema-goers queued up to see Aliens in 1986, seven years had already passed since its predecessor, Alien. While a follow-up to the 79 hit had been discussed at Fox for years, it took James Cameron to finally bring it to fruition - and it’s fair to say that he created something far more than a typical sequel of the era.
Where franchises like Halloween, Friday The 13th and A Nightmare On Elm Street largely followed the template established by the first film, Cameron attempted something vastly more ambitious: a continuation and expansion of Ridley Scott’s classic, a second chapter in its resourceful heroine Ripley’s story - one where she’s transformed from traumatised survivor to avenging warrior.
Much has been written about the brilliance of Aliens, »
Great actors get tons of accolades in Hollywood, the Walk of Fame,
Emmys, People Choice Awards, etc. But, the barometer that they use to determine their validity comes from somewhere a little different.
If an actor gets a statue at Madame Tussauds Wax Museum, it’s safe to say that they have finally arrived and are really and truly famous. In the same vein, a movie doesn’t become iconic until a branded slot game, based on its plot, is created. Interested in learning more? This article reviews and recommends some of the best-branded slots based on
movies that you can find at instacasino.com/, and other similar sites.
Virtually everyone has heard of Jurassic Park, especially since a new series in the franchise was recently released. In this case, we are talking about the Steven Spielberg-directed Blockbuster film from the early nineties.
In this video slot »
- The Hollywood News
Personally, I’m amazed that Kevin Hart and Dwayne Johnson have time to sneeze, yet alone fit in a movie together, such is the prolific workrate of the pair of them. Two of the most industrious actors in Hollywood have thus now come together for an R-rated comedy from Dodgeball and We’re The Millers director Rawson Marshall Thurber. They;re popping off to remake Jumanji next.
The conceit of this one though owes just a little to the Arnold Schwarzenegger comedies of the late 80s and 90s, in that it’s Johnson who’s playing against type. We first meet his and Hart’s character in their high school days, with Hart the popular, loved by everybody Calvin Joyner, and Johnson the overweight, bullied kid. Fast forward 20 years, and Calvin »
This summer’s latest action comedy, Warner Bros’ “Central Intelligence,” pairs Dwayne Johnson and Kevin Hart as former high school classmates who reunite for a top-secret CIA mission. While some critics acknowledge the fun, buddy-comedy aspect of the film, most agreed that the chemistry between the two leads couldn’t make up for lackluster writing and plot.
Moira Macdonald of The Seattle Times was not impressed with the movie’s execution, and writes, “Sometimes, matches seemingly made in heaven end up somewhere closer to hell. Whoever thought up the idea of pairing Dwayne Johnson and Kevin Hart for a crime/caper/comedy was right on the money: The blend of Johnson’s laid-back hero-dudeness and Hart’s whippet-fast comic timing should have been good fun. But somebody, alas, had an idea, though not a good one: Make Johnson the comedian and Hart the straight man. The result is kind of like having ice cream for dinner and steak for dessert — it seems like it might work, but it doesn’t.”
IndieWire’s David Ehrlich was equally unimpressed: “With a tepid studio offering like this, in which themes include such bold ideas as “bullies are bad,” “guns are fun,” and “all those haters from high school would worship you if you weren’t so fat,” there’s no hope that Johnson might dive off the deep end and create something special.”
Jon Frosch of The Hollywood Reporter was a bit more optimistic, writing, “It capitalizes on the chemistry between Hart and Johnson, who convey what seems like genuine delight in each other’s company – something that gives this bromantic diversion a giddy kick.” He adds, however, that “The bar for studio comedies has sunk so low that when one comes along and doesn’t bludgeon you with its ineptness, there’s a temptation to lavish praise on it.”
Variety’s Owen Gleiberman agrees: “It delivers – on some basic, giddy, turn-off-your-frontal-lobes level. It’s an action-comedy utensil, like ‘Rush Hour’ crossed with an old Arnold Schwarzenegger shoot-’em-up, with a few goofy added sprinkles of ‘Romy and Michele’s High School Reunion.'”
Read More: Kevin Hart, Lionsgate Enter Multi-Faceted Agreement to Launch of New VOD Service, Mobile Game, More
While many reviews praised the leads while critiquing the film as a whole, Neil Pond of Parade Magazine loved it all. He argues that “If comedy is art, ‘Central Intelligence’ wants to make sure the canvas is well covered—it’s got a big, tall brush, a short, little brush and some very funny painters.”
“Central Intelligence” hits theaters June 17.
Related storiesFilm Guide: What Movie Should I Watch This Weekend? (June 17, 2016)'Central Intelligence' Review: Dwayne Johnson Wrestles Some Big Laughs From A Weak Buddy Comedy'Ballers' Season 2 Trailer: Dwayne Johnson Goes To War Against Andy Garcia »
- Kate Halliwell
The words “action comedy” go together not just because the movies they describe combine action and comedy. They go together because, in a machine-tooled lark like “Central Intelligence,” each one becomes the other. The dialogue, as quick and aggressive as a punch to the face, really is a form of action; the gun battles, car crashes, and hurtling bodies are staged with a more-mayhem-the-better lightness that turns violence into something to giggle at, as if it were all transpiring in a Road Runner cartoon. At least, that’s the idea.
In “Central Intelligence,” when Calvin Joyner (Kevin Hart), a mild-mannered accountant coerced into becoming the partner of a rogue CIA agent, jabbers on, for the opening act or two, about how he wants nothing at all to do with this scheme (“I’m not in!” he keeps wailing; he just wants out), Hart lets his voice creep up into high Eddie Murphy dudgeon, and the words tumble out so fast that it almost stops mattering what he’s saying. It’s the comedy of controlled hysteria — the verbal equivalent of madly flailing fists. And when Dwayne Johnson, as the agent in question, gets out of a jam by slamming some guy’s head with an office refrigerator door, setting off water sprinklers and a smoke bomb, and pushing a mail cart (that contains Kevin Hart) through the plate-glass window of what must be the 20th floor, it’s all just a joke: slapstick with extra pain. Of course, the downside of the action-comedy recipe is that it risks having almost no consequence. The danger of the form is that action and comedy, instead of adding something to one another, just cancel each other out.
That’s sort of what happens in “Central Intelligence,” though you couldn’t accuse the movie of not hurtling along. It delivers — on some basic, giddy, turn-off-your-frontal-lobes level. It’s an action-comedy utensil, like “Rush Hour” crossed with an old Arnold Schwarzenegger shoot-’em-up, with a few goofy added sprinkles of “Romy and Michele’s High School Reunion.” It’s the sort of movie that, in its highly formulaic way, reveals a lot about what audiences are seeking today. A scabrous buddy comedy like “The Nice Guys” appeared to have a lot going for it, but it didn’t have the right action-to-comedy ratio (there wasn’t a spatter of gunfire every eight minutes), and the characters were a tad too quirky for the genre. “Central Intelligence” goes back to basics: Kevin Hart, as talented a funnyman as he is, squawks and rails and goes scaredy-cat on cue, while Dwayne Johnson, as the undercover agent, plays a pumped-up friendly giant who’s too sensitive for his own good. The joke of both characters is right on the surface, and it stays there for an hour and 45 minutes. The movie, in other words, serves up just enough of the standard microwaved meat and potatoes of action comedy to have the potential to be a medium-size hit.
The opening flashback strikes the film’s only note of over-the-top nuttiness: In a high school gym in 1996, we see Johnson’s Robbie Weirdicht as the blobby loser he was — a dork who looks like Rob Schneider in a fat suit, and who gets humiliated by being tossed, naked, into the middle of a year-end pep rally. Calvin, the class superstar, is the only one who doesn’t laugh at him, and twenty years later, Robbie — now under the pseudonym Bob Stone — contacts him on Facebook and arranges a reunion. As Calvin discovers, Bob, after twenty years of six-hour-a-day workouts, now looks like Dwayne Johnson, but he’s the same girly-man inside (sort of). He prizes hugs and unicorns, his favorite movie is “Sixteen Candles,” and whenever the subject of high school comes up, he looks like he wants to crawl under a desk. But, of course, he’s also a tattooed bruiser who will kick the butt of anyone he has to, especially bullies. Johnson draws, as much as he ever has, on his ironic courtliness — the side of him that doesn’t just look like Barack Obama on hulk serum but talks like Obama, with the articulate civility that has made Johnson into a gently disarming screen star. Bob gets tough when he needs to, but he’s always much sweeter than we expect, and in “Central Intelligence” that’s Johnson’s version of the Schwarzenegger shuffle.
Hart is a good match for him, but he doesn’t get enough good lines. After a fight, when he says to Bob, “You were like Jason Bourne, man — but with jorts!” the moment has a snap to it. But though his delivery is ace, hardly any of Hart’s dialogue surprises you; it’s mostly rote fear and ranting. There’s a halfway funny scene in which Bob pretends to be a couples therapist who keeps slapping Calvin, and Jason Bateman, in an unbilled cameo as Bob’s old high-school tormentor, has a stylish nastiness that momentarily steals the movie out from under the two stars. It’s enough to make you wish that “Central Intelligence” didn’t turn into a kind of straight-up thriller, mostly out of laziness. It’s easier to do variations on the same old cloak-and-dagger crapola than it is to elevate horn-locking irritability into true banter.
Bob is out to nail the Black Badger, a mystery agent who, it seems, has murdered his partner and plans to sell U.S. satellite encryption codes to the highest bidder. But Bob’s boss, played with brusquely appealing heartlessness by Amy Ryan, thinks that Bob is the Black Badger, and the way this plays out is just competent enough on a spy-game level to make you momentarily forget that you didn’t buy a ticket to “Central Intelligence” to watch a third-rate Bourne film in jorts. You bought that ticket to laugh. You will not do it quite enough.
- Owen Gleiberman
From the ashes of Arnold Schwarzenegger rose a man known as The Rock.
Continue reading on Film School Rejects »
- Danny Bowes
Did you know Donald Trump's successor on The Celebrity Apprentice was once one of the biggest box-office draws in the world? Trippy, right? Arnold Alois Schwarzenegger became famous for his unique style and his fluctuating dialect, but he was picked for stardom for another reason entirely: he was a rippling, bulging slab of primeval, otherworldly manhood. The man was a titan, casting a shadow as wide as it was high. His fresh, smiling face and booming Austrian lungs were the perfect extras, but Arnold was thrust into the limelight because of his physique.
It was his earliest, formative years in which we saw Arnold's greatest flexes, when he relied on his jaw-dropping size for impact. In 1990 he would dominate both science-fiction and family genres, but it was in the years preceding this that his chest was most greased, skin most tanned and muscles most inflated. So let's think back, relive the carnage, and appreciate the 'King of Kings' in all his glittering majesty.
Hercules In New York (1970)
Seven long years before he starred in a breakout bodybuilding documentary, Arnie's 22-inch arms were breaking onto small screens in Hercules In New York. In Schwarzenegger's first real acting role, his unease is palpable. His thick Austrian accent (dubbed over in the film's original release) hasn't a spot of charisma and his performance is comparable to that of a re-animated corpse.
Schwarzenegger is Hercules, a demi-god sent to Earth. On his trip, he does all the things an everyday tourist does in the Big Apple: finds love, begins a career, flees pursuers in a chariot and chokes out a (man in a) bear (suit). He also finds time to fight off group of six men, using only a ridiculously long plank of wood, and best an Olympic-quality team of athletes at various track and field events. The film may have had a budget tighter than Arnold's shirt, but there is scant excuse for the lack of dimension or invention.
We are treated to Arnold's first show of size when his date shows him a poster for an upcoming Hercules picture. Our travelling deity is offended, claiming the actor looks nothing like him. Doing what any rational demigod would do, he strips off his cream turtleneck, revealing his chiselled torso. His audience-of-one loses her mind as he begins posing, before she realises what an insanely ludicrous thing has occurred. It's only the hindsight novelty factor that keeps Hercules In New York relevant.
Pumping Iron (1977)
The most alpha of males, Arnold sashays through the documentary. Whilst some of his fellow competitors look like circus strongmen, Arnold is a walking sculpture, the perfect blend of symmetry and balance. Even starring alongside a real-life superhero, the Incredible Hulk Lou Ferrigno, he looks ginormous. The gap between his front teeth is the only chink in his man-made armour, but somehow he even turns that to his advantage.
The moment in which Schwarzenegger pops the loudest is in a moment of silence. As the documentary takes focus on the reigning champion, we are given a look behind the camera. A photo-shoot sets Arnold alight, as he poses and flexes in complete tranquillity. The only noise we are offered is that of the shutter, focusing our attention to the spectacle before us. In a film where some scenes feel uncomfortable to observe, at one point Arnold refers to Jesus as an inspiration for his legacy, this quiet moment of appreciation is a refreshing pause.
Conan The Barbarian (1982)
Refreshing pauses were seldom offered to us in the following years. Conan's story begins as 'a tale of sorrow', before the barely-dressed warrior embarks on a tale of revenge and retribution. Schwarzenegger's seductive ex-slave possesses superior sword skills, spinning, slashing and slaying a plethora of barbaric nasties.
At the film's most glorious, Conan and his collaborator take a stand against the villainous cavalry. With axe in hand and horns on head, Conan cleaves and slices. Though his weapon looks to be made out of foam and the enemies put up less effort than a pre-relegation Aston Villa, we are treated to a whirlwind of visual and verbal masculine aggression. What's more, we are given one of Arnold's earliest one-liners. In his first prayer, Conan asks his god to "grant me revenge, and if you do not listen, then to hell with you!" It's much better heard than read. This classic scene contained all the components that made his next breakout, muscle-bound feature such an enduring success.
The Terminator (1984)
It only took until 2029 for Arnold to hit the big time. James Cameron's "blazing, cinematic comic-book" (Variety's words) was the perfect vehicle for an emerging Schwarzenegger, as his role would rely on his frame rather than his command of the English language. The Terminator's unmoving grimace removes the need to portray emotion or reaction, but it is a skill few could pull off with such menace. Schwarzenegger is perfect casting: when he loses his eyebrows, he cuts the figure of a stone-cold killing machine.
The opening moments in the present day focus on a trash collector. Electric bolts awaken the workman from his boredom-induced coma, fizzing and zapping around him. They rally to a crescendo of light, producing a figure curled up in a foetal position. This figure is the T-800, a stark-naked Arnold; we see his arse before his face. He rises like the phoenix, striding into the light without a flicker of disorientation or embarrassment. We are slapped with a shady silhouette of his flapping member as he approaches a gang of ruffians, led by a young Bill Paxton, before he utters the now immortal phrase: "Your clothes: give them to me."
The T-800 swats one lackie away, before his jacked right arm lifts another overhead. This loiterer comes down without his heart, Cameron's camera hovering on Arnold's deep red, clutching hand. The T-800 is an instant threat, legitimately scary throughout, but it is in this brutal opening that he feels most deadly. It's not just Orwell who made 1984 special...
After playing a travelling god, a rugged caveman and a killer robot, Arnold was refreshed as a loving and devoted father. As John Martix, Schwarzenegger is a family man and a killing machine. These would come to represent the two sides of Schwarzenegger's coin: his films often worked best when the two went hand-in-hand. On screen he would mow down enemies with bullets and grenades, and later help his fictional daughter with her algebra homework. What a sweetheart.
And yet, in a film where hundreds of henchmen bite the dust, it is in his role as 'dedicated father' where he is the most impressive. Matrix had left his commando days behind, now taking care of his daughter, living a reclusive existence. Almost immediately, Schwarzenegger ripples; close-ups of his veined arms and chest are all too close, but remind the audience that Stallone is a boy scout in comparison. Arnold saunters toward the camera, carrying a huge tree on his shoulder like it’s a week's laundry. Schwarzenegger doesn't finish there. Not only does he handle the log like it's a twirling baton, he finishes the testosterone fest by turning it into kindling. A guy's got to keep that fire burning.
While Commando would eventually snowball into a cult classic, Schwarzenegger's following feature would prove the key to stardom. Even before Schwarzenegger stepped foot in the jungle, he met a fellow goliath. As Arnold's pumped-up mercenary Dutch is being briefed on his mission, a lone figure, sitting at a distant table, interjects. That figure is Apollo Cre… Carl Weathers; a man whose size and wit will match Schwarzenegger's all the way.
"Dillon!" Dutch gasps with childlike glee, before grounding his joy with the deprecating: "You son of a bitch." As Dutch and Dillon stride toward one another, their formidable forearms recoil before colliding into the most powerful handshake in cinematic history. The camera shifts focus from their gleaming smirks to the strained embrace. One second turns into five, the embrace morphing into competition, each man fighting in this mid-air arm wrestle. Five seconds turns to ten - the tension grows thick as Arnold toys with his rival. This contest lasts a full twenty seconds - twenty long, facial-hair-inducing seconds.
We may never recover from a scene that powerful.
The film soon hurtles into contact with the titular chameleon with barely chance to catch its breath. This lazer-toting, extra-terrestrial assassin is Arnold's ultimate nemesis, even down to the maniacal cackle. But, not even a foe this deadly could create a scene with the power of that handshake. Even in the film that popularised the full body mud-pack, the ass-kicking action and tension-mounting drama relies on the introduction Weathers and Schwarzenegger offer.
This theme would follow our Austrian actor. His greatest muscle-bound moments would come early, as an introduction, setting the tone and character in motion. As his career developed, Arnold proved he was much more than just unisex eye-candy, developing his aesthetic allure into real Hollywood charisma. Arnold would come to blossom in attracting a younger market, mixing action roles in Terminator 2 and Total Recall with Kindergarten Cop and Junior. Not only did Kindergarten Cop have no right to be as good as it is, but Arnold had no right to be so enjoyable to watch. His size became a point of contrast rather than one of awe, towering over others without menace but humour. He became his own character, a phenomenon for a reason beyond his look. He became the epitome of the American Dream, persevering and succeeding more than anyone thought he could. The ex-army tank driver would go on to ask in Junior, "Does my body disgust you?" and later become the Governor of California.
We've had some shallow fun, picking through Arnold's early years for his most outrageous muscle flexes. But it's worth remembering that Schwarzenegger's story is one of success through a lot of hard work and perseverence.
I'm just going to leave this here in case you feel motivated; I know I do...
For any movie-maker who wants to keep their audiences on the edge of their seats, there are few better genres that the competition movie. These frequently cast underdogs against unsurmountable odds as they aim to win a prestigious tournament, and the genre has had a surprising range of applications in the realms of sci-fi, casino culture and even dog shows! One of the biggest competition movie franchises of recent years is undoubtedly the Hunger Games series. Casting Jennifer Lawrence as a young rebel taking on the system in a series of violent televised games certainly lifted a great deal of inspiration from forerunners such as the Japanese movie Battle Royale and even Arnold Schwarzenegger’s The Running Man, but that didn’t stop the Hunger Games creating some serious box office revenues. Away from science fiction, we find many casino games have also performed well in the competition movie genre with the likes of Rounders and 21 successfully updated the template set by »
- email@example.com (Vic Barry)
The Director's Guild of Canada have confirmed that Shane Black's upcoming refresh of the "Predator" franchise is set to begin shooting late September in Vancouver and will run through until the end of the year.
At this time no cast has been officially announced, though Arnold Schwarzenegger has been rumored to return as Dutch from the 1987 original. Rapper 50 Cent has previously suggested he's also a part of the production.
"The Predator" is currently slated for a February 2018 release, and has been confirmed to take place in modern day with a character named Quinn MacKenna being the main role.
Source: Dgc »
- Garth Franklin
Director Shane Black's upcoming sequel Predator 4 will be titled Predator. It begins shooting this September in Vancouver. And the massive production will last through December. This news comes courtesy of the Director's Guild of Canada. At this time, no cast has been officially announced. Arnold Schwarzenegger has been rumored to return as Dutch from the 1987 original, and rapper 50 Cent has said he's part of the team, but that has never been confirmed by 20th Century Fox.
The DGA has The Predator listed to start shooting on September 26. At this time, it isn't known if the entirety of the movie will be done in Vancouver, or if there are location shoots planned after December. It also isn't known how much of the movie will be shot in studio as opposed to out in the jungle. In fact, a setting hasn't been disclosed, with the previous reboot Predators taking place in the forest. It's not clear if this next entry in the saga will follow suit.
The Predator was supposed to arrive in March 2018, but last month 20th Century Fox moved the sequel into February. The story is confirmed to take place in modern day, and will not revisit the 80s as some have speculated. While it has been acknowledged that Arnold Schwarzenegger has taken meetings for The Predator, Shane Black refuses to further comment on his involvement. But it is believed that we'll get reintroduced to Dutch thirty years after he first tangled with the alien killing machine who hunts humans for sport. Dutch will not be the main hero, though, as Black has revealed the lead character is named Quinn MacKenna.
As of now, Schwarzenegger is listed as 'still in talks', though he has not officially committed to the movie in any capacity. It isn't known if the hesitation to return stems from his involvement in Terminator Genisys, which was a box office flop. There were 2 more Terminator reboot sequels planned with Arnie in the lead, but they were put on indefinite hold. The action icon is currently gearing up to shoot two other long-awaited sequels to some of his best known movies, including the follow-up to Twins titled Triplets, which reunites him with Danny DeVito and brings in Eddie Murphy as a third sibling. And The Legend of Conan.
Though Shane Black is also signed to direct Dwayne Johnson in a reboot adaptation of Doc Savage, the Iron Man 3 director has confirmed that The Predator is his next project. The filmmaker has a unique history with the Predator franchise. While working as a screenwriter in the 80s, behind such hits as the Lethal Weapon franchise, he was asked to help with the Predator script. While he turned that side of the production down, he did decided to take on a role as a member of Dutch's team, playing the character known as Hawkins.
The Predator will arrive in theaters on February 9, 2018. Shane Black's latest movie The Nice Guys is currently playing in theaters across the country. Thus far, an official Predator teaser poster has been released by 20th Century Fox. We suspect that we'll be getting official casting information soon as the shoot is just around the corner. »
Bill Clinton, Billy Crystal, Will Smith and a host of mourners gathered Friday in Louisville, Ky., to remember boxing legend Muhammad Ali. The three-time world heavyweight champion was honored in a public memorial service in his hometown.
Ali died on June 3 at the age of 74 in Phoenix, Ariz. Former President Clinton, Crystal and anchor Bryant Gumbel were chosen to deliver eulogies at the funeral, with Smith and Lennox Lewis serving as pallbearers. Other notable attendees including fellow boxing champions Evander Holyfield, Sugar Ray Leonard and George Foreman, former NBA star Kareem Abdul-Jabbar, Arnold Schwarzenegger, Louisville mayor Greg Fischer and many more.
The service began with a reading from the Quran in recognition of Ali’s Muslim faith, followed by speeches from religious speakers of many different beliefs, inkeeping with Ali’s desire for an interfaith service.
The public service at the KFC Yum! Center was the last leg of a three-day memorial plan that Ali developed himself. The plans included a city festival Wednesday and a Muslim prayer service Thursday.
Clinton described Ali as a “universal soldier for our common humanity” when he took the podium.
“I think he decided very young to write his own life story,” Clinton said. “In the end … I will always think of Muhammad as a truly free man of faith.”
The former president said the first part of the athlete’s life was dominated by the triumph of his unique gifts.
“But the second part of his life was more important because he refused to be imprisoned by the disease that kept him hamstrung longer than Nelson Mandela was kept in prison in South Africa,” he said. “In the second half of his life he perfected gifts that we all have. Every single solitary one of us have gifts of mind and heart.”
Billy Crystal brought humor to the somber occasion, cracking joked and delivering an impression of Ali.
“We’re at the halfway point,” Crystal quipped as he opened his remarks, referring to the three-hour service. “I was clean shaven when this started.”
“35 years after he stopped fighting, he is still the champion of the world,” Crystal said before recalling how the legendary boxer refused to fight in Vietnam War (“It was Ali who stood up for us by standing up for himself”) and sharing a story about how Ali never ran at his favorite Country Club once Crystal told him that they didn’t allow Jewish people there.
“[He] taught us that life is best when you build bridges between people and not walls,” Crystal said, bringing the crowd to its feet.
Gumbel, who spoke after Crystal and before Clinton, said Ali “gave us levels of strength and courage we didn’t even know we had.”
- Variety Staff
There are many reasons why the original Predator is an all-timer, but chief among them is its cast of human characters. For most of its first act, the alien hunter remains hidden and we watch as Arnold Schwarzenegger‘s Dutch and his team of soldiers are firmly established as unstoppable, untouchable, and entirely believable killing machines. Only […]
- Jacob Hall
Director Shane Black's latest film, The Nice Guys, may have just hit theaters, but he already has two other big franchises on his plate: Doc Savage, and The Predator. The latter film is obviously a part of the same franchise that spawned two sequels and two Alien Vs. Predator films, but none were as well received as the first one.
With The Predator, Black hopes to bring some credibility back to the dormant franchise. The director has given us little tidbits here and there for months. He's teased Arnold Schwarzenegger's involvement and the overall setting, but has been pretty coy on specifics.
In a recent Q&A podcast interview with Empire, the director gave another bit of insight into the film, all while taking a little stab at the current generation of fans as well as sites like us:
"The hero of the new one, the name I've »
- Joseph Medina
Director Shane Black and longtime producer Joel Silver are continuing the press tour for "The Nice Guys" overseas this week, the pair engaging in a podcast Q&A with Empire where Black dropped surprising new information about his next project - "The Predator".
We know the film will be a continuation of the "Predator" franchise, but also a minor refresh of it at the same time - trying to make it more mass appealing and doing it with much bigger budget. One question has been about the involvement of Arnold Schwarzenegger in the film with rumors he would reprise the role of Dutch from the first movie.
Even if he did return, how extensive that role would be is another key question to be answered. Either way it looks like he won't be the leading character as Black said in the podcast, also taking the time to explain why he's »
- Garth Franklin
While everyone in North America disappointingly slept on “The Nice Guys” (hey folks, if you want Hollywood to keep making R-rated movies, you have to go see some, especially when they’re as good as this), the film is rolling out overseas where hopefully moviegoers will give it a better shake. Crossing the pond to help […]
- Kevin Jagernauth
CBS Studios Intl. and Rtl II have signed a licensing agreement in Germany for “The Late Late Show with James Corden.” The series will air on Rtl II’s new Internet-only linear station, Rtl II You, which launched May 31.
In a first for Rtl II, “The Late Late Show” will be broadcast within 24 hours of the show’s U.S. broadcast and in its original format, without German dubbing.
Since its launch in March 2015, “The Late Late Show with James Corden” has become one of the most-talked about shows on television. A-listers who have appeared on the show include Tom Hanks, Matt Damon, Arnold Schwarzenegger, David Beckham, Julia Roberts, George Clooney and Will Ferrell. The show currently has 120 clips on YouTube with more than 1 million views each, resulting in more than 1 billion overall views and 5 million subscribers for the show’s YouTube channel.
In addition, the show’s Carpool Karaoke segment is U. »
- Leo Barraclough
Production has already concluded on the upcoming “Celebrity Apprentice” Season 8, but no one is sure what the new host’s version of Donald Trump’s famous “You’re fired” will be. Seriously: No one. “We’ve shot multiple endings to ‘The Celebrity Apprentice,'” new NBC Entertainment Alternative and Reality Group president Paul Telegdy told TheWrap on Wednesday. “And I can tell you that Arnold Schwarzenegger, Mark Burnett and I don’t even know which catchphrase is going to be put into the end of the first show yet.” “We may even start a guessing game. We may even run »
- Tony Maglio
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