The Latest in Latino Entertainment News

‘H2: Halloween 2’ reveals Michael Myers!

For those of you who are still interested in H2, Rob Zombie’s follow-up to his execrable remake of Halloween, Comingsoon.net have bagged the first look at one of Michael Myers’ many looks in the upcoming film.

‘One of…?’ We hear you cry. ‘Many looks…?’, we hear others yell. And the answer is, ‘yes!’ Apparently this time Myers (the returning Tyler Mane) will be sporting some different looks throughout the film – including a maskless little number which we hear he pulls off beautifully – as he hunts down his sister, Laurie Strode.

For now, though, today’s first look sees Myers sporting his classic Bill Shatner mask – albeit a more bloodied, torn and burned version than we’re used to, which indicates that a)things aren’t going too well for the slash-happy psycho, and b) he’ll probably ditch that thing at some point.

Rob Zombie has called it a wrap on H2 and is celebrating the occasion by releasing your official first look at Michael Myers in the film. The writer/director stresses this is “one of the many faces Michael 2009.” This comes shortly after fans learned this week that Myers will be shown in various guises (sometimes maskless).

H2 is set for an August 28, 2009 release.

‘Fast & Furious 5’ is a go in Brazil!

Those old parts Universal threw into the Fast & Furious machine churned out new cash and lots of it. Though you might expect the studio to be sitting back and counting their increasingly growing pile of loot, the gears are in motion to ride the franchise into another installment.

Universal confirmed today to E! News that a sequel to Fast & Furious is already in works. That could mean two studio execs shooting the breeze at the urinals or intense boardroom discussions. Either way there’s no doubt Universal wants to extend their winning streak while the going’s good.

The studio was forced into addressing the sequel after Paul Walker proclaimed during an interview this morning to MYfm’s Valentine that he and Vin Diesel are “without question” coming back for more.

Walker even went as far as to throw out a location, “This was supposed to be it (re: Fast & Furious) There wasn’t supposed to be the open-ended closing like there was. When I first read the screenplay, I was like, ‘Man, look what they’re doing.’ But without question, with the way things opened up, Vin and I will be coming back, we’re making a fifth one, and we’re going to Brazil, that’s it.”

With the studio’s bulging economy-defying checking account lets see those streets lined with Brazilian supermodels. There’s an extra $5 million at the box office alone.

The Bronx is getting a film school!

The South Bronx is getting ready to raise the curtain on a first-of-its-kind public high school dedicated to film studies.

The Cinema School is set to open its doors in a new building on the grounds of Monroe High School in September.

The program, which will follow a conservatory-style curriculum, has drawn funding from JPMorgan Chase Foundation and has the support of industryites including Spike Jonze, Catherine Hardwicke, Spike Lee, David O. Russell and Whit Stillman, who have been involved in shaping the program. Gotham Mayor Michael Bloomberg is not surprisingly a big supporter of the school, whose inaugural class will consist of 80 freshman students.

The school was founded by former social worker Joe Hall and indie producer Rachael Horovitz (HBO’s “Grey Gardens,” “About Schmidt”).

“It’s the perfect extension of my day job,” Horovitz said. “It can take years to develop a script, and the filmmakers I’m working with can come in and teach at the school.”

The Cinema School is in part an outgrowth of the nonprofit Ghetto Film School org, a film training program Hall founded in the Bronx in 2000. Hall’s program and students attracted industry attention, including Horovitz, who wanted to see the program expand into an accredited, year-round high school. Evan Shapiro, prexy of the IFC and Sundance Channel cablers, serves as chairman of Ghetto Film School’s board and is also involved in the Cinema School.

Horovitz recruited a deep-pocketed benefactor for the school in JPMorgan Chase Foundation veep Gayle Jennings-O’Byrne, who deals with the bank’s arts and culture portfolio. Jennings-O’Byrne persuaded the Foundation to donate $110,000 to the Ghetto Film School. Of that donation, $35,000 went to fund the planning of the high school, and $75,000 bankrolled the Ghetto Film School’s final project, shot by students on location in Uganda.

Jennings-O’Byrne sees the outlay as the beginning, not the end. “We have plans to donate more,” she said. “We now have a new proposal in from them. We haven’t decisioned it, but we want to stay in the game.”

The Cinema School, in new buildings on the campus of Monroe High, is also part of a push by the New York City schools to open more facilities with special curriculum focusing on specific disciplines. Katherine Oliver, head of the Mayor’s Film Office, noted that the Cinema School would feed one of New York’s growth industries, film and TV production, and would help open doors for students who might otherwise struggle to break into the film biz.

“It gives a lot of inner-city kids a chance,” Oliver said.

The city has helped Hall and Horovitz secure funding for amenities like extra editing equipment that a standard public-school budget doesn’t provide. Horovitz says she wants the school to be able to afford better film screening equipment by the time classes start in September.

“We’re sharing the building with another school, and our goal is to have a stand-alone school — to really be able to have production facilities.”

As for the filmmakers themselves, most won’t be teaching full course loads, but many have donated time and resources to the school simply because they like the idea.

Peter Becker, prexy of cineaste homevid distrib Criterion Collection, is helping the school’s teachers design the curriculum. Becker said they’re wrestling with how to “create a film literacy program that doesn’t feel like homework.”

Hall and Ghetto Film School attracted the attention of helmer Russell, and his support became a gateway to other high-profile supporters.

“David said, ‘Come by and see me when you’re in L.A.,’ ” Hall said. “So we went to L.A. pretending we had other people to see. As we were showing him a short our students had done, he said, ‘I should be on your board.’ “

Stillman said the Cinema School program would go a long way toward ensuring that younger generations have an understanding of filmdom’s history.

“There’s a generation growing up that has never seen a Preston Sturges film,” Stillman said, with alarm in his voice.

Al Pacino to play Napoleon

Al Pacino, who has long been interested in tackling the character of Napoleon, is on tap to play the French emperor in a screen adaptation of Staton Rabin’s children’s book “Betsy and the Emperor.”

GC Corp., the venture capital fund headed by Adi Cohen and Joseph Grinkorn, has picked up rights to the project that had been held by the Bob Yari Co. GC, which will secure financing, has assigned “Betsy” to Killer Films, with plans to begin filming in late autumn.

John Curran (“The Painted Veil”) is attached to direct from a screenplay by Brian Edgar.

Producing are Killer Films’ Christine Vachon and Pamela Koffler as well as Zvi Howard Rosenman, Colleen Camp and Fonda Snyder. Cohen and John Wells will serve as exec produce.

Killer, Curran and Pacino are repped by CAA. Rosenman, Snyder and Rabin are repped by Lynn Pleshette for this project, and Camp is repped by Gersh.

First review of ‘Star Trek’!

Empire Magazine has revelaed the first review of the new Star Trek film being released in the U.S on May 8th. Let us know what you think of the review!

REVIEW
According to recently discovered 23rd-century history, James Tiberius Kirk was literally born of battle — the last fight he ever backed away from was the one he was delivered into. In purely Darwinian terms though, Jeffrey Jacob Abrams was forged by a 21st-century crucible far more unforgiving than a field of photon torpedoes: network television — not HBO, television.

Two movies in to what promises to be a storied career and the 42 year-old director has yet to find any gear but fifth. It’s as if his apprenticeship pacifying the ADD generation has inculcated a native fear of flipping. The heart-stopping second act of Abrams’ underrated M:I-III is a real-time mercy dash that would even leave Bourne breathless. For his latest mission impossible, Abrams sustains this improbable pace for even longer: Star Trek — yes, your dad’s Star Trek — moves like a racehorse that’s just been force-fed dilithium crystals.

Advance word that Abrams’ franchise reboot would witness fulfilment of the near-mythical Starfleet Academy project proves misplaced. The director and his Trekkie-credentialed writers, Roberto Orci and Alex Kurtzman, are so impatient to pitch their neophyte crew into full-blown battle that the Academy years are largely covered by a single title card — “Three Years Later”. Phasers permanently set on stun are not much fun, after all.

From the moment ‘Bones’ McCoy comically smuggles an academically suspended Kirk onto Captain Pike’s U.S.S. Enterprise, Star Trek XI hits warp factor IX and, save for an obligatory sojourn with Spock senior, maintains a velocity that would give Scotty night terrors. This is perhaps NCC-1701’s most radical refit yet — for the first time in the franchise, the Enterprise is a genuine thrill-ride.

Not that the crew are just along for the V-necks. Abrams can do character on the run and the plot deftly deals in decent-sized roles for all of the famous seven. Karl Urban’s gruff McCoy and Zachary Quinto’s piercing Spock stand out, and despite internet rumbling, Chris Pine is also absolutely fine. Of course, as you might expect, the acting mostly requires shouting declarative Trekbabble or wedging witticisms between set-pieces, but both Bruce Greenwood’s stoic Captain Pike and Eric Bana’s wounded Nero forage earthier notes amid the SFX sheen.

That Trek weakness for warping plotlines does bring the usual convolutions, but whenever the Vulcan side of your brain is tempted to pose frequently asked questions about time travel, the breakneck pace drags you forward through the movie’s own brisk running time. On the downside, Abrams is not quite able to apply the brakes in time for the third act, which prematurely climaxes before you have time to drink it in. Kirk has a nice Indy moment and the Enterprise does a good impression of the Millennium Falcon in the Battle Of Yavin, but Spock’s dogfight with a drill is unlikely to enter Starfleet legend — what is pointy ears doing flying anything? — and Bana’s Nero deserved at least one villain’s mulligan.

Those hoping for a battle of wits to equal Kirk and Khan — or for hardcore Trekkers, to rival the Balance Of Terror episode that introduced the Romulans — will be left wanting. This is a Sulu-sized miscalculation. The Enterprise is a handsome ship, as evidenced by the hero shot Abrams gives her in the rings of Saturn (let’s call it the screensaver), but she was built for games of Battleship, not Asteroids.

Indeed, where XI ultimately falls short of the very best Trek, or indeed of all great science-fiction since Jules Verne, is in its want of big ideas. As a MacGuffin the movie boasts red matter — like a massive snooker ball, only deadlier — but it doesn’t find enough time to showcase the grey variety.

Very much like its dynamic young cast, this Trek is physical and emotional, sexy and vital even, but it is not cerebral. The movie is not exactly empty-headed; indeed it has some smarts, but it doesn’t live up to the high-mindedness that was part of Gene Roddenberry’s original mission statement.

Where overarching themes can be discerned, they primarily relate to the nature of friendship and teamwork, which is all very well, but it’s a grunt’s eye view of battle. Even a captain would appreciate the importance of battlefield tactics and how they intersect with military strategy and, ultimately, political vision.

For anyone who has endured the longueurs of both the Star Wars prequels and Matrix sequels, the distinct lack of politicking and speechifying will doubtless come as a blessed relief, but in a time when the United States is engaged in two wars, the failure to even acknowledge the issues arising from space imperialism and the Prime Directive is to flinch from battle. Harsher critics may even deem it a dereliction of duty. Season three of the rebooted Battlestar Galactica turned half its cast into Iraqi-style insurgents — and that was on television.

Ultimately, any boldness one can attach to the going here really belongs to the rescue of the Trek franchise from cultural irrelevance. This is a not insignificant achievement. As Abrams has noted himself, making 45 year-old tricorders desirable for the iPhone generation is a hell of a tough gig. Doing this while simultaneously pandering to the doctorates in Klingon is a task of Herculean, nay Sisyphean, proportions.

But Abrams and his crew pull it off. Save for the typically muddy motives of the modern bad guy — oh, for a truly Evil Empire — there is nothing much to confuse the multiplex masses, while there are plenty of in-jokes and visual details for the forum-dwellers to chew over. More to the point, the film is sassy, young and hip in a way the franchise has not been since the ’60s. It’s neither The Hills in space nor fan fiction with a $150 million budget. Kudos is due.

There will, of course, be some disquiet from the faithful, and not just because Kirk’s birth is yucky and his besting of Kobayashi Maru comes off as cocky. Fans of the TV show will note planet-sized deviations from accepted Trek lore. To excuse their creative licence, writers Orci and Kurtzman have Uhura explain that Nero’s time-travelling misdemeanours has fashioned an “alternate reality”. It’s a nifty enough trick often used on the show, but what will really bamboozle the keepers of the canon is that unlike the many episodes that dabbled in fractured timelines, there’s no smallscreen amnesia to put things back in place for next week. The franchise has been permanently shifted to new rails: this is a world where Kirk doesn’t grow up to look like William Shatner. Trekkies had better get used to it. Welcome to the new ’verse.

The fanbase placated and a brand-new generation blooded, there is undoubtedly even better to come. The characters feel thin right now, not just because of the limited range of the new cast, but because ultimately they are characters playing characters, actors imitating icons. Once the new Enterprise crew are established in their own right and the franchise freed of all that expectation, the characters should start to feel properly human again — or at least, half-human.

Verdict
Odd-number curse be gone. The most exhilarating Trek to date marks a new future for Kirk and co. If this can boldly go on to seek out ideas to match its speed and style, a franchise is reborn.

Antonio Banderas to produce ‘Camera Café’ film

Antonio Banderas will exec produce a U.S. version of “Camera Café,” the hit French short comedy format.

David E. Saltzman will helm the first series of 35×3.5-minute episodes about life in an office as seen from the point of view of a camera hidden in the coffee machine.

Banderas will make a cameo appearance in the pilot as a delivery guy.

Series will start shooting this month to air on web platform MIO.TV. Execs hope to package it for TV for a second run.

“Banderas knows the show from Spain, and we’re very excited to have him as our ambassador,” said Nicolas Coppermann, managing director of Robin & Co., parent company of  Paris-based Calt Distribution, which created “Camera Café.”

MIO.TV, run by Manuel Garcia Duran, former manager at Spain’s Telefonica Media, financed the first 20 episodes and is negotiating with coffee brands for finance for the following episodes

Calt has sold localized versions of “Camera Café,” a pun on the French term camera cachee which means hidden camera, to 55 territories including China.

Sales inked at Mip TV included Lebanon’s MTV and Romania’s MVM.