Date of birth
15th April, 1983
1st January, 1970
Alice Braga (born Alice Braga Moraes, 15.04.1983)
Alice Braga is a Brazilian actress.
Childhood: Alice Braga was born in Sao Paulo, Brazil. Her mother is actress Ana Braga. She was raised a Catholic and was introduced to acting as a child by her mother and aunt. Her first acting experiences were in school plays and commercials.
Acting career: Alice Braga made her acting debut in a Portuguese short film called 'Trampolim' in 1998. In 2002, she appeared in 'City of God' with Alexandre Rodrigues and was nominated for a Cinema Brazil Grand Prize. In 2005, she won a series of awards for her role in 'Lower City' and in 2006 appeared in 'Only God Knows'. Her first English film was 2006's 'Journey to the End of Night' opposite Brendan Fraser and Mos Def. In 2007, she appeared in 'I Am Legend' with Will Smith and also 'Crossing Over' with Harrison Ford, Ray Liotta and Ashley Judd. The following year she was in David Mamet's 'Redbelt' alongside Chiwetel Ejiofor, Tim Allen and Emily Mortimer. In 2010, she had a role in the sci-fi flick 'Repo Men' with Jude Law and Forest Whitaker, as well as the Robert Rodriguez produced 'Predators' with Adrien Brody. In 2012, she starred alongside Sam Riley, Garrett Hedlund and Kristen Stewart in the movie adaptation of 'On The Road'.
The ‘X-Men’ franchise takes a horror turn as a new generation of mutants discover their powers. ‘The New Mutants’ is directed by Josh Boone and hits theatres next spring.
In a secret facility five teenage mutants are being held against their will as they must learn to control their dangerous powers and atone for the sins of their past. These young mutants aren’t concerned with saving the world - they’re just trying to save themselves.
Maisie Williams in ‘The New Mutants’
Mackenzie Phillips set out for the family vacation of a lifetime with three of his children, but little did he know that it would be a trip he would remember for years to come, and for all the wrong reasons. One day, during a fishing activity, he is forced to turn his gaze of his young daughter Missy for a brief moment, who subsequently disappears. The Wallowa County police discover her body in an isolated shack in the middle of the woods having been abducted and murdered. After that, Mack spirals into a depression letting his grief seep into every corner of his life and even causing him to lose his faith in God. It's then that he discovers a letter inviting him back to the shack signed by someone called Papa. He believes it's God calling him to find peace, and help him come to terms with Missy's death.
Continue: The Shack Trailer
Alice Braga - The Paley Center For Media's Tribute To African-American Achievements In Television at the Beverly Wilshire Four Seasons Hotel - Arrivals - New York, New York, United States - Wednesday 18th May 2016
A handsome yet enigmatic shaman from the Amazon rainforest named Kai swims down the river on a whim to come across a beautiful young woman named Vania. Since her tobacco farmer father was murdered after refusing to give up his land to an army of mercenaries intent on deforestation and the acquisition of his property, she has been held hostage under their brutal tyranny. Kai is desperate to rescue her and sets out to kill any man who gets in his way; but things aren't easy when there's a lot more in the forest in the way of danger than the tree burners. His determination to protect Vania and her home evolves into a passionate romantic relationship, further fuelling their desire to fight. But with just the two of them, is it a fruitless battle?
Continue: The Burning Trailer
The actor and director Kriv Stenders enjoyed parodying the action genre.
Set to hit theaters this weekend, 'Kill Me Three Times' sees Simon Pegg in yet another violent parody, this time taking on the classic hitman-action drama. Pegg and director Kriv Stenders reveal the paradigms that make the genre so fun to lampoon.
He's mocked the zombie horror, the cop thriller, the sci-fi adventure, the romance drama and the period thriller, but now Pegg has taken on what looks to be one of his most fun roles yet, playing experienced assassin Charlie Wolfe in this complicated tale of betrayal, infidelity and revenge. And it seems Pegg and Stenders were on the same wavelength before filming even started.
Charlie Wolfe (Simon Pegg) is a professional hit man. Living in Australia, he take the odd job here and there, killing people for money. One day, he is asked to find proof that a man's wife is cheating on him and, not knowing that it will change his life forever, he accepts. Wolfe finds the evidence he needs and receives his payment, but then accepts a job from the same client, who now wants him to kill the wife. The catch? She's just run away with the money that the client intends to pay him with. When Wolfe discovers that he's not the only person hunting for the money, things start to get weird, and Wolfe discovers that his job may not be as simple as he first thought.
Continue: Kill Me Three Times - Red Band Trailer
By Rich Cline
As he did with District 9, South African filmmaker Blomkamp grounds this sci-fi thriller in present-day society, telling a story that resonates with a strong political kick. He also again uses effects in a off-handed way that never steals focus from the actors. On the other hand,he fails to build much of an emotional impact, even though the script continually tries to ramp up the personal drama. But the actors are all very watchable, and the film's urgent vibe keeps us gripped.
It's set in 2154 Los Angeles, a sprawling shantytown where people struggle to survive without adequate resources or health care. In orbit above the earth, Elysium is an idyllic refuge for the very wealthy. Protected by the fierce Secretary Rhodes (Foster), Elysium's only threat is illegal immigration from the surface. And that's what factory worker Max (Damon) wants to attempt after severe radiation poisoning. Even having a nurse (Braga) for a friend doesn't help him get proper care: he needs the high tech medicine on Elysium to survive. He turns to black-marketeer Spider (Moura) for help, and Spider fits Max with a devise that gives him physical strength plus technology to steal vital information from an Elysium contractor (Fichtner). So Rhodes unleashes sleeper agent Kruger (Copley) to stop Max.
Yes, the plot is somewhat convoluted, but the chaos makes it feel much more realistic than the more simplistic thrillers we usually see. It also helps that the digital effects feel so seamlessly integrated into the shaky-cam mayhem of the favelas, while even the more grandly photographed Elysium leaves the effects in the background. This allows Blomkamp to keep the focus on the characters, even if the splintering plot never draws us in emotionally. Braga's plotline is clearly designed to tug at the heart-strings, but her tentative romance with Max never goes anywhere. Max's friendship with Julio (Luna) is much more interesting.
Continue reading: Elysium Review
It's the year 2154 and Max Da Costa is living in the densely populated, crime and war ravaged wasteland that is the planet Earth. Meanwhile, the rich and the privileged live on an orbital settlement in space called Elysium which boasts perfect landscapes, no poverty and medical advancements that can eliminate illnesses such as cancer in half a second. Despite Earth being a disease-stricken planet with little resources to go around, Secretary Rhodes is vehemently strict with her immigration laws disallowing anyone of a lower class to be allowed into their utopia even in the case of the most serious of illnesses. An ailing Max is determined to survive, however, even if it means embarking on a highly dangerous mission to break into the highly guarded space habitat and retrieve medical resources that could save him and the rest of the suffering population.
Continue: Elysium Trailer
By Rich Cline
Despite the skill behind and in front of the camera, a badly constructed script flattens this film version of Jack Kerouac's iconic 1957 novel. It's beautifully shot and sharply played by the starry ensemble cast, but the repetitive structure leaves the film with no forward momentum. Instead of a voyage of discovery, it feels like a lot of random, pointless wandering.
Thinly autobiographical, the story centres on the young New York writer Sal (Riley). He's drawn to the charismatic Dean (Moriarty), a charming rogue who's married to 16-year-old Marylou (Stewart) but is having an affair with Camille (Dunst) while seducing every other woman he meets. And quite a few men as well, including Sal's friend Carlo (Sturridge). All of them are writers and artists, hanging out in clouds of hash smoke as they drive back and forth across America in search of something to write about.
Of course, Sal finds this in Dean as their friendship ebbs and flows over several years. Since this is essentially Sal's story, it's rather odd that the film abandons him from time to time to follow someone else, leaping jarringly into another situation, often marked by Dean's sudden reappearance after yet another bit of roaming. So while we understand how everyone is held in Dean's magnetic orbit, we can't quite see the point of it all. Sal may be obsessed with his thoughts of Dean, but he seems strangely willing to abandon him time and time again. There isn't nearly enough of the scene-stealing costars like Mortensen, Adams and Buscemi. And frankly, it should be a crime to waste Moss (of Mad Men fame) in such a fragmented role.
Continue reading: On The Road Review
Michael Kovak is a young man who's studying to become a priest, his faith is strong but he's not convinced in demonic possession, instead he believes people who claim to be possessed should be treated for psychosis by a doctor. Still unable to truly believe in what the he's being taught, Kovak attends an exorcism school at the Vatican.
Continue: The Rite Trailer
By Rich Cline
Crash meets Babel in this multi-strand Los Angeles immigration drama. The film is well-made and benefits from a very strong cast, but it's both overly worthy and rather pushy about its perspective.
Immigration cop Max (Ford) clearly has compassion for the illegals he rounds up with partner Hamid (Curtis), a naturalised citizen from Iran. But visa official Cole (Liotta) is exploiting the desperation of a wannabe Aussie actress (Eve), while her British friend (Sturgess) finds a loophole in the law. Meanwhile, Cole's wife (Judd) is an immigration lawyer trying to help a 15-year-old Bangladeshi girl (Bishil) picked up by the FBI on suspicion of terrorism due to a school project. And Yong (Chon) is a Korean teen caught up with an Asian gang.
There are several other storylines, and each touches on a specific aspect of immigration, with a range of ethnicities, visa situations and personal issues, all of which come up against the rigid rule of law. Even harsher are FBI tactics that throw out rights such as privacy, free speech and the presumption of innocence, not to mention simple human decency. But then, their paranoia is echoed by people on the streets and in the classrooms.
In other words, the film is packed with thought-provoking material; it's vitally important simply because filmmaker Kramer is airing such complex issues. The Bangladeshi family is the most involving story, with a lovely, understated performance by Bishil as a girl whose whole life comes undone because she dares to think deeply. This story could have supported the whole film, and sometimes sits at odds with Sturgess' more comical tale, Eve and Liotta's sordid encounters, or Curtis' increasingly disturbing journey.
The entire cast gives offhanded, natural performances that hold our interest. Ford is good as the everyman, brushing against the various plots. Despite the insipid Mark Isham score, there are some seriously powerful emotional scenes along the way, although a couple of strands get lost in the shuffle, disappearing for long stretches and only coming back to fit into the final tidy mosaic. Ultimately, Kramer strains to make it gel together, but we still hear his cry for understanding and compassion in a world filled with bigotry and ignorance.