Howard voiced a rather unpopular opinion, which might spell the end of his collaboration with Marvel
While promoting his new movie, Terrence Howard appeared on Watch What Happens Live and he said some things that may or may not have sounded a tiny bit bitter. According to The Hollywood Reporter, Howards explained that he had initially signed a three picture deal with Marvel to play James Rhodes in the Iron Man series.
Howard only played Rhodey for one film, instead of the initially agreed upon three.
Robert Downey Jr. was responsible for Terrence Howard leaving Iron Man, Howard claimed in a recent televised interview. Howard's previous role as James Rhodes a.k.a. War Machine has been played in the second and third instalments of Iron Man by Don Cheadle.
Terrence Howard explained why he did not appear in the second and third instalments of the Iron Man franchise. Howard played Lieutenant Colonel James 'Rhodey' Rhodes in the 2008 Iron Man film.
Terrence Howard discussed what happened with Iron Man producers on a chat show.
At the time it was reported that he had left the franchise owing to drastic pay cuts of up to fifty percent, on Thursday (15th November) Howard explained what really happened behind the scenes.
Continue reading: Terrence Howard: Robert Downey Jr "Pushed Me Out" Of 'Iron Man'
'Lee Daniels' The Butler' has headed to the top of the US Weekend Box Office following its release on Friday (16th). 'Kick-Ass 2', following an onslaught of negative reviews, has achieved 4th place, whilst 'Jobs' has placed at 7th.
Lee Daniels' The Butler has defeated other newcomers Kick-Ass 2 and Jobs in the US Weekend Box Office. The Butler has headed straight to number one whilst Kick-Ass 2 and Jobs have respectively gained 4th and 7th place.
The Butler has made $25 million in its opening weekend and has gained critical praise. The historical epic is inspired by the true story of Cecil Gaines, a black butler who whilst serving at the White House, saw the offices of eight presidents. His life and family form a touchstone for the audience when addressing such historical events as the Civil Rights Movement and the rise of Black Power in the US.
The controversial biopic is due out this September.
This year will see the release of a full-blown Nelson Mandela biopic, but before that, another film will focus on a crucial character in the Mandela story – Winnie Mandela, the woman, who stood by her husband and became a tireless activist in her own right. The trailer for Winnie Mandela has just been released and, despite some controversy around Jennifer Hudson playing the part of Mandela, the preview seems every bit as grandiose and inspirational as you’d expect.
Stallone makes surprising announcements about the third Expendables romp, and we get more details on films about Princess Diana, Steve Jobs and the White House butler. But the Muppets are the Most Wanted...
The big news this week was that Harrison Ford will join the Expendables for their third film adventure. Sylvester Stallone tweeted the announcement, then went on to mention that Bruce Willis won't be around this time, apparently because he asked for too much money. Stallone was also caught on camera poking fun at Arnold Schwarzenegger's "big ego". Before they re-team for the next Expendables movie, they're costarring in the prison-break thriller Escape Plan. Watch Sly talking about Arnie at Comic Con here.
The next big superhero blockbuster will be Thor: The Dark World, and we got a more detailed look at the film in a new trailer this week. Pretty much everyone is back, including Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Idris Elba and Stellan Skarsgard. The movie looks like a huge-scale action adventure with a sense of humour about it. It opens in October. Watch the trailer for Thor: The Dark World here.
Terrence Howard, Harold Perrineau, Nia Long, Sanaa Lathan, Regina Hall, moMelissa De Sousa, Monica Calhoun and Morris Chestnut - The 2013 BET Awards held at Nokia Theatre - Inside - Los Angeles, California, United States - Sunday 30th June 2013
Sal Paradise is an ambitious young writer trying to find his place in the world. After his father passes away, he decides to seek out new experiences desperate to stay away from the mundaneness of everyday life. In New York, he meets ex-convict Dean Moriarty - an embodiment of the Beat Generation who fascinates him and ends up drawing him into his dangerous world of women, drugs and societal deviance. They hit the road alongside Dean's new, teenage wife Marylou doing anything and everything to ensure that new experiences never end and seek out their own freedom. Along the way they find who they really are, who their friends are and the meaning of being free.
Continue: On The Road Trailer
Terrence Howard and Da Silva - Terrence Howard, Luis Da Silva Jr. and Wade Barrett Thursday 3rd May 2012 on the set of 'Dead Man Down' on Walnut Street. The film tells the story of a crime lord's right-hand man who is seduced by one of his boss's victims, a woman seeking retribution.
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Terrence Howard and Da Silva - Terrence Howard and Luis Da Silva Jr. Wednesday 2nd May 2012 on the set of 'Dead Man Down' on Walnut Street. The film tells the story of a crime lord's right-hand man who is seduced by one of his boss's victims, a woman seeking retribution.
In 1940s New Orleans, Tiana (voiced by Rose) has grown up with a dream to have her own jazz joint. But as a young black woman she has to work two jobs to make ends meet. One day the sinister Facilier (David) turns a visitor, Prince Naveen (Campos), into a frog as part of an elaborate plot to take over the city. But things don't go as expected Tiana reluctantly kisses the frog, and soon they're lost in the bayou with only a trumpet-playing gator (Wooley) and a lovelorn firefly (Cummings) to help them.
Continue reading: The Princess And The Frog Review
This film tells a very familiar tale of a talented fighter discovered by an opportunistic but ultimately good-hearted manager/trainer and shoved into a world of money, greed, and empty glory that he may not be prepared for. But Never Back Down, this is not. The moment Shawn (Channing Tatum) enters the screen, it's obvious he is not wise nor even very intelligent for that matter. He's lean and muscular but he doesn't have it over on anyone, and this is partially how he comes under the wing of Harvey Boarden (Terrence Howard), a street hustler who has connections to the world of private boxing. There's a hint of imperialism in the way the very white Shawn squares-off against four fighters, beginning with a brawny Eastern European type and ending with Evan (Brian J. White), a black, brutal fighter who Shawn's father taught and loved more than his son.
Continue reading: Fighting Review
A standard origin story, Iron Man stays faithful to its comic-book roots while making necessary upgrades that enhance the characters rich history. Favreau and his screenwriters follow shortcuts instituted by the superior Batman Begins and the inferior Spider-Man. The first half establishes our hero outside of his costume. The second half ramps up the action as it confronts a central villain and lays groundwork for potential sequels.
Continue reading: Iron Man Review
Simon Hunt (Gere) has had enough. After years spent covering the atrocities of war with fearless cameraman Duck (Howard) in tow, Hunt lets his wearied emotions get the better of him during a live segment. His meltdown doesn't approach Howard Beale's "mad as hell" level, but it's enough to pull the plug on Hunt's career for the time being.
Continue reading: The Hunting Party Review
The story is oddly familiar. Erica (Jodie Foster) and David (Naveen Andrews) are a young, engaged couple looking forward to their wedding. As the epitome of happiness, the two are a borderline self-parody right off the bat. Of course, the motiveless thugs who brutally beat them are every inch their thematic foils -- hard-drinking, foul-mouthed ingrates who revel in and even videotape the trashing. Three weeks later, Erica awakes in a hospital bed to find out that her fiancée is dead, and she fights her emotional losses by dealing out her own brand of justice. All she is missing is Batman's cape and cool gadgets.
Continue reading: The Brave One Review
There is no better place for this examination than the culturally diverse melting pot of modern-day Los Angeles. In just over 24 hours, Crash brings together people from all walks of life. Two philosophizing black men (Ludacris and Larenz Tate) steal the expensive SUV belonging to the white, L.A. District Attorney (Brendan Fraser), and his high-strung wife (Sandra Bullock). A similar vehicle belonging to a wealthy black television director (Terrence Howard) and his wife (Thandie Newton) is later pulled over by a racist cop (Matt Dillon) and his partner (Ryan Phillippe). Soon, many of these people get mixed up with a Latino locksmith (Michael Peña), a Persian storekeeper (Shaun Toub), and two ethnically diverse, dating police detectives (Don Cheadle and Jennifer Esposito).
Continue reading: Crash (2005) Review
A thinly veiled biopic of 50 Cent's road to gangsta rap success, Get Rich or Die Tryin' is at times a wildly successful portrait of human perseverance and at others a weakly plotted study in cinematic cliché.
Continue reading: Get Rich Or Die Tryin' Review
The story resembles one of those studio pictures of the 1940s and 1950s made famous by the likes of William Holden and Gary Cooper. Willis plays Col. William McNamara, the highest-ranking officer in German prisoner camp Stalag IV during the tail end of the WWII. McNamara retains the dignity of his fellow American soldiers held captive and silently plans to strike back against the enemy under the suspicious eyes of German Col. Werner Visser (Marcel Iures). When a murder occurs in the camp, McNamara sets in motion a plan of attack against his German counterparts by orchestrating a court martial headed by Lt. Tommy Hart (Colin Farrell), an Army desk jockey with a senator for a father who was recently captured in Belgium. As the tensions mount and sides are taken, both friend and foe uncover duplicities within their own ranks, values of lives are weighed against the duties of soldiers, and the question of honor versus freedom plays out to the final whopper of an ending.
Continue reading: Hart's War Review
Sure enough, Big Momma's House is a comic crowd-pleaser that should score well with audiences that refuse to tire of incessant fat jokes, slapstick, and, well, more fat jokes.
Continue reading: Big Momma's House Review
The story is a balls-out revenge tale, opening with the violent death of kindhearted old mother Evelyn Mercer (Fionnula Flanagan) during a convenience store hold-up. Evelyn's funeral brings home her four adopted sons: mercurial bruiser Bobby (Mark Wahlberg), military man Angel (Tyrese), entrepreneurial Jeremiah (Andre Benjamin aka Outkast's Andre 3000), and semi-famous rocker Jack (Garrett Hedlund). Being back home together brings back memories of the "only woman who ever loved us," but also brings back their thuggish ways, especially when they find out mom's tragic accident may have been murder. That's when the fast-based, Charles Bronson-esque vigilante part of this tale kicks into high gear.
Continue reading: Four Brothers Review
Jennifer Lopez and James Caviezel trudge with heavy hearts through the muck of suspense/drama/romantic comedy/love story Angel Eyes -- a film with an identity crisis that rivals Plato from Rebel with a Cause.
Continue reading: Angel Eyes Review
Until recently, Howard has been one of American film's mostly unnoticed gems. A journeyman actor since the early '90s, he came into his own in Malcolm Lee's romantic comedy The Best Man, in which he served as the sleepy-eyed provocateur, wisely watching all the fools who surrounded him, goading them into fury by slyly undercutting their fantasies with his keenly observed truths. It was one of that year's great performances, but being mired in such a conventional work (not to mention being in a black film aimed at black audiences, and thus mostly invisible to the critical establishment), he never received his due. He's worked steadily since then, coming into his own with this year's Crash - turning in an open wound of a performance that stood out even in that film's excellent ensemble. In Hustle & Flow, he's found a role that puts him in the spotlight, and he grabs the role tight with both hands, though never so showily as to make you notice how hard he's really working.
Continue reading: Hustle And Flow Review
An impressive ensemble cast lends strong character to acultural cross-section of Los Angeles denizens who are connected to eachother through crime, corruption, obligation, indignation and chance overa two-day period. The most powerful storyline features Matt Dillon andRyan Phillippe as beat cops -- one jaded and abusive, the other fresh andidealistic -- who pull over and harass (much to Phillippe's dismay) a blackyuppie couple (Terrence Howard and Thandie Newton) because the SUV they'redriving vaguely fits the description of a carjacked vehicle.
Within 24 hours, these characters all cross paths againin separate incidents of incredibly high tension that challenge both theprejudices that have formed between them and the conclusions we've beenled to as an audience.
Although they do not meet again, similarly potent table-turningand judgment-testing events occur in the lives of the actual carjackers(Larenz Tate and rapper Ludacris, whose character is ironically obsessedwith being stereotyped) and their victims, an ambitious district attorneyand his uptight wife (played with depth and conviction by Brendan Fraserand Sandra Bullock).
Continue reading: Crash Review
The rise to fame of Billie Frank -- the struggling songstress played by ear-piercing pop diva Mariah Carey in the witless showbiz fairytale "Glitter" -- is so absurdly easy you'd think you're supposed to hate her for it.
After a quickie boo-hoo introduction in which young Billie is abandoned by her bar-singer ghetto mom for no adequately explored reason and put in an orphanage, director Vondie Curtis Hall ("Gridlock'd") fast-forwards to a nightclub scene in 1983 (symbolized by the occasional butt-ugly costume). There our girl, now all grown up curvy, gets offered a gig as a backup singer to a tone-deaf rising star, solely based on the way she wiggles her booty.
During the ensuing recording session, the pimp-daddy producer (Terrence Howard, "Angel Eyes") turns up Billie's microphone and substitutes her voice for his star's. In the next scene an influential DJ called "Dice" (some scruffy-handsome English actor named Max Beesley spouting the most laughable white-boy street lingo ever spoken with a straight face) hears the tape, hears Billie sing, realizes who the real talent is and offers to make her famous.
Continue reading: Glitter Review
An ensemble reunion comedy revolving around an approaching wedding, "The Best Man" is a slightly klutzy charmer about friendship and sex-related secrets within a group of former college buddies.
The lethally handsome Taye Diggs stars in the title role, as a soon-to-be-published author whose new novel contains a barely-disguised passage about a clandestine liaison between himself and a character in his story that rather closely resembles the bride.
The plot: Keep the advanced copy of the book -- entitled "Unfinished Business" and now making its way around the clique gathering for the wedding -- from falling into the groom's hands until after his nuptials, because when he reads what's in there he might change his mind.
Continue reading: The Best Man Review
There are two jokes in "Big Momma's House," Martin Lawrence's flimsy stab at "Mrs. Doubtfire"-style costume comedy:
1) Lawrence made up in a wig and a fat lady rubber suit.
2) Lawrence made up in a wig and a fat lady rubber suit, staring lustfully at Nia Long's backside and shrieking "Damn!" in a bad falsetto.
Continue reading: Big Momma's House Review
One might think that after 60 years of World War II pictures, big budget Hollywood's supply of fresh ideas for such ventures would be fully exhausted. But the court-martial-within-a-POW-escape drama "Hart's War" breathes surprising new life into the familiar by amalgamating genres and adding true human complexity to its not-so-stock characters.
Adapted from a novel by John Katzenbach, the film's recipe combines the prisoners' internal mistrust from "Stalag 17" with the wrongly-accused military trial from "A Few Good Men," leavened with a racial element and accentuated by a tunneling-to-freedom subplot from "The Great Escape" for good measure. Director Gregory Hoblit ("Frequency," "Primal Fear") proves himself a good cook, seamlessly blending these ingredients into a fresh and appetizing dramatic stew.
Talented but over-hyped Colin Farrell ("Tigerland," "American Outlaws") stars as Lt. Thomas Hart, a senator's son with no combat experience and a safe desk job in intelligence near the German lines in 1944. Captured in a roadblock ambush while escorting a commander back to the front, he's interrogated by the SS in a series of scenes that let the our imaginations get the worst of us.
Continue reading: Hart's War Review
"Angel Eyes" is not the cheaply manipulative woman-in-peril thriller it appears to be in its TV ads and trailers. But one can hardly blame Warner Bros. for marketing the film that way because it would be hard to sell, in 30-second spots on MTV, an emotionally layered, grown-up drama about two battered souls finding a blossoming but tentative solace together.
A fulfilling surprise from start to finish, the film stars Jennifer Lopez in her best performance since "Out of Sight" as Sharon Pogue, a tough Chicago beat cop who keeps a man alive until paramedics arrive after a horrible traffic accident in the opening scene.
All in the line of duty, she's forgotten about it a year later when a quiet, eerie stranger saves her life by coming out of the blue to tackle a street thug who ambushed her during a foot chase and was about to blow her head off.
Continue reading: Angel Eyes Review
At the center of any good biographical feature film is a great performance, like Jamie Foxx's body-and-soul channeling of soul music's original ivory-twinkling innovator Ray Charles in "Ray." But a great performance does not make a biopic great. To rise above the kind of "true stories" that are the fodder of several assembly-line TV movies every year, a biopic needs to be like Ray Charles -- departing from formula and daring to be different.
Director Taylor Hackford (who once helmed the Chuck Berry concert film "Hail! Hail! Rock'n'Roll") doesn't manage that in "Ray," a film that feels more like a two-and-a-half-hour highlights reel from Charles' life. But as a primer on that man's life (musical brilliance, adultery, addiction, and lip service to lyrical controversy and segregation struggles) -- and for a film with a prefabricated story arc and little detail (Charles fathered 12 kids, only three or four of which are even mentioned in the film) -- "Ray" could be a lot worse.
At the very least it has a passionately devoted, dead-on lead actor -- Foxx not only nails the blind soul king's swaying jitterbug body language, but also seems to capture his very essence as a man and musician -- and a whole lot of fantastic, toe-tapping, heart-pumping R&B.
Continue reading: Ray Review
A pair of robust performances from Laurence Fishburne and Derek Luke (the Antwone Fisher of "Antwone Fisher") raise the laughably-titled motorcycle action flick "Biker Boyz" slightly above its veneer as a two-wheel rip-off of "The Fast and the Furious."
Similarly set in the "sideshow" world of illegal street racing, this movie comes minus the ridiculous cops-vs.-smugglers subplot and plus some impressive Western-inspired trick riding. In one scene two bikers speed down the freeway, dismounted to one side of their muscle-cycles with both feet in metal-soled boots, making contact with the road and sending out 20-foot sparks.
But while the plot is utterly predictable -- Kid (Luke), a hot-headed but talented up-and-coming racer, wants to challenge long-time champion Smoke (Fishburne) for his title -- the love-hate relationship between the two (Kid's dad had been Smoke's mechanic) has more depth and dimension than this kind of over-polished B-movie usually musters (see Sylvester Stallone and Kip Pardue in the formulaic, Formula One-themed "Driven").
Continue reading: Biker Boyz Review
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