Prince Harry Ready To Fight For His Right To Marry Meghan Markle Well… We figured this was coming sooner or later. Despite early reports that Prince Harry’s actress girlfriend Meghan Markle had met the approval of several members of the Royal Family (and that statement from Kensington Palace defending her) it turns out that there are some Markle haters in the house — namely Prince Harry’s second wife Camilla Bowles, aka the Duchess of Cornwall. According to RadarOnline reports : “Harry’s made no secret of wanting to marry and have kids and he believes Meghan’s ‘The One.’ They have amazing chemistry and both are passionate humanitarians,” said a palace source. But his father and future king, Prince Charles, has banned the relationship — and any future marriage — upon the urging of his snobby wife Camilla. “Camilla doesn’t want another commoner — like Prince William‘s wife Kate — tainting the royal blood and trying to change the monarchy,” an insider told Radar. “Harry’s a soldier,” says the source. “He’s going to fight to make sure he doesn’t lose Meghan! He’s headed for all-out war with the royals.” Listen, after that statement, we believe Prince Harry is serious about his lady and NOTHING is gonna stop him. Stop being a stepmonster Camilla! WENN
Famed voice actor Peter Cullen still remembers the feeling of surprise he had at his first fan convention when he realized how much characters like Optimus Prime, whom he voiced throughout the Transformers series and films, meant to fans. In an extended chat at Comic-Con , Cullen revealed how a pre-audition chat with his Vietnam veteran brother inspired his take on the Transformers hero and how, years later, he’s working with NASA and HASBRO to foster interest in science, math, and space in the latest generation of young fans. (Scroll down for the full 30-minute chat and let your nerd hearts melt, people.) Movieline correspondent Grace Randolph was on hand at Comic-Con to speak with Cullen, whose heartfelt discussion of his work on Transformers , G.I. Joe , and other seminal cartoons of the ’80s can be seen in its entirety below. “I based the character on my own brother, Larry Cullen,” recalled the voice acting legend of the day he headed to audition for Transformers . “Larry was a Marine Corp officer in Vietnam, he was a wounded medal recipient – he had two Purple Hearts and a Bronze Star – and we lived together in Burbank, California.” “You’ve got to understand that Larry is six inches taller, he’s got a deeper voice, and he’s probably the most honest, truthful, gentle, understanding, strong guy I ever known,” he continued. “He was my hero. I said, ‘I’m going to audition for a truck.’ He said, ‘What a way to make a living.’ I said, ‘But Larry, he’s a hero.'” “He says, ‘Interesting – well, Peter, be a real hero. Don’t be one of those Hollywood prototypes, be real. Be strong enough to be gentle, don’t be yelling and screaming all the time. That’s my advice, Peter – take it or leave it.'” His brother’s advice informed Cullen’s audition for Optimus Prime, and the rest is history. “Larry just jumped off the page when I started reading him,” he remembered, “and inside, spiritually, I felt something really connect. I had a feeling. I said, this is going to work. This is good. Nobody’s ever heard anything like this before. Nobody’s done it like this before. I left that audition and I said to myself, ‘If I don’t get this, there’s something wrong in the world.’ Cullen, who reprised the role of Optimus Prime on The Hub’s Emmy-winning Transformers: Prime series and says he saw himself as a sort of latchkey father figure to his young fans throughout the years, is working with HASBRO, The Hub, and NASA to encourage interest in the sciences and space in youngsters. The effort “will benefit the children of this country and around the world, to develop their enthusiasm for space, whether it’s in fiction or whether it’s in fact, science, technology, math, medicine – everything that’s connected with space. “If Optimus Prime can stir up enthusiasm in some form of interest that will benefit mankind by creating that enthusiasm to venture somewhere above and beyond our earth, I think Prime should.” Watch the full chat with Peter Cullen below. Read more from Comic-Con 2012 here . Follow Movieline on Twitter .
The Batman brand is in the toilet at the outset of The Dark Knight Rises , the third and most self-consciously ornate pillar of Christopher Nolan’s caped crusader resurrection trilogy. The four years since The Dark Knight have passed as eight within the city state of Gotham — one of the neater doublings in a movie inlaid with prismatic tiling — and even the mayor condemns Batman as “a murderous thug.” The late Harvey Dent, by contrast, has been canonized as a civic hero; something called the “Dent Act” has ushered in an era of safe streets and soft despotism. Bruce Wayne (Christian Bale), meanwhile, is still heartbroken over the murder of Rachel Dawes and said to be peeing in Mason jars and polishing his curly fingernails in some shuttered wing of Wayne Manor. As a memorial for Dent drones and tinkles smugly on, the movie’s animating question flickers across Commissioner Gordon’s (Gary Oldman) face: Batman died for this ? The this at the heart of The Dark Knight Rises is a city whose predicament is conceived broadly enough to accommodate any number of thematic readings, but too hedged to explore any one of them well. In winding up at casual cross-purposes, the film’s perspective on governing power structures and mass psychology (to name only two) feel like Nolan playing ideological peek-a-boo. Despite heavy provocation, it’s a movie that can only supply embarrassment to those who look beyond the gleaming chaos and heroic suffering for meaning. What it amounts to is a frantic set of distractions from an uncommonly thrilling ride on the old Gotham express. Bruce Wayne’s first warning of what’s to come, and what’s happening beyond the manor gates — the Catwoman in the coalmine — arrives in the figure of a burglar named Selina Kyle (Anne Hathaway, tart but sexless). Selina draws Bruce out of hiding — something a philanthropist on the clean energy tip played by Marion Cotillard couldn’t manage — and warns him of a coming storm that will level the elite and the commoner. When the faithful Alfred Pennyworth (Michael Caine) implores him to focus on deploying his dwindling resources and building a better (or any) personal life, Wayne takes it as a challenge to his alter ego’s honor and his failing body. Meanwhile, Commissioner Gordon is paying more attention to his gut than the crime statistics, and it’s telling him something is rotten in Gotham. What that might be is considered from several angles — computer chaos, corporate greed, social inequality, nuclear threat, economic terrorism—and we wait to see which will prevail. Nolan never quite chooses, though, opting for a little bit of each whenever it’s convenient. Bending over all of them, in an arc extended from The Dark Knight (there are even more direct connections to Batman Begins ), is the obsessive pursuit of Batman’s “true” identity. “The idea was to be a symbol,” Wayne sighs to a hotfooted cop played by Joseph Gordon-Levitt. But there’s no place for symbols in a search-engined society; nothing so delicate can survive in cold, data-based climes. The city clamors for Batman, wanted for the death of their hero, on a plate: This Gotham seems destined for slow-motion self-destruction; our villain’s arrival is framed as more of a helping hand. They may have forsaken Batman, but the city’s need for viable symbols is borne out in the heavily spackled image of Dent, and, from his first appearance in the bravura prologue, the intransigent evil embodied by Tom Hardy’s Bane. “No one cared who I was until I put on the mask,” Bane gurgles (not true Tom Hardy! Not true!) in vocoder tones I’d put somewhere between Yoda post-testosterone patch and Sean Connery on appletinis. Batman’s comeback is hamstrung at every turn — by his vicious new opponent, by the police (led by Matthew Modine’s canine would-be commissioner), and by an app-loading tablet that the superhero considers in the universal stance of tech-befuddlement. Consigned, after a colossal ass-whipping, to a vaguely Arab hellmouth with handy cable news access, Wayne spends the middle chunk of the movie striving for the spiritual strength to escape in time to keep Bane from his plan to “feed the people hope to poison their souls” before blowing the whole city to pieces. A sub-tangle with nuclear power, which is framed as both the savior of the world and its destroyer, provides the movie’s ultimate double. But Bane’s motives are obscured too long and too provocatively to succeed in drawing us into the wildly nettled political revolution he comes to represent. We’re told his power derives from his fanatical belief — something a privileged playboy can’t buy — but in what? His is a psychology of convenience and comic-book dogma, which is only a problem insofar as the film insists he have a psychology at all. Bane’s proselytizing about social equality and death by moral complacency inspires real dread, but again Nolan isn’t prepared to stand behind the incendiary postures he strikes. There’s always an out, in this case the fact that Bane’s politics are just a theatrical prelude to less complicated darkness. Undeniable is Hardy’s menace: Less a man than a masculine experiment gone awry, he seems to be strutting naked even in boots and crust punk combat gear. What Bane is most clearly is a terrorist, from his vaguely plotted assault on Gotham’s stock exchange, to the fondness for human shields and Taliban-tinged sports stadium executions, to the plan not to rule or capture the city with a grand gesture but to wipe it out. Though it was filmed in several locations, including Pittsburgh, in this installment that island city is most obviously New York, from the glimpse of the scaffolded Freedom Tower to the crippled Brooklyn Bridge to the richies dragged out of their Fifth Avenue penthouses. If anything the pretense of Gotham adds a certain gratuitousness to the clear references — symbols pulled out of their context for sheer, emotion-zapping effect. Beyond that a scrappy city all its own emerges, where Batman is just another part of the steeply vertical landscape and it wouldn’t be all that odd to find him slugging it out in the streets, as in his climactic, cleanly drawn confrontation with Bane. Beginning with a thrilling underground, multi-vehicle chase and through a series of old fashioned brawls, Nolan, director of photography Wally Pfister and editor Lee Smith restore a baseline of coherence to the action that in some instances has the feeling of a many-paneled page, with levels and layers of action — a ka-pow over here, a thwack over there. If New York is Gotham’s most obvious touchstone this time out, the Windy City asserts itself in Nolan’s script (co-written with his brother Jonathan, working from a story by Nolan and David S. Goyer). The dialogue is inflated to regulation turgidity and then some. Hathaway does her best, but without Heath Ledger’s Joker there’s no one to let the air out now and then, which makes this week’s cinematic rendering of the apocalypse more terribly earnest but also more genuinely terrifying than most. Along with making the most prominent case for the continued relevance of the auteur theory, with this trilogy the British director reminds us that well-built brands never really die. Certainly one elegiac current running under the The Dark Knight Rises is that they don’t make them like Batman anymore, either in Gotham City or your local cineplex. During its more didactic lapses, episodes of shocking darkness and overwhelming density, you can practically make out the silhouette of Nolan looming behind the screen, appraising us with folded arms: Do they deserve this movie? Are we worthy of it? The Dark Knight aspires to the epic and reaches it on a number of impressive and less impressive levels. That it is a frequently, unnervingly glorious triumph of brawn over brains is not despite but in spite of Nolan’s admirably stubborn — if persistently, risibly serious — insistence that the modern superhero can have it all. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
