A heartbreaking story…. Father Of Sexually Assaulted 5-Year-Old Girl Calls For Justice These worthless pigs deserve everything that’s coming to them. via MSNBC The father of a five-year-old who was gang-r*ped and dumped on a road in Pakistan’s second largest city wept as he called on officials to find and punish those responsible for the attack. “l want justice and for the culprits to be punished severely,” the 46-year-old told NBC News from the hospital in the Lahore, the capital of the province of Punjab, where his daughter was being treated. “I have talked to my daughter a little bit,” the man added. “She talks and then closes her eyes.” NBC News is not naming the five-year-old or her father in order to protect the victim’s identity. A report commissioned by Pakistan’s Chief Justice found that the child had been r*ped by a number of people. The case became front-page news nationwide after CCTV footage emerged on Saturday showing a man dumping the girl wearing a white dress on a road outside a hospital. Local police confirmed to NBC News the CCTV footage from Friday night was genuine. A hospital security guard then found the girl, who had gone missing a day earlier, and took her into the hospital.
A heartbreaking story…. Father Of Sexually Assaulted 5-Year-Old Girl Calls For Justice These worthless pigs deserve everything that’s coming to them. via MSNBC The father of a five-year-old who was gang-r*ped and dumped on a road in Pakistan’s second largest city wept as he called on officials to find and punish those responsible for the attack. “l want justice and for the culprits to be punished severely,” the 46-year-old told NBC News from the hospital in the Lahore, the capital of the province of Punjab, where his daughter was being treated. “I have talked to my daughter a little bit,” the man added. “She talks and then closes her eyes.” NBC News is not naming the five-year-old or her father in order to protect the victim’s identity. A report commissioned by Pakistan’s Chief Justice found that the child had been r*ped by a number of people. The case became front-page news nationwide after CCTV footage emerged on Saturday showing a man dumping the girl wearing a white dress on a road outside a hospital. Local police confirmed to NBC News the CCTV footage from Friday night was genuine. A hospital security guard then found the girl, who had gone missing a day earlier, and took her into the hospital.
Offering a more straight-faced brand of idiocy than its cheerfully dumb 2009 predecessor, G.I. Joe: Retaliation might well have been titled G.I. Joe: Regurgitation , advertising big guns, visual effects and that other line of Hasbro toys with the same joyless, chew-everything-up-and-spit-it-out efficiency. Largely devoid of personality, apart from a few nifty action flourishes courtesy of helmer Jon M. Chu , Paramount’s late-March blockbuster, pushed back from a 2012 release (ostensibly to allow for a 3D conversion), may have trouble matching G.I. Joe: The Rise of Cobra ’s $302 million worldwide gross. But with no shortage of merchandising and other cross-promotional opportunities, it should still score significant attention from targeted male viewers. Appreciably rougher and grittier in feel than the Stephen Sommers-directed The Rise of Cobra , Retaliation makes any number of ham-fisted bids for topical relevance, and naturally almost every one of them represents an affront to good taste. Among other things, the film is a sort of accidental comedy about nuclear warfare, as much of the silly plot concerns a global summit where the hope of mass disarmament soon gives way to the threat of mass annihilation. Elsewhere, the script (by Rhett Reese and Paul Wernick) finds our trusty Joes raiding a North Korean compound shortly before they head to Islamabad, where they wind up framed for the assassination of Pakistan’s president. All this geopolitical mayhem is being orchestrated by the U.S. commander-in-chief (Jonathan Pryce) — or rather, the dastardly doppelganger who’s impersonating him with the aid of super-sophisticated “nanomite” technology (because latex is just a little too Mission: Impossible ). The president’s stand-in is a high-ranking member of Cobra, a secret network of megalomaniacs bent on wiping out the G.I. Joes once and for all, and in the early going, they come perilously close. Tatum Channing’s Screen Time Is Brief Probably aware that no one in the audience could possibly care about any sense of continuity with The Rise of Cobra and its eminently forgettable characters, the filmmakers have opted to retain just a few key players this time around. In what feels like an odd miscalculation given the actor’s recent popularity, Channing Tatum’s Duke is around for only about 10 minutes to pass the baton to a fresh G.I. Joe unit led by the physically imposing Roadblock ( Dwayne Johnson ) and rounded out by Flint (D.J. Cotrona) and Lady Jaye (Adrianne Palicki), both of whom evince far less charisma than the military-grade weapons provided them by Gen. Joe Colton ( Bruce Willis , phoning it in). Actor To Watch: Byung-hyun Lee Providing a bit more interest is the Joes’ ninja faction, chiefly Snake Eyes (Ray Park), whose inexpressive mask stands in marked contrast to the piercing gaze of his longtime nemesis, white-clad swordfighter Storm Shadow ( Korean star Byung-hyun Lee ). Along with newcomer Jinx (Elodie Yung), these returning characters figure prominently into the picture’s finest moment, a fight scene in the Himalayas that employs wirework and stereoscopy to highly vertiginous effect. The visual grace of this sequence is no surprise coming from Chu, who demonstrated a real flair for staging in the two Step Up pics he directed. But as in those movies, sustaining a narrative or transcending a patchy script seem beyond his abilities. One of the least savory aspects of the franchise is the unseemly pleasure it takes in the wholesale destruction of foreign cities, which goes hand-in-hand with its jingoistic portrait of American military might. Audiences who thrilled to the sight of Paris under biochemical attack in Cobra will be pleased to watch London endure an even more horrific fate here, although the sequence is tossed off in quick, almost ho-hum fashion, with no time to dwell on anything so exquisitely crass as the spectacle of the Eiffel Tower collapsing. Meatheaded and derivative as it is, G.I. Joe: Retaliation is hardly the nadir, as hollow corporate products go; certainly it’s nowhere near as aggressively off-putting as the Transformers movies, the other action-figure adaptations in the Hasbro universe. The dialogue has improved markedly since the earlier outing, and the lensing and editing, while hardly models of coherence, just about manage to avoid excessive jumpiness. Andrew Menzies’ production design, with sets standing in for everything from a Tokyo skyscraper to a Nepalese monastery, proves resourceful within the confines of a largely New Orleans-shot production. With the exceptions of the often mesmerizing Lee and the ever-reliable Johnson, the performances are merely serviceable. Follow Movieline on Twitter .
Where was Jimmy Kimmel before the Oscars? Kathryn Bigelow could have used him. On Wednesday night, the late-night talk-show host gave a comic lesson in marketing when he showed this trailer for the DVD release of Zero Dark Thirty that re-positions the movie as a romantic comedy instead of a pro-torture CIA procedural. All it takes is a little voiceover magic and some creative editing to depict Jessica Chastain as a workaholic in search of “the man of her dreams.” Pretty, pretty funny, as is the movie’s new title, Zero Dark Flirty , and tagline: “Sometimes it’s good to be a little bit Abbottabad.” For those who limited their consumption of Oscar-nominated based-on-a-real-story CIA thrillers to Argo , that’s the name of the town in Pakistan where Osama bin Laden’s compound was located. Speaking of Kimmel, he should be the next host of the Oscars. Hollywood loves him, and he’s got the perfect tone for the evening. In fact, Seth MacFarlane left me with the impression that he was trying to be Kimmel on Sunday night. What do you think? Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
David Oliver Relin, who co-wrote the 2006 book with Greg Mortenson about how Mortenson, a former mountain climber, started building schools in Pakistan and Afghanistan, “suffered emotionally and financially as basic facts in the book were called into question,” the Times says. David Oliver Relin, a journalist who co-authored the controversial best-selling book Three Cups of Tea, has committed suicide, the New York Times reports. He was 49. His family said Relin “suffered from depression” but w
This sounds like a song that some college kid shat out to make a point about how easy it is to make commercial club music…you know with no effort…no substance…no quality…just noise…featuring two famous people…who prove that all it takes to get hits is to put it out there…cuz the public will eat it up…even if it took 20 minutes to produce…I am sure there was a time Will.I.Am wasn’t a LMFAO impersonator…or even a commercial money hungry loser who is winning at life…but clearly has no soul… The only redeeming thing in all this is Britney’s hot titties…slutting out in video……
Izabel Goulart pulled a Lady Gaga and showed up to an event relatively pantsless….in a leotard…only unlike Lady Gaga…the boners were not on the clits of lesbians…who love her message and don’t really care about looks…as most lesbians…have ugly partners…but instead on the boners of everyone….this lingerie model is like Santa Claus…only instead of molesting kids and buying their silence with gifts…she’s molesting my eyes…. TO SEE THE REST OF THE PICS FOLLOW THIS LINK
I just learned a very important thing…Hotly is an actual word…that I am not forced the use all the fucking time…because it’s hotly… Shanina Shaik is Australian…her genetic code reads Lithuania, Pakistan and Saudi….her labia read elegant and lovely…and her asshole reads “feed me with your tongue”….but she’s too busy letting Tyson Beckford up in it…while not winning Australian supermodel reality shows to make herself relevant… Nordstrom did okay with this campaign…making lingerie modeling…a little more saucy…and by saucy I do mean in my drippy underwear…as much as I mean in concept and flavor… Here are some of the pics…
The film version of Les Misérables is building momentum ahead of its Christmas roll-out in the States, and much has been made about Anne Hathaway ‘s very slimmed down look. She even made fun of her much shorter hair style, likening her new ‘look’ to resembling her brother. “When I eventually looked in the mirror, I just thought I looked like my gay brother,” Hathaway told a New York audience at a Friday evening screening as reported by THR. Hathaway, who plays the tragic Fantine in the film, directed by Oscar-winning The King’s Speech director Tom Hooper, said her mother had also once played the part in a Philadelphia production when she was seven years-old. Hathaway said in the December issue of Vogue that she lost 25 pounds to play the part, dropping the final 15 pounds by eating just two thin squares of dried oatmeal paste per day just ahead of the shoot. “I had to be obsessive about it. The idea was to look near death,” she told Vogue. “Looking back on the whole experience — and I don’t judge it in any way — it was definitely a little nuts. It was definitely a break with reality, but I think that’s who Fantine is anyway.” In related Les Misérables news, Hugh Jackman, who plays Jean Valjean in the musical told The Daily Mail that the film will transform the musical on-screen experience for audiences. “We sing as we act, rather than lay down songs weeks in advance,” Jackman said. “It makes it much more realistic particularly with a gritty story like this.” Also starring Russell Crowe, Helena Bonham Carter and Sacha Baron Cohen, the film is an adaptation of Victor Hugo’s classic novel set in 19th century France. [ Sources: Us , Vogue , Daily Mail ]
Running a dense two hours thirty, before credits, Zero Dark Thirty reunites director Kathryn Bigelow with reporter-turned-scenarist Mark Boal in re-creating the hunt for Osama bin Laden , rejecting nearly every cliche one might expect from a Hollywood treatment of the subject. Far more ambitious than The Hurt Locker , yet nowhere near so tripwire-tense, this procedure-driven, decade-spanning docudrama nevertheless rivets for most of its running time by focusing on how one female CIA agent with a far-out hunch was instrumental in bringing down America’s most wanted fugitive. Spinning the pic as a thriller, Sony could beat the 9/11-movie curse when the Dec. 19 limited release goes wide in January. Opportunely held for release until after the presidential election had played out, Zero Dark Thirty arrives shrouded in nearly as much mystery as bin Laden’s whereabouts before news broke that a team of Navy Seals had successfully terminated his life on May 2, 2011. The title, military-speak for half-past midnight, refers to the Al Qaeda leader’s time of death, theoretically promising a flashy first-hand account of the raid itself. But Bigelow and Boal reduce the spectacular assault on bin Laden’s compound in Abbottabad, Pakistan, to the last half-hour in order to dedicate the rest of the film to the lesser-known backstory. By forcing partisan politics into the wings (President George W. Bush goes entirely unseen, while auds’ only glimpse of President Obama is during a 2008 campaign interview), the filmmakers effectively give gender politics the whole stage: The pic presents the highest-profile U.S. military success in recent memory as the work of a single woman, “Maya” ( Jessica Chastain ), inspired by a real CIA analyst Boal discovered during his research, and presented here as the only government official convinced that bin Laden wasn’t “hiding in some cave” (Bush’s words), but somewhere she could find him. Stepping up from a year busy with supporting roles, Chastain may at first seem an unusual choice for the lead. But she shows she has the chops to embody the pic’s iron-nerved protag, holding her own in the testosterone-thick world of CIA black sites and top-level Washington boardrooms. She first appears as witness to a military interrogation in which a colleague resorts to extreme measures to force information from an Al Qaeda money handler (Reda Kateb). Compared with her wild-eyed cowboy of a colleague, Dan (Jason Clarke), Maya’s body language suggests a little girl, clearly uncomfortable with the waterboarding and sexual humiliation that were common practice in the morally hazy rendition era. When Dan leaves the room for a moment, the desperate prisoner tries to appeal to her humanity. She wavers for only a moment before firing back, “You can help yourself by being truthful.” Unlike, for instance, Jodie Foster as Clarice Starling in The Silence of the Lambs , Chastain plays Maya as fragile on the outside, Kevlar-tough beneath the skin. After narrowly surviving one terrorist attack and seeing another promising lead literally blow up in a female colleague’s face, Maya grits her teeth and swears, “I’m gonna smoke everybody involved in this op, and then I’m going to kill bin Laden.” Like Bigelow herself, Maya realizes that actions — or action movies, in the director’s case — are the surest way to combat a tradition in which society doesn’t believe women to be capable of getting the job done, and Zero Dark Thirty follows the character through every significant step along her 10-year journey to hold bin Laden accountable for 9/11. The film opens with audio of a terrified victim of the World Trade Center attack playing over a black screen and uses the emotional power that clip dredges up to fuel everything that follows. The result is neither particularly entertaining nor especially artful, as the filmmakers take a lean, All the President’s Men -style approach to dramatizing an investigation that took nearly a decade to bear fruit. But Boal has clearly constructed this as a more journalistic alternative to a generic gung-ho approach. The script’s blood runs thick with observational detail and military jargon, skipping forward years at a time between scenes to focus on one of two types of incident. The first concerns the slow but steady progress in Maya’s investigation, which hinges on her conviction that any clues they can discover about bin Laden’s courier will eventually lead them back to UBL (the military acronym for bin Laden) himself. The second type involves an ongoing series of terrorist attacks that continue to claim lives as long as bin Laden goes free (never mind that they will not stop once he’s dead). Bigelow keeps her audience on its toes by alternating between the two, allowing virtually no room for subplots or superfluous character baggage beyond what’s needed for the task at hand. With its handheld camerawork, naturalistic lighting and dialogue-drowning sound design (especially heavy on ambient helicopters), the film reflects the latest fashion in cinematic realism, compromised only slightly by the bare-minimum mood setting from Alexandre Desplat’s Middle East-inflected score. Chastain’s presence reminds us we’re watching a movie, and yet, this slight degree of self-consciousness serves to reinforce the point that it’s a woman pushing the process forward. Maya may not be made of the same stuff as her male colleagues, but that’s essential to the operation’s success. While those around her equivocate and refuse to take action, she sticks to her guns and keeps track, in dry-erase marker, of the bureaucratic delays since they’ve located bin Laden. Finally, when the off-camera Obama gives her mission the green light, Maya stares down a pair of cocky Navy Seals (Chris Pratt and Joel Edgerton) and tells them in no uncertain terms that she has no patience for their macho B.S. Only then does Bigelow offer auds what they paid to see: a re-construction of the raid on bin Laden’s compound. Virtuoso as the sequence is to behold, it lacks both the detail of Matt Bissonnette’s bestselling insider memoir No Easy Day and the visceral immediacy of this year’s earlier Seals-supported indie, Act of Valor , as well as the satisfaction of seeing the dead bin Laden’s face (also withheld by the U.S. goverment). Dramatically speaking, the raid feels almost anti-climactic — an epilogue to a personal crusade that ends the moment Maya is taken seriously. Still, considering how seldom female storytellers have been given a chance to operate on this scale, it’s fair to let Bigelow overturn narrative expectations to some degree. The ultra-professional result may be easier to respect than enjoy, but there’s no denying its power, both as a credible reimagining of what went down and a welcome example of distaff resolve prevailing in an arena traditionally dominated by men. Follow Movieline on Twitter.
