Will Smith And Martin Lawrence took on their Instagram to break the good news over the come back of Bad Boys 3.
BAD BOYS 3 IS HAPPENING, THIS IS NOT A DRILL pic.twitter.com/eMUXacyyHK
— Jack Mull (@J4CKMULL) November 1, 2018
Ving Rhames was held at gunpoint by police officers in his home after a neighbor reported that a “large black man” had broken in, the actor said on Friday.
“I open the door and there is a red dot pointed at my face from a 9mm [handgun],” the star of Mission: Impossible, Pulp Fiction and other films said on the Clay Cane show on Sirius XM. “They say, ‘Put up your hands’.”
Rhames said the confrontation happened earlier this year and was defused quickly when the police chief recognized him.
“He said it was a mistake and apologized,” the actor said, adding that he was still shaken. “My problem is, and I said this to them, what if it was my son and he had a video game remote or something and you thought it was a gun?”
Rhames said police told him a neighbor had called 911 and said a large black man was breaking into the house.
“Myself, the sergeant and one other officer, we went over to that house, which was across the street from my place, and the person denied it,” Rhames said.
He continued: “Here I am in my own home, alone in some basketball shorts. Just because someone called and said a large black man is breaking in, when I opened up the wooden door a 9mm is pointed at me.”
Santa Monica police did not immediately respond to a request for information about the incident.
Rhames was a responding to a question about his experiences with racism.
“I’m sure you hear about all the reports of black men being attacked by police,” Cane said. “You are a big star, but how does racism show itself in your life?”
Rhames’ story was reminiscent of recent high-profile incidents in which black Americans have had the police called for innocuous activities like leaving a short-term rental property, working out at a gym, or sitting in a Starbucks.
It was also similar to an incident in Cambridge, Massachusetts in 2009, in which Harvard professor Henry Louis Gates was detained outside his own home.
Here’s what you need to know going into Mission: Impossible – Fallout, the sixth entry in Tom Cruise’s 22-year-old spy-movie franchise: absolutely nothing.
Sure, there’s some continuity between Fallout and the last adventure, Mission: Impossible – Rogue Nation. There’s the dangerous band of former spies turned terrorists, led by the nefarious Solomon Lane (Sean Harris). There’s also Ilsa Faust (Rebecca Ferguson), a former MI6 agent whose partnership with Cruise’s Ethan Hunt and his Impossible Mission Force (IMF) team continues with the same question marks and asterisks attached.
These minor details are the furthest the series has gone in developing story lines from one film to the next, and yet it doesn’t matter. If you’ve never seen a “Mission: Impossible” film before – or, more likely, if you’ve seen dozens of other films in the interim and given over your mental space to countless other aesthetic and life experiences – there’s no need to worry. You won’t miss a beat.
For that reason alone, the Mission: Impossible series stands apart from the typical blockbuster franchise, which is about world-building and paying off dense histories that can take several films to develop. It would be unthinkable, for example, to drop into the sixth Harry Potter film cold and expect to grasp the stakes and emotional complexity of an epic story more than a dozen hours in the telling. A superhero team-up such as Avengers: Infinity War – or any of the films in the Marvel Cinematic Universe, for that matter – demands the knowledge of its predecessors. And what’s more, it expects you to remember the details as if you watched the films yesterday. It can make summer escapism feel like homework.
There’s a related point that’s more important and feeds into why Mission: Impossible has been so great for so long. Because there’s no interest in a larger mythology, the only true mission the sequels have is to keep topping their predecessors. Fallout and Rogue Nationare the first two to share a director, Christopher McQuarrie. But after Brian De Palma set the standard with the first Mission: Impossible, it’s been a game of Anything You Can Do I Can Do Better among some of the most skilled craftsmen in the business, with entries by John Woo, the Hong Kong action maestro behind Hard Boiled and Face/Off; J.J. Abrams, who created the superb TV spy series Alias and went on to direct Star Wars: The Force Awakens; and Brad Bird, the writer-director of The Incredibles films for Pixar.
The plug-and-play adventures of Ethan Hunt, like James Bond movies, include a handful of compulsory elements – “Your mission, should you choose to accept it,” “This message will self-destruct in five seconds,” the unmaskings, among others – and the standard byzantine plotting about terrorist cells, rogue agents and other mischief-makers hellbent on mass destruction.
But starting with the break-in at the CIA headquarters in Langley, Virginia, in the first “Mission: Impossible,” the films have always been built around the set pieces, those discrete units of suspense and derring-do that have steadily escalated with each sequel. Fans of the series are probably more likely to identify the individual film as “the one where he climbs Burj Khalifa” or “the one where he’s underwater” or “the one with the helicopters” than by their actual titles. You can watch “Mission: Impossible – Ghost Protocol” a half-dozen times and still not remember what “ghost protocol” means, but you won’t forget Tom Cruise dangling off the world’s tallest building
Even harder to remember is the pretext for Ethan Hunt’s putting himself in harm’s way. Hunt dangles more than 100 floors above the ground from the Burj Khalifa skyscraper in “Ghost Protocol” – with only a malfunctioning pair of high-tech climbing gloves separating him from disaster – for the mundane purpose of accessing a computer server room. Hunt dives into an underwater vault for three minutes (and quite a bit of change) in Rogue Nation for the purpose of swapping out a security profile so an IMF team member can access a building. Again, there’s the overarching goal of protecting the world from catastrophic danger – loose nukes, viral outbreaks, toxic chemicals, the usual – but whatever it takes to get Tom Cruise to dangle 1,700 feet above the streets of Dubai will do. It doesn’t matter.
What matters is the thrill of the moment, like checking out the new attraction at your favorite theme park. And the emphasis on physical stunt work and on the classical construction of suspense sequences has deepened the films’ niche appeal over time, contrasting sharply with a superhero cycle that’s embraced the plasticity of CGI. The first “Mission: Impossible” was produced in the early years of digital effects, when they were ascendant but not dominant. The last few entries, by contrast, have been a dazzling respite from the green-screen-heavy, motion-captured norms of the standard blockbuster, a reminder that real locations, bruising stunts and exquisitely choreographed action sequences have a visceral impact that ones and zeros can’t replicate.
The Mission: Impossible franchise is above all a monument to Tom Cruise – or, more accurately, Cruise’s monument to himself, given that he has been the sole driving force of the series from the beginning. (One piece of trivia: Ving Rhames, as the IMF computer hacker Luther Stickell, is the only other cast member to appear in all six films.) Cruise’s curation of directorial talent has kept it from going stale and epitomizes a career kept aloft for decades by great filmmakers such as Steven Spielberg, Martin Scorsese, Oliver Stone, Stanley Kubrick, Cameron Crowe and Doug Liman.
Yet seeing the 56-year-old Cruise in Fallout – where he leaps from buildings, gives up his body to choreographed fights and does his inimitable straight-backed sprint through open space – is to witness a true entertainer at work. Cruise broke his ankle during the making of Fallout, but he makes it seem like it’s his pleasure to do so. To keep this endorphin rush of a series going, he’d break every bone in his body.
Sourced from NDTV.
First of its kind Wesley Snipes, Denzel Washington And Samuel L Jackson Shares Memorable Moment On Stage.
Facts we never knew about 2pac, west coast vs east coast beef.
Beware, spoilers below!
As Deadpool fans know all too well, Marvel’s merry Merc with a Mouth takes no prisoners in crimefighting or comedy. Like its blockbuster 2016 predecessor, Deadpool 2 is filled with fourth-wall breaking gags that target everything from other comic-book movies to real-world celebrities. If anything, the David Leitch-directed sequel ups the ante of jokes to a positively dizzying number. In case you’re emerging from the movie feeling unsteady, Yahoo Entertainment is here with an explainer for some of its biggest in-jokes, insider references, and Easter eggs.
Considering all the movie references he casually drops in conversation and combat, it’s a wonder that Deadpool has any time to fight bad guys. Deadpool 2 is filled with knowing asides to a panoply of favorite films, from blockbuster franchises to endearing romances. Take the opening few minutes, which cut directly from the execution of Wade’s beloved girlfriend Vanessa (Morena Baccarin) to a James Bond-inspired opening credits sequence that nudges the audience in the ribs about what they just witnessed. There’s even an additional parody within this parody when Deadpool channels Jennifer Beals in 1983’s Flashdance and showers himself in bullets, rather than water — a shot that was heavily featured in the film’s marketing campaign.
Staying in the ’80s, considering his imposing bulk and background as a time-traveler made up of a mixture of organic and robot parts, it’s safe to say that Cable (Josh Brolin) could have emerged from the same Skynet factory that mass-produced T-800s. (For the record, the character made his first comic-book appearance in 1990 — six years after James Cameron’s original Terminator and the year prior to T2.) So it only makes sense for Deadpool to drop a Terminator reference while tangling with his new frenemy. Wade being Wade, though, he bypasses the obvious similarity and instead refers to Cable as “John Connor,” who was famously not a killer robot from the future. Except, of course, in Terminator Genisys, but we’re all still pretending that movie never happened.
just incase you have been missing all the fun at felabration, here is something to fill your eyes with .
Finlly Jada Pinkett called out the producer of Tupac movie all eyes on me as she expressed her disappointment on
the story line about her relationship with Tupac.
Jada Pinkett Breaks Down Crying about 2Pac “All Eyez on Me’ Is NOT TRUE