“They will be part of a little story in real time, which will be played out during the evening,” Ulvaeus, 69, told The Associated Press.
There are a couple of creepy allusions to his death in the film that could briefly jar viewers. At one point, Roman (Tyrese Gibson) asks Brian (Walker) to promise their team won’t face any more funerals. When Brian replies, “Just one more,” he’s referring to that of the film’s villain (Jason Statham), but one can’t help but think of the actor’s own accidental death.
There is almost too much here for a single movie. Curtis, who charmed with his Marilyn Monroe slice of life “My Week with Marilyn,” relies on a combination of flashbacks of Maria’s pre-war life in Vienna and the present day tick-tock of her legal quest to take ownership of the painting.
“I loved them immediately,” says Pete Townshend, the guitarist and songwriter of The Who, in the film. “They changed my life forever.”
The show’s creator, Chris Carter, said that he considers the show’s absence like a “13-year commercial break.” Carter said that “the good news is the world has only gotten that much stranger.”
Director Tim Johnson (“Antz”) has compiled so many appealing elements — including the source material, the voice cast and a bouncy Rihanna-heavy soundtrack — that it’s hard to believe “Home” lands with such a thud.
For a series that waves the banner of individualism, they make a poor case for it. Instead of throbbing with a teenage spirit of rebellion — or things like youthful wildness, humor or sex — the two “Divergent” movies are curiously content to eke out a rigid, lifeless fable in drab futuristic environs.
Pacino is warm, goofy and full of life as he tries to charm his way back into the life of his son, his pregnant daughter-in-law (Jennifer Garner) and their precocious kid (Giselle Eisenberg), who seems to defy all child actor stereotypes with a preternaturally realistic and wonderful performance that’s unnecessarily spoiled by the reveal that she suffers from an attention disorder.
It’s no accident that the trailer for “The Gunman” notes prominently that it comes from the director of “Taken” (Pierre Morel), the 2008 thriller that transformed Liam Neeson into a no-nonsense, border-hopping, middle-aged action star.