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Tag: Lady Gaga (1-8 of 8)

Fantastic Fest: Robert Rodriguez's 'Machete Kills' world premiere

Fantastic Fest kicked off in Austin, TS last night with hometown hero Robert Rodriguez world premiering his new Mexploitation movie Machete Kills (in theaters October 11). Danny Trejo—the man, the myth—returns as Machete, the unstoppable one-man army against all things evil and corrupt. The sequel, about Machete’s quest to defuse a bomb built into baddie Damian Bichir’s chest before it detonates on Washington, D.C., is stuffed with cameos. There’s the Chameleon, a ruthless, face-changing killer played by everyone from Cuba Gooding, Jr. to Antonia Banderas to Lady Gaga. Mel Gibson is a Star Wars-loving genius bent on world destruction. Sofia Vergara a brothel madam with a killer bra. Charlie Sheen turns up as America’s President Rathcock, in a crude portrayal that thoroughly besmirches the office once held by Josiah Bartlett. READ FULL STORY

'Machete Kills' red-band trailer: 'When the sh** hits the fan, he's the blade' -- VIDEO

“Men fear him. Ladies love him.” His name is Machete.

In the new red-band trailer for Robert Rodriguez’s action sequel Machete Kills, it’s Charlie Sheen who’s calling the killing machine for help taking down a “mad man south of the border.” You might recognize said mad man as Mel Gibson, who plans to use his “army of super soldiers” and a missile to cause some serious damage. As he puts it, “I am a genuine, high-caliber f—er-people-upper.”

What ensues involves explosions, decapitations, intestines being pulled out, explosions, machine guns, Sofia Vergara pelvic thrusting her way to victory, and Lady Gaga getting her hands dirty. Did we mention explosions?

Watch the new red-band trailer for Machete Kills below:

What is Lady Gaga doing in 'Machete Kills'?

It’s hard to work out the most newsworthy bit of casting to be found in action sequel Machete Kills, given this is a film which features Mel Gibson, Charlie Sheen (appearing under his birth name of Carlos Estevez), and a machine gun bra-sporting Sofia Vergara. But the winner may actually be director Robert Rodriguez‘s recruitment of Lady Gaga for the role of a hit woman called La Chameleón in the Danny Trejo-starring action sequel, which is released October 11. So how did the filmmaker snag the pop superstar for his film?


'Machete Kills' trailer: Introducing President Charlie Sheen -- VIDEO

If you thought Danny Trejo’s Machete wouldn’t be back for more bloodshed at the end of Robert Rodriguez’ Machete, then you’ve clearly never seen Machete. Example No. 1: The former Federale returns in Machete Kills, freed from a rope noose at the request of the President of the United States of America to kill. Other stuff, too. (Tacos, occasionally.) Michelle Rodriguez lost an eye? With Demián Bichir, Lady Gaga, and Carlos Estevez — yes, Charlie Sheen — with a big gun and a fancy new title: President.

Watch the trailer after the jump:


Open Road Films to distribute Robert Rodriguez's saucy sequel 'Machete Kills' -- NEW PHOTO

If the lap dance in the newly released photo above is any indication, the Machete sequel Machete Kills, both directed by Robert Rodriguez, will be yet another sassy, violent romp starring perennial tough guy Danny Trejo.

Open Road Films announced Thursday it’s distributing the film, out in wide release in 2013. The second movie in the trilogy, about Trejo as craggy faced ex-Federale agent Machete, hails from a screenplay by Kyle Ward, based on a story by Marcel Rodriguez and Robert Rodriguez. Besides Trejo, the movie stars a long list of known names, including pop diva Lady Gaga, making her acting debut, as well as Oscar nominee Demian Bichir, Sofia Vergara, Amber Heard, Charlie Sheen, Antonio Banderas, Jessica Alba, Alexa Vega, Vanessa Hudgens, Cuba Gooding Jr. and Mel Gibson.  READ FULL STORY

Lady Gaga is making her acting debut in 'Machete Kills' -- POSTER


Lady Gaga will make her acting debut in Machete Kills, the 2013 sequel Robert Rodriguez’ bulletsoaked ode to exploitation cinema. Earlier today, Rodriguez tweeted: “I just finished working with @LadyGaga on @MacheteKills, she kicked SO MUCH ASS! Holy Smokes. Blown away!” Rodriguez included a poster proclaiming that Gaga is playing “La Chameléon,” a character who apparently enjoys wearing wolf fur and shooting silenced pistols, which in context makes her seem rather demure. Gaga confirmed on her own Twitter account: “Yes its true, I will be making my debut as an actress ln the amazing MACHETE KILLS BY @RODRIGUEZ IM SO EXCITED!!! AH! Filming was insane.” READ FULL STORY

Lady Gaga: With the 'Telephone' video, she stars in her own mini-movie, and it's a natural born thriller

lady-gaga-beyonce-telephoneLady Gaga declares, and revels in, the power of her superstardom in every frame of the astonishing, long-form video for “Telephone.” Back in the Stone-Age-of-pop days when MTV actually stood for “music television,” an epic-length video was one of the ultimate signatures of a pop star’s prestige. Michael Jackson, of course, patented the form with “Thriller” and “Bad;” by doubling the length of a standard video, and by recruiting red-hot filmmakers (John Landis, Martin Scorsese) to put their stamp on his work, he was melding the aesthetic/promotional promise of music videos with the myth-making propensities of movies. He was placing himself on a pedestal of icons that, implicitly, reached back to those of Hollywood. But if Jackson’s long-form videos were, in every sense, miniature movies, they were not, at least to my eyes, his greatest videos. Irresistible as it may have been, the night-of-the-living-chorus-line dancing in “Thriller” took a step back from the magic of “Billie Jean” and “Beat It” — to me, it had a slightly dated Broadway stodginess — and the “Bad” video was delirious but also a bit cheesy in its update of West Side Story delinquency.

Lady Gaga, in “Telephone,” proves a far shrewder and more daring manipulator of music-video-as-movie imagery. She uses our collective cinematic memory not just to brand herself with the past but to assert herself into the future — to extend her image as a rock-star freak, a bad romantic man-eater, and a natural born feminine killer. I can’t add a lot to Tanner Stransky’s celebration of the video’s kitschy-camp delights (those cigarette glasses! those Diet-Coke-can hair curlers!), but what possesses me about “Telephone” is the way that Gaga, working with the Swedish director Jonas Akerlund, fuses kitsch and danger, exhibitionism and movies to create a sense of the uncanny. The video doesn’t feel long, like an overly extended production number. It’s intense and organic and perpetually surprising (no matter how many times you’ve seen it), a dream that keeps erupting.

Lady Gaga, in the last year, has singlehandedly revived the excitement of music videos, and now she revives the true, enticing promise of a long-form video event: the revelation of exposure. We want to see a side of the star that we haven’t been shown before, and sure enough, Lady Gaga, in “Telephone,” gives us a teasing new chapter in her pop-surreal, wigs-and-sunglasses version of the Dance of the Seven Veils. Her standard thing, of course, is to be shrouded, as she is in the video’s bitch-or-be-bitched early prison scenes. But then, when she picks up that prison phone and starts to sing, staring into the camera, with purple lipstick and Amy Winehouse mascara, she brandishes, right in our faces, what she’s always hiding — the harsh ethnic beauty of her features. Then comes the transformation: On the line “Sorry, I cannot hear you,/I’m kinda busy…” she bares her teeth, and it’s more than a stance. It’s a new kind of rock & roll rage — the Madonna of the ’80s reconfigured as a homicidal punk tigress. She doesn’t even want to talk to a man — she’s too busy! READ FULL STORY

Let's bring back the concert film! And who would you like to see in one?

Lady-Gaga-Concert_lI read something in EW this week that genuinely shocked me. Next to my review of Michael Jackson’s This Is It, there’s a box of the five top-grossing concert films — and according to that list, the second most successful concert film of all time is Jonas Brothers: The 3D Concert Experience (2009). The reason for my shock is not that I dislike the Jonas brothers (I thought their movie was charming in a prefab, featherweight way), but because, at the time, Jonas Brothers: The 3D Concert Experience was rightfully considered a mild commercial disappointment. It marked the beginning of their slow slide from top-of-the-world boy band to big-but-not-quite-as-big teenybop limbo. How could this movie have ranked so high?

To see how, take a look at the full list:

1. Hannah Montana & Miley Cyrus: Best of Both Worlds Concert (2008) $65.3 million

2. Jonas Brothers: The 3D Concert Experience (2009) $19.2 million

3. Madonna: Truth or Dare (1991) $15 million

4. U2 3D (2008) $10.2 million

5. U2: Rattle and Hum (1988) $8.6 million

Hmmm, let’s tally this up: Two movies with currently-in-vogue squeaky-clean teen idols, a Madonna documentary from 20 years ago, a U2 doc from 20 years ago — and U2 again, this time from last year. I don’t begrudge any of these artists their big-screen success, but doesn’t this list strike you as just a little thin in terms of how well it represents…the pop-music universe of the last two decades? READ FULL STORY

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