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Monday, June 30, 2014
African outsiders face European giants
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MATCHDAY PREVIEW - Africa's two remaining teams return to the fray on Monday in a pair of Round of 16 showdowns against European powers. For Algeria, through to the knockout phase for the first time in their history, that means a daunting tie against three-time winners Germany, who have looked in excellent form so far at Brazil 2014. Les Fennecs (Desert Foxes) fear no one, though, and particularly not their upcoming opponents, having edged both of their previous meetings: a 2-0 friendly win in 1964 and a 2-1 success during the group stage at Spain 1982.
Nigeria can point to a similar record against their last-16 rivals France, with the only match between the teams ending in a 1-0 triumph for the Super Eagles in June 2009. Despite that, Les Bleus have emerged as a genuine force at this FIFA World Cup™, scoring eight goals in their first two games ahead of a goalless draw with Ecuador.
Nigeria can point to a similar record against their last-16 rivals France, with the only match between the teams ending in a 1-0 triumph for the Super Eagles in June 2009. Despite that, Les Bleus have emerged as a genuine force at this FIFA World Cup™, scoring eight goals in their first two games ahead of a goalless draw with Ecuador.
That contrasted with Nigeria's more delicate progress through a very open Group F, the African champions opening with a goalless stalemate against Iran before downing Bosnia and Herzegovina 1-0 and losing 3-2 to Argentina in their most accomplished performance. The statistics suggest France are favourites, as does a comparison of the teams' respective trophy hauls. But who will shine when it matters?
The matchesRound of 16
France-Nigeria, Estadio Nacional, Brasilia, 13.00 (local time)
Germany-Algeria, Estadio Beira-Rio, Porto Alegre, 17.00 (local time)
Glory beckons:Miroslav Klose needs just one more effort to become the all-time leading scorer in World Cup history, having recently drawn level with Brazil legend Ronaldo on 15 strikes. The Germany marksman has registered once so far at Brazil 2014, after notching five goals in 2002, five in 2006 and four in 2010.
Proud record:Nigeria have become the first African team to reach the knockout phase for a third time, repeating the feat of their predecessors in 1994 and 1998. The continent still awaits its maiden semi-finalists, however, with a trio of sides having reached the last eight before exiting: Cameroon in 1990, Senegal in 2002 and Ghana four years ago.
Five survivors:The Super Eagles saw off France 1-0 in a friendly in Saint-Etienne on 2 June 2009. Five players involved that day could feature in Brasilia: Patrice Evra, Loic Remy and Karim Benzema for France, plus Nigerian duo Peter Odemwingie and Vincent Enyeama.
French omen:France have grabbed a spot in the knockout phase for the sixth time since 1958. Each time Les Bleus have made it out of the group stage, they have gone on to reach at least the semi-finals, finishing third in 1958, fourth in 1982 and third in 1986 before lifting the Trophy in 1998 and reaching the Final in 2006.
German juggernaut:Germany will contest their 889th international when they tackle Algeria, with their previous fixtures yielding 515 wins, 181 draws and 192 losses. The three-time World Cup winners have rattled in 1,996 goals along the way, with an average of 2.24 per game.
Suspended players
None
Treading the tightrope
Benedikt Howedes (GER)
Nabil Bentaleb, Nabil Ghilas, Liassine Cadamuro, Djamel Mesbah, Madjid Bougherra (ALG)
Paul Pogba, Patrice Evra (FRA)
Juwon Oshaniwa, Kenneth Omeruo, John Obi Mikel (NGA)
Check it outThe tie between Algeria and Germany inevitably brings to mind memories of their last World Cup meeting 32 years ago. That day, in a group stage fixture at Spain 1982, Les Fennecs wrote one of the most glorious chapters in their history by stunning Die Nationalmannschaft 2-1. Revisit that sensational success in our video presentation, and via exclusive interviews with Lakhdar Belloumi and Rabah Madjer.
The question fans are asking themselves back in France is how Les Bleus have managed to become such a well-oiled unit with a seemingly unquenchable thirst for goals, plundering 26 and conceding just three in eight games since their play-off opener against Ukraine. In an exclusive interview with FIFA, coach Didier Deschamps provides his own take.
With the clock ticking down on France's showdown with Nigeria, FIFA.com also met up with Super Eagles stalwart Joseph Yobo, who briefly played in France during a spell at Marseille. Recently awarded his 100th cap, the veteran defender explains why he sees no reason to fear Benzema and Co.
On this dayBrazil clinched their fifth World Cup crown in Yokohama, Japan, on 30 June 2002, engineering a 2-0 victory against Germany in the Final. With current coach Luiz Felipe Scolari then enjoying his first stint at the Seleção helm, Brazil played in a 3-4-1-2 formation that featured the blistering talents of front trio Ronaldinho, Rivaldo and Ronaldo. The latter hit the two winning goals in the second half, on his way to ending the tournament as top scorer on eight strikes, while captain Cafu became the first player to contest three consecutive World Cup deciders. Miroslav Klose, meanwhile, spearheaded Germany's attack.
Play and winMake your prediction for the adidas Golden Ball winner at Brazil 2014 and you could walk away with your very own piece of World Cup history from the Maracana Final on 13 July. The Grand Prize for the adidas Golden Ball Predictor is an official match ball used during the 2014 World Cup showpiece, so what are you waiting for?
Top tweetFrance defender Raphael Varane tweeted his thoughts before Monday's clash with Nigeria.
"A small break after training under extreme heat. Ready for the game tomorrow!"
"A small break after training under extreme heat. Ready for the game tomorrow!"
Interview: Young Jeezy, YG And DJ Mustard Hit The 2014 BET Awards
Earlier today (June 29), VIBE hit the 2014 BET Awards with our cameras armed to catch all the backstage action. On our first stop, the red carpet, we caught up with trapstars Young Jeezy, YG and DJ Mustard who mobbed through as a trio. After touching on his upcoming album, the Snowman pulled his young West Coast homies along and put a new term into the air. Instead of accepting the label of O.G—Jeezy says he prefers to be called the O.T.—that's "Original Trapper" in case you didn't know. Check out the video to see if YG and Mustard approve.
Man Stabbed At Game & Meek Mill BET Awards Pre-Party, Video Released
A man in his 20s is stabbed inside of Lure Nightclub at a party hosted by Game and Meek Mill.
A stabbing took place inside of a BET Awards pre-party hosted by Game and Meek Mill, according to TMZ.
A man in his 20s was stabbed inside Lure Nightclub yesterday (June 28), the report says.
TMZ has footage of the man outside of the club, waiting for medical assistance. He is with a friend who is also calling for help.
The man was reportedly taken to a nearby hospital and is in stable condition.
While Game and Mill hosted the event, other rappers were reportedly also in attendance. No connection between the stabbing and the emcees has been made.
A video from the event is below
BET Awards -- Stabbing During Pre-Party Inside Hollywood Nightclub
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‘Transformers: Age of Extinction’ Has Year’s Biggest Opening Day, Set for $104 Million Weekend
The robots look to do more damage en route to a whopping $104 million-plus debut this weekend. Paramount estimates a slightly more modest $100 million.
If that estimate pans out, the fourth installment of Paramount’s ever-growing franchise would overtake “Captain America: The Winter Soldier” as the best debut of the year. Disney-Marvel’s sequel earned $95 million when it opened the summer box office early, hitting theaters in the first weekend of April.
This would mark the second best opening for director Michael Bay’s $2.6 billion movie series. “Transformers: Revenge of the Fallen” debuted to $109 million in 2009.
The $210 million tentpole could also become the first pic since “The Hunger Games: Catching Fire” and the first movie of the year to hit the $100 million mark in its launch (as well as the 27th movie to earn a nine-figure opening weekend in the U.S.)
Although the last “Transformers” movie, “Dark of the Moon,” made $50 million less domestically than its predecessor, each new installment has grossed progressively more worldwide. “Dark of the Moon” made $1.1 billion to become the seventh highest worldwide grosser of all time. It was miles ahead of “Revenge of the Fallen’s” $836 million and the original film’s $710.
“Age of Extinction” has already started its international reign, earning $80 million in foreign markets, including an estimated $30 million-plus opening in China — the largest opening day for a foreign film in the People’s Republic. The Friday result is 42% higher than the last installment in the same territories.
The blockbuster had already set a record in China with $3.5 million from Thursday midnight previews. It had the second highest Friday gross of all time in Russia ($4.5 million) and the top opening day of 2014 in Korea ($3 million), among other territories. The movie is playing in 37 international territories this weekend.
This is the first film in the series without star Shia LaBeouf, who was coincidentally arrested for disorderly conduct in New York City on the film’s opening night, as Mark Wahlberg and company look to breathe new life into the franchise. Megan Fox left the series after the second installment and was replaced with Rosie Huntington-Whiteley, who’s now been substituted with Nicola Peltz.
The pic, which is now playing in 4,233 locations, made $8.75 from Thursday showings – the franchise’s lowest late-night gross to date. So far, “Age of Extinction” is the worst reviewed movie of the series with a 17% rating on Rotten Tomatoes. The first “Transformers” movie has the highest with 57%.
As expected, the audience skewed male (64% men), with 58% of moviegoers over the age of 25.
Holdovers led the rest of the pack, with “22 Jump Street” and “How to Train Your Dragon 2” coming in second and third, respectively, in a repeat of last weekend.
The “21 Jump Street” sequel earned $5 million on Friday. The comedy stands to make $15 million by Sunday, which would mark a $45 million drop, raising its three-week cume to $140 million.
Its sequel sparring partner, “How to Train Your Dragon 2,” was close behind with $4.1 million. The Fox/DreamWorks animated pic could earn $13.1 million – a 47% decline. It will likely reach $122 million by Sunday.
Last week’s victor, “Think Like a Man Too,” fell to fourth with $3.4 million. Sony’s Kevin Hart comedy is on track for $10 to $11 million, sliding sharply by 65% in its second outing.
Disney’s “Maleficent” is still showing holding power as it rounds out the top five. The Angelina Jolie-starrer made $2.6 million on Friday as it headed for a fifth weekend in the $8 million range. The “Sleeping Beauty” live-action reimagining is on track to cross $200 million. It could become this year’s fourth film to reach that milestone following “The Lego Movie,” “Captain America: The Winter Soldier” and “X-Men: Days of Future Past.”
Film Review: ‘Dawn of the Planet of the Apes’
'Cloverfield' director Matt Reeves helms a bleak but spectacular sequel to the 2011 man-vs.-monkey hit.
It’s always darkest before the dawn, goes the saying — but in resuming a franchise already suspended on a downbeat note, “Dawn of the Planet of the Apes” sees the simian revolution reaching unprecedented levels of bleak anarchy. An altogether smashing sequel to 2011′s better-than-expected “Rise of the Planet of the Apes,” this vivid, violent extension of humanoid ape Caesar’s troubled quest for independence bests its predecessor in nearly every technical and conceptual department, with incoming helmer Matt Reeves conducting the proceedings with more assertive genre elan than “Rise” journeyman Rupert Wyatt. Entirely replacing the previous film’s human cast, but crucially promoting Andy Serkis’ remarkable motion-capture inhabitation of Caesar to centerstage, “Dawn” ought to go ape at the global box office starting July 9, smoothing the path for further sequels to test the franchise’s complexity.
Following the robust performance of “Rise of the Planet of the Apes” — which garnered warm reviews, more than $480 million worldwide and an Oscar nomination for its stunning effects work — “Cloverfield” director Reeves inherits the Pierre Boulle-originated franchise in considerably better condition than Wyatt did, considering the almighty whiff of Tim Burton’s 2001 “Planet of the Apes” remake. Credibility restored, then, it’d have been easy to get complacent, recycling the “Rise’s” most impressive setpieces and welding them to a hasty resuscitation of its movie-science narrative. Instead, Reeves and returning writers Rick Jaffa and Amanda Silver (joined by “The Wolverine” scribe Mark Bomback) have taken a different tonal tack, fashioning the new installment as an out-and-out war drama, with surprising subdivisions in its central conflict of man vs. beast, and battle scenes to do Weta Digital godfather Peter Jackson proud.
The action begins approximately a decade after “Rise” left off, with a pre-credits montage of global news reports filling in the subsequent drastic developments: The ALZ-113 virus (or simian flu) unleashed at the end of the prior film has wiped out most of the world’s human population, with a survival rate of less than one in 500. It’s a slight red herring of an introduction, given that the virus is no longer the most immediate threat to man’s day-to-day existence. With all government functions suspended and nuclear power critically depleted, any remaining bands of survivors exist in spartan, unlit isolation; if the flu doesn’t get to them first, the lack of basic resources will.
San Francisco — or the post-ape-ocalyptic remainder of it, at least — is once more the setting, brilliantly realized by production designer James Chinlund as a gangrenous wasteland of vegetation-swamped slumhouses, the city’s erstwhile landmarks glumly clothed in rust and moss. Its few residents are led by Dreyfus (Gary Oldman), a former military man bent on revenge against the apes for the loss of his family to the virus. More sanguine is Malcolm (Jason Clarke), who spearheads a project to recover the city’s electricity by regaining control of the O’Shaughnessy Dam. That entails encroaching on the forested domain of the neighboring ape community, still ruled with a firm but hairy hand by Caesar; with relations between man and ape already fragile, this violation throws fuel on the flames of civil unrest.
Though Caesar responds to the diplomatic overtures of Malcolm and his medic wife, Ellie (Keri Russell), and grants them limited access to the dam, not all his subjects approve. Particularly irate is Koba (Toby Kebbell), a hot-headed, human-hating ape with mutinous designs on his leader’s position; when an equivalently reactionary member of Malcolm’s party is revealed to have broken Caesar’s “no guns” condition of cooperation, the resulting furor gives Koba the impetus to launch his aggressive counter-movement. (Sadly, the writers resist giving Caesar the line “Et tu, Koba?”) The script elegantly constructs its human and ape communities as opposed but markedly similar ecosystems, each one internally fractured along lines of relative tolerance toward the other.
The “Apes” franchise has always been a politically loaded one, and this latest entry states its left-wing credo in ways both allegorically implicit and bluntly direct. (You’d have to be pretty obtuse to miss the pro-gun-control subtext attached to misdeeds on both sides of the man-monkey battle.) While the previous film functioned as something of a cautionary tale against man’s destructive meddling with his environment, “Dawn” apportions blame a little more equally, as the beasts (introduced in a thrilling, technically jaw-dropping faceoff against a grizzly bear) are shown to be no less reckless an influence on the biosphere than their former superiors. “I always think ape better than human,” Caesar admits to Malcolm, his speech patterns having evolved rather rapidly even over the course of this film. “I see now how like them we are.” It’s a reverse epiphany that would have Jane Goodall in tears.
Regardless of whose side audiences might take, however, the fallout is inarguably spectacular. Reeves stages the ensuing crossfire in the human colony with much the same sense of kinetic panic he brought to the flipped monster-movie mechanics of “Cloverfield,” albeit with far more technical dazzle this time. With most of the below-the-line talent new to the franchise, “Dawn” has an aesthetic entirely distinct from that of “Rise,” with Michael Seresin’s antsy camerawork painting from a strikingly dank palette, and Michael Giacchino’s chorally embellished score occasionally evoking the grandeur of Howard Shore’s work on the “Lord of the Rings” trilogy. The editing by William Hoy and Stan Salfas rotates multiple points of drama before hurtling into a too-busy finale that sells Oldman’s arc particularly short: Still, while nearly half an hour longer than its predecessor, the film certainly doesn’t feel it.
Naturally, though, the services of effects wizards Joe Letteri and Dan Lemmon have been retained — and with even more astonishing results this time, with the enlarged population and evolved capabilities of the ape community (who can now ride horses, handle firearms and goodness knows what else) posing fresh logistical challenges that are seamlessly met. The fusion of the film’s motion-capture work with its sophisticated fight choreography is particularly staggering.
That Caesar’s community now seems so integrated and completely characterized is certainly due to Letteri and Lemmon’s magic, though much credit should also go to the actors behind the illusion. Serkis must by now be used to the superlatives heaped upon his agile fusion of performance and image in many a CGI spectacle, though he’s in particularly empathetic, emotionally specific form here; Kebbell’s brute physicality and wild-eyed animosity, meanwhile, burns through the digital disguise. Despite Clarke’s everyman likability and some reliably gonzo posturing from Oldman, the less hirsute ensemble seems a little bland by comparison. Perhaps the film’s on the side of the apes after all.
Film Review: 'Dawn of the Planet of the Apes'
Reviewed at Moscow Film Festival (closer, noncompeting), June 27, 2014. MPAA Rating: PG-13. Running time: 130 MIN.
Production
A 20th Century Fox release and presentation of a Chernin Entertainment production in association with TSG Entertainment, Ingenious Media. Produced by Peter Chernin, Dylan Clark, Rick Jaffa, Amanda Silver. Executiveproducers, Thomas M. Hammel, Mark Bomback.
Crew
Directed by Matt Reeves. Screenplay, Rick Jaffa, Amanda Silver, Mark Bomback, based on characters created by Jaffa, Silver. Camera (color), Michael Seresin; editors, William Hoy, Stan Salfas; music, Michael Giacchino; production designer, James Chinlund; art director, Aaron Naaman Marshall; set decorator, Amanda Moss Serino; costume designer, Melissa Bruning; sound (Dolby Atmos), Ed White; supervising sound editors, Douglas Murray, Will Files; re-recording mixers, Andy Nelson, Files; senior visual effects supervisor, Joe Letteri; visual effects supervisor, Dan Lemmon; visual effects, Weta Digital; stunt coordinators, Charles Croughwell, Marny Eng, Terry Notary; associate producer, Jennifer Teves; assistant director, Mathew Dunne; second unit directors, Brad Parker, Gary Powell; second unit camera, Gary Capo; casting, Debra Zane.
With
Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smit-McPhee, Kirk Acevedo, Jon Eyez, Enrique Murciano, Terry Notary, Judy Greer, Nick Thurston, Karin Konoval, Keir O'Donnell, Kevin Rankin.
BET Awards 2014 WINNERS LIST! VIDEO: Chris Rock Opens BET Awards With Monologue Mocking Everyone From Oprah to Donald Sterling
(BET)
The 2014 BET Awards are being held on Sunday.
The annual show, now in its 13th year, honors the best in black entertainment — including music, movies, and sports.
And the winners are…
NEW ARTIST
August Alsina
GOSPEL ARTIST
Tamela Mann
ACTRESS
Lupita Nyong’o
MALE ARTIST
Drake
VIDEO OF THE YEAR
Pharrell, “Happy”
MALE R&B POP ARTIST
Pharrell
LIFETIME ACHIVEMENT AWARD
Lionel Richie
GROUP
Young Money
VIEWERS’ CHOICE
August Alsina
HUMANITARIAN AWARD
Myrlie Evers-Williams and all Civil Rights Movement heroes
FEMALE HIP-HOP ARTIST
Nicki Minaj
FANDEMONIUM AWARD
Beyonce
Chris Rock opened Sunday’s BET Awards with a monologue poking fun at everyone from Jay Z and Oprah to “Scandal” and Donald Sterling.
The comedian mocked the Solange Knowleselevator fight, Kevin Hart’s popularity, Rick Ross’ weight, and plenty of other targets in an expletive-laced segment that had the audience roaring.
It’s definitely worth watching.
Check out the video below!
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