Noticias

Getting into professional bodybuilding, men have a top goal – becoming Mr. Olympia. The prestigious title comes with immense respect and flaunts the bodybuilder’s strength and determination. Arnold Schwarzenegger, with multiple Mr. Olympia wins, has proven time and again that he’s one of the most successful men to have dipped his toes in the industry.

Arnold Schwarzenegger | Credits: @schwarzenegger / Instagram

Of course, others have taken his place since his retirement in 1980 but no one has been able to beat his one record that continues to impress us even today. So, bodybuilders like Chris Bumstead may have fans who believe that he could’ve defeated Arnie back in the day, but even he probably cannot help but be impressed by his record.

Arnold Schwarzenegger’s Impressive Bodybuilding Record Arnold Schwarzenegger in Conan The Barbarian | Credits: Dino De Laurentiis Corporation

The first time Arnold Schwarzenegger competed for the Mr. Olympia title...

John Legend is not returning for Season 26 of The Voice. After being a judge for multiple seasons, the names of the judges were released, and Legend’s name was not on it.

The Man, The Myth, The John Legend

John Legend is a singer/songwriter and pianist. Legend is well-known for his song, ‘All of Me.’ The popular musician was the first African American man to win all four major North American entertainment awards: Emmy, Grammy, Oscar, and Tony (Egot).

Legend is married to model Chrissy Teigen. Together, the couple has four kids. Their first child and daughter, Luna, was born in April 2016. They had their first baby boy, Miles, in May 2018. Teigen, unfortunately, had a miscarriage in 2020.

However, they got their second daughter Esti in January 2023 and their youngest son Wren was born from a surrogate in June 2023. The family is very close as Legend’s newest album is...

Arnold Schwarzenegger is an influential figure in the world of fitness and the world of bodybuilding Before becoming a highly successful Hollywood actor, Schwarzenegger was a reigning figure in bodybuilding, earning various prestigious titles multiple times. He has won the Mr. Universe title four times and went on to earn the prestigious Mr. Olympia title seven times.

As seen in his documentary Arnold, Arnold Schwarzenegger was a defining force in the bodybuilding world

Before he started his Mr. Olympia win streak, Sergio Oliva was reigning supreme with three consecutive Mr. Olympia wins from 1967-1969. This was the time when Schwarzenegger was aiming for the title and the two were hugely competitive. While he lost to Oliva in 1969, he used a psychological trick to win against Oliva in 1970.

Arnold Schwarzenegger Psychologically Manipulated His Rival to Nab Mr. Olympia Arnold Schwarzenegger managed to defeat Sergio Oliva in 1970

In 1969, Arnold Schwarzenegger was coming out of winning the Mr.

Netflix's Arnold revisits the famous box-office feud between Arnold Schwarzenegger and Sylvester Stallone and reveals new details about their various battles. The 1980s gave rise to action movies that put a much greater emphasis on the physicality of their stars. In a sense, Stallone led the way thanks to First Blood and Rocky III, where he proudly displayed his oiled-up muscles while speaking as little as possible. The likes of Chuck Norris and Dolph Lundgren would follow a similar formula, but without any doubt, Stallone's biggest feud was with Arnold Schwarzenegger.

There were the kings of action cinema during the '80s and most of the '90s, with the pair starring in high-concept blockbusters featuring no end of explosions, one-liners and testosterone. If Stallone killed X amount of bad guys in one movie, Schwarzenegger seemed to kill double that number in his next project. Arnold even tricked Stallone...

Muhammad Ali. Jackie Robinson. Colin Kaepernick. These names belong together in the history books -- so says Olympic legend John Carlos -- one of the two Americans behind the iconic "Black Power" salute at the '68 Games. Carlos -- who raved about Kaepernick to TMZ Sports last month -- finally had the chance to meet the Qb in person ... and shared a powerful message about Colin afterwards. "Mr. Kaepernick, who needs no introduction, is this generation's iconic civil rights leader,...

Close-Up is a feature that spotlights films now playing on Mubi. Jean-Gabriel Périot's A German Youth (2016), which is receiving an exclusive global online premiere on Mubi, is showing from October 27 - November 26, 2017 as a Special Discovery.I’ll never accept the tendency of the late capitalistic society, which leads us straight to fascism. You just have to look at what’s happening in the USA.—Gudrun EnsslinIn the last analysis, terrorism is an idea generated by capitalism to justify better defense measures to safeguard capitalism.—Rainer Werner FassbinderWhen fascists began getting punched this summer, and an excited wave of schadenfreude took hold, briefly, of the social-media trashcan, out came the liberal cavalry: in force. Punching Nazis, so went the cry, is at best the first step to moral oblivion and, at worst, already as bad as the people who want you dead. They are nothing if not predictable,...

From cult faves to the subjects of a Broadway musical and starry HBO movie, Big Edie and Little Edie, the kin of Jacqueline Kennedy Onassis who lived in scandalous bohemian squalor in an oceanfront East Hampton estate, have become indelible pop-culture figures. But even if you're the completist who's seen the 2006 follow-up to the 1975 documentary classic Grey Gardens, you've never seen the mother-daughter duo quite as they're revealed in That Summer.

Swedish director Göran Hugo Olsson, whose masterful touch with found footage made The Black Power Mix Tape 1967–1975 a powerful historical chronicle, again delves into...

It’s been an interesting run-up to the Toronto International Film Festival, and in terms of the survival of the species, the good ol’ U.S.A. has been something of a race to the bottom. What would do us in first: violent neo-Nazis whose activities are almost explicitly condoned by the Klansman In Chief? Or a 1,000-year weather event on the Gulf Coast whose magnitude surely owes something to global climate change, and whose aftermath of collapsing dams and exploding chemical factories has everything to do with systematic neglect?Given the state of things down here, who wouldn’t want to repair to Canada for some challenging cinema? As always, the Toronto International Film Festival (Tiff) is the place to be in September, and Wavelengths once again features the best of the fest. This is because the films selected for Wavelengths are the opposite of escapism. Whether they tackle...

The Telluride Film Festival has announced its 2017 lineup. As usual, the exclusive Colorado gathering features a range of buzzy fall season movies, including many films also premiering in Venice and Toronto as well as others resurfacing from earlier in the year, just in time for awards season. Filmmakers in this year’s program range from Alexander Payne to Angelina Jolie. The festival will also honor cinematographer Ed Lachman, actor Christian Bale, and screen a new cut of Francis Ford Coppola’s 1984 Harlem musical “The Cotton Club.”

One of the bigger films to make the cut in this year’s lineup should take no one by surprise: “Downsizing” (12/22, Paramount), Payne’s long-gestating near-future workplace satire starring Matt Damon, will screen at the festival where Payne has been a regular for years (both as a filmmaker and audience member). The movie opened the Venice Film Festival earlier this week, and was followed...

Feminist activists, journalists, and authors, Gloria Steinem and Dorothy Pitman Hughes, announced the release of a limited-edition charity T-shirt, Gloria and Dorothy’s Equal Rights Now Tee, to raise funds to support the growing momentum behind passage of the long-sought-for Equal Rights Amendment (Era).

Gloria Steinem and Dorothy Pitman Hughes wear #EqualRightsNow t-shirts

Era supporters across the U.S. are joining Steinem and Pitman Hughes, posting their own fist-pumping photos on Instagram and Twitter with the hashtag #equalrightsnow.

The Era is a proposed amendment to the United States Constitution that would expressly prohibit discrimination against girls and women on the basis of gender. Today, the Constitution does not guarantee equal rights for women. As the late Supreme Court Justice Antonin Scalia stated: “Certainly the Constitution does not require discrimination on the basis of sex. The only issue is whether it prohibits it. It doesn’t.”

In 1972, the Equal Rights Amendment...

With his observations about the clash between a tightly wound Manhattan careerist and her boyfriend' s loose-limbed New England clan, writer-director Thomas Bezucha puts a fresh slant on the dynamics of family-reunion Christmas movies. But "The Family Stone" spends too much time on unconvincing romantic-comedy contrivances to be consistently engaging.

Throughout the uneven film and its mixed bag of performances, the compelling point of focus is Diane Keaton's smart, funny, spot-on natural portrait of the formidable Stone matriarch. Fans of the actress and of Sarah Jessica Parker, in her first major post-"Sex and the City" film role, will flock to the holiday offering, which should be a draw for older audiences and women.

Unfortunately, Parker is one of the actors who fares least well here. Fans looking for Carrie Bradshaw's irreverence will find instead a multitasking, throat-clearing control freak. Parker does, however, deliver some strong moments late in the proceedings, when script mechanics release her character, Meredith, from the Stone family's sacrificial altar.

The story unfolds over three days in an unidentified New England town, where Meredith and her boyfriend, Everett (Dermot Mulroney), visit his artsy mother and professor father (Craig T. Nelson, lending low-key strength). The deck is stacked against her: Everett's outspoken younger sister Amy (Rachel McAdams), having already met Meredith, hates her. And Sybil (Keaton), a striking, casually dressed woman with a Susan Sontag-style shock of white hair, regards Meredith with a roll of the eyes and a sneer of disdain when she crosses the threshold in Black Power pumps that couldn't be more out of place. Who wouldn't feel intimidated?

Where Bezucha (whose other feature credit is the indie "Big Eden") gets it right is in his clear-eyed depiction of the way ultra-tolerant, "open-minded" people can be utterly intolerant -- and even delight in being mean, with McAdams and Keaton offering fine examples. But he layers his story with romantic alignments and realignments that all feel forced.

The roundelay begins when Meredith, under passive-aggressive siege, summons her sister to lend moral support. When Everett lays eyes on the luminous Julie (Claire Danes), as clear a contrast to the shrill Meredith as could be imagined, his mask of misery finally melts. Like Parker, Mulroney is constrained by a role that doesn't quite parse. However mismatched Everett and Meredith May be, any couple this appearance-conscious would at least try not to look as downright miserable as these two do. And as successful businesspeople, they would know how to work a room somewhat better than they manage here.

But families have a way of laying low our best defenses, and as this gathering unravels, Meredith's chief ally is not her boyfriend but his brother (Luke Wilson, in one of the film's best performances), a documentary film editor exuding a soulful -- and cannabis-enhanced -- serenity. Also seeing through Meredith's brittle demeanor to her self-doubt is Nelson's paterfamilias Kelly, providing counterpoint to Sybil and Amy's drama for flash judgments.

Rounding out the brood are married, pregnant daughter Susannah (Elizabeth Reaser) and youngest son Thad (Tyrone Giordano), perhaps Bezucha's most loaded construct. Thad is gay and deaf, his partner (Brian White) is black, and they're planning to adopt. All of which would be fine if Thad didn't exist merely as a setup for the dinner-table debacle in which Meredith, speaking her mind, plants both feet firmly in mouth and proceeds to do a Riverdance.

It's no wonder that Sybil is bracing herself against Everett's request for the heirloom ring -- the second meaning of the film's title -- that she had promised him for his intended, long before Meredith entered the picture. Keaton brings a bracing acerbity to Sybil, who reneges on that promise with an unapologetic, "Tough shit". Although she's not always likable, her toughness and honesty are her family's life force.

The production has a suitably unfussy sheen, with Jane Ann Stewart's production design and Shay Cunliffe's costumes conveying the Stone home's lived-in, bohemia-tinged comfort. New Jersey and Connecticut locations serve well as the snow-covered burg. A holiday-themed bonus awaits Keaton fans who stay to the end of the credits.

THE FAMILY STONE

20th Century Fox

Fox 2000 Pictures presents a Michael London production

Credits:

Director-screenwriter: Thomas Bezucha

Producer: Michael London

Executive producer: Jennifer Ogden

Director of photography: Jonathan Brown

Production designer: Jane Ann Stewart

Music: Michael Giacchino

Costume designer: Shay Cunliffe

Editor: Jeffrey Ford

Cast:

Sybil Stone: Diane Keaton

Julie Morton: Claire Danes

Meredith Morton: Sarah Jessica Parker

Everett Stone: Dermot Mulroney

Kelly Stone: Craig T. Nelson

Ben Stone: Luke Wilson

Amy Stone: Rachel McAdams

Thad Stone: Tyrone Giordano

Patrick Thomas: Brian White

Susannah: Elizabeth Reaser

MPAA rating PG-13

Running time 103 minutes...

Chronicling the life and turbulent times of a lesser-known civil rights figure, "Negroes With Guns: Rob Williams and Black Power" is a straight-ahead documentary more notable for its chosen subject than for breaking any fresh ground in its PBS filmmaking style.

The Los Angeles Film Festival entry, taking its title from Williams' 1962 manifesto that advocated armed self-defense as the best defense against racially motivated violence, shines some reflective light on the man it upholds as a forefather of the Black Power movement.

Adhering to a philosophy that managed to rattle both the white segment of his Klan-dominated hometown of Monroe, N.C., as well as the black, nonviolence-advocating leadership of the mainstream Civil Rights movement, Williams found himself wanted by the FBI on charges of kidnapping a white couple he was, in fact, shielding from an angry mob.

As a result, Williams fled to Cuba in 1961 with his wife, Mabel, where they were given political asylum and the opportunity to air his Radio Free Dixie broadcasts, which combined R&B and jazz music with politically charged Black Power rhetoric.

But some of his ideologies, as well as the fact that he was not a Communist, didn't sit well with Castro, so Williams and his family headed to Mao's China where they remained until 1969.

At that point, the Nixon administration, keen on opening up diplomatic relations with the country, saw Williams as a valuable resource and the kidnapping charges against him were dropped, paving the way for his return to the United States.

Incorporating the usual blend of interviews (mainly with Williams' widow) and archival news footage, co-directors Sandra Dickson and Churchill Roberts most effectively set the sociopolitical scene with excerpts from those Radio Free Dixie tapes, while Terence Blanchard's simple piano score pays tribute to Williams' place in not-so-distant American history.

Chronicling the life and turbulent times of a lesser-known civil rights figure, "Negroes With Guns: Rob Williams and Black Power" is a straight-ahead documentary more notable for its chosen subject than for breaking any fresh ground in its PBS filmmaking style.

The Los Angeles Film Festival entry, taking its title from Williams' 1962 manifesto that advocated armed self-defense as the best defense against racially motivated violence, shines some reflective light on the man it upholds as a forefather of the Black Power movement.

Adhering to a philosophy that managed to rattle both the white segment of his Klan-dominated hometown of Monroe, N.C., as well as the black, nonviolence-advocating leadership of the mainstream Civil Rights movement, Williams found himself wanted by the FBI on charges of kidnapping a white couple he was, in fact, shielding from an angry mob.

As a result, Williams fled to Cuba in 1961 with his wife, Mabel, where they were given political asylum and the opportunity to air his Radio Free Dixie broadcasts, which combined R&B and jazz music with politically charged Black Power rhetoric.

But some of his ideologies, as well as the fact that he was not a Communist, didn't sit well with Castro, so Williams and his family headed to Mao's China where they remained until 1969.

At that point, the Nixon administration, keen on opening up diplomatic relations with the country, saw Williams as a valuable resource and the kidnapping charges against him were dropped, paving the way for his return to the United States.

Incorporating the usual blend of interviews (mainly with Williams' widow) and archival news footage, co-directors Sandra Dickson and Churchill Roberts most effectively set the sociopolitical scene with excerpts from those Radio Free Dixie tapes, while Terence Blanchard's simple piano score pays tribute to Williams' place in not-so-distant American history.