South Dakota Attorney General Jason Ravnsborg was removed from office on Tuesday after an historic impeachment trial in the state Senate, nearly two years after he fatally struck a man with his vehicle.
Ravnsborg was facing two articles of impeachment stemming from his role in the 2020 car crash: one for crimes that resulted in death, and the other for malfeasance related to his conduct after the collision.
The senators voted 24-9 in favor of the first article — the exact number of votes to meet the two-thirds threshold necessary for conviction...
Ravnsborg was facing two articles of impeachment stemming from his role in the 2020 car crash: one for crimes that resulted in death, and the other for malfeasance related to his conduct after the collision.
The senators voted 24-9 in favor of the first article — the exact number of votes to meet the two-thirds threshold necessary for conviction...
- 6/22/2022
- by Tom Kludt
- Rollingstone.com
Ron Shelton is not just a student of boxing; he has also written or directed such outstanding movies about Americans playing sports as "The Best of Times", "Bull Durham" and "White Men Can't Jump". So one experiences "Play It to the Bone" starring Woody Harrelson, Antonio Banderas and Lolita Davidovich with deep disappointment.
On the road from Los Angeles to Las Vegas for a boxing match, the movie gets sidetracked into a muddled character study long on dialogue and short on real writing. By the time the movie arrives at the actual bout, audiences may be too weary to care about the match despite some exciting fight footage.
You won't get good odds on the boxoffice prospects for "Bone". The film's opportunities in ancillary markets are long shots as well.
The key to any character study is to have characters worthy of study. Why Shelton fails this test may be found in a line in the media notes that states "Bone" wrapped photography about six months from the time Shelton began to write his script. Haste is not always a friend to the writing process.
Indeed, Shelton's script, nearly two-thirds of which consists of three characters trapped in a Vegas-bound car bickering with one another, plays more like a sketch for a movie rather than a screenplay. It's all back story, with the only action jammed into the final minutes.
Two out-of-work boxers and best buddies, Vince (Harrelson) and Cesar (Banderas), get the chance of a lifetime -- well, to be accurate, the second chance of a lifetime -- when they are offered the undercard of a Mike Tyson bout in Vegas. The catch -- they gotta be in Vegas for the match that night.
Unaccountably, they choose to drive with wannabe entrepreneur Grace (Davidovich), Cesar's current girlfriend and Vince's ex, in her lime green 1972 Olds 442 convertible. Something about those long desert stretches causes all three to unburden themselves about their past lives (details of which one would assume the three intimate friends already know by heart).
Amid recollections of failed title shots and relationships, the three misfits quarrel incessantly, covering and recovering the same ground with a grinding relentlessness. One learns that Vince has become a Jesus freak complete with hallucinations. Cesar allows that following his last bout he experimented with homosexuality. Grace, who chooses this trip to break up with Cesar, referees the two men's quarrels until an oversexed hitchhiker, played with energy by Lucy Liu, throws off the car's dynamics.
Arriving in Vegas, the trio encounters a host of boxing types -- shady promoters (Tom Sizemore and Robert Wagner), a shyster lawyer (Jack Carter) and various hangers-on -- all cliches of cliches. But finally, the film gets to the main event.
The initial rounds produce the movie's most exciting sequences. But gradually, in blow after blow of the gory fight, even these sequences become repetitive and implausible. Sheldon won't even allow his aging warriors to get weary and dance away from punches. They enter the 10th round nearly as energetic as the first.
The actors' training pays off though, with each moving like a genuine boxer. Banderas, however, slouches rather badly throughout the film as if favoring a back injury.
Shelton has loaded ringside with celebrities (Kevin Costner, Wesley Snipes, James Woods), renowned promoters, cutmen, sports commentators and former champ George Foreman to give the match the feeling it's the genuine article. Mark Vargo's photography and Paul Seydor's editing are exceptional. But Shelton, who clearly cares about this world and its people, regrettably never finds a way to let the audience share in that concern.
PLAY IT TO THE BONE
Buena Vista Pictures
Touchstone Pictures in association
with Shanghai'd Films
Producer Stephen Chin
Screenwriter-director Ron Shelton
Executive producer David Lester
Director of photography Mark Vargo
Production designer Claire Jenora Bowin
Music Alex Wurman
Costume designer Kathryn Morrison
Editor Paul Seydor
Color/stereo
Cast:
Vince Woody Harrelson
Cesar Antonio Banderas
Grace Lolita Davidovich
Joe Domino Tom Sizemore
Hank Goody Robert Wagner
Lia Lucy Liu
Artie Richard Masur
Cappie Caplan Willie Garson
Rudy Cylk Cozart
Dante Solomon Jack Carter
Running time -- 124 minutes
MPAA rating: R...
On the road from Los Angeles to Las Vegas for a boxing match, the movie gets sidetracked into a muddled character study long on dialogue and short on real writing. By the time the movie arrives at the actual bout, audiences may be too weary to care about the match despite some exciting fight footage.
You won't get good odds on the boxoffice prospects for "Bone". The film's opportunities in ancillary markets are long shots as well.
The key to any character study is to have characters worthy of study. Why Shelton fails this test may be found in a line in the media notes that states "Bone" wrapped photography about six months from the time Shelton began to write his script. Haste is not always a friend to the writing process.
Indeed, Shelton's script, nearly two-thirds of which consists of three characters trapped in a Vegas-bound car bickering with one another, plays more like a sketch for a movie rather than a screenplay. It's all back story, with the only action jammed into the final minutes.
Two out-of-work boxers and best buddies, Vince (Harrelson) and Cesar (Banderas), get the chance of a lifetime -- well, to be accurate, the second chance of a lifetime -- when they are offered the undercard of a Mike Tyson bout in Vegas. The catch -- they gotta be in Vegas for the match that night.
Unaccountably, they choose to drive with wannabe entrepreneur Grace (Davidovich), Cesar's current girlfriend and Vince's ex, in her lime green 1972 Olds 442 convertible. Something about those long desert stretches causes all three to unburden themselves about their past lives (details of which one would assume the three intimate friends already know by heart).
Amid recollections of failed title shots and relationships, the three misfits quarrel incessantly, covering and recovering the same ground with a grinding relentlessness. One learns that Vince has become a Jesus freak complete with hallucinations. Cesar allows that following his last bout he experimented with homosexuality. Grace, who chooses this trip to break up with Cesar, referees the two men's quarrels until an oversexed hitchhiker, played with energy by Lucy Liu, throws off the car's dynamics.
Arriving in Vegas, the trio encounters a host of boxing types -- shady promoters (Tom Sizemore and Robert Wagner), a shyster lawyer (Jack Carter) and various hangers-on -- all cliches of cliches. But finally, the film gets to the main event.
The initial rounds produce the movie's most exciting sequences. But gradually, in blow after blow of the gory fight, even these sequences become repetitive and implausible. Sheldon won't even allow his aging warriors to get weary and dance away from punches. They enter the 10th round nearly as energetic as the first.
The actors' training pays off though, with each moving like a genuine boxer. Banderas, however, slouches rather badly throughout the film as if favoring a back injury.
Shelton has loaded ringside with celebrities (Kevin Costner, Wesley Snipes, James Woods), renowned promoters, cutmen, sports commentators and former champ George Foreman to give the match the feeling it's the genuine article. Mark Vargo's photography and Paul Seydor's editing are exceptional. But Shelton, who clearly cares about this world and its people, regrettably never finds a way to let the audience share in that concern.
PLAY IT TO THE BONE
Buena Vista Pictures
Touchstone Pictures in association
with Shanghai'd Films
Producer Stephen Chin
Screenwriter-director Ron Shelton
Executive producer David Lester
Director of photography Mark Vargo
Production designer Claire Jenora Bowin
Music Alex Wurman
Costume designer Kathryn Morrison
Editor Paul Seydor
Color/stereo
Cast:
Vince Woody Harrelson
Cesar Antonio Banderas
Grace Lolita Davidovich
Joe Domino Tom Sizemore
Hank Goody Robert Wagner
Lia Lucy Liu
Artie Richard Masur
Cappie Caplan Willie Garson
Rudy Cylk Cozart
Dante Solomon Jack Carter
Running time -- 124 minutes
MPAA rating: R...
- 12/22/1999
- The Hollywood Reporter - Movie News
It's "Twister" at 36,000 feet.
In "Turbulence", Lauren Holly has a particularly bumpy ride as a flight attendant who engages in a battle of wits with a cunning, psychotic killer (Ray Liotta) aboard a storm-battered 747 on Christmas Eve.
The result is a solid actioner charged by taut direction and sharp casting, not to mention terrific sound and visual effects.
While the picture has seen several delays in its arrival time due to, among other things, last year's TWA disaster, its January landing looks ideal as it fills a post-holiday action lull and gets a jump on the upcoming, similarly themed "Con Air".
Marking the feature debut of screenwriter Jonathan Brett, whose short film "The Dutch Master" received an Oscar nomination, the terror-in-the-skies scenario may not exactly be the freshest of concepts, but he's thrown in a few unexpected twists to keep things involving, while veteran TV director Robert Butler ("Hill Street Blues", "Lois & Clark: The New Adventures of Superman") knows how to maintain a crisp pace.
Little time is wasted in the set-up: A New York-to-Los Angeles flight is headed into more than just inclement weather as a quartet of federal marshals board the plane with a pair of shackled criminals. One is Stubbs, a grizzly armed robber ("Braveheart"'s Brendan Gleeson) who takes delight in upsetting the passengers. The other is Ryan Weaver (Liotta), a charmer of a murderer who claims to have been framed for his death row sentence by a fame-chasing detective (Hector Elizondo), who was disappointed that the arrest never made "Hard Copy".
Stubbs, meanwhile, makes an in-flight escape attempt that triggers a nasty bloodbath. After the smoke clears, the only principals still left standing are Weaver and flight attendant Teri Halloran (Holly), who engage in a lethal game of cat and mouse as Weaver sheds his "is-he-or-isn't-he" persona in favor of his true psychotic serial-killer self, determined to crash the jumbo jet right smack dab in the middle of downtown L.A.
Although "Turbulence" raises some inevitable questions of plot logic (beginning with that uncharacteristically empty flight, given the Dec. 24 date) and has its share of clunky dialogue, the cast rises to the occasion.
In what effectively serves as the breakout role of her career, Holly ("Dumb and Dumber", "Down Periscope"), sporting a spiffy new hairdo, is pitch-perfect as the gutsy but vulnerable Teri; while Liotta, who's always great at playing the enticing psycho (see "Something Wild", "Unlawful Entry") portrays this particular variation with go-for-broke gusto. Also effective are Elizondo as a not-exactly-by-the-book cop, Catherine Hicks as a shaken senior flight attendant and Ben Cross as a pilot instructor who gives Teri a crash course in emergency landings.
Production values are exceptional, with top marks given to Mayling Cheng's production design that's so authentic you'd swear you could smell the diesel fuel and Mark Vargo's state-of-the-art visual effects. Meanwhile, composer Shirley Walker contributes a chillingly atmospheric score that quietly heightens the visual suspense rather than attempting to match it note for note.
TURBULENCE
MGM/UA
A Rysher Entertainment presentation
A Martin Ransohoff production
A Robert Butler film
Director Robert Butler
Screenwriter Jonathan Brett
Producers Martin Ransohoff, David Valdes
Executive producer Keith Samples
Director of photography Lloyd Ahern II
Production design Mayling Cheng
Editor John Duffy
Visual effects supervisor Mark Vargo
Music Shirley Walker
Costume design Robert Turturice
Casting Phyllis Huffman
Color/stereo
Cast:
Ryan Weaver Ray Liotta
Teri Halloran Lauren Holly
Detective Aldo Hines Hector Elizondo
Stubbs Brendan Gleeson
Capt. Bowen Ben Cross
Rachel Taper Rachel Ticotin
Maggie Catherine Hicks
Running time -- 103 minutes
MPAA rating: R...
In "Turbulence", Lauren Holly has a particularly bumpy ride as a flight attendant who engages in a battle of wits with a cunning, psychotic killer (Ray Liotta) aboard a storm-battered 747 on Christmas Eve.
The result is a solid actioner charged by taut direction and sharp casting, not to mention terrific sound and visual effects.
While the picture has seen several delays in its arrival time due to, among other things, last year's TWA disaster, its January landing looks ideal as it fills a post-holiday action lull and gets a jump on the upcoming, similarly themed "Con Air".
Marking the feature debut of screenwriter Jonathan Brett, whose short film "The Dutch Master" received an Oscar nomination, the terror-in-the-skies scenario may not exactly be the freshest of concepts, but he's thrown in a few unexpected twists to keep things involving, while veteran TV director Robert Butler ("Hill Street Blues", "Lois & Clark: The New Adventures of Superman") knows how to maintain a crisp pace.
Little time is wasted in the set-up: A New York-to-Los Angeles flight is headed into more than just inclement weather as a quartet of federal marshals board the plane with a pair of shackled criminals. One is Stubbs, a grizzly armed robber ("Braveheart"'s Brendan Gleeson) who takes delight in upsetting the passengers. The other is Ryan Weaver (Liotta), a charmer of a murderer who claims to have been framed for his death row sentence by a fame-chasing detective (Hector Elizondo), who was disappointed that the arrest never made "Hard Copy".
Stubbs, meanwhile, makes an in-flight escape attempt that triggers a nasty bloodbath. After the smoke clears, the only principals still left standing are Weaver and flight attendant Teri Halloran (Holly), who engage in a lethal game of cat and mouse as Weaver sheds his "is-he-or-isn't-he" persona in favor of his true psychotic serial-killer self, determined to crash the jumbo jet right smack dab in the middle of downtown L.A.
Although "Turbulence" raises some inevitable questions of plot logic (beginning with that uncharacteristically empty flight, given the Dec. 24 date) and has its share of clunky dialogue, the cast rises to the occasion.
In what effectively serves as the breakout role of her career, Holly ("Dumb and Dumber", "Down Periscope"), sporting a spiffy new hairdo, is pitch-perfect as the gutsy but vulnerable Teri; while Liotta, who's always great at playing the enticing psycho (see "Something Wild", "Unlawful Entry") portrays this particular variation with go-for-broke gusto. Also effective are Elizondo as a not-exactly-by-the-book cop, Catherine Hicks as a shaken senior flight attendant and Ben Cross as a pilot instructor who gives Teri a crash course in emergency landings.
Production values are exceptional, with top marks given to Mayling Cheng's production design that's so authentic you'd swear you could smell the diesel fuel and Mark Vargo's state-of-the-art visual effects. Meanwhile, composer Shirley Walker contributes a chillingly atmospheric score that quietly heightens the visual suspense rather than attempting to match it note for note.
TURBULENCE
MGM/UA
A Rysher Entertainment presentation
A Martin Ransohoff production
A Robert Butler film
Director Robert Butler
Screenwriter Jonathan Brett
Producers Martin Ransohoff, David Valdes
Executive producer Keith Samples
Director of photography Lloyd Ahern II
Production design Mayling Cheng
Editor John Duffy
Visual effects supervisor Mark Vargo
Music Shirley Walker
Costume design Robert Turturice
Casting Phyllis Huffman
Color/stereo
Cast:
Ryan Weaver Ray Liotta
Teri Halloran Lauren Holly
Detective Aldo Hines Hector Elizondo
Stubbs Brendan Gleeson
Capt. Bowen Ben Cross
Rachel Taper Rachel Ticotin
Maggie Catherine Hicks
Running time -- 103 minutes
MPAA rating: R...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.