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It is yet to be confirmed by the police.


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Sometimes he was clothed in a blanket and sometimes naked. Rekord East. Rekord North.

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Rekord Centurion. Rekord Moot. Local tennis administrator celebrates 25th Grand Slam.

Local Irene golfer seals State Mines triumph. AG says Tshwane finances need intervention.

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Pretorianer deel van SA onder meisies se tennis sukses by Junior Afrika kampioenskap. Gate motor, security beams thieves targeting Wierdabrug homes. Deliciously decadent marrow bones are ideal winter warmers now that fat is good for you again. Water Wednesday: Decline in water storage in the Northern Cape. A couple replanted a forest in Brazil and the animals, many endangered, have returned. Sponsored Crawford College Pretoria.

Classic Western Meets Roman Times in Centurion | Village Voice

Sponsored Support your local business. No, that probably wasn't the pitch, but toss in the visual style and nearly profanity-free language of a Disney Channel movie, and you've nut-shelled writer-director Gregory J. Lanesy's Chasing , co-written by Bill Mitka, whose own family life inspired the movie. Ernest Hardy Mann Chinese.

It certainly doesn't characterize Miguel Necoechea's The Kid: Chamaco, a decidedly unmoving boxing picture that gives us, for starters, such played-out creations as the ghetto kid from an abusive family who sees sports as the way out, the washed-up prizefighter looking for one more chance, and the do-gooder atoning for a past mistake. Necoechea's film, a U.

Instead, we're treated to subplots involving Abner's meth-addicted girlfriend and a romance between his prostitute sister and his trainer, which leads to a scene of such melodramatic absurdity that it negates any remaining shred of narrative credibility the film had managed to retain. Andrew Schenker Mann Chinese.

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Mesrine's jaw-dropping record of flamboyant crimes and repeat prison breaks would seem to guarantee an exciting portrait, but Richet proves maddeningly loath to edit his material, and his charismatic star, Vincent Cassel, does not delve deep. Part One opens with Cassel and film in '70s drag 'stache, split screens and previews the gangster's deadly ambush by cops in an unmarked truck, before returning to his beginnings.

Part One also establishes the director's wearisome approach; his daisy chain of capers and hideouts, with no feel for which events to dwell on, suggests an impatience with basic storytelling. No small problem, too, is that the film yields only a rudimentary feel for what it was like to live in France or Canada in the '60s and '70s if you weren't a gangster in a movie. How can you get a sense of a folk hero or media obsession without context? Part Two dives into the '70s and sees Mesrine notching up another prison escape, cycling through disguises and ratcheting up his media provocations.


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This is buffet-style biopic, about as epic as Cassel's dutifully acquired second-half potbelly and no more profound. She's gotta have it — chlamydia, that is — but it's an unplanned pregnancy that sets director Quentin Lee's self-distributed indie in motion. As it happens, Angela keeps homemade collector's cards of her conquests, and, soliciting the help of Ricky from My So-Called Life, she revisits the various caricatures who've strewn seed inside of her in recent memory, including a big-schlonged stalker, a two-pump chump and a bend-over boyfriend.

Review: Gory 'Centurion' is a guilty pleasure, hold the guilt

In hysterics yet? Head and shoulders above this rabble is possible father Jefferson Lee Archie Kao , who's also in the running for city council.

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Nick Pinkerton Sunset 5. GO PIRANHA 3-D An earthquake has opened an undersea chasm, unleashing a gazillion piranha near an Arizona resort town that just happens to be jammed with spring-break partiers anxious to frolic in the pretty blue lake. Horny horror-movie revelers tend to deserve what's coming to them, a sentiment French-born director Alexandre Aja embraces with maniacal glee in a third-act massacre that's downright ruthless as were Aja's debut feature, High Tension, and his remake of The Hills Have Eyes.

The human prey get filleted, in 3-D, no less, a technology that's deployed effectively — as when one piranha or another is plucked from the computer-animated horde and paraded past the moviegoer's nose — but also shamelessly, as when a naked woman points her breasts directly at the camera and shimmies.

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Irredeemable, and yet the movie, written by Pete Goldfinger and Josh Stolberg, is too funny and the filmmaking too self-aware to be truly offensive. Acting as both producer and plot fulcrum, T. Director John Luessenhop works around them in this cheerfully derivative attempt to merge the epically ponderous L. The editing is Bourne-fast but mostly coherent, and the plot reversals no matter how flatly acted actually do surprise.