Julian Lennon has recreated his father John's iconic image in the promo for classic track Imagine by posing for photographs at a white grand piano. The musician/artist invited his close pal, British socialite Tamara Beckwith, and a snapper inside his holiday home in the south of France for a feature in Hello! magazine.
He was photographed cooking in his kitchen, relaxing on the sun-drenched terrace, and playing his guitar in the mansion's studio, but the most striking pictures came when the shoot moved to his bedroom and he conjured up an eerie image of his famous dad.
The all-white bedroom contains a baby grand piano similar to the larger version featured in the video for The Beatles star's iconic 1971 solo hit, and Julian was snapped playing the instrument for the feature.
Beckwith says, "When we photographed him here we all took on a very calm and almost Zen-like mood as Julian tinkled the ivories (sic). We felt honoured to have been allowed into the room."
The white piano is not the only reference to his famous father's past at the 14th Century home on the French Riviera - Julian also has the bass drum from the cover of the Sgt. Pepper's Lonely Hearts Club Band album and a Hofner 'violin' bass similar to the guitar played by Sir Paul McCartney.
John Lennon was assassinated outside his home in New York City in December, 1980.
Following their “total f up” on Wednesday, when a baseball rain delay messed up an airing of the X Factor, Fox has released a new schedule clarifying the changes in Tuesday night’s TV lineup.
This Tuesday, Oct. 23, Fox will air new episodes of Raising Hope, Ben and Kate, New Girl, and the complete “Judges’ Homes” hour-long X Factor episode that was supposed to air Wednesday.
Kicking off at 8 ET/PT, Melanie Griffith, Wilmer Valderrama and Leslie Jordan guest-star on Raising Hope. In the episode, “If A Ham Falls in the Woods,” Jimmy (Lucas Neff) and Sabrina (Shannon Woodward) attend a marriage retreat led by a priest (Jordan) before they get married. Not wanting to miss out on a free vacation, Virginia (Martha Plimpton) and Burt (Garret Dillahunt) pose as a newly engaged couple so they can also attend. It becomes a true family affair when Sabrina’s mom, Tamara (Griffith), and her young lover, Ricardo (Valderrama), tag along.
On Ben and Kate’s “Emergency Kit,” Kate (Dakota Johnson) challenges Ben (Nat Faxon) to be more prepared to take care of Maddie (Maggie Elizabeth Jones), and they all end up getting tested. Meanwhile, Ben’s crazy ex-girlfriend, Louise (guest star Lindsay Sloane), makes a surprise visit back into his life and BJ (Lucy Punch) might be developing real feelings for her boss, bar owner Buddy (guest star Rob Corddry).
On New Girl’s “Models,” Jess (Zooey Deschanel) spends a wild night out with Cece (Hannah Simone) and her model friends, then jumps in the driver’s seat when she must fill in for Cece at a car show. Meanwhile, the guys question what defines male friendship after Schmidt (Max Greenfield) buys Nick (Jake Johnson) a sweet gift.
And at 9:30 ET/PT, Fox will air the complete “Judges’ Homes” episode of the X Factor, where the judges reveal which four acts in each of the four categories – Teens, Young Adults, Groups and Over 25s – continue on to the live shows.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Ray Mickshaw/FOX]
Fox's 'Total F Up' Pushes 'X Factor' To Tuesday, Angers Simon Cowell
'The Ax Factor': 'Animal Practice' Closes Its Doors, 'Nashville' Sings a Sad Note
Bruno Mars Is Ready To Bring The Funny to 'SNL' This Weekend. Or Not.
Celeb and TV stories: From Our Partners:
Justin Timberlake and Jessica Biel Celebrate Wedding Weekend in Italy — PHOTOS
’Hunger Games’ Stars Jennifer Lawrence, Josh Hutcherson Pose With Fans at Atlanta Movie Theater — PHOTOS
Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
Helen McCarter (Kimberly Elise) thought she had the perfect life with lawyer husband Charles (Steve Harris): a big house lots of creature comforts and a stable--albeit staid--marriage. But Helen's world shatters when Charles tells her on the eve of their 18th wedding anniversary that he wants a divorce and literally kicks her out of their spacious mansion to make room for another woman. Devastated she runs to her beloved pot-smokin' gun-totin' grandmother Madea (Tyler Perry) who lets Helen know she's a proud beautiful black woman who nonetheless should whoop the bastard's ass. As hurt as she is Helen really just wants to pick up the pieces and move on if she can. She finds guidance and empowerment from her family and friends including new friend Orlando (Shemar Moore) a drop-dead gorgeous construction worker whose sweet and sincere ways more than help Helen get through her pain. And he cooks too. Really there's no contest.
The main cast members aptly portray their roles formulaic as they are. Kimberly Elise (The Manchurian Candidate) as the grievously wronged wife has the toughest job trying to convey all the crazy mixed-up feelings Helen has for the ex-husband while trying to jumpstart her life. Steve Harris (TV's The Practice) as the callous husband and Shemar Moore (TV's The Young and the Restless) as the too-good-to-be-true suitor represent the two opposites sides of the coin. Even Cicely Tyson makes an appearance as Helen's invalid mother who seems just a little too healthy to be in a nursing home. But it's Tyler Perry who turns out to be the true mad black woman. The film comes alive when he's onscreen either playing the outrageous Madea--complete with wig makeup and padding--or Madea's brother Joe a lecherous old coot. Perry even gets to play it straight as Helen's kindly cousin Brian who has a junkie for a wife (played by Tamara Taylor with the usual vacant twitchy neediness). It would have been a long hour and a half without him.
Perry obviously writes from the heart having struggled through his younger years to become a well-known playwright. And with music video director Darren R. Grant at the helm Diary of a Mad Black Woman has all the best intentions. It's certainly a buoyant portrait of African-American life and culture that also speaks to anyone who has had to grapple with betrayal and hurt at the hands of those they love. But the stage-trained Perry somehow misses the subtleties of writing for film. Diary doesn't know what kind of genre it wants to be jumping from raucous comedy á la Big Momma's House to mind-numbing drama á la Waiting to Exhale. The characters don't have any complexities and are drawn very black or white. It also takes an awfully long time for our heroine to figure out what direction she's going to take when we could tell her in the first 30 minutes as to whom she should end up with. In the meantime we must endure several melodramatic set pieces filled with elaborate speeches about revenge love relationships redemption religion and all that which are meant to hit us hard with their poignancy. Perry might consider keeping the highfalutin writing for the stage and think about an acting career in film.
Jody is a jobless but highly charismatic young man who has not only fathered two children by different women--Yvette (Taraji Henson) and Peanut (Tamara LaSeon Bass)--but still lives with his own mother Juanita (A.J. Johnson). He wants to be with Yvette but can't quite fully commit to her and quit his philandering ways. Jody doesn't think his life is all that bad and somewhat enjoys skirting the line between boy and man. Juanita tries as hard as she can to make Jody grow up and become a responsible adult but it isn't until a new man Melvin (Ving Rhames) enters her life and moves into the house that Jody must face the consequences. There isn't much room for a grown kid who has overstayed his welcome and this realization scares the heck out of him. However the hard journey Jody embarks upon forces him to face his fears own up to his responsibilities and finally settle down with the woman he really loves.
Singleton is known for using relatively unknown actors in his films and has generated some exquisite performances especially from Oscar-winning actor Cuba Gooding Jr. in Boyz and from the late Tupac Shakur in 1993's Poetic Justice. This time around Singleton has found a gem in popular MTV DJ and recording artist Tyrese who besides some guest stints on a few television shows marks Baby Boy as his big screen debut. Tyrese easily handles the role's dramatic requirements as well as exuding Jody's charm. And he certainly holds his own with veteran actor Rhames (much like Gooding Jr. did with Laurence Fishburne in Boyz). In one of the film's particularly tense moments Tyrese and Rhames never say a word but the emotion is all there. The rest of the unknown cast do a fine job relaying a the everyday life of South Central L.A. and one can tell there was a true comradeship between them.
Baby Boy is certainly an interesting companion piece to Singleton's view on life in South Central Los Angeles and the director calls this film his third in a trilogy about the "'hood." Boyz was obviously his most heartfelt and most compelling. The film explored a world of an African-American family life in a violent South Central neighborhood that the audience had never really seen before. And Singleton did it with such finesse that one wonders why those techniques are not as prevalent in his follow up films including the second installment Poetic Justice. He may have given all he had in his first film--Baby Boy also misses that powerful punch. The story doesn't hold many twists or turns but rather slowly goes through the motions showing things we've basically seen before--and done better. It may appeal to a particular group but won't hold the attention of a broad audience like Boyz did. And maybe it can't. Once you've seen the harsh reality of such a life why see it again?