WENNDespite the mysterious absence of guitarist Richie Sambora since April, Bon Jovi have continued to carry on regardless, playing up to tens of thousands of fans per night during their current Because We Can world tour. But they're certainly not the first band to soldier on without a key member. Here's a look at five others who refused to call it quits. The WhoIt’s extremely rare for the sticksman to be the focal point of a group. But through a chaotic mixture of a unique drumming style, a habit of passing out on stage and a fondness for explosives, Keith Moon became The Who's biggest, if most self-destructive, weapon. Following his death from a drug overdose in 1978, the Quadrophenia legends released two albums with his replacement, Kenney Jones, before splitting. But since reuniting in 1996, they have continued to function as a nostalgic live act despite the loss of another key member, bassist John Entwistle, in 2002.Lynyrd SkynyrdFew bands have had to deal with such a colossal tragedy as Lynyrd Skynyrd. The Southern rock pioneers lost three members of their core line-up, including lead vocalist Ronnie Van Zant, when a chartered plane crashed into a forest in Mississippi in 1977. The rest of the group understandably called it quits soon after but ten years later reformed for a 'one-time' tribute tour which has now lasted 26 years, although guitarist Gary Rossington now remains the only founding member.
Manic Street PreachersThe Welsh trio became the self-styled Generation Terrorists of British rock in the '90s thanks to an androgynous glam image, a revolutionary set of political ideals and troubled lyricist Richey Edwards' dark themes of depression, self-harm and alcohol abuse. But following his still-unresolved disappearance in 1995, the band regrouped and reinvented themselves as an anthemic stadium rock act, later reaching No.1 in the UK with 1998's This Is My Truth, Tell Me Yours.GenesisResponsible for launching the careers of two of the '80s biggest male vocalists, Genesis began life as an avant-garde prog-rock band before Peter Gabriel's departure resulted in Phil Collins' transition from drummer to lead vocalist and a radical pop reinvention. After losing their second frontman in 1996, Mike Rutherford and Tony Banks then recruited one-hit wonders Stiltskin's Ray Wilson for 1997's critically-panned Calling All Stations before finally calling it a day.
QueenFronted by arguably the most charismatic showman in rock history, Queen's highly influential career was presumed to be over following Freddie Mercury's death in 1991. However, Brian May and Roger Taylor have continued to keep the name alive, sometimes rather questionably, through 1995's posthumous album, Made In Heaven, collaborations with Wyclef Jean, boyband 5ive and The Muppets, and a 2008 LP recorded with former Free lead vocalist Paul Rodgers.Follow @Hollywood_com
MoreRock Star Stage Names - Some Of The BestDuets From Beyond The GravePop Stars Who Need To Work On Their Sales Pitch
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
What goes behind the making of a music legend? Apparently, a gun and some bullets. In the first full-length trailer of HBO's upcoming biopic, Phil Spector, we see Al Pacino morph into the infamous record producer turned murderer.
RELATED: Al Pacino Will Play Phil Spector in Biopic
In 2009, the real-life Spector was convicted of second degree murder for the 2003 shooting and death of actress Lana Clarkson. The trailer gives us a brief glimpse into the story behind the trial Spector (played by Pacino) had to endure following Clarkson's death. But even with Helen Mirren playing defense attorney Linda Kenney Baden, it seems unlikely that Spector will get off the hook in this tragic series of events.
RELATED: Phil Spector Biopic Takes a Few Stabbings
The trailer also shows a glimpse into the complicated, yet passionate relationship that Spector shared with his attorney throughout all his tribulations. Love, death, and passion — what else can we ask for?
Phil Spector airs on HBO March 24.
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Phillip V. Caruso/HBO]
You Might Also Like:
Biden? Ford? Surprisingly Hot Young Pics of Politicians
Who Wore This Crazy Hat?
Stars Who Changed Their Look After Love
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
In his new film Due Date director Todd Phillips (Old School The Hangover) stages a rather audacious cinematic experiment placing two enormously talented actors Robert Downey Jr. and Zach Galifianakis on a mostly deserted island handing them an assortment of blunt and broken tools and charging them with constructing a free-standing fully-functioning Hollywood comedy.
To his credit Phillips was at least considerate enough to supply his comic Crusoes with a detailed blueprint. An odd-couple/road trip movie hybrid Due Date unapologetically mimics Planes Trains and Automobiles one of the John Hughes' rare “grown-up” comedies in which Steve Martin starred as a straightlaced family man forced to travel cross-country with a gratingly affable slob played by John Candy in order to make it home for Thanksgiving. (Surely there have been other such films before and since but Hughes’ work is the one Due Date most vividly recalls.)
The film’s script co-written by Phillips and Adam Sztykiel adds a handful of 21st-century twists to the formula: A baggage snafu while boarding an airplane leads Peter Highman (Downey) a type-A architect with a history of anger-management issues into a confrontation with a Federal Air Marshal that subsequently lands him on Homeland Security’s no-fly list. Stranded without reliable transport lacking the means by which to procure any (he left his wallet on the plane) and desperate to be reunited in L.A. with his pregnant wife (Michelle Monaghan) in time for her scheduled c-section he reluctantly agrees to hitch a ride with the same tubby schmuck Ethan (Galifianakis) who moments earlier was the catalyst of his security debacle.
The unlikely travel companions embark on a calamitous road trip from Atlanta to L.A. during which Ethan proves to be something of a disaster magnet with Peter bearing the brunt of the damage that occurs. Their navigator Phillips lazily guides them through an uneven obstacle course of comic scenarios some of which are embarrassingly predictable (Ethan stores his beloved father’s ashes in a coffee can and they’re later accidentally used to make coffee!) all of which are designed to showcase Downey’s caustic wit and Galifianakis’ sublime daffiness.
Few actors today deliver choice insults better than Downey and even fewer absorb them better than Galifianakis. They make for a truly marvelous collision of opposites and their interplay is what elevates Due Date above its often puzzlingly flat material. (That along with Galifianakis’ gift for physical comedy; no actor outside of the Jackass crew can better sell a collision with a car door.) The film's supporting cast meanwhile criminally underachieves. Conspicuous cameos from the likes of Danny McBride Juliette Lewis and Jamie Foxx are either unfunny unnecessary or both. On this road trip they’re little more than baggage. Thankfully Downey and Galifianakis are more than capable of shouldering the burden.