Kasabian rockers Tom Meighan and Serge Pizzorno have blasted plans to take a hologram of Michael Jackson on the road, insisting the project is "disgusting". Holographic technology was used to resurrect the image of the late King of Pop at the 2014 Billboard Music Awards earlier this month (May14), and stunned fans watched as the Thriller hitmaker appeared to perform new track Slave to the Rhythm.
It has since been suggested the pop star's digital doppelganger could be taken on tour, but Jackson devotees Meighan and Pizzorno have branded the plans "ridiculous".
Meighan tells Britain's Daily Star newspaper, "You've gotta be mental, mate. It's ridiculous."
Pizzorno adds, "It's disgusting. They could bring John Lennon back next week. He's dead."
Paramount via Everett Collection
Anyone alive in 1984 — and many that weren't — can instantly recognize the synthesizer strains of Beverly Hills Cop's theme song "Axel F." Eddie Murphy's blockbuster comedy topped Ghostbusters and Indiana Jones and the Temple of Doom to be the year's top grossing movie. With talk that another sequel to the film is in the works, it's time to look back at what made the original such a smash. You might be able to hum along with the theme, but here are some fun facts that you might not know.
1. Sylvester Stallone was set to play Axel Foley right up until two weeks before filming was to begin, causing the production team to rewrite on the fly in order for Murphy to step into the role.
2. When director Martin Brest was offered the job by producer Jerry Bruckheimer he was lukewarm on the project, so he flipped a coin to decide whether or not to do it. When the film became a huge success, Brest had the quarter that he used framed.
3. Judge Reinhold and John Ashton did an improv bit during their joint audition that ended up in the movie. It's the scene in the film where Reinhold's Rosemont tells Ashton's Taggart that the average American has "five pounds of undigested red meat in his bowels."
4. The script bounced around Hollywood for a long time and was originally a more traditional, tense actioner. Among the directors that turned down the more serious script were Martin Scorsese and David Cronenberg. Before Stallone, Mickey Rourke, Al Pacino, and James Caan were each attached to the Axel role at various times.
5. Even though Reinhold was only two years removed from playing a high school senior in Fast Times at Ridgemont High, the actor is four years older than Murphy, who was only 23-years-old when Beverly Hills Cop was released.
6. The T-shirt that Murphy wears in the film is from a real Detroit area high school (Mumford), which was inundated with requests for the shirt. The section of the movie filmed in Detroit also featured Gil Hill, who actually did work for the city police department, as Murphy's boss. Hill went on to be a city councilman in the Motor City.
7. The Beverly Hills police in the movie use something called a "satellite tracking system," which the film team made up as a way to get around a sticky plot issue. The government's first GPS didn’t become fully operational until 1995… 11 years after Beverly Hills Cop.
8. Harold Faltermeyer, who scored a Top 10 hit with the instrumental "Axel F," also wrote Glenn Frey's Top 10 hit from the soundtrack, "The Heat Is On." The movie produced two other hits in The Pointer Sisters' "Neutron Dance" and Patti LaBelle's "New Attitude."
9. Originally, the art museum where Axel goes to find his friend Jenny once he gets to Los Angeles was supposed to have two men working in it. When Bronson Pinchot — who would later star in the television show Perfect Strangers — auditioned with the weird Eastern European accent that his character Serge affects, Brest made the role bigger to allow more interaction between Pinchot and Murphy. The character was such a hit that Pinchot's sitcom character used a variation of the same accent.
10. Stallone retained his affinity for the original script. His film Cobra was largely based on the ideas that he had for Beverly Hills Cop. That film, along with Beverly Hills Cop 2, co-starred Stallone's one-time wife Brigitte Nielsen.
11. The film was the first comedy to open on over 2,000 screens upon its release. Its success helped set the stage for the "wide openings" that became the norm in later years.
12. The movie was the highest grossing R-rated comedy of all-time until The Hangover finally knocked it from its perch. It made over $230 million at the box office in the United States. Adjusted for inflation, however, that would translate to over $650 million now.
French police officials have confirmed Kate Barry, the fashion photographer daughter of singer/actress Jane Birkin and late Bond theme composer John Barry, died after falling from the balcony of her apartment in Paris on Wednesday (11Dec13) Detectives are currently investigating the tragedy after Barry's body was found on the pavement outside the apartment block, where she lived on the fourth floor.
Reports suggest she may have taken her own life.
Barry, who was actress Charlotte Gainsbourg and Lou Doillon's half-sister, was raised by Birkin's lover Serge Gainsbourg after her parents split the year she was born (67).
The 46 year old leaves behind a son, Roman de Kermadec, who is 26.
Barry's work appeared in British Vogue magazine and the Sunday Times, among other publications.
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.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.