Ferdaus Shamim/GettyWith original member Charlie Simpson still refusing to go back to his boyband-with-guitars days now that he's a semi-credible singer-songwriter, Matt Willis and James Bourne, aka the remaining members of mid-'00s UK chart-toppers Busted, have now instead hooked up with the group they undoubtedly paved the way for, McFly, for the latest big pop reunion tour. But which other pop acts could realistically join forces to form in the wake of the newest 'supergroup' McBusted. Here's a look at five potential ideas.Destiny's Child/TLCIt's unlikely that Beyoncé will ever wish to share the limelight with her former Destiny's Child bandmates for more than a few minutes, a la the Super Bowl, ever again. But there's nothing to stop Kelly and Michelle hooking up with T-Boz and Chilli to create the ultimate 90s R&B girlband crossover.Sugababes Versions 1-4The recent reunion of Mutya Keisha Siobhan, the original line-up of the ever-revolving Sugababes, hasn't exactly been a roaring success, while the latest line-up of Jade, Heidi and Amelle has been missing in action ever since 2011. But with a decade of hook-laden hits between them, a show featuring the four various line-ups would undoubtedly reignite both parties' careers.BSBNSYNCBackstreet Boys have already embraced the supergroup concept having toured and recorded with New Kids On The Block. And while Justin Timberlake is too much of a superstar to revisit his teen-pop past for more than a quick MTV VMA medley, the other four members would surely be open to hooking up with their old rivals for a feast of late '90s/early '00s boyband pop.S Club 15The term 'supergroup' might be pushing it here but it would certainly be interesting to see one of the biggest pop groups of the early '00s, S Club 7, team up with the eight members of their mini-me spin-off S Club Juniors – two of which are now in The Saturdays – for a massive S Club Party.Boyzone/WestlifeThey would possibly be the dreariest pop 'supergroup' of all time, but fans of karaoke covers and 'stand up for the key change' ballads would be in pop heaven if Irish boyband Boyzone and their recently-defunct successors Westlife decided to pool their coma-inducing resources together.
British boybands Mcfly and Busted are uniting to create a supergroup for a U.K. tour next year (14). The two acts teased their plans to join forces last week (ends10Nov13) and on Monday (11Nov13), they held a press conference in London to give fans the details.
Busted stars James Bourne and Matt Willis will hit the stage with the four boys from McFly, Tom Fletcher, Harry Judd, Danny Jones and Dougie Poynter, for an arena trek in April and May 2014.
Former Busted rocker Charlie Simpson, whose departure in 2005 led to the band's demise, will not rejoin the group.
The tour will kick off in Glasgow, Scotland on 19 April (14) and end on 9 May (14) in Manchester, England. The new supergroup will be known as McBusted.
Mcfly star Tom Fletcher is battling to overcome a sore throat ahead of the British band's concert in the U.K. on Monday night (06May13). The All About You hitmakers are due to hit the stage at the De Montfort Hall in Leicester, England but the singer admits getting through the gig is going to be a struggle.
Taking to Twitter.com shortly before showtime, he writes, "Got a slight sore throat today, gonna need some help singing tonight Leicester!"
The illness isn't the only problem Fletcher and his bandmates Dougie Poynter, Danny Jones and Harry Judd faced on Monday.
Fletcher reveals, "Our tour bus broke down today. Fun times. Made it to the venue in time for dinner. Bosh."
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
Using the formula so many unsuccessful romantic comedies have employed before it (looking at you Valentine's Day) What to Expect When You're Expecting wrangles a cast of big name stars but drops them in roles perfectly aligned with their sensibilities. Paired with a relatable central concept — one way or another we've all seen a side of pregnancy — director Kirk Jones (Waking Ned Devine) pulls off a comedy that's sweet poignant and most importantly funny. The experience of having a baby presented in the film isn't glorified or glamorized nor is it a one-person job resting on the women's shoulders making What to Expect a blockbuster comedy that delivers a little something for everyone.
Taking place primarily in Atlanta What to Expect bounces back and forth between a handful of couples with babies on the brain: Wendy (Elizabeth Banks) and Gary (Ben Falcone) are desperately trying to get pregnant while Gary's NASCAR legend father Ramsey (Dennis Quaid) is (frustratingly) having no problem with his trophy wife Skyler (Brooklyn Decker); Weight loss TV personality Jules (Cameron Diaz) takes home the top prize at a celeb dance-off at the same time she discovers she's carrying her dance partner Evan's (Matthew Morrison) child; Holly (Jennifer Lopez) and Alex (Rodrigo Santoro) are finally ready to take the plunge into the world of adoption but the actual process turns out to be an uphill battle; and Rosie (Anna Kendrick) a food truck owner has a wild night out with her competition (and former flame) Marco (Chace Crawford) that puts them both in a difficult situation. If you guessed she's pregnant you'd be correct.
What to Expect's DNA is a closer to match Woody Allen's Every Thing You Always Wanted to Know About Sex *But Were Afraid to Ask than anything out of the generic rom-com playbook. The screenplay from Heather Hach and Shauna Crossm is sharp with even the silliest and most expected gags landing thanks to the comedic talents of Banks Diaz Kendrick and the wicked rapport of the "Dude's Group " sporting Chris Rock Thomas Lennon Rob Huebel Amir Talai and Joe Manganiello. Even Decker who outshines her costars in Battleship holds her own taking the bubbly blonde to a whole other level
The movie makes a bold move to mix the less shiny moments of pregnancy in with the broad comedy and the results are mixed. Rosie and Marco's struggle with their accidental pregnancy takes a dramatic turn that doesn't feel earned in the grand scheme of things. Kendrick handles it with grace but pregnancy in its darkest moments require breathing room and with so many stories to juggle What to Expect can't afford it. Jennifer Lopez is the movie's biggest weakness a thread that never digs deep (or illicit laughs) from the roller coaster ride of adoption. The couple's predicament forces J.Lo to stick mostly to pouting and is completely overshadowed by the movie's highlights.
Thankfully those highlights are plentiful. Whether Diaz is spoofing Biggest Loser with her satirical take on TV personalities Banks is having a meltdown during her keynote at a baby expo or Rock is delivering a profanity-laden soliloquy on why dads need to man up What to Expect keeps laughs coming. Hollywood rarely gives birth to a comedy that's both hilarious and honest. What to Expect hits both chords defying expectations.
For those of you who like me have in recent years come to regard “chick flick” as a purely pejorative term Bridesmaids directed by Paul Feig (Unaccompanied Minors) and starring Kristen Wiig (MacGruber) is nothing less than miraculous: A broad female-driven comedy that is both sharply observed and genuinely funny capable of inducing howls of laughter from both sexes in equal measure. What's more unlike other offerings from the genre it actually respects its audience’s basic intelligence. How refreshingly novel.
Wiig who also co-wrote the film’s screenplay with Annie Mumolo plays Annie 30-something and stranded. Since losing her business and subsequently her boyfriend to the Great Recession she’s resigned herself to mediocrity slogging through a dead-end job at a jewelry store where she labors vainly to conceal her cynicism from the bright-eyed folks shopping for engagement rings and BFF bracelets and clinging to a dead-end relationship with a handsome but solipsistic creep (Jon Hamm) who very plainly regards her as nothing more than a convenient booty call.
Annie’s lone source of relief from the drudgery and ennui is the close bond she shares with Lillian (Maya Rudolph) her lifelong best friend. When Lillian reveals that she’s gotten engaged and that she’s chosen Annie to be her maid of honor at the wedding Annie’s already shaky emotional footing threatens to give way entirely. Wiig is fairly brilliant here (and indeed throughout the film) subtly and humorously conveying both overt happiness for her friend’s milestone and internal terror over the sudden realization that the music has stopped and she’s the only one without a chair.
Lillian’s engagement sets up the film’s main comic conceit: the rivalry of passive-aggressive one-upsmanship that develops between Annie and blue-blooded Alpha bridesmaid Helen (Rose Byrne) a pretty prissy blue-blood who clearly covets Annie’s maid of honor role. Pressured to prove herself against the would-be usurper Annie leads the bridal party into one disaster after another starting with a Brazilian luncheon that results in a violent case of food poisoning in the middle of their gown-fitting.
As you might gather from the above example some of the film’s comic set-ups verge on the predictable but Wiig a comedienne equally adroit as the brunt of jokes or the source of them keeps things fresh and lively – and funny – throughout. I’d be remiss however if I didn’t recognize the scene-stealing efforts of Melissa McCarthy as Megan the mannish potty-mouthed sexually aggressive sister of the groom the bridal party’s oddest — and ultimately its most grounded — member.
At times Bridesmaids tries a little too hard to be an all-female version of The Hangover Wedding Crashers or any of the other films to which it has been copiously compared. The needless intestinal comedy of the wedding-gown dysentery scene in particular serves as little more than proof that women are just as capable of reaching for easy laughs via telegraphed gross-out jokes as men. (I suspect this as well as the film’s overlong running time stems in part from the creative influence Judd Apatow who produced the film.)
Bridesmaids is at its best when it’s not reaching or forcing matters but rather when it puts its trust in its talented cast. The relationship that blossoms in fits and starts between Annie and Rhodes an Irish-American traffic cop played by Chris O’Dowd is heartfelt and its evolution stunted at various points by Annie’s penchant for neurotic self-sabotage feels genuine. Wiig and O’Dowd establish an easy endearing chemistry devoid of the pat screwball give-and-take that so often characterizes rom-com courtships and it helps keep the movie aloft when its comic energy ebbs.
The British pop star took to Twitter.com to announce the happy news just hours after proposing to his girlfriend of seven years, Giovanna Falcone.
Felton has rushed to congratulate his friend, writing, "Just heard the good news, congratulations mate! Wishing you decades of good times together. All the best to u (sic) and the mrs." Fletcher replied, "Cheers my fellow TF!"
The actor isn't the only star to be celebrating the news - Fletcher's bandmates have also congratulated their pal.
Dougie Poynter wrote, "Congratulations to my good friends Tom and Gi for getting engaged tonight!!!" While Danny Jones has already joked he'll be happy to be Fletcher's best man at the nuptials, "That's awesome mate, many congratulations to you and Giovanna Falcone... No... don't, OK yes I will be your best man! Yes."