Adele's evocative vocals, confessional songwriting, and soul-infused sound could have easily landed her at the top of the charts in the 1960s, decades before her birth. At the age of 19, the British c...
Controversial drama Blue Is The Warmest Colour failed to pick up any major Cesar awards at the French prizegiving on Friday (28Feb14). The movie, about a lesbian couple, was considered a favourite after being nominated in eight categories including Best Film, Best Director and Best Actress, but it only picked up one gong for Best Newcomer for Adele Exarchopoulos.
The big winner of the night was for Me, Myself and Mum which picked up five awards including Best Film, Best Debut Feature, Best Actor for Guillaume Gallienne and Best Adapted Screenplay.
Best Actress was awarded to Sandrine Kiberlain for 9 Month Stretch and Roman Polanski was named Best Director for Venus In Fur.
Scarlett Johansson and her fiance Romain Douraic also attended the ceremony in Paris to pick up an Honorary Cesar award. The actress has lived in the capital since getting engaged to the French journalist. Director Quentin Tarantino presented her with the award, making her among the youngest ever recipients of the accolade.
Scottish rockers Biffy Clyro have urged producers of the Bond movie franchise to let them record the next film's theme tune. Frontman Simon Neil has always dreamed of following in the footsteps of stars including Sir Tom Jones, Madonna and Sir Paul McCartney by recording a song for a 007 film.
The Mountains singer hopes his band will be tapped to work on the follow-up to 2012's Skyfall, which featured an Oscar-winning song by Adele.
He tells Britain's Daily Star newspaper, "Biffy for Bond, yes - I will follow you to the ends of the earth, sir. I'd love that. I think we've got a couple of songs in our back catalogue that could have suited but that is most songwriters' dream, isn't it, to write for Bond? You get given the key it has to be in, I believe, and certain motifs. It's such a dramatic theme that I think it would really suit us."
Adele enjoyed a rare night out in London to watch Prince play an intimate gig at Ronnie Scott's jazz club on Monday night (17Feb14). She was joined by a host of celebrity guests including models Kate Moss, Sophie Dahl and British singer Rita Ora. Adele has kept a low profile since giving birth to her son in October, 2012.
Dame Helen Mirren is in talks to star in a new movie about a real-life Jewish refugee who battled Austrian officials for the safe return of art stolen from her family by the Nazis during World War II. The Queen star is slated to portray Maria Altmann in The Golden Lady, about the four decades she spent fighting government officials in Austria after learning they had taken charge of art pieces including The Lady In Gold, Portrait Of Adele Bloch-Bauer I, which belonged to her uncle, and was valued at over $130 million (£81.3 million).
In 2006, the paintings were returned to Altmann and her relatives.
My Week With Marilyn filmmaker Simon Curtis is set to direct the movie, with production slated to begin in the summer (14) in the U.S. and Europe.
Paramount via Everett Collection
Three sleepless nights and a coffee-fueled morning after Labor Day, and I'm still waiting for the kicker. The reversal, the twist, the big reveal that Jason Reitman — a talented filmmaker and prodigious wordsmith who managed such sophisticated character material in each of his previous movies — wasn't actually telling the story I understood it to be. That I missed something altogether, some nectar of honesty buried beneath layers of theatrical pie crust. Owing to the respect I have for Reitman, his starring players Kate Winslet and Josh Brolin, and a few fellow film critics who saw beauty in Labor Day, I'll keep on entertaining the idea that I overlooked the picture's authenticity. But for now, I've got to give benefit of the doubt to my senses — hey, we all have deadlines — and concude: this movie is full of s**t.
This is no victimless crime, as Labor Day sets us up in the household of depression- and anxiety-ridden Adele (Winslet) and her 12-year-old son Henry (Gattlin Griffith), promising a tale we never get to hear. The film jumps right into the former's struggles with stinging mental illness and what appears to be a blossoming Oedipus complex in the latter — in The Wonder Years-style narration delivered by a flu-ridden Tobey Maguire, Henry proudly affirms that his mother is his whole life: he gives her back rubs, runs her baths, takes her on dates, and asserts himself her ad hoc husband to eradicate the loneliness that cripples her so (Clark Gregg plays Henry's absent father, a "Buck up, sport" type dad who lives across town with his "better" family). On one of their monthly outings to the Piggly Wiggly, or whatever — the film takes place in a 1987 that you'd swear was actually 1959 — Adele and Henry happen upon Frank (Brolin), a blood-soaked menace on the lam who makes tacit threats at Henry's safety to convince the rattled mother to allow him room and board until he can make a spring for the border.
And then, of course, they fall in love. Once Frank is settled into Adele's spacey Massachusetts two-story, he reveals himself the perfect man who fixes leaks, tends gardens, bakes pies, and whisks the shaken woman out of her decaying shell. It's clear why she takes to him — Frank is a heaven-sent gender reversal of the Natalie Portmans and Kirsten Dunsts and Zooey Deschanels who have fallen from the sky to turn things around for their broken beaus with spontaneity and singing and hamster funerals and cupcakes. In Frank's case, pies. I really can't overemphasize the position of the pies in this movie. They're everywhere.
Past the point of keeping Frank hidden from those pesky neighbors, it doesn't really serve as much concern to Adele — or, far less forgivably, to the movie itself — that he's an escaped con who threatened her son's life in order to earn a place to hide from the cops. Labor Day is not interested in redemption or excuse for Frank; it goes so far as to insist that we're wrong for distrusting him in the first place. But no. This guy, for all his redeeming qualities, is a problem.
Paramount via Everett Collection
Labor Day is even less interested in honing the authenticity of its other adult lead, Adele, who earns Frank's attention for no discernible reason other than that she seemed vulnerable enough to con into taking him back to her place. After that? Guilt, maybe. A knight-in-shining-armor syndrome that keeps him attracted to such an open wound. Just as Frank lives up to the one-dimensional angelicism of the aforementioned heroines of modern cinema, Adele is the counterpart to their boyfriends. Vacant and passive, just waiting to be saved by people who have nothing going on inside of them other than the drive to play savior. On top of that, she's got a pretty volatile emotional illness in full swing. But it's nothing love can't cure, right?
With so much wrong to cover in regards to the movie's central love story, I haven't even gotten to Henry yet: the good-natured, sexually curious middle schooler through whom the story is told. Although Henry at least has a real relationship with Frank, who stands in as dad and teaches him to play baseball, fix a car, and — of course — bake pies, every one of the boy's interesting conceits that is teased by the movie gets tossed out in favor of... well, that's the million dollar question. We're introduced to Henry through what appears to be a complex relationship with his mother, whom he views in part as a wife — without payoff, or even exploration, this is just some odd and incomplete stuff with which to open a movie. His distrust of Frank is entertained, but discarded almost immediately thereafter. Just about everything that might serve as character work for Henry is dealt with in the film's 3-minute epilogue. Spoilers: there are pies involved.
If it weren't for the severity of the characters' flimsiness, you might not risk an occuluar injury from all the eye rolls provoked by the ridiculous plot maneuvers this movie cranks out. We're talking doors left ajar, oblivious bank tellers, and the idea that James Van Der Beek can be accepted as a police officer materializing at the summit of the film's dramatic climax. All this, not to mention some atrociously goofy dialogue, feels like it was rescued from Nicholas Sparks' waste basket — only in glimmers of Jason Reitman's usual shtick through a loquacious tertiary character (Brighid Fleming playing "Psuedo Juno") who institutes far more narrative turns than she really should are you reminded of whose movie you expected to be watching.
And these slight reminders might be why Labor Day is such an aggressive failure: it had potential. At the onset of the film, we thought we were diving into something juicy. When things get more ridiculous than you can accept, you convince yourself that it's all going to pay off with an honest, deconstructive revelation. But three days later, I'm still looking for what I missed. The disclosure of the true activity behind the false, theatrical curtain. But there doesn't seem to be anything there: just flat characters, an ill-conceived romance, dead-end arcs, and so many motherf**king pies.
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British singer Cheryl Cole has slammed bosses of a celebrity-themed weighing scales company for using her face on the product. The scales feature the faces of well-known stars and their weight details in place of numbers, but Cole is furious her image is used to represent the lighter end - at 112 pounds (51 kilograms) - while actress Melissa McCarthy is placed at the heavier end, at 252 pounds (114 kilograms).
Now the former Girls Aloud star has spoken out to voice her opposition to the product, insisting she is angry her fame is being used to encourage fans to shed the pounds.
She posted a picture of a news article on Twitter.com, declaring she was "shocked" by the product, before writing, "Pls (please) do not include me on your scale. Girls should be worried about the number on their exam page not a weight scale ffs (for f**ks sake)."
Other celebrities featured on the weighing device include British singers Adele and Ellie Goulding, Catherine, Duchess of Cambridge, and rapper/actress Queen Latifah.
You may think that you're ready for Labor Day, Kate Winslet and Josh Brolin's upcoming crime romance. But you're not ready. Because we are predicting epic scenes of epic hotness, and even though we tried to get you mentally prepared with Kate Winslet's best on-screen hook-ups, we fear that you are still not ready for the indie romance that's headed your way.
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Here's what you need to remember: it's Kate Winslet! She slays the indie romance/drama! Eternal Sunshine of the Spotless Mind, Revolutionary Road, Little Children, etc. etc. And Josh Brolin! Who you totally used to crush on back in '86 via The Goonies! And you still crush on him 'cause he's still hot!
The chemistry between these two is going to be so off the charts, it'll make you wish you hadn't gone to see it with your mum. For real.
Throw in the guy who directed Juno, Up In The Air, and Young Adult, and you have yourself a good time guaranteed. Although this is supposed to be a darker film than Jason Reitman's usual fare, we think his penchant for the stranger, almost anti-romantic love stories will translate well into this story.
Plus, folks are predicting that the pie-making scene will rival the pottery-making scene in Ghost. Yeah, baby. It's gonna be hot.
Controversial lesbian drama Blue Is The Warmest Color dominated France's Lumiere Awards at a ceremony in Paris on Monday (20Jan14). The picture landed the coveted Best Film prize along with Best Director for Abdellatif Kechiche, and Female Newcomer for Adele Exarchopoulos. The movie's other star, Lea Seydoux, was feted with the Best Actress trophy for her role in Blue Is The Warmest Color as well as her turn in Grand Central, which won the ceremony's Jury Prize.
Guillaume Gallienne won the Best Actor award for his star turn in Me, Myself and Mum, which also landed the Best First Film prize.
Hollywood veteran Roman Polanski shared the Best Adapted Screenplay with David Ives for their collaboration on Venus in Fur.
Blue Is The Warmest Color won the coveted Palme d'Or at France's Cannes Film Festival last year (13) and is nominated for a British Academy of Film and Television Arts (BAFTA) award. However, it missed out on an Oscar nomination as it was not submitted for the contest's foreign language category.
Pop star Miley Cyrus is set to tone down her outrageous onstage persona in a stripped-down special for MTV. The We Can't Stop hitmaker will show fans a more intimate side as she tackles acoustic versions of her tracks for MTV Unplugged.
A statement from MTV reads, "The Unplugged stage has been home to some of the most iconic live performances of all time.
"Miley's vision for the performance is like nothing we've ever seen. I can say that this will easily be one of the most memorable Unplugged performances to date."
The network's Unplugged series has featured iconic performances from the likes of Nirvana, Adele, Bruce Springsteen and Jay Z.
Cyrus embraced her outlandish side in an advert for the show by donning a wig and false teeth and baring her breasts in the promotional shot.
Started writing songs at 16 and recorded a three-song demo for a class project at the BRIT School for Performing Arts and Technology in London
Breakthrough single "Chasing Pavements" released two weeks before her debut album
Released concert film "Adele Live At The Royal Albert Hall"
Made her U.S. television debut on ABC's "The View," followed by a musical appearance on NBC's "Saturday Night Live"
Co-headlined with Kelly Clarkson, Jennifer Hudson, Jordin Sparks, Miley Cyrus and Leona Lewis on the televised special "VH1 Divas 2009"
Named Best New Artist at the Grammy Awards; also won Best Female Pop Vocal Performance for "Chasing Pavements"
Released her debut album 19; signed with Columbia Records for her foray into the U.S.
Released her sophomore album 21; landed at No. 1 on the Billboard 200 chart; named "Album of the Year" by Rolling Stone magazine
Recorded theme song to 007 feature "Skyfall"
Released her debut single "Hometown Glory"
Adele's evocative vocals, confessional songwriting, and soul-infused sound could have easily landed her at the top of the charts in the 1960s, decades before her birth. At the age of 19, the British chanteuse entered the music scene with the critically lauded, neo-soul debut album, <i>19</i> (2008), that spawned the international hit "Chasing Pavements." The post-breakup ballad, inspired by Adele's own heartbreak, launched her promising career all the way to winning a Grammy Award in 2009 for Best New Artist. Celebrated by millions for her self-assured and fun-loving personality as much as her artistry, Adele defied the conventions of a mainstream pop star. Adele conquered the charts once again with her second album, the country music-tinged <i>21</i> (2011), which broke records all over the world and established her as a compelling artist and a legend in the making.
CEO of Drop4Drop, a charity based out of Brighton, U.K., which worked to bring access to clean water to people in developing countries around the world
BRIT School for Performing Arts and Technology
"It's been a long time since an artist like Adele has come along. Carole King is the last person who wrote the kind of lyrics women immediately could relate to. I love to hear a schoolgirl on the school bus yellin', 'We coulda had it alll!'" – Aretha Franklin quoted in Rolling Stone, Oct. 11, 2012