Singer Lily Allen won high praise for replacing ill headliners Two Door Cinema Club at England's Latitude Festival after fans of the indie group targeted her for abuse after she was drafted in at the last minute. Fans of the band attacked festival boss Melvin Benn for choosing to let Allen take over the group's slot after the band pulled out of the Suffolk event - and many took aim at the Smile singer on Twitter.com.
Preparing to take the stage, Allen confessed she was "exhausted by nastiness" on Twitter, but she was in good spirits for her performance, even covering Two Door Cinema Club's Something Good Can Work and telling the crowd, "I'm sorry I'm not Two Door Cinema Club but I've promised I'll give it my best."
Benn later told reporters he was thrilled Allen had agreed to fill in: "She's done a fantastic thing in offering to come and play. It's a tough thing to find a headline act at the last minute.
"She's not been to Latitude before. I've spoken to her, she's very happy, (but) she's p**sed off about the abuse from the Twitter cranks."
Allen also performed a brief set on another stage at the festival earlier in the day, and during her main performance, she brought her two-year-old daughter Ethel out with her and allowed the youngster to sing briefly for the crowd.
The Black Keys and Damon Albarn will headline the other two nights of the festival.
British pop star Lily Allen has stepped in to save the U.K.'s Latitude Festival after rockers Two Door Cinema Club cancelled their headline slot. The band was due to perform at the event in Suffolk, England on Friday (18Jul14), but they pulled out after frontman Alex Trimble collapsed at an airport in Seattle, Washington while en route to London and was hospitalised with a stomach condition.
Allen has now offered to take over their slot at the festival on Friday, marking her debut at the event just weeks after she performed a huge set at Britain's Glastonbury festival.
The singer says in a statement, "So sorry to hear about Alex from Two Door Cinema Club. However, I am more than happy to step in. I've never been to Latitude but I hear it's fabulous and I can't wait to get my heels on for some serious dancing action on Friday evening - so, so excited."
Other acts performing at the event across the weekend (19-20Jul14) include Blur star Damon Albarn and The Black Keys.
Pop star Lily Allen crowned her musical comeback with a bizarre performance at Britain's Glastonbury festival on Friday (27Jun14), singing while surrounded by giant baby bottles as her husband and children watched from the side of the stage. The Smile hitmaker stepped out of the spotlight in 2010 to concentrate on starting a family with her husband Sam Cooper, and she relaunched her career this year (2014).
She showed off her quirky side at Glastonbury by taking to a stage adorned with enormous baby milk bottles as a nod to her new role as a mum as daughters Ethel, two, and Marnie, 17 months, watched from the wings.
Allen's romance with Cooper began at the festival in 2009, and she paid tribute to her husband during her set, turning to face him and saying, "Last time I played here was five years ago and that was the night I got together with my husband. Five years later he's here with my two beautiful babies. I love y'all so much."
The singer's shortened Friday night set was delayed by 30 minutes while festival organisers waited for a lightning storm to pass.
Taking to the Pyramid Stage, she said, "Thank f**k for that, the rain stopped! Just in time. I've got to be quick 'cos our set time has been cut short."
A lost World Cup anthem recorded by late comedian Rik Mayall is expected to enter Britain's pop charts this coming weekend (ends15Jun14) thanks to a social media campaign launched by fans. The funnyman, who starred in cult 1991 film Drop Dead Fred, recorded Noble England for the nation's 2010 World Cup campaign, but it failed to make a dent on the U.K. Top 40.
But bosses at the Official Charts Company have confirmed the track is a surefire hit the second time around - thanks to fans responding to Mayall's sudden death on Monday (09Jun14).
Noble England was sitting at number 38 on the new chart a day after the campaign was launched, and it is expected to enter the countdown much higher.
The track could become the unofficial anthem for the England team as they compete in the World Cup in Brazil. The squad doesn't have an 2014 tournament anthem, although Lily Allen has released one track and her actor dad Keith has re-released his soccer tune Vindaloo.
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With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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Singer Lily Allen has scored her second number one album on the U.K. music charts. The Smile hitmaker's third studio album, Sheezus - which is her first record in five years - has beaten out Take That frontman Gary Barlow's Since I Saw You Last for the top spot.
Last week's (ends04May14) number one, Paolo Nutini's Caustic Love, has dropped to number three, while Paloma Faith's A Perfect Contradiction claims the fourth spot.
Meanwhile, Mr Probz's Waves has beaten out Calvin Harris' Summer for the top spot on the U.K. singles chart.
Kiesza's Hideaway, John Legend's All of Me and Sigma's Nobody to Love round out the new top five.
Lily Allen pokes fun at fellow pop stars Katy Perry, Rihanna, Beyonce, Lady Gaga and Lorde in her new single Sheezus. The Smile hitmaker mocks the singers, claiming she will steal the pop crown from them and become "Sheezus".
She particularly ridicules newcomer Lorde by suggesting the teenager will "slay" anyone who gets in her way on the road to stardom, while Allen also calls Lady Gaga a "martyr" of pop music.
In the chorus, Allen sings, "Ri-Ri (Rihanna) isn't scared of Katy Perry's roaring, Queen B's (Beyonce) going back to the drawing, Lorde smells blood, yeah, she's about to slay you, kid ain't one to f**k with when she's only on her debut. "We're all watching Gaga, L-O-L-O, haha, dying for the art, so really she's a martyr, the second best will never cut it for the divas, Give me that crown, b**ch, I wanna be Sheezus."
Sheezus is the title track from Allen's upcoming album which is due for release on 5 May (14).
"I think that all industries that can be taken advantage of by the Internet now, there is no time for irony, it is like 'What the f**k is going to sell?' That is it. And I bet you it is the biggest selling cover they have had in five years." Lily Allen is convinced Vogue magazine bosses were striving to improve sales by putting reality TV star Kim Kardashian on the cover of the American edition with her fiance Kanye West.
British singer Lily Allen has vented her anger online after she was criticised for her views on feminism this week (begs03Mar14). The Hard Out Here singer guest edited an issue of free London magazine ShortList with the theme 'How to be a man - by women', and she told readers she hates the word 'feminism' because "girls are pitted each other" and women need to "stop being so horrible to each other".
Her comments sparked a backlash on Twitter.com, but Allen has now spoken out to defending herself amid the fan furore.
She tells gossip website Holymoly.com, "I think you rather missed my point. I said that I believe women are equal to men, we are all human. I can't believe that we're still having to have discussions about feminist (sic) because sexism should not exist anymore... ps, I did not chose the 'how to Be a Man ' title either. I am very greatful (sic) to Shortlist for having me on their cover but they did ham that interview up a little."
She then penned an angry message to her critics, insisting they have no right to judge her unless they are campaigning outside British Prime Minister David Cameron's official residence in Downing Street.
In a post on Twitter.com, she writes, "Unless your (sic) standing outside downing st (street) with one of those Australian Bush Hats with dirty tampons in place of corks 'shouting equal rights for men and women' you've got no place telling me what kind of feminist I am or am not. F**k off."
Columbia Pictures via Everett Collection
Treading water at the very surface of RoboCop, there is an idea. A dense concept, ready and willing to provide no dearth of dissection for any eager student of philosophy, psychology, political science, physics — hell, any of the Ps. To simplify the idea on hand: What separates man from machine? It's a question that is not just teased by the basic premise of José Padilha's remake of the 1987 sci-fi staple, but asked outright by many of its main characters. And then never really worried about again.
We have principal parties on both sides of the ethical quandary that would place the security of our crime-ridden cities in the hands of automatons. Samuel L. Jackson plays a spitfire Bill O'Reilly who wonders why America hasn't lined its streets with high-efficiency officer droids. Zach Grenier, as a moralistic senator, gobbles his way through an opposition to the Pro-boCop movement. We hear lecture after lecture from pundits, politicians, business moguls (a money-hungry Michael Keaton heads the nefarious OmniCorp...) and scientists (...while his top doc Gary Oldman questions the nature of his assignments while poking at patients' brains and spouting diatribes about "free will"), all working their hardest to lay thematic groundwork. Each character insists that we're watching a movie about the distinction between human and artificial intelligence. That even with an active brain, no robot can understand what it means to have a heart. But when Prof. Oldman tempers his hysterical squawking and Samuel L. Hannity rolls his closing credits, we don't see these ideas taking life.
In earnest, the struggle of rehabilitated police officer Alex Murphy (Joel Kinnaman) — nearly killed in the line of duty and turned thereafter into OmniCorp's prototype RoboCop — doesn't seem to enlist any of the questions that his aggravated peers have been asking. Murphy is transformed not just physically, but mentally — robbed of his decision-making ability and depleted of emotional brain chemicals — effectively losing himself in the process. But the journey we see take hold of Murphy is not one to reclaim his soul, although the movie touts it as such. It's really just one to become a better robot.
Columbia Pictures via Everett Collection
Meanwhile, RoboCop lays down its motives, and hard: Murphy's wife and son (Abbie Cornish and a puckish young John Paul Ruttan) lament the loss of Alex, condemning his dehumanization at the hands of Raymond Sellars' (Keaton) capitalistic experiments, and sobbing out some torrential pathos so you know just how deep this company is digging. Weaselly stooges (Jay Baruchel, Jennifer Ehle, and Jackie Earl Haley) line the OmniCorp roster with comical wickedness. Overseas, killer combat bots take down peaceful villages, unable to work empathetic judgment into their decision to destroy all deemed as "threats." And at the top, figures of power and money like Sellars and Pat Novak (Jackson) speak the loudest and harshest, literally justifying their agenda with a call for all naysayers to "stop whining." Clearly, RoboCop has something to say.
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And when it's devoted to its outrage, RoboCop is terrifically charming. The buzzing political world is just a tiny step closer to ridiculous than our own; the pitch meetings at OmniCorp are fun enough to provoke a ditching of all the material outside of the company walls. And one particular reference to The Wizard of Oz shows that the movie isn't above having fun with its admittedly silly premise. But it loses its magic when it steps away from goofy gimmicks and satirical monologues and heads back into the story. We don't see enough of Murphy grappling with the complicated balance between his conflicting organic and synthetic selves. In fact, we don't see enough "story" in Murphy at all. First, he's a dad and a cop. Then, he's a RoboCop. But can he also be a RoboDad? With all of its ranting and raving about the question, the film doesn't seem to concerned with actually figuring out the answer.
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