British singer Paloma Faith has scored her first number one single in the U.K. with her Sigma collaboration Changing. The drum and bass duo's track with Faith leaps up 114 places to claim the top spot, making Sigma the first act of 2014 to land two consecutive U.K. chart-toppers with over 100,000 copies sold in its first week of release.
The feat topples Calvin Harris and John Newman's Blame, which slips to number two, while Prayer In C (Robin Schulz Remix) by Lilly Wood & Robin Schulz falls to three.
Professor Green is new at four with Lullaby and Taylor Swift rounds out the new top five with Shake It Off.
Meanwhile, on the U.K. album chart, Irish rockers The Script earn their third number one with No Sound Without Silence.
Barbra Streisand enters the countdown at two with her duets album Partners and Sam Smith's In The Lonely Hour drops to three.
DJ Calvin Harris has scored his fifth number one single on the U.K. music charts with Blame. The track, featuring English singer John Newman, has beaten Lilly Wood & Robin Schulz's Prayer in C to the top of the charts.
Harris' previous number one singles include I'm Not Alone, Sweet Nothing, Under Control and Summer.
He also featured on two other top songs; Dizzee Rascal's Dance Wiv Me and Rihanna's We Found Love.
Rounding out the top five are Sam Smith's I'm Not the Only One, Taylor Swift's Shake It Off and Iggy Azalea and Rita Ora's Black Widow.
Meanwhile on the albums chart, Led Zeppelin's Robert Plant has scored this week's (ends14Sep14) highest new entry with Lullaby And The Ceaseless Roar.
Plant's 10th solo album debuted at number two behind Smith's In The Lonely Hour.
Ed Sheeran's X, Royal Blood's self-titled Mercury Music Prize-favoured eponymous album and George Ezra's Wanted On Voyage sound out the new top five.
Tragic singer Simone Battle has posthumously returned to the U.K. singles chart with her pop group G.r.l., two days after her death. The 25 year old, who joined the girl band after reaching the live finals of America's The X Factor in 2011, was found dead from an apparent suicide at her Los Angeles home on Friday (05Sep14), just as G.R.L.'s new song, Ugly Heart, began growing in popularity in the U.K.
Ugly Heart enters the U.K. countdown at 11, four months after G.R.L. featured on rapper Pitbull's hit track Wild Wild Love.
Elsewhere in the singles chart, Lilly Wood and producer Robin Schulz hold on to number one for a second week with Prayer In C, while Duke Dumont's Won't Look Back jumps 167 spots to land at two, followed by The Script's Superheroes, which debuts at three.
In the U.K. albums chart, Sam Smith returns to first place with In the Lonely Hour, while Royal Blood's self-titled release slips to two.
Maroon 5 score the only new entry in the top five, debuting V at four.
Police were called to the home of moviemaker Sam Taylor-Johnson and her actor husband Aaron on Thursday night (28Aug14) after a passer-by spotted a machine gun in the London property.
Officers attended the scene after receiving a report that an automatic weapon could be seen through a window. However, it emerged the gun, which had been placed on a desk, was a fully decommissioned M16 rifle given to Taylor-Johnson as part of an art project.
Neither the director nor her Nowhere Boy star husband Aaron were at the property when cops called.
A spokeswoman for the couple tells the BBC, "We can confirm that early this morning police were called to the London home of Mr. and Mrs. Taylor-Johnson following a report of a firearm on the premises by a concerned passer-by. "The family were not present in the property at the time but the police gained entry via a key holder. The firearm was located in Sam Taylor-Johnson's basement studio and has been confirmed as a certified and fully decommissioned M16 assault rifle that was provided to Mrs. Taylor-Johnson by the international charity Peace One Day as part of an art project entitled Peace One Day M16."
Actor Aaron Taylor-Johnson has been taking his young daughters to the set of his director wife's saucy new movie Fifty Shades Of Grey.
The Godzilla star has two young daughters, aged four and two, with his moviemaker wife Sam Taylor-Johnson, and she has revealed the girls have been a regular presence on set while she filmed the move adaptation of E. L. James' erotic novel. She tells Britain's The Times Magazine, "When he was working on Godzilla, I was at home with the girls. We don't work at the same time... If I'm not working I'll take the children to the set and we'll see him there and vice versa - when I was working (on Fifty Shades of Grey) they'd come and be with me there."
However, the director is adamant she made sure the youngsters were kept well away from the saucy scenes involving stars Jamie Dornan and Dakota Johnson. She adds, "The set would be closed (for the sex scenes), but there's tons of stuff going on around."
Sam Taylor-Johnson also has two older daughters with her ex-husband Jay Jopling.
Fifty Shades Of Grey director Sam Taylor-Wood has added her husband Aaron Taylor-Johnson to the cast of the highly-anticipated movie adaptation of E.L. James' erotic bestseller. Rumours surfaced last year (13) suggesting the Kick-Ass star was being considered for the lead role of Christian Grey, but the part initially went to Charlie Hunnam.
When he quit the project, Northern Irish actor Jamie Dornan was chosen as his replacement, but Taylor-Wood has now revealed Johnson has made it into the film.
However, she has not elaborated on his role.
The movie, which also stars Dakota Johnson as Anastasia Steele, is due to hit theatres next year (15).
The casting news comes just weeks after Taylor-Johnson told Nylon magazine he had no interest in playing Grey.
He stated, "I think it would have been the wrong kind of hype to bring toward us (as a couple). It would have been kind of funny that this character that all these women fancy - he's one in a million - and my wife picks her husband to play the part?"
He added, "I would love to have done something together again, but it wouldn't have been Fifty. We were both on the same page."
The pair met on the set of 2009 movie Nowhere Boy, in which Taylor-Johnson portrayed a young John Lennon.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Actress Jennifer Lawrence has become the latest celebrity to pay tribute to tragic actor Philip Seymour Hoffman, who passed away from an apparent drug overdose on Sunday (02Feb14). The 46 year old's body was found in his New York apartment after a friend grew concerned following failed attempts to contact the star.
At the time of his death, Hoffman was filming The Hunger Games: Mockingjay - Part 1 & 2 and now the franchise star is remembering her fallen castmate.
A statement from the actress, director Francis Lawrence and The Hunger Games author Suzanne Collins, reads, "Words cannot convey the devastating loss we are all feeling right now. Philip was a wonderful person and an exceptional talent, and our hearts are breaking. Our deepest condolences go out to his family."
Bosses from Lionsgate Films, the production company behind the movie, and franchise star Sam Claflin have also issued statements.
Other tributes have come from Steve Martin, Ricky Gervais, Aaron Paul, Rose McGowan, Justin Timberlake, Minnie Driver, Octavia Spencer, Anna Kendrick, Lena Dunham, Mia Farrow, Elijah Wood and Jim Carrey.
There were two storylines going on in this episode: one was with Raylan Givens (Timothy Olyphant) trying to get Loretta McCready (Kaitlyn Dever - returning to the show that gave her a big break) and the other was Boyd Crowder (Walton Goggins) scraping money together so that he could get his fiancee, Ava Crowder (Joelle Carter), out of jail. Things seemed to play out with more urgency in this episode, given the news that there would only be one more season after this.
The episode opened in Tennessee with a pot dealer being beaten by two of his cohorts (played by Steve Harris and his brother Wood) due to his being shorted on a pickup of dope from two kids in Lexington, Kentucky. "Hot Rod" Dunham (played by Mickey Jones in a very different role than in his Home Improvement days) came and told the two thugs to take care of the situation. After Dunham left, the thugs filled the third with enough lead for a pencil factory.
Lee Paxton (Sam Anderson) was in a coma after being brutally beaten by Boyd. Mooney (William Gregory Lee), a cop who had it out for Boyd, got Paxton's wife, Mara (Karolina Wydra) to say that it was him, but she recanted when she went to Boyd's bar for a visual confirmation ... which alerted the slender criminal that he hadn't finished the job earlier.
Givens, after confiscating items - including a really nice Mercedes - from someone who laundered money for the Detroit mob, went to see McCready in jail after she had been caught selling marijuana to a cop's kid. He left her in the cell to stay overnight and then brushed off her boyfriend, Derrick. As he was leaving the courthoue, he ran into Alison (Amy Smart), McCready's social worker. She flirted heavily with him and then reamed him out for making McCready stay in the cell. Givens, who viewed himself as a big brother figure to McCready, decided he was going to go talk to Derrick and convince him to break up with McCready. Boyd went and talked to Mara and tried to suss out why she hadn't given him up. She said she wanted the money that Boyd had mentioned before so that she could go home. When he said he couldn't get it quickly, she basically insinuated she was blackmailing them.
Givens saw a truck with Tennessee plates outside Derrick's house and found the guys from Dunham's crew beating him up (Gee ... so THEY were the kids who had shorted Dunham's people). Givens intimidated them out of the place and then told him break up with McCready. Outside, he arranged a date with Alison. Slick, playa.
Boyd and Wynn Duffy (Jere Burns) were trying to deal with a possible insurrection among his dealers. Duffy had to field the questions first and one of the dealers was mouthing off at Duffy, which is never a wise thing. Boyd, who showed up late due to his meeting with Mara, assured them that they would get a shipment in a day and a half.
At the Marshals office, Givens talked about Sammy Tonin with Art Mullen (Nick Searcy, who got a lot more screen time this episode than the premiere), He also arranged to be able to stay at the home of the money launderer, given that it was now federal property. Once the meeting was over, Givens found McCready waiting and she told him that her boyfriend had disappeared. Turned out the Tennessee Duo had got their hands on him and were having him dig up the money that he and McCready embezzled. They decided it was going to be his grave. Givens showed up at the nick of time with a shovel to whack Steve Harris' character in the head. Once the situation was in hand, he found out that Derrick was tangled up with Hot Rod.
Mara got pulled over and intimidated at gunpoint by Mooney who said that he was going to arrest her for trying to kill her husband unless she brought Crowder in.
Givens met with Dunham, who had done business with Arlo, Givens' late father. Givens laid it out: the Tennessee people were to not come into Harlan again and they were to leave McCready alone. Dunham tried to put fear in the marshal, but he was having none of it. Givens then drove McCready and Waters to a corner, kicked Waters out and McCready decided to stay with Givens. Givens drove all night and dropped her off at her home but not before finding out she had actually moved the money and played him so that he would investigate everything.
Poor Dewey Crowe (Damon Herriman), he got interrupted again in his possible fun times with his hookers. This time it was his cousin Darryl (Michael Rapaport), who had come to town, and Dewey was none too happy to see him as evidenced by his pained expression when Darryl hugged him.
Alison and Givens were having wine and she told the lawman she wasn't going to jump in bed with him. Givens asked her to go bowling with him.
Paxton woke up with a grunt ... though it wasn't certain if he was cognizant.
Boyd found his shipment had been hit and all the people involved laying around dead on the road. He was impassive and told his men to clean it up. He seemed calm, but he could be very close to unraveling.
"You mean to say you're not crooked? Just incompetent?" -- Dunham to his soon-to-be-doomed drug dealer
"Are you being funny? Because I can't tell anymore." -- Rachel Brooks (Erica Tazel) to Givens
"My general rule is, you keep talking, I put you in the trunk." -- Givens to the Harris brothers
"In other words ... I'll kill four of you before you clear your weapons and I'll take my chances with the other two. And you see this star? That's going to make it legal." -- Givens to Dunham and his crew
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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