Smashing Pumpkins drummer Mike Byrne has quit the group. Frontman Billy Corgan has confirmed the news in a new interview, weeks after it was revealed Motley Crue star Tommy Lee has been working with the band on new tracks.
Corgan tells Music Radar, "Let's just say that Mike, like Elvis, has left the building."
Lee plays drums on nine songs on the band's upcoming album Monuments To An Elegy, and recently told Billboard, "I think he (Corgan) has probably the best record he's ever written. These are, like, epic, goose-bump songs."
Further details of Byrne's departure were not available as WENN went to press. The drummer appeared on two Smashing Pumpkins albums - 2009's Teargarden by Kaleidyscope and 2012's Oceania.
20th Century Fox Film via Everett Collection
"A new Will Smith movie! What's it about?"
That question sounds ridiculous, doesn't it? That's because you already know. Sure, there are a few odds and ends you might not have caught wind of, but you're never totally in the dark on the plot of one of Will Smith's gestating blockbusters. Because they're all pretty much exactly the same.
Every one of the Fresh Prince's (is it reductive to still call him that?) headliners commits to a rigid formula of pieces so interchangeable that were he alive today, we know who Eli Whitney would deem his favorite Hollywood star.
Brilliance — the new movie that TheWrap is pinning to the 43-year-old actor — is no outlier: In the film, Smith plays a "gifted" government agent who saves a future society from terrorist attacks. Yes, that'll fit quite snugly into the proverbial fill-in-the-blank game that is the rest of his filmography...
BAD BOYSSet in Miami in the present, Will Smith (a cop) saves the city from criminals with the help of Martin Lawrence.
INDEPENDENCE DAYSet in New York and D.C. in the present, Will Smith saves the world from aliens with the help of Jeff Goldblum and the president.
MEN IN BLACKSet in New York in the present and the past, Will Smith (a cop) saves the world from aliens with the help of Tommy Lee Jones.
ENEMY OF THE STATESet in D.C. in the present, Will Smith saves himself from the government with the help of Gabriel Byrne.
WILD WILD WESTSet in D.C. in the past, Will Smith (a cop) saves the president from a criminal with the help of Kevin Kline.
I, ROBOTSet in Chicago in the future, Will Smith (a cop) saves the city from robots with the help of a robot.
HITCHSet in New York in the present, Will Smith saves Kevin James from heartbreak with the help of Eva Mendes.
THE PURSUIT OF HAPPYNESSSet in San Francisco in the past, Will Smith saves his actual son from poverty with the help of hope and perseverence.
I AM LEGENDSet in New York in the future, Will Smith saves himself from zombies with the help of a dog.
HANCOCKSet in Los Angeles in the present, Will Smith saves the city from criminals (and himself) with the help of Jason Bateman andCharlize Theron.
AFTER EARTHSet on Earth and Nova Prime in the future, Will Smith saves his actual son from aliens and animals with the help of Scientology.
So that makes four New Yorks and three D.C.s, three counts of saving the city, two of the world, and two of his son, three movies that involve aliens, three that involve criminals, four movies where he's a cop... and in just about all of them, he's "gifted." Welcome to the game, Brilliance.
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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.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
How would you like to spend a night shopping with the stars? It's all possible thanks to the ever-intimidating Anna Wintour! The Vogue editor-in-chief came up with an idea in 2009 where retailers in NYC would stay open past their normal hours and offer in-store events to promote shopping and help stimulate the struggling economy. She called the night Fashion's Night Out, and it always takes place the Thursday before New York's fashion week begins.
FNO has become such a phenomenon that celebrities even take part in the festivities. From performances to guest appearances, A-listers are stepping out to support this stylish shopping extravaganza. And so in case you plan to participate, here is a list of where you can go tonight (in New York, Los Angeles, Miami and Chicago) to rub elbows with some of your favorite Hollywood stars.
NEW YORK CITY
Bloomingdales (1000 Third Avenue New York NY 10022): Actor Eddie Cibrian (6-8 p.m.), star stylist Rachel Zoe (6:30-7:30 p.m.)
Bottega Veneta (699 Fifth Avenue New York NY 10022): Actress Rose Byrne (6-11 p.m.)
Coach (595 Madison Avenue New York NY 10022): Saturday Night Live's Seth Myers (7-9 p.m.)
Completely Bare (25 Bond Street NYC NY 10012): RHONY's Cindy Barshop (6:30-10:30 p.m.)
DASH (119 Spring Street New York NY 10012): Kim and Kourtney Kardashian, Jersey Shore's DJ Pauly D (6-8 p.m.)
David Yurman (712 Madison Avenue New York NY 10065): Camilla Belle (6-11 p.m.)
Dolce & Gabbana (825 Madison Avenue New York NY 10065): Justin Bieber (6-11 p.m.)
Giorgio Armani (760 Madison Avenue New York NY 10065): Samuel L. Jackson and Angela Bassett (8-10 p.m.)
Jeffrey New York (449 West 14th Street New York NY 10014): Harry Potter's Daniel Radcliffe (6-11 p.m.)
Kiehl's (109 Third Avenue New York NY 10003): AJ Maclean of the Backstreet Boys (6-11 p.m.)
Lord & Taylor (424 Fifth Avenue New York NY 10018): Solange Knowles (6-9 p.m.) and Ivanka Trump (6:30-7:30 p.m.)
Lucky Brand (535 Broadway New York NY 10012): Project Runway star Tim Gunn (6-11 p.m.)
Macy's Herald Square (151 West 34th Street New York NY 10001): Tommy Hilfiger (5:30 p.m.), celeb DJ Samantha Ronson (6-7 p.m.), Kelly Rowland (7-8 p.m.), Pretty Little Liars actress Shay Mitchell (8-9 p.m.)
MAC Cosmetics (109 Spring Street New York NY 10012): Beth Ditto (8-9 p.m.)
Manolo Blahnik (31 West 54th Street New York NY 10019): Sarah Jessica Parker (6-11 p.m.)
Marc by Marc Jacobs Men's (382 Bleecker Street New York NY 10014): Bar Refaeli (6-10 p.m.)
Marc Jacobs (163 Mercer Street New York NY 10012): Dakota Fanning (6-10 p.m.)
Michael Kors (610 Fifth Avenue New York NY 10020): Michael Kors (6-11 p.m.)
New York & Company (715 Lexington Avenue New York NY 10022): Real Housewives of NY cast mates Countess LuAnn de Lesseps, Kelly Killoren Bensimon and Ramona Singer (6-10 p.m.)
Payless Shoe Source (716 Lexington Avenue at 58th Street New York NY 10022): Designer Christian Siriano (7:30-9 p.m.)
QVC (428 Broadway at Howard Street New York NY 10013): Kris Jenner, Heidi Klum, Donald Trump (6-11 p.m.)
Rag & Bone (119 Mercer Street New York NY 10012): Stars of Lala's Full Court Life Carmelo Anthony and La La Vazquez (6-11 p.m.)
Saks Fifth Avenue (611 Fifth Avenue New York NY 10022): Kris Humphries (6:30-10 p.m.), Ne-Yo (8-9 p.m.)
Sephora Times Square (200 West 42nd Street New York NY 10036): True Blood's Kristin Bauer, Kat Von D, Kate Walsh (6-11 p.m.)
Stuart Weitzman (625 Madison Avenue New York NY 10022): Michelle Trachtenberg and Hayden Panettiere (6:30-10 p.m.)
Ted Gibson Salon (184 5th Avenue 2nd Floor New York NY 10010): Twilight star Ashley Greene (8-10 p.m.)
Tiffany & Co (727 Fifth Avenue New York NY 10022): Leighton Meester (8 p.m.)
Versace (647 Fifth Avenue New York NY 10022): DRAKE (7-10 p.m.)
Victoria's Secrets (591-593 Broadway New York NY 10012): Angels Adriana Lima, Alessandra Ambrosio, Erin Heatherton and Lily Aldridge (7-10 p.m.)
The Beverly Center (Beverly Blvd lvd, Los Angeles, CA 90048): Nicole Richie (5-11 p.m.)
The Grove (189 The Grove Dr Los Angeles, CA 90036): Lauren Conrad (7-8 p.m.)
Westfield Topandga Canyon (6600 Topanga Canyon Blvd, Canoga Park, CA 91303, USA): Tori Spelling (6:30 p.m.)
900 Shops (900 North Michigan Avenue Chicago IL 60611): Bravo fashion guru Brad Goreski (6-9 p.m.)
Macy's State Street (111 North State Street Chicago IL 60602): Kelly Osbourne (6-8:30 p.m.)
Macy's Aventura (19535 Biscayne Boulevard Aventura Miami FL 33180): Real Housewives of Miami's Alexia Echevarria (6-7 p.m.), Real Housewives of NY's Jill Zarin (6:30-7:30 p.m.)
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Update: Proving the point I just made in my original post that X-Men: First Class's casting is never, ever done, Deadline Hollywood just revealed that the distinguished Oliver Platt will be joining Jason Flemyng and Rose Byrne for director Matthew Vaughn's upcoming franchise reboot/prequel. Pratt will play a non-mutant, the enigmatically-named "Man in Black" - who, it can be assumed, has no connection to the Lost character of the same name, though I wouldn't be surprised if like Will Smith and Tommy Lee Jones, Pratt's "Man in Black" was part of some similarly shady (though less hilarious) government agency. That's the same kind of villainous bureaucratic role Pratt played to perfection in Roland Emmerich's recent disaster-porn blockbuster 2012, so I give this bit of casting two thumbs up! The rest of the First Class news continues below:
Original Story: If you've been following our ongoing coverage of X-Men: First Class, then you're already aware that director Matthew Vaughn (Kick-Ass) has been busy all summer filling the prequel's roster with a wide spectrum of actors, ranging from the well-known (James McAvoy as Professor Xavier) and established (Kevin Bacon as an unknown villain) to the up-and-comers (Michael Fassbender as Magneto; Twilight's Edi Gathegi as the mutant Darwin).
Unfortunately for us carpal tunnel-stricken writers tasked with reporting on each newX-Men casting rumor to come down off the interwebs, Vaughn apparently isn't done expanding First Class's pantheon, despite the fact that 21st Century Fox expects principal photography to begin in London in just two weeks.
The latest to join the ensemble are British actor Jason Flemyng, who recently played Calibos in Clash of the Titans and is well known in England for his roles in Guy Ritchie's Lock, Stock and Two Smoking Barrels (1999) and Snatch (2001), and actress Rose Byrne, who stars opposite Glen Close in Damages.
Flemyng revealed at this year's Movie-Con in London that he is set to play Azazel, a demon-like mutant whom he described as "a teleporter" at his presentation for Jonathan English's upcoming Ironclad movie. More importantly for the series' continuity, Azazel is Nightcrawler's father.
Azazel is introduced to the X-Men universe in "Uncanny X-Men" #428, "The Draco," as the father of Kurt Wagner (a.k.a. Nightcrawler) and the leader of a biblical race of mutants who have a demonic appearance and can teleport between dimensions. Although he is banished to another dimension by an angelic race of mutants, Azazel escapes to father Nightcrawler with the terrorist Mystique.
Byrne, meanwhile, joins the cast as Scottish scientist Moira MacTaggert, a leading expert on genetic mutation and the film's love interest for Charles Xavier (McAvoy). In the later 1979-1980 Uncanny X-Men storyline, MacTaggert is also the mother of one the series' greatest villains - the reality-warping Proteus - though by all accounts that narrative won't be part of First Class.
In addition to McAvoy, Fassbender, and Bacon, Flemyng and Byrne join Alice Eve as Emma Frost, Jennifer Lawrence as Mystique, Nicholas Hoult as Beast, Caleb Landry Jones as Banshee, and Lucas Till as Havok for First Class, which begins production at the end of the month.