Actor/filmmaker Tyler Perry is set to become a first-time father, according to reports. The Alex Cross star is said to have announced the news to guests attending his 45th birthday party at his home in Atlanta, Georgia last week (ends19Sep14).
He did not reveal who the mother of the child is, but he has been linked to Ethiopian model Gelila Bekele for the past five years.
Perry has yet to publicly address the rumours, but he shared photos from his big bash on his Instagram.com page on Monday (22Sep14) as he thanked his famous friends for making it a night to remember.
Taking to the blog, he wrote, "I had never thrown myself a birthday party, so for my 45th I wanted to do something special. This is inside the tent where we had a two hour concert. Jennifer Holliday, Desiree Coleman Jackson, Tevin Campbell, Ledisi, Monica, Jazmine Sullivan, Tamia, Mary Mary, LeAnn Rimes, Yolanda Adams, Rachelle Ferrell and Stevie Wonder brought the house down. It was a night I'll never forget.
"Thanks to all of them for making this night special for me. My next party will be at 50. Gonna mark it every 5 years. A celebration in thanks to God for my life."
A representative for Perry, who turned 45 on 14 September (14), had yet to respond to requests for a comment as WENN went to press.
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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John Lennon's singer son Sean teamed up with rockers The Flaming Lips to pay tribute to The Beatles with a cover of Lucy In the Sky with Diamonds during Thursday's (06Feb14) U.S. broadcast of the Late Show With David Letterman. The TV gig was part of a week-long series of performances to mark the 50th anniversary of the Fab Four's first American TV gig, which took place on 9 February, 1964 at New York's Ed Sullivan Theater, where the Letterman show tapes.
The Beatles will be honoured at John F. Kennedy Airport in New York to mark 50 years since the band's first U.S. press conference there. The New York Port Authority, the organisation which manages the airport, will celebrate the 50th anniversary of the band's first trip to America by hosting an event at the central terminal on Friday (07Feb14).
Officials will unveil a plaque marking the band's landing at 'JFK' exactly five decades after the musicians first touched down there on 7 February, 1964.
The two surviving Beatles - Sir Paul McCartney and Ringo Starr - will be guests on The Late Show With David Letterman two days later on Sunday (09Feb14) to mark the 50th anniversary of the group's American TV debut on The Ed Sullivan Show.
Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
All 13 of the Beatles' albums released in America are to boxed up to mark the 50th anniversary of the group's first trip to the U.S. The re-issues, which include five albums that have never been released on CD, will hit stores and online shopping sites on 21 January (14).
The U.S. Albums collection begins with 1964's Meet the Beatles! and concludes with 1970's Hey Jude.
The 13 CDs come with replicated album art and a 64-page booklet packed with photos.
The Fab Four brought Beatlemania to the U.S. on 7 February, 1964, when the group arrived in New York for an appearance on the Ed Sullivan Show. The band played its first U.S. concert at Washington, D.C.'s Washington Coliseum on 11 February, 1964.
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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The 50th anniversary of the Beatles' groundbreaking performance on The Ed Sullivan Show is to be commemorated with a two-hour U.S. TV special next year (14). The Night That Changed America: A Grammy Salute to the Beatles will be broadcast at 8pm on 9 February (14) - 50 years to the day and time of the Fab Four's American TV debut, which was watched by more than 70 million viewers.
The new special will be filmed in January (14), the day after the Grammy Awards, and it will feature yet-to-be-announced modern artists performing the tracks the Beatles played during the Sullivan broadcast, as well as other hits. The show will also include archival clips and footage from the Sullivan show.
It is not yet known if Sir Paul McCartney or Ringo Starr will be involved in the special.
Mark Sullivan/WireImageFans of the popular ABC shows Grey’s Anatomy and Scandal often find themselves wondering who comes up with the fictional plot twists and love affairs that keep them up at night. While she obviously does not work alone, the simple answer is Shonda Rhimes. The Emmy-nominated writer and producer created both shows, but that’s not all she contributes to the universe. Here are a few things you might not know about the genius behind the curtain.
She Knows How To Handle Drama On And Off The Screen
This past year Rhimes came under criticism for the treatment of her lead character Olivia Pope (played by Kerry Washington). Some folks (including Star Jones) accused her of glorifying marital affairs, and even felt that the interracial relationship on the show was problematic. Rhimes has brilliantly responded to such accusations by defending her art as just that — art, and not a political or social platform. And she often takes to Twitter to remind people who get a little too caught up that her shows are, in fact, fictional.
Oprah Winfrey Is Obsessed With Her
When Oprah Winfrey and former President of the United States Bill Clinton watch your show (they both love Scandal), it’s kind of a big deal. But Oprah and Shonda are so close, their Twitter exchanges are well-documented, and when Shonda made TIME Magazine’s 2013 list of 100 most influential people in the world, Oprah even wrote the powerful accompanying essay.
Halle Berry Kinda, Sorta Owes Her
Halle Berry got her start long before her role in the television biopic Introducing Dorothy Dandridge. Still, her performance in the Shonda Rhimes-written script was one of her best and most well-respected, as she (along with Rhimes) brought to life the important story of the first black movie star to be nominated for a Best Actress Oscar.
She Was a Candy Striper in High School
This woman is living proof that volunteer work truly pays off in the end. Rhimes volunteered at a hospital during high school, and attributes that experience to her interest in such environments. Grey’s Anatomy and its spin-off series Private Practice are a direct result of her candy striper days in Chicago.
She’s an Inspiration to Unemployed Writers Everywhere
After Rhimes got her Masters of Fine Arts degree from the University of Southern California, she was just another unemployed scriptwriter in Hollywood. She worked odd jobs to pay the bills, but eventually got her big break as a research director for a documentary on Hank Aaron. See? We all gotta start somewhere.
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Singer Carrie Underwood is set to perform a tribute to The Beatles at the Primetime Emmy Awards on Sunday (22Sep13). The Before He Cheats hitmaker will take to the stage at the end of the show to mark the 50th anniversary of the Fab Four's first U.S. appearance on The Ed Sullivan Show on 9 February, 1964, and she'll pay homage to the music that was popular at the time of U.S. President John F. Kennedy's assassination on 22 November, 1963.
Underwood will join Elton John, who was recently announced as a first-time Emmy performer. He will pay tribute to Liberace at the ceremony.