R&B singer Keyshia Cole spent Friday morning (19Sep14) behind bars following an arrest at her rumoured boyfriend Bryan 'Birdman' Williams' home in Los Angeles. The star allegedly assaulted a woman at the rap mogul's penthouse apartment just after 5am local time after she arrived unannounced.
Sources tell TMZ.com Cole was arrested for battery and an outstanding reckless driving warrant.
She was released on Friday afternoon after posting $46,000 (£28,750) bail.
Cole split from her basketball player husband Daniel Gibson earlier this year (14) after less than three years of marriage.
Keyshia Cole's estranged husband has distanced himself from a divorce filing in his name, insisting he has not moved to make the split official. The singer confirmed her split from basketball player Daniel Gibson in March (14) after less than three years of marriage, and it appeared the sports player had started divorce proceedings when papers were filed at a court in Los Angeles last week (ends20Jul14).
However, Gibson is adamant the documents filed in his name at Los Angeles County Superior Court were lodged by an impostor.
He tells TMZ.com, "She (Cole) would have to do it (file the divorce papers). I am a Christian. I believe in 'til death do us part."
Editors of the website report the paperwork lists Gibson as his own attorney, and gives a home address which is actually a branch of U.S. fast food chain El Pollo Loco.
A man accused of trespassing on Taylor Swift's beachfront property in Rhode Island on three separate occasions has been sentenced to 18 months of probation. Daniel P. Cole was initially taken into custody and charged in December (13) after he parked his pick-up truck outside the singer's Watch Hill home and refused to move.
Police were called to the scene to investigate and the Massachusetts resident allegedly became involved in an altercation with officers, just 12 days after Swift's security guards had to escort Cole off the star's estate.
The second incident landed the 39 year old a no trespassing order, but cops found him back on the property in March (14), when he was also slapped with a no contact ruling, demanding he keep his distance from the singer and her home, according to local paper The Westerly Sun.
He pleaded not guilty to misdemeanour charges of wilful trespassing and disorderly conduct, but was convicted on Thursday (17Jul14) after a three-day trial in Warwick, Rhode Island.
Judge Frank Cenerini ordered Cole serve probation and undergo anger management screening and counselling. He also renewed the no trespassing and no contact orders.
Cole hasn't been the only unwelcome visitor at Swift's Rhode Island luxury house - three people recently pleaded not guilty to disorderly conduct charges after allegedly hurling beer bottles at the mansion in June (14).
The singer was not home at the time of either incident.
Pop star Taylor Swift has been granted a permanent restraining order against an alleged stalker. The I Knew You Were Trouble hitmaker obtained a temporary protection order against Timothy Sweet earlier this month (Mar14), amid claims he had bombarded her with frightening emails, letters and messages via social media since 2011.
According to her original legal documents, one of the notes Sweet reportedly sent to the singer, who he believed was his wife, stated: "Dearest Taylor, I'll kill any man who gets in the way of our marriage."
Another message read: "If anyone in Taylor Swift's family gets killed, it is not my fault."
A Los Angeles judge reviewed the restraining order request on Tuesday (25Mar14) and agreed to extend it until 2017. The ruling bans Sweet from going within 100 yards (91.44 metres) of the 24-year-old and her immediate family.
Sweet is the second superfan to be ordered to stay away from Swift in the past week - Daniel P. Cole was recently charged with trespassing on her Rhode Island property following an arrest in December (13), when he refused to move his truck from the singer's driveway as he attempted to gain access to the home. He was also slapped with a no-contact order, which was granted on Friday (21Mar14).
A 38-year-old man has been ordered to stay away from Taylor Swift's Rhode Island mansion after he was arrested for trespassing. Daniel P. Cole, from Brewster, Massachusetts, was initially escorted off the singer's Watch Hill property by police on 9 December (13), when security personnel spotted him blocking the driveway with his pick-up truck.
Cops were called to the star's home once again on 21 December (13), when Cole allegedly refused to leave his vehicle and became involved in an altercation with an officer who asked him to move on.
According to authorities, the 38 year old asked police to "tell the guard it was OK for him to come up to the house", before shouting obscenities as he was arrested and taken into custody.
He was slapped with counts of wilful trespass and disorderly conduct on Thursday (20Mar14), and appeared before a Wakefield District Court judge on Friday (21Mar14), when a judge issued a no contact order against him, demanding he keep his distance from Swift and her home.
Cole, who pleaded not guilty to the charges, has since been released on his own recognisance.
The country star was on her Australian tour at the time of the first incident, and it is not clear if she was at home when Cole made his second unwanted visit.
Swift's security team has been on high alert in the past year after a male swimmer was arrested and booked for straying too close to the shoreline of her private beach last May (13). She subsequently had quirky new signposts installed around the building warning against trespassing, quoting lyrics from her hit single I Knew You Were Trouble.
The signs read: "I knew you were trouble when you walked in. NO TRESPASSING".
R&B star Keyshia Cole has separated from her basketball player husband Daniel Gibson after less than three years of marriage. The You've Changed singer, 32, confirmed the news during a New York radio interview on Thursday morning (20Mar14), when she was asked about rumours suggesting the pair had split.
She simply told the Power 105.1 hosts, "We co-parent... He's a great father... We good (sic)."
Cole recently reunited with former Cleveland Cavaliers guard Gibson, aka Boobie, to celebrate their son Daniel Jr.'s fourth birthday.
Speculation about the status of the couple's relationship first surfaced online earlier this year (14) after Cole took to her Twitter and Instagram.com blogs to vent her apparent frustrations about her personal life.
One recent post read: "Don't fall in love with someone who says the right things... fall in love with someone who does the right thing."
They wed in May, 2011.
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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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.
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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