Australian supermodel Miranda Kerr has moved to dismiss ongoing rumours about her love life by insisting she is "single" and "happy".
The brunette beauty split from British actor Orlando Bloom, the father of her young son Flynn, last year (13) and she was subsequently linked to wealthy Aussie businessman James Packer.
Speculation about the pair's rumoured romance has rumbled on, but Kerr has now insisted she is not in a relationship.
When asked whether she has a boyfriend, she tells the Sydney Morning Herald, "No... I'm really happy and content to just be single at the moment and to be focusing on Flynn and my work. It keeps me very occupied. Of course going on a date here and there is fine if it fits into the schedule."
Kerr also tackles the Packer rumours directly, adding, "We've been friends for years. (Rumours) happen all the time with me, it happens to Orlando (too). We understand it. As long as we both know (the truth), then it doesn't really matter what people think. People can speculate as much as they like."
Broadway's Tupac Shakur musical Holler If Ya Hear Me is to close early due to disappointing ticket sales.
The stage show, based on the music of the late rapper, officially opened at New York City's Palace Theatre on 19 June (14) and less than two months after its debut, the curtain will come down for the last time on Sunday (20Jul14).
Producer Eric L. Gold made the announcement on Monday night (14Jul14), attributing declining sales to the show's ultimate demise. He says, "We are so proud to be a part of this ground breaking production... My hope is that a production of this calibre, powerful in its story telling, filled with great performances and exciting contemporary dance and music will eventually receive the recognition it deserves."
"It saddens me that due to the financial burdens of Broadway, I was unable to sustain this production longer in order to give it time to bloom on Broadway. Tupac's urgent socially important insights and the audiences' nightly rousing standing ovations deserve to be experienced by the world."
The production reportedly cost $8 million (£4.7 million) to stage, and, after receiving mixed reviews from critics, box office figures have been declining ever since the show began previews on 2 June (14).
Getty Images/Slaven Vlasic
Comedian Tracy Morgan has spoken out for the first time after he was seriously injured in a multi-car pile up in New Jersey to assure fans he is feeling "strong".
The 30 Rock star was hospitalised in a critical condition on 7 June (14) when a Wal-Mart truck slammed into the back of a limousine he was travelling in, killing his mentor and colleague James 'Jimmy Mack' McNair. Morgan, 45, was released from a rehabilitation centre last week (ends11Jul14) and has since returned to his New Jersey home, where he will continue his recovery for injuries including a broken leg, a broken nose and several broken ribs.
On Monday (14Jul14), he was pictured back on his feet with the help of a walker as he was helped into a waiting car outside his house. Asked how he was feeling, he told photographers, "I'm OK. I feel strong. Love you. Thank you very much. I appreciate it."
Wal-Mart driver Kevin Roper stands accused causing the multi-vehicle accident after allegedly falling asleep at the wheel of his truck. Morgan, his assistant Jeffrey Millea and comedian Ardie Fuqua, who were also injured in the crash, filed suit against bosses at the U.S. superstore on Thursday (10Jul14), accusing them of negligence, alleging company executives should have known Roper had been awake for more than 24 hours and that his drive from his home in Georgia to work in Delaware was "unreasonable". Roper denies charges of vehicular homicide and assault by auto.
WENN/Adriana M. Barraza
Pretty Little Liars star Ashley Benson has won a three-year restraining order against a former security guard. Last month (Jun14), the actress was granted a temporary order against 49-year-old James Gorton, Jr., and now a California judge has ruled he must stay at least 100 yards away from Benson for the next three years. Gorton, Jr. was fired from his position as a guard on the Warner Brothers lot in Burbank, California where her hit teen drama is filmed, after he allegedly told studio security officials that he had feelings for the 24 year old, and that "God instructed him to pursue her romantically". In legal documents obtained by TMZ.com, he also reportedly told colleagues he "felt a special bond" with Benson after she looked his way one day, and he believed she was silently sending him subliminal messages.
Superstar Beyonce has topped the 2014 Forbes Celebrity 100 List. The Drunk in Love hitmaker earned $115 million (£67.6 million) in the 12 months ending June, 2014 from her tour receipts, fifth studio album, H&M and Pepsi endorsement deals and House of Dereon clothing line, according to Forbes.com.
Coming in at number two is U.S. basketball ace Lebron James, while rapper/producer Dr. Dre takes the third spot thanks in part to the sale of his Beats by Dr. Dre accessories line to Apple.
TV mogul Oprah Winfrey and U.S. talk show host Ellen DeGeneres round out the top five.
Producer/sound editor Jim Nelson has died at the age of 81. Nelson, real name James M. Falkinburg, passed away on Wednesday (18Jun14).
He began his career at the age of 17 and worked as a producer and sound editor on several films and TV shows, including Dennis the Menace, Tarzan, The Brady Bunch, American Graffiti and The Exorcist.
Nelson helped launch filmmaker George Lucas' Industrial Light & Magic film company and also served as an uncredited associate producer on the Star Wars films.
He was the son of actor and director Sam Nelson and is survived by his filmmaker brother Gary, wife Barbara and daughters Kimberley and Leslie.
Warner Bros. Pictures via Everett Collection
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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Stepping out of Neighbors into the cold, calm, dick-joke-free real world, you might find yourself hit with a barrage of "But wait..." moments: "Why did they move into a new frat house just a month or two before the end of college?" "When was it established that she wanted to sleep with him?" "Where did that pledge come from?" "Who was that other guy?" "If he, then why?" "When did?" "How?" "What?" "Huh?!" Yeah, there are enough logical holes in Nicholas Stoller's comedy to warrant an "Everything Wrong with Neighbors" gag trailer and a dozen or two angry message threads. But the tenability of a movie's realism isn't exactly on trial when it sells itself as the Seth Rogen comedy in which a baby eats a condom.
Neighbors eagerly liberates itself not only from the laws of basic reality or tight storytelling, but also from the rigid shackles of any one comic tone. We jump from a slice of life about new parents Mac and Kelly (Rogen and Rose Byrne) who aren't quite ready to say goodbye to their youth instantly to a wild and wacky college farce about the fraternity one house over (led by Zac Efron and second banana Dave Franco), borrowing a lexicon from latter day National Lampoon. As the war picks up between these congenial neighbors-turned-close-quarters enemies, we're invited into a back and forth of vicious, albeit loony, aggression, each maneuver to "get those fogeys/punks next door" escalating in hostility, danger, and independence from earthbound possibility. As we're treated to this ceaseless exercise in human malignance, Neighbors peppers in episodes of cartoon-grade zaniness, macabre pathos, and absolute surrealism. And although it might not seem like all of these comic identities can exist in the same film, Neighbors has a special trick up its sleeve to make it all work: it's funny. Never brilliant, and rarely all that fresh, but always funny.
The frat stuff plays broad, often saddling Efron's sadomasochistic pseudo-villain, Franco's vulnerable prick, and the pair's gang of goons — a wily Christopher Mintz-Plasse and an effortlessly charming Jerrod Carmichael at the top of the heap — with the usual party flick shenanigans like dance-offs and flaming barrels of marijuana. The team of youngsters is at its best, though, when the standard routine is shirked for more peculiar fare, like an abstract non sequitur that has Franco demonstrating a bizarre biological skill, or a fractured history of drinking games as narrated through flashbacks by a passionate Efron.
A good deal of fun can be pinned on the usual assortment of physical gags, pop culture references (one extended bit plays on the film histories of Robert De Niro, Samuel L. Jackson, and Al Pacino to endearing results), and the goofball antics of supporting players like Ike Barinholtz (as Mac's zealous, dimwitted pal). But Neighbors' secret weapon is Byrne, outshining the established comedic reputations of her co-stars with her performance as Kelly. Catapulted miles from the doldrums of straight-man-hood, Byrne tops even Rogen in awkward panache (watching her struggling to interact with the younger breed early on in the movie is delightful) and diabolical villainy alike — the very biggest laughs come from Byrne unleashing her furies or executing evil schemes. If Neighbors inspires any lasting impression, it should be a new appreciation for Byrne's chops in the humor department.
Somehow, this farcical grab bag never feels lethally convoluted or overstuffed. While the film's pacing does no great favors — we jump right into the principal conflict, which is a tough beat to sustain for so long — and a few abject narrative leaps keep the story from feeling tidy, these problems feel like a second priority. Even if some of the jokes feel strained or rehashed, if the characters are malleable, if the conceit is overcooked, or if there are too many plot holes to count... we're laughing. So it's working.
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James Franco has defended his courtship of a 17-year-old fan again, insisting it's legal to date a girl that young in New York. The movie star's Instagram correspondence with Scottish schoolgirl Lucy Clode turned embarrassing for Franco when she revealed her age.
The 127 Hours star, 36, met the teenager following a performance of his Broadway play Of Mice & Men at the end of March (14), and later contacted her through social media, asking for her phone number and bombarding her with personal questions. Appearing on U.S. TV show Live! With Kelly and Michael days after the scandal broke, he explained the dangers of Internet dating, saying, "I'm embarrassed, and I guess I'm just a model of how social media is tricky. It's the way that people meet each other today, but what I've learned - I guess because I'm new to it - is you don't know who's on the other end... I used bad judgment and I learned my lesson."
And, during a chat with satellite radio shock jock Howard Stern earlier this week (begs28Apr14), Franco attempted to defend his actions, stating, "Seventeen is legal in New York, but that being said, it's still pretty damn young. They make it out like I'm pursuing young women. I'm not going to high schools looking for dates. I'm leaving my work and they're coming there. So, I'm seeing attractive women."
And the actor insists he was nothing but polite: "I saw her (Clode) and she said on her page, 'I love James Franco! Blahblahblah'. 'Well, OK, you look interesting. I don't know how old you are. I was a gentleman. I said, 'Do you have a boyfriend?' And her response was, 'Not when you're around'. So that to me sounds like, 'OK, she's interested'."
During the conversation with Stern, Franco also confirmed he had kissed Lindsay Lohan during a romantic encounter with the Mean Girls star when she was 17, but he insisted the two never had sex - even though his name appeared on a lover's list scribbled by Lohan during her rehab stint last year (13).
"I cast a new M, I cast a new Moneypenny, I cast a new Q, I cast a new Tanner. There was a missing piece now. I felt like there was a way to create the second part of a two-part story." Moviemaker Sam Mendes on what drew him back to the James Bond franchise for a follow-up to his 2012 hit Skyfall.