"Me and Dominic Cooper got so drunk in there once. We drank a lot of Sidecars. And Julia Roberts was in there because she was in (Broadway play) 3 Days of Rain at the time. My night ended with me holding Julia Roberts' hand going, 'You've got it. Julia - shh shh - you've got it. I don't even know what it is, but you've got it. Don't give up, yeah?' She was literally pulling her hand away going, 'This is getting weird now.' You only get nights like that on Broadway. It's the best." British actor James Corden on his drunken interaction with Julia Roberts at Broadway hotspot Bar Centrale in New York City.
Mamma Mia! star Dominic Cooper is reprising his role as Iron Man's father for a new TV series. Cooper portrayed Howard Stark in Captain America: The First Avenger, and now reports suggest he'll be part of the cast for Marvel's Agent Carter, in which he'll reteam with fellow Brit Hayley Atwell, who played Peggy Carter in the Captain America blockbuster, set in the 1940s.
Chad Michael Murray, Enver Gjokaj, James D'Arcy and Shea Whigham have also signed on for the TV series.
If we haven’t already made it clear how much we love British boybands, let’s take a moment. We're here to show you all the reasons why The Vamps are amazing and why you should join in on our BBF-ing (British Boyband Fangirling). The Vamps consists of members: Bradley Will Simpson, James McVey, Connor Ball and Tristan Evans. They’re currently touring the states with Austin Mahone. They even got Demi Lovato to be featured on our favorite song of the summer, "Somebody To You." Check it out:
Here are some reasons why you should be BBF-ing over The Vamps along with us:
1. They’re a ton of fun.
2. They’re so innocent and just super adorable.
3. Bradley’s existence.
4. Those smiles though…
5. They love us as much as we love them.
6. Connor’s volumized hair.
7. Their modeling faces are on point.
8. They enjoy pizza. So relatable!
9. They stare into our souls.
10. And this...
So do yourself a favor and listen to these budding Brits. And for all of you concerned, these guys range from ages 18-20, so our semi-obsession with them is totally fine… right?
Send us some of the reasons why you love @TheVampsband on Twitter!
A new West End adaptation of Hollywood thriller Fatal Attraction has received a frosty reception from critics, with reviewers branding the production "horrible", "pointless" and "amateurish". The 1987 movie has been transformed into a play with Mark Bazeley in the role of the adulterous husband played by Michael Douglas, and Natascha McElhone taking on Glenn Close's part as his bunny-boiling lover, with Kristin Davis as the betrayed wife.
The show opened at the Theatre Royal Haymarket in the British capital on Tuesday night (25Mar14), but it failed to win over critics, who attacked the plot changes, the script and the concept.
Quentin Letts of the Daily Mail newspaper writes, "Though I give Fatal Attraction three stars - this new stage version is decently acted and coolly staged - I hated almost every minute of it. What a horrible, heartless story."
The Daily Telegraph's Charles Spencer brands the show "pointless", adding, "Though some of the changes to the film may intrigue or infuriate Fatal Attraction obsessives, and the new final twist is undoubtedly ingenious, they are hardly ground-breaking and hardly justify the trouble and expense of a trip to the West End."
Michael Billington of The Guardian was also unimpressed with the show, concluding, "There is something pathetic about the commercial theatre's increasing reliance on movies for source material... It puzzles me why people should be expected to cough up to see a transplanted screenplay; and, even though (writer) James Dearden has made some adjustments to his 1987 script for Fatal Attraction, it remains an essentially hollow experience."
The Times critic Dominic Maxwell gave the play a lowly one star out of five, and branded the show, "a bad idea, poorly executed," adding, "It's amateurish... It's risible." Maxwell also criticised producers over the iconic 'bunny boiling' scene, revealing he could "see the bunny still alive and well in its cage" when it was purported to be in a saucepan onstage.
Stars including Sir Michael Caine, Helena Bonham Carter, Colin Firth and Damian Lewis helped raise more than $2.2 million (£1.4 million) for U.K. charity Save The Children at a glitzy London benefit on Wednesday (12Mar13). The star-studded crowd donned colourful outfits for the reggae-themed bash at the Roundhouse venue in Camden, where 500 guests gathered for a charity auction.
Madness and Jimmy Cliff were among the night's performers, while Jamaican reggae singer Dawn Penn teamed up with UB40's Ali Campbell for a rendition of Sonny and Cher track I Got You Babe.
Other guests included Bonham Carter's Burton and Taylor co-star Dominic West and Lewis' wife, Harry Potter star Helen McCrory.
The donations were pulled in through ticket sales and the auctioning of prizes such as a huge portrait of Bob Marley and a vacation at the Golden Eye Resort in Jamaica, the one-time home of James Bond writer Ian Fleming.
Hit British crime drama Broadchurch looks set to dominate the U.K.'s Royal Television Society Programme Awards after receiving four top nominations. The murder-mystery series, about a child's death in a small coastal town, is nominated in the Drama Serial category alongside zombie show In The Flesh and Elisabeth Moss' Top Of The Lake.
Broadchurch's female leads Olivia Colman and Jodie Whittaker will go up against each other for the Actor - Female award along with My Mad Fat Diary star Sharon Rooney, and the show's creator Chris Chibnall is up for a writing prize.
In the Actor - Male category, Idris Elba is nominated for his turn as a troubled cop in Luther alongside Stephen Dillane (The Tunnel) and Lennie James (Run).
Burton and Taylor, starring Helena Bonham Carter and Dominic West as Dame Elizabeth Taylor and Richard Burton, has received a nod in the Single Drama line-up, competing with Our Girl and The Challenger.
The winners will be announced at a ceremony in London on 18 March (14).
British actor Dominic Cooper was almost hit by a glass when co-star Lara Pulver threw it at his head while filming their Ian Fleming biopic. The two actors star in Fleming, with Cooper portraying the James Bond author and Pulver playing Ann O'Neill, who has an affair with the writer before later becoming his wife.
Their relationship was peppered with bust-ups, and during one argument scene, Pulver got caught up in the moment and went off-script, throwing a glass at Cooper's head.
Although he was angry about the unplanned move, Cooper loved his co-star's moment of improvisation.
He tells Britain's The Sun, "It was amazing and great and in the moment. I ducked this flying object and got up enraged. All that was real. You're reacting and responding. You're angry they've done that... even though what you've just said provoked them.
"It makes it all the more exciting and real than if it was all methodically staged piece by piece, then it wouldn't have been to exciting to watch."
British actor Dominic Cooper enjoyed filming aggressive sex scenes with co-star Lara Pulver in his new Ian Fleming biopic. In TV series Fleming, Cooper portrays the James Bond author over several decades of his life and his affair with Ann O'Neill - who later became his wife - features heavily.
The show includes several saucy sex scenes, and Cooper insists the kinkiness made the shoot with Pulver more interesting.
He tells Britain's The Sun, "It was rather exciting to do. More exciting than, 'They're so in love, just do a sex scene'.
"When sex scenes help the development of the story or the character, you have to throw yourself into them. You have to be brave and very trusting of who you're doing them with - and you have to really go for it.
"If it was too much and didn't feel right or if it was too aggressive or without any emotional content, we'd just change it. You have to give a good performance or it will look painful and not real.
"It was lust, it was the aggression of their lives, it was their anger and resentment towards one another... it was feeling through their sexuality."
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.
Alan Bennett's lauded drama The History Boys has been voted Britain's most beloved play. The show, about a group of teenagers preparing for their university entry exams, topped a new poll by bosses at the English Touring Theatre.
The History Boys was first staged in London in 2004, launching the careers of British actors James Corden, Dominic Cooper and Russell Tovey, and was adapted into a film in 2006.
Noises Off, a farce by Michael Frayn, came second in the list, followed by William Shakespeare's tragedy Hamlet.
Other plays to make the top 10 include Arcadia by Tom Stoppard, Oscar Wilde's The Importance of Being Earnest, Jez Butterworth's Jerusalem, and An Inspector Calls by J. B. Priestley.
The Bard took the eighth, ninth and 10th spots on the list with Twelfth Night, Macbeth and King Lear.