Supermodel-turned-TV personality Heidi Klum almost went completely unrecognised as she hit the red carpet at her annual Halloween party in New York after donning prosthetics to transform herself into a senior citizen. The German stunner, famed for her elaborate Halloween costumes, gave fans a glimpse into her future on Thursday (31Oct13) after pulling off the stunt with the help of her team of make-up and costume professionals.
The 40 year old shared photos of her party preparation on her Instagram.com page, showing her tucking her long blonde hair into a bald cap as experts applied prosthetics to her face and neck to simulate wrinkles. She donned a stringy grey wig and even had spider veins and liver spots airbrushed onto her arms and legs for the full effect.
Explaining her costume in the caption to one photo, she wrote, "Ok guys... I am going into the future."
She later posted a picture of herself with her boyfriend, Martin Kirsten, at the Marquee nightclub, where she partied with guests including actress Tika Sumpter, rapper/actor Ice-T and his wife Coco Austin.
Klum previously hosted the popular Halloween bash dressed up as a skeleton, an alien robot and Egyptian queen Cleopatra.
The Hours star Moore took to the stage at the Cipriani venue in New York City to present Calvin Klein Collection designers Francisco Costa, Italo Zucchelli and Ulrich Grimm with the Designer of the Year Award.
TRON: Legacy beauty Wilde presented the Visionary Award to footwear designer Vince Camuto in front of a star-studded audience including actor Kyle MacLachlan and actresses Katrina Bowden and Tika Sumpter.
Sparkle isn't a great movie. It's possible that it's not even a very good movie. It is however a highly enjoyable sprawling soap opera with '60s fashion and period detail glamorous musical performances high drama and perhaps most importantly the late Whitney Houston's last performance on film.
As Sparkle American Idol and So You Think You Can Dance alum Jordin Sparks carries the weight of the movie. Sparkle is a little "church mouse" who is too shy to sing the soulful songs she writes. Sister (Carmen Ejogo) who recently returned from New York and has a bad reputation is persuaded to take the lead. Sparkle and the family's third sister Dolores (Tika Sumpter) a pre-med and the sharpest in terms of intelligence and personality sing backup. As their band takes off they acquire a manager the starry-eyed Stix (Derek Luke) and although Sister was initially courted by Stix's cousin Levi he's quickly shoved aside for Satin (Mike Epps). Naturally Sister and Satin are a combustible pair Sparkle is only concerned with the future of their band and Dolores waits to find out if she got into medical school. Meanwhile matriarch Emma (Whitney Houston) has no idea her daughters are sneaking out to perform in clubs in Detroit. In one of the movie's especially silly contrivances she finds out when she sees them on late night TV.
There are plenty of things in Sparkle that don't make sense. There are leaps in logic bizarre plot holes and a clumsy attempt to work civil rights into the mix. Somehow the magnetism of its stars especially Ejogo and Epps as the slickly sinister fiancé Satin helps make Sparkle a little bit more of the sum of its parts. And of course Houston's performance as Mama Bear Emma is worth the price of admission for fans of the diva. It doesn't matter if you're like gospel or not; when she belts out "His Eye Is on the Sparrow" with tears running down her face fans will swoon.
Sparkle was a passion project for Houston who loved the original with Irene Cara and was an executive producer on this remake. Her character is steely and overprotective often at the cost of her daughters' self-esteem. Houston wows in a scene with Epps when they exchange words over a Sunday dinner. Emma doesn't just call Satin out for his disrespect of religion (in front of the reverend no less) but for the way his comedy panders to a white audience. This is one of the more successful moments when the civil rights movement is evoked; although the script makes nods towards Martin Luther King Jr. he's used as a sort of prop to try and convince Sparkle she should have faith in herself.
In the end though Sparkle is a spectacle. It's false eyelashes and winged eyeliner diamonds and drugs smoke-filled clubs and a disapproving mom with her hair in curlers waiting at home with a glint in her eye. It is the kind of movie where choirs pop up from seemingly nowhere and you can achieve your dreams by waiting outside a record exec's office for days on end. It's baffling and mesmerizing. Fans will eat it up.
In the romantic comedy What’s Your Number? Anna Faris plays Ally Darling a fun-loving 30-something who learns via a magazine article that a woman’s chances of marrying become infinitesimal if she’s slept with more than 20 men – a number which just so happens to be Ally’s exact tally. Apparently the highly suggestible sort she accepts the magazine’s somewhat dubious findings at face value. Loath to embrace a spinster future she gives up sex and concocts a scheme to revisit each of her past lovers to see if any of them might actually be The One enlisting the aid of Colin (Chris Evans) a crass but amiable ladies’ man from across the hall who dabbles in detective work to track them down.
The immutable laws of rom-com dynamics dictate what happens next. One by one Ally pursues each of her exes to see if any of her old flames might be worth reigniting even as it becomes increasingly obvious that she and Colin are meant for each other. Ally’s quixotic endeavor lands her in one awkward and humiliating situation after another. True love eludes her; laughter eludes us. Faris is one of the most skilled comedic actresses in Hollywood today but even her formidable talents can’t do much with the hackneyed scenarios proffered by Gabrielle Allan and Jennifer Crittenden’s middling script.
Faris and Evans make a pleasing pair and their chemistry is one of the few aspects of What’s Your Number? that doesn’t feel forced. It’s what keeps it afloat in between each unfunny gag. Sure Ally and Colin’s eventual union is telegraphed from the opening frames but that isn’t necessarily a problem. What is a problem is the story’s slavish adherence to formula which renders not just the outcome but also the preceding plot points achingly predictable.
What’s Your Number?’s R rating and saucy subject matter portend raunch but in truth the film’s humor is actually quite tame save for a handful of filthy lines. For all its flaws the script is not without wit. There just isn’t nearly enough of it.