Teen Wolf co-stars Crystal Reed and Daniel Sharman have split. The actors, who play Allison Argent and Isaac Lahey on the hit teen series, found love behind the scenes and their romance became public knowledge last summer (12).
However, Reed has now confirmed the relationship is over and she recently headed for a solo vacation to Paris, France in a bid to move on from the split.
She tells Usmagazine.com, "I went by myself (to Paris) and it was cold, but it was still really, really beautiful. I was just getting over a breakup, so it was something that just jumpstarted my singleness... It is the most romantic city in the world, so it can be a little isolating. You just have to make sure that you get out and walk around and do the things you always wanted to do."
Reed reveals she is also listening to break-up anthems by singer Alanis Morissette, adding, "My summer anthem right now is Alanis Morissette, Jagged Little Pill. Because I"m going through a breakup and I can just jam to it. It's a good record. You need something that feels empowering."
The actors, who play Allison Argent and Isaac Lahey on the hit teen series, have found love behind the scenes.
They were spotted enjoying a romantic day out in Los Angeles on Monday (27Aug12), strolling around shopping centre The Grove hand-in-hand.
The young actor's career has really taken off since he appeared alongside Mickey Rourke and Freida Pinto in last year's (11) 3D blockbuster - but it has come at a cost.
He tells Nylon magazine, "I waited seven years to be an Arsenal season ticket holder and this year it finally came through, and it's the one year I've spent about five minutes in London.
"I get up at seven in the morning in Los Angeles to watch the matches at the Village Idiot pub (on Melrose Avenue). It's usually just me with a pint."
Actor-director-mogul Tyler Perry didn’t come to preside over a vast media empire by paying much heed to the tastes of critics. His 10 feature-film releases to date – churned out over an eight-year span – have drawn mostly jeers from reviewers with his Madea comedies starring Perry in drag as a tough-talking southern matriarch singled out for special scorn. His latest effort the romantic drama Good Deeds isn’t likely to change many minds but it’s not for lack of effort from co-star Thandie Newton whose performance a struggling single mother stands out amidst the film’s otherwise crudely wrought melodrama.
Trading his Madea getup for the less-familiar guise of a leading man Perry stars as Wesley Deeds the scion of a wealthy family and whose lofty expectations have begun to wear on him. Beneath his sheen of polished affluence exists a man who draws little satisfaction from running Deeds Inc. the software giant his father built and who tires of shouldering the demands of his overbearing mother (Phylicia Rashad) the burden of his bellicose and oft-intoxicated bother (Brian White) and the monotony of his loveless engagement to his similarly well-bred fiancé Natalie (Gabrielle Union).
Trapped in a stultifying routine seemingly mapped out for him at birth Wesley longs to escape his gilded prison and trek across Africa on a Harley digging wells with his college buddies. Seriously that’s his dream: digging wells on a Harley.
Situated firmly on the opposite end of the socio-economic spectrum is Lindsey (Newton). Left alone to provide for her daughter after the death of her soldier husband in Iraq she has little time for fanciful visions of Harley-riding and well-digging. She’s too busy trying in vain to make ends meet as a janitor at … you guessed it: Deeds Inc. Despite her lowly status Lindsey clings fiercely to her independence which places her in stark contrast to Wesley.
Fate all but demands that Wesley and Lindsey make a match but not before their respective plights are established – and re-established – over a prolonged and laborious set-up that drowns in tedious exposition. (The majority of the dialogue in Good Deeds is devoted to affirming the obvious.) The desperate nature of Lindsey’s situation in particular is driven home with wearisome repetition in scene after scene depicting her various indignities suffered at the hands of the System. Newton an actress of impressive range and dexterity brings dignity and pathos to a role that probably asks too much of her.
A more efficient filmmaker might have trimmed a half-hour from Good Deeds’ first half without compromising its story one iota but then again that would only hasten the descent into soap-opera hysterics that marks the film’s second half.
The potential exists in Good Deeds for a thoughtful examination of class divisions within the African-American community – a topic that Perry who rose from poverty to become Hollywood’s highest-paid entertainer is uniquely equipped to explore – but what we get instead is an overwrought hybrid of aristocratic melodrama and How Wesley Got His Groove Back.
An artless aesthetic and narrative inconsistencies attest to the hastiness of the film’s assembly. In one scene Natalie’s flamboyantly effeminate male friend (played inexplicably by comedian Jamie Kennedy) complains that she’s never even mentioned her fiancé let alone introduced them. Yet when he encounters Wesley in quite literally the next scene they appear as if longtime acquaintances. It’s a problem that could have been easily fixed by a quick re-shoot or two but I suspect Perry was already too preoccupied with work on The Marriage Counselor – arriving in theaters less than six months from now – to bother with them if he worried about the issue at all. And if he doesn’t care then why should we?
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Like the depression-era brass-and-bass pop hits that its wiry protagonist covets Meet Monica Velour is a pleasant little ditty that plays smoothly and entertains from start to finish. Anchored by a refreshing turn from Kim Cattrall as the title character Keith Bearden’s feature debut is a firm freshman effort one that will undoubtedly grant the film journalist-turned-filmmaker a crack at something bigger.
A high-concept coming-of-age story with a significant social message the movie centers on seventeen-year-old Tobe Hulbert (Dustin Ingram) – an innocent and awkward recent high school graduate on the verge of a breakdown from boredom. The only solace he finds in his mundane existence comes from collecting assorted pop-culture items: vintage records from the 1930s comic books from the ‘40s and most interestingly pornography from the late ‘70s and ‘80s. When he hears about a rare appearance by his lifelong porn star crush at a sleazy strip club four states away Tobe leaves his drunken grandfather’s home and heads to Indiana to finally meet Monica Velour.
Of course after thirty years of professional wear and tear and marital and substance abuse Ms. Velour is nothing more than a decaying façade of the glimmering beauty she once was. Spiteful and world-weary Cattrall shines through the runny make-up and cheap outfits her character has become accustomed to and delivers an authentic portrayal of a woman who walked on the wild side and came through a marvelous mess. Her performance along with the nostalgic reminiscence of porno’s home-video heyday offers a loving nod to the skin-flick industry while poking fun at its ludicrous unnecessary plot lines and C-rate production values.
While Ms. Cattrall will help sell tickets young Dustin Ingram steals the show as the nebbish Tobe. Looking and acting like the bastard child of Napoleon Dynamite and Johnny Depp’s Willy Wonka the twenty-year-old actor taps into the misery of America’s disaffected youth and turns it into enjoyably wry comedy that shares its tone with the picture as a whole. Writer/director Bearden brightens his character’s bleak outlook on life with vibrant colors that convey the magic of Americana that fuels the film as well as his protagonist’s quest.
Though the movie may be likened to popular teen comedies like The Girl Next Door Porky’s or Fast Times at Ridgemont High underneath the crude humor and sex jokes is a poignant story of an unlikely friendship between a faded star and her number one fan. There is a great deal of emotional depth to both the characters and the narrative and though the relationship between Monica and Tobe is mostly comedic Bearden allows the mold to be broken at times to reveal a genuine connection between these two lost souls. Furthermore the picture attacks the hegemonic perspective of the aging woman in a society that worships youth and beauty and is quick to dispose of one who is past her prime. It has more in common with Juno and Little Miss Sunshine than the aforementioned mainstream studio movies and like both of those critical darlings deserves to be picked up for wide distribution where it will surely prosper.