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Written by Shez
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Wednesday, 09 July 2008 00:00 |
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Smantha gives it to Lindsay I never thought I’d say this, but I am really impressed with Lindsay Lohan. At least for her.  If you were to hold Lindsay up to a regular person, probably not so much. But considering she’s nearly on par with Paris Hilton, she’s made some pretty big changes in her life – for the better. Lindsay’s relationship with DJ Samantha Ronson has really seemed to mellow her. She’s been acting much more mature lately, focusing on her work, not getting into any car accidents, and seemingly not drinking to such a ridiculous extent that she ends up in rehab. All big steps for her. And it seems pretty clear that Sam is just as in to Lindsay. For her 22nd birthday last week, Ronson bought her a $22,000 diamond ring from Cartier. Not too shabby. ******
Samantha — the sister of super-producer Mark Ronson — reportedly splashed out the hefty amount on a Cartier diamond ring for Lindsay’s 22nd birthday. Lindsay was later seen sporting the band when she and Samantha were shopping in LA. A source says, “Sam took Lindsay shopping to celebrate her 22nd birthday. “Although Lindsay is the major breadwinner, Sam has her own money and is very proud. “It’s not an engagement ring - simply a token of her commitment. Lindsay is thrilled and she and Sam are very content.”
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Written by Susan
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Sunday, 06 July 2008 06:13 |
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 LONDON (AFP) - Memorabilia belonging to a former British royal servant -- including a letter from the late princess Diana after the birth of Prince William -- shattered pre-sale estimates at auction Saturday.
William Tallon, known as Backstairs Billy, served the royal family for 51 years until his death last year aged 72.
The 700 lots -- which sold for nearly 450,000 pounds (569,000 euros, 892,000 dollars), almost double their estimate -- also included a note highlighting Queen Elizabeth II's late mother's penchant for gin. Eight letters from Diana to Tallon fetched a total of 20,000 pounds and included one written after William's birth in 1982 which read: "We are not sure at the moment what has hit us, except a very strong pair of lungs! |
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Last Updated on Sunday, 06 July 2008 06:25 |
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Written by Haris
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Wednesday, 02 July 2008 07:30 |
 It seemed like a natural: Redo "Get Smart," the landmark '60s TV spy spoof, with Steve Carell. Who better to update Maxwell Smart -- the idiot-savantish secret agent originated by Don Adams -- than the master of dissociative, self-effacing humor on "The Office"? But, in the end, a big-screen version of television's "Get Smart" had issues to address -- the hero was too one-dimensional, the female lead too adoring, the Cold War too over. So director Peter Segal's formulaic takeoff is neither fish nor fowl, not quite faithful to the show, but not quite bringing it into the 21st century either. It may ride Carell's star to major box-office business, at least initially. But it's nothing you want to take off your shoe and call home about.
In changing the tone of the original NBC sitcom, Segal's "Get Smart" creates a more endearing Max. Scripters Tom J. Astle and Matt Ember have concocted an origin story that tells how Maxwell Smart became the man he was: Rather than the Inspector Clouseau-esque, oblivious-to-insult hero played by Adams, Carell's Max is an eager, sincere, sensitive, efficient analyst for the mysterious U.S. espionage agency CONTROL.
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Written by Haris
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Saturday, 05 July 2008 08:09 |
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 These are the quotes Bart writes on the chalk board in the opening of simpsons. |
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Written by Haris
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Wednesday, 02 July 2008 06:10 |
 An intriguing high concept is undermined by low-grade dramaturgy in "Hancock." This misguided attempt to wring a novel twist on the superhero genre has a certain whiff of "The Last Action Hero" about it, with Will Smith playing an indestructible crime-buster in a pointedly real-world context. Although it will inevitably open very large, this odd and perplexing aspiring tent pole will provide a real test of Smith's box-office invincibility.
The central idea of Vy Vincent Ngo and Vince Gilligan's script -- of Smith's John Hancock being an ornery, unwilling hero who escapes from his ordained role in life via booze and general cantankerousness -- is amusing and plausible enough to sustain the first section of the film. What the writers and director Peter Berg do with the concept in the end, however, is nowhere near sufficiently thought out, and narrative illogic and missed opportunities plague the film increasingly as it cartwheels through its surprisingly brief running time.
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