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Wednesday, July 16, 2008 at 10:57 AM
at 10:42 AM
Name : Jennifer Lopez
Nickname : ''La Guitarra'' (guitar shaped body)
Date of Birth : July 24, 1970
Place of Birth : New York, New York USA
Sign : Sun in Leo, Moon in Aries
Height : 5'6''
Eyes : Brown
Hair : Brown
Occupation : Singer, Actress & Model
Father : David Lopez - A computer operator
Mother : Guadalupe Lopez (School Teacher)
Sisters : Lynda & Leslie
Spouse : Ojani Noa [Divorced- February 1997 - 1998]
# Jennifer Lopez
C/O United Talent Agency
9560 Wilshire Blvd. Suite 500
* Jennifer Lopez was awarded Children's Humanitarian Award at the Beverly Hilton Hotel. She's a long time supporter of the 103-year-old Children's Hospital LA, she spends long hours visiting patients & even invited a group of sick kids on the set of her upcoming movie "Monster-in-Law".
* She started taking singing and dancing lessons at age 5.
* Grew up in the Castle Hill section of the Bronx. It was from this neighborhood that she took the local "6" train to get to her auditions in Manhattan, as well as the inspiration of her debut album "On the 6".
* Was a gymnast in high school. Also played softball and tennis.
* Her younger sister, Linda Lopez, is a DJ on New York's WKTU and an Entertainment Correspondent for WB Network Channel 11 News in New York.
* Jennifer Lopez was engaged at 15 with David Cruz, "The best looking guy in the neighborhood."
* Was nicknamed "The Supernova" by her friends in her hometown. Has also been called "La Guitarra" because her shapely body is curved like a guitar.
* Her x-husband Ojani Noa proposed to her at the "Selena" post production party; presenting her with a large marquis-cut diamond ring. She said 'yes.' The marriage would soon result in divorce.
* Lopez and x-boyfriend musician "Puffy" were arrested in connection with a night club shooting. Police found them with a stolen gun. Police dropped charges originally pressed against Jennifer Lopez and released her from jail.
* Chosen by "People" magazine as one of the 50 Most Beautiful People in the World.
* Voted #1 in FHM's 100 Sexiest Women list.
* Has her own line of perfume entitled Glow.
Jennifer Lynn Lopez was born on July 24, 1970. Her parents came to New York from Ponce, Puerto Rico. She is the middle of three sisters. At the age of 7, young Jennifer went on her first tour - around New York City with her dance class.At the age of 16 Jennifer got a little break with a bit part in the film ''My Little Girl'' (starring Mary Stuart Masterson). But Jennifer's first love was still dance, and when she read about a scholarship to a dance school in Manhattan, she went down and grabbed the opportunity. At this time she was taking a full time course load at Baruch, working in a law office and taking her dance classes. Eventually this would lead to a falling out with her mother, who didn't want Jennifer to pursue dance as a career. When her mother gave her the ever popular ''you live by my rules as long as you live under my roof'' speech Jennifer took that as her cue to break out on her own. Not having anywhere else to live, she took up residence in the building where she took her dance classes. A year and a half of auditioning with no success brought Jennifer to the verge of a breakdown. But salvation would come in the form of a tour that sent her dancing across Japan. Before this, she had auditioned to be a ''Fly Girl'' for the show ''In Living Color'' but she had been turned down. Upon returning from Japan, she received a call from ''In Living Color'' asking her to audition again. This time she made the cut and it was off to Hollywood. She didn't really enjoy her time on ''In Living Color'', as she longed for an acting career that would put her in the spotlight. Her first television job as an actress, on the Fox series ''South Central'' came her way because the producer of the show was married to one of the other fly girls, and he took notice of Jennifer during a special Fox aired about the Fly Girls. ''South Central'' only survived one season, but she quickly resurfaced on television screens appearing as ''Melinda Lopez'' first in the short lived ''Second Chances'' series, then ''Hotel Malibu.'' In 1995 she jumped onto the big screen in her first major role, opposite Wesley Snipes and Woody Harrelson in ''Money Train.'' She would go on to work opposite such talents as Robin Williams and Jack Nicholson, but it was her work with Gregory Nava, who directed her in ''My Family, Mi Familia'' that would lead her to the role that would make her a star.
After an extensive nationwide search, Jennifer was chosen to play Selena Quintanilla Perez, in the official biopic of the life of the fallen Tejano star. Taking part in the production of ''Selena'' would impact Jennifer's life in many ways. On the personal side, Jennifer's fianc��, Ojani Noa, proposed to her at the wrap party for Selena. The couple had met in Miami while Jennifer was filming ''Blood And Wine'' with Jack Nicholson. Ojani, a Cuban immigrant, was an aspiring model working as a waiter at Gloria Estefan's restaurant, Larios On The Beach. They were married in Miami on February 22, 1997, after knowing each other less than a year. Jennifer's sudden rise to fame with the release of ''Selena'' the following month would put an excessive strain on the marriage, and the couple filed for divorce just a little over a year after they were married.
After news of the divorce made headlines, the gossip papers quickly had her romantically linked to the likes of rap impresario Sean ''Puffy'' Combs, Sony Music President Tommy Mottola and Salsa singer Marc Anthony. Jennifer herself remains tightlipped - and rightfully so - on the subject of her personal life (although she has recently admitted that she is in fact having a relationship with Puffy). Back on the professional level, her role as Karen Sisco in 1998's ''Out Of Sight'', opposite George Clooney, has brought her into the major leagues, making her the highest paying Latina actress in history. Playing Selena also brought back Jennifer's interests in being the ''all around'' entertainer, and she decided to record a demo of her singing, completely in Spanish. After a bidding war among a number of record companies, Jennifer was signed to Sony Music's Work Group label. Her first CD, a pop album with a Latin flavor (although mostly in English) was released June 1, 1999. Working with the likes of Emilio Estefan, Rodney Jerkins and Sean ''Puffy'' Combs, the music world is buzzing that Jennifer is ''the next Gloria Estefan'' set to become the mainstream Latin crossover star Selena herself surely would have been, had she been given the chance. That early prediction seems accurate, as her first single, ''If You Had My Love'' shot to 1 on the Billboard chart, and has been certified platinum (one million sales).
at 10:40 AM
Judged as a new film version of classic Victorian-era sci-fi literature, this 'Journey' is thin, juvenile and ridiculous enough that it makes the hokey Guy Pearce-led "Time Machine" remake look like a masterpiece of tasteful, intelligent, thought-provoking cinema.
Taken for what it is however - using the basic setup of Jules Verne's classic work as the backdrop for an experiment in shooting film in a different way - it comes off as a hollow success of technology over craft. Playing like an extended version of a theme park ride, the selling point of this film is that its the first released live-action film to be intentionally shot and displayed using the new Digital Real 3D technology.
It's a gimmick really, short of the better technology there's absolutely nothing to differentiate this from one of those ulcer-inducing, Robert Rodriguez-directed, pre-schooler safe films of recent years like "Spy Kids 3D" or "The Adventures of Shark Boy and Lava Girl 3D". Thus it relies on the quality of the gimmick's success and unfortunately the report is not stellar. Like previous 3D films using this technology, the use of the glasses takes about 10-15 minutes to adjust to with nausea and mild headaches ensuing.
Director Eric Brevig doesn't help matters with constant and shameless use of everything from glowing birds to jumping fish to a retractable measuring tape being thrown at the screen every other minute - making this seem reminiscent of the horrible early 80's time when the 3D gimmick came back in style in assorted horror films. The brightly lit real world sets (fluorescent lighting is REALLY annoying in 3D) and use of quick cut editing in the early stages also makes it very difficult to adjust to this effect which isn't so much 3D as almost cartoonishly flat 2D elements in a 3D spatial environment.
As the action moves to darker underground CG vistas it thankfully becomes easier on the eyes but unfortunately rougher on the brain. There's very little attempt to establish any character, story or credibility - not when there's a roller coaster-esque mining cart chase to be done, followed quickly by a sea voyage with flying piranha and history's most out-paceable Tyrannosaurus. The good will earned by the film's teaching kids of some basics of geology and rock formation is squandered by the character's over the top and incessant violation of the laws of physics which allow for many mile high falls and frequent back-breaking jumps.
The filmmakers at least demonstrate some respect by NOT directly adapting Verne's work but rather having the characters refer to it almost like a field guide (the excuse is that an explorer already found this underground world, returned and told Verne all about it). It's a work that really isn't in need of updating, the 1959 film version with James Mason works perfectly well for what it is. All a new version can do, as this one demonstrates, is replace lackluster blue screen-inserted unfrightening monotone lizards with lackluster computer-generated unfrightening renditions of dinosaurs. At least with the old version you'd have the excuse of getting Sharon Stone to cameo.
Brendan Fraser has built much of his career on playing the self-deprecating, not-so-intellectual adventurer in family-friendly fare like this and so has the routine down pat which makes the dull ride at least familiar. Yet the character is rather cold and abrupt leading to very little in the way of one-liners or empathic engagement. The main subplot of male bonding between an uncle and an angry nephew who eventually come together feels ultimately of little consequence. It's still heavier than the painfully forced romantic tension between Fraser and Anit Briem's Icelandic guide character who of course must strip their various clothing layers off as the heat becomes more unbearable.
Emotional development would slow down the pacing, a crime this film desperately wants to not be accused of. Ultimately there's a few nice moments - the Iceland scenery is gorgeous, and a sequence involving magnetic rocks is actually rather inspired (if unbelievable) - but its all inconsequential nonsense. Designed originally to be shown only in 3D, the film ended up being released on many 2D screens. Yet without the 3D aspect, there's nothing to recommend at all about this CG-rendered mess short of being something perfectly safe and harmless to the pre-teens crowd. Even at under 90 minutes, this is one journey that feels interminably long and you won't want to take again regardless of how much trickery is thrown at the screen.
at 10:38 AM
A modest improvement over the imaginative but uninspired first film, the "Hellboy" sequel marks the closest director Guillermo del Toro has gotten to delivering an American mainstream studio film at the quality level of his lower budget but far more captivating Spanish-language efforts like "Pan's Labyrinth" and "The Devil's Backbone".
Yet while the production design, creatures and many visuals benefit greatly from del Toro's unabashed imagination being allowed to run free, the script is even more enslaved to the mechanically cobbled together conventions of everyday Summer blockbusters. A thin and predictable plot of a wronged prince declaring war on humanity combined with some fun but trite soap opera-esque subplots of the three main characters (one's pregnant, one's in love, one's feeling ostracized) make the rounds between the well-filmed but dragged out and often perfunctory action sequences. Ultimately it all seems very slapdash and even further away from the dark, primal and richly textured source material that inspired the films.
Despite the somewhat bland base, the filler this time is more delectable. Armed with more money and confidence, this is a more assured and - despite all the fantastical elements - a more humanistic film with a very comfortable grip on its characters and their inter-relationships. Ditching the useless rookie character from the first film, the focus this time is on the 'freaks' which is where it should be. It's knowingly cheesy at times, highlighted by a drunken sing-a-long Barry Manilow moment with Abe & Hellboy, but the director is so unabashedly in love with these characters that it can't help but be endearing and infectious.
Who can blame him either as Ron Perlman once again delivers pitch-perfect work as the roguish, red-skinned demon with a heart of gold. Despite the many layers and hours of make-up, it's pretty obvious the actor is having a ball and so he plays up the various character traits to pitch perfect levels. The other performances are fine but not as compelling - Selma Blair's Liz does an almost about face this time around with a confident and strong action heroine routine, whilst Doug Jones' amphibious Abe Sapien sadly becomes a rather dull and stuffy mouthpiece for assorted exposition. Jeffrey Tambor has a better written routine as the BPRD's long-suffering bureaucratic head, whilst "Family Guy" creator Seth MacFarlane understands his comic relief role as the German ectoplasmic mystic Johan Krauss and milks it for all its worth with the film's better comedy moments.
Whilst there's moments of fun with this team, and plenty of time to gaze in wonder at the sheer majesty and inventiveness of all the creature creations on screen (the multi-eyed 'Angel of Death' in particular is stunning, the troll market scene less so), we must reluctantly carry on with the threadbare story which tries to be more mythical by being simpler than the first film's fumbled but smoother flowing plot. Unlike the first film there's little personal cost to our heroes here, short of a very forced and unconvincing blossoming romance between Abe and an elven princess.
Seems her brother, Prince Nuada, is determined to reclaim the Earth from humanity using a now sealed off unstoppable mechanical army that Hellboy learned about as a youngster when his father (John Hurt in a welcome cameo) tells him the fable - one brilliantly played out with stop-motion animation. That's about it, the Prince (Luke Goss) spends the film either reluctantly carrying out his desire for genocide or jumping about with wire-fu acrobatic fight maneuvers to drag out time. The film's macguffin, three pieces of a crown that controls said army, reeks of unoriginality while a very obvious Achilles Heel comes into play long after any logical sense of its use.
The FX, though often quite CG looking, are clever and creative enough to make some predictable action interesting. A fight with a plant god in the middle of an intersection comes to an inspired end, likewise a 'tooth fairy' attack is effectively fast and brutal. The titular army however, though of cool design, are a bit of a letdown. In quite a few ways the film is too - without its rich visuals and atmosphere there's not a hell of a lot separating it from the other routine fare at this time of year.
'Golden Army' certainly takes a step in the right direction with this franchise, but it needs to go further and spend as much time developing a compelling and richer story as it does on populating its environs with fantastical beings. Hopefully there'll be a third film, the characters and del Toro certainly deserve it, and if it can improve again as it did here - then a truly great film lies waiting in the not-so-distant future.
at 10:37 AM
Doing exactly what a sequel should do, "The Dark Knight" takes the already superbly crafted world created in 2005's "Batman Begins" and corrects its few flaws while expanding on both its potential and premise. The result is a decidedly darker, richer, more ambitious and more mature follow-up.
Great comic book films of late like "Iron Man" and "Spider-Man 2" may be more polished and crowd-pleasing, yet "Batman Begins" remains the most intriguing and influential effort of the superhero film genre to date. Artfully constructed, unflinchingly committed to its style, crisply shot, gorgeously designed and superbly acted - it's a film that works beautifully for what it is and remains just as strong after multiple viewings.
Yet Katie Holmes' performance, awkwardly filmed action, stilted humor, and a distinct tonal shift can admittedly detract from director Chris Nolan's otherwise excellent creation. The same goes for the grand-sweeping location-heavy gritty human drama of the first half being awkwardly fused with increasingly sound stage-enclosed comic book villainy in the second. The flaws are very minor, most seemingly driven by commercial needs rather than a lack of artistic ability, but they are enough to not so much diffuse but certainly dilute the edge off the enjoyment for a decent sized portion of the audience.
"The Dark Knight" has no such schizophrenic mood swings. Right from the start the film establishes itself as a sprawling epic - a gritty crime saga the likes of which Michael Mann or Martin Scorsese would be proud to call their own - and keeps things consistently at that high level despite numerous dark twists and turns. Densely layered and with fully fleshed-out characters that not only embody intricate concepts but are often placed in legitimate peril, the film makes no apologies for being too brutal and elaborate for not just kids but many adults as well. Even without graphic on-screen blood-letting and a PG-13 rating, the film manages to portray menace and tension with far more power and effectiveness than many an R-rated horror film.
Chris and Jonah Nolan's remarkable screenplay both credibly and cleverly explores the power plays, moral ambiguities and inherent complexities of a city torn apart by fractured authority figures both righteous and criminal. Many will find a surprisingly deep statement about the state of the post-9/11 world in the film's display of a vulnerable and desperate populous tortured by its darkest impulses and facing the challenge of sticking to the moral high ground - even at enormous personal and emotional cost. Such a character and thematic driven narrative means that the general plot does become segmented and thin at times, but the pacing never falters and all the assorted threads are wrapped up in not just plausible but very satisfying ways.
Performances are stellar all round - most notably Heath Ledger's definitive take on The Joker. The late Aussie actor utterly disappears into the role which smartly portrays the character as a sadistic and dangerously unpredictable wild card - a one man terrorist not driven by greed, power or ideology but his own psychotic gratification. With a deliberately conflicting and vague back story, morbid sense of humor, crumbling make-up and constant lip smacking, The Joker easily dominates all the scenes he's in and Ledger so perfectly nails this dark creation that you can quickly forgive the fact that such an impulsive villain has managed to pull off such a highly organized and well orchestrated plan.
Less showy but equally important is Christian Bale and Aaron Eckhart's work. Bale is the calm in the storm here - his quiet but gravitating presence not only grounds the film, but his discussions with the likes of Alfred and Lucius Fox are its heart. With Bruce Wayne firmly settled into his job as Batman, 'Knight' explores the fascinating issues related to such a character including misguided hero worship, self-doubt and the tenuous line between protecting people and violating their individual freedoms. Once again Bale has grand fun playing up Wayne's playboy persona, and his physicality in the action scenes proves excellent - he really is the bedrock of the series and Nolan thankfully never lets him get outshone screen time wise by his various antagonists - making sure that these films remain very much about our hero. The only downside is that the grizzly Batman voice, though understandably necessary, remains awkward at times albeit less jarring than previously.
Eckhart as Harvey Dent slickly pulls off that character's trickier aspects such as his ego-driven showboating, effective political machinations, a genuine desire to change things for the better, and the ultimate abandonment of his own beliefs. Whilst the Two-Face make-up/FX job is remarkably done (and could've gone even 'ickier' had the film been rated R), the darker character itself is played too much like a thug and never utilizes the inherent sadness that comes with such a tragic figure. Some will not be entirely convinced of the character's fall from grace as Dent isn't portrayed as a saint in the early stages, but the transition is more believable because this isn't afraid to show Dent's more human frailties in the early stages.
The trio of Oscar winning supporting cast from the last film are back with Michael Caine, Morgan Freeman and in particular Gary Oldman all delivering restrained and grounded work that adds emotional heft, humor and pathos exactly where needed. Maggie Gyllenhaal tries her best and easily improves on Holmes' work, but the role remains notably underwritten and the love triangle angle is easily the film's weakest aspect (and is thankfully given very little screen time). Smaller roles from Eric Roberts as a cocky mob boss to Tiny Lister Jr. as a disgruntled prisoner are played perfectly - there's no repetitive "we're right on top of the main hub and it's gonna blow" cringe-inducing style lines this time. The only disappointment is Cillian Murphy's all too short cameo returning as the now pitiable Scarecrow in an early scene.
Wally Pfister’s stunning cinematography and the use of IMAX cameras means everything - including the action - is composed in smooth and richly textured wide location shots that never confuse the action, fall back on quick cut editing, or make the Gotham City of 'Knight' feel like a sound stage at any time. Even with various threads running simultaneously, Nolan now seems to properly understand the geography of action scenes and so we're rarely confused about what's going on or where we are - even in a complicated sequence such as an ambitious high-speed prisoner hijacking sequence.
The visual effects are done exactly how they should be - action is all seemingly shot for real and to scale as much as possible, with green screen limited to the most minimal levels. CG appears to be restrained to background extensions, wire removals, and the foreground only when necessary and even then operates with proper weight and physicality. Only one scene towards the end involving sonar-textured visual tracking of Gotham and specifically its use in a construction site gets a little too daring - over reaching the otherwise authentic and well-explained nature of the gadgetry.
Technical specs are superb across the board. Hans Zimmer and James Newton Howard once again deliver a rich and punchy score, building on their remarkably strong themes from the first film with new and often intense variations here which form a crucial part of perpetuating the film's tension in several key scenes. Production design drops the gold and earth tone-drenched gritty "Blade Runner" style industrial urban look of 'Begins' for more high-tech modern stylings with brightly-lit glass skyscrapers drenched in cool blues and natural hues.
The 'Knight' flaw that will be most complained about is the runtime. At around 2.5 hours and with its serious subject matter, it is a long film and unfortunately feels it despite the superb pacing and tight narrative. It's a testament to the richness of the film that there is practically no extraneous elements here, every scene is crucial to the plot and characters making it very difficult to see where it can be trimmed without lessening the film in some way. Short of shaving a couple of seconds off some of the action sequences, the only possible excises could come in the form of the Hong Kong and to a lesser extent the twin barges sequences. Yet both scenes work beautifully and have elements essential enough to the plot that they simply can't be just cut out.
The film sticks to its convictions throughout, coming to a satisfying but daring conclusion that both comfortably rounds off the story but effectively begs for one more film to restore that elusive hope the characters all strive for throughout 'Knight'. The final result is easily the best wide release (if not film) of the year so far, one which not only surpasses the high water benchmark set by its admittedly more introspective and accessible predecessor, but pushes well beyond its genre boundaries.
Those looking for the kid-safe thrills of the Marvel films need to look elsewhere, 'Knight' takes the more serious minded tone of the early scenes of "Batman Begins" and runs with it into dark and complex territory rarely seen these days in cinema let alone in Summer blockbusters. It demands intelligence, maturity and attention, but as a reward delivers a film that will justifably sit high on many Top Ten lists at the end of the year. Certainly as major studio releases go it rarely gets better in quality than this.
at 10:36 AM
Several years ago when "Hancock" was in development under the title "Tonight He Comes", the script was frequently lauded as one of the most innovative, edgy and original works to have come through the pipeline in a long time.
It seems a real shame then that the resulting film takes an admittedly strong concept and runs it into the ground with a cumbersome, crude and simply asinine superhero vehicle for star Will Smith. Smith delivers the goods where needed with his usual charm, but even his few fun lines can't salvage this patchy wreckage which - even with its brief 92 minute runtime - feels severely overwrought in some areas, yet wholly inadequate in others.
The story starts off with the super powered John Hancock stopping a gang of thieves but with little care for the property destruction he causes in the process. The disgruntled alcoholic - who seems to carry a bottle around everywhere yet rarely drinks from it - ends up saving the life of no-luck PR guy Ray (Jason Bateman) who decides to help Hancock remake his image. However Ray's wife (Charlize Theron) has a notable problem with Hancock being around.
The premise has some great possibilities - a redemption theme, scathing black comedy that eviscerates the superhero genre, and a gritty and entirely real world Los Angeles setting which lends it more gravitas than the fantasy-style cities of the Marvel heroes. Yet for much of the first half it essentially squanders those opportunities. Restricted to a few 'racy for PG-13' lines, the comedy consists mostly of people calling each other assholes or Hancock threatening to insert things (mostly heads) into assholes.
It's juvenile and not particularly funny, the few 'already spoiled by the ads' visual gags work better, but the pace at least moves the film forward. Director Peter Berg also casts well with Smith delivering his usual solid work, Jason Bateman as the world's most optimistic publicist is a decent character which the actor makes the most of, and Theron tries her best with an overly aggressive yet notably underwritten wife role. It's a surprisingly low-key and even somber setup - the decently realized redemption subplot mostly wrapped up by the half way point.
After that however, the film falls apart. What started out as a missed opportunity - a black comedy without any teeth - turns into a poorly conceived tragedy of lost love and cheating fate. A far too elaborate and frequently contradictory mythology ultimately causes the narrative to collapse under its own weight, leaving characters spouting reams of useless back story to fill in the gaps between a few impressively grand but way over-the-top action set pieces to carry us limping towards the finale.
The tone is strange. The frequent swearing and the surprisingly brutal final action sequence set around a hospital are simply way too rough for the kids, yet the rest of the film plays it far too safe and juvenile to be considered a more mature work either. There's a notable lethargy to proceedings - the score relies on tired hip hop numbers or riffs from John Williams "Superman" score, the production design is notably uninspired, and the script displays more than a few unbelievable coincidences and out-of-nowhere additions that a production of this scale should have easily corrected.
The most blatant problem right from the start however is Berg's choice of visuals - with the exception of a few landscape wide shots, the entire movie is shot with 'kinetic handicam' and intense close-ups. Whereas that kind of trick worked with the quick fire "Bourne" films, the far more sporadic pacing of "Hancock" feels very ill-suited for the technique. The style ultimately ruins the film's biggest set piece involving an FX-filled mano-e-mano fight between Hancock and another character, whilst the quieter dialogue scenes become almost nauseating to watch.
Ultimately "Hancock" is a clumsily executed, forgettable mess. Too many behind-the-scenes forces have each tried to pull the film in a different direction - with the resulting hodge podge satisfying no-one. Too dark for kids, too dull for teens and too dumb for adults - the attempt to broaden inherently subversive and precisely targeted material robs it of any real coherence or weight - ultimately eating itself in its attempts to both lend gravity too and satirize the superhero genre. Not a disaster of "Wild Wild West" proportions, nevertheless "Hancock" will serve as a real test of Smith's true box-office power - if he can sell this mess, he can sell anything.
at 10:32 AM
Name : Will Smith
Birth Date : September 25, 1968
Birth Place : Philadelphia, Pennsylvania, USA
Birth Name : William Christopher Smith Jr.
Height : 6' 2
Education : Overbrook High School in Winfield, Pennsylvania
Profession : Actor, musician
Nationality : American
Claim to fame : Fresh Prince of Bel-Air television series
Will Smith was one of the biggest superstars of his time not only a pop music sensation, he also conquered television and eventually feature films, starring in a string of box-office megahits. Born September 25, 1968, in Philadelphia, he was 16 when he met aspiring DJ Jeff Townes; joining forces as DJ Jazzy Jeff & the Fresh Prince, the duo immediately became local favorites, but their continued existence was threatened when Smith graduated high school and was offered a scholarship to MIT. Ultimately, he chose to pursue a career in music, and in 1987 he and Townes issued their debut record, Rock the House, scoring a hit with the single "Girls Ain't Nothing but Trouble."
Propelled by the smash "Parents Just Don't Understand," DJ Jazzy Jeff & the Fresh Prince broke into the mainstream a year later with He's the DJ, I'm the Rapper, one of the first hip-hop LPs to achieve double-platinum status. And soon Hollywood began taking notice of Smith's success; in 1990, he was tapped to star in The Fresh Prince of Bel-Air, a sitcom for NBC. An immediate hit, it made Smith a household name, and continued in production through 1996.
Smith also continued his music career, and in 1991 DJ Jazzy Jeff & the Fresh Prince scored their biggest chart hit to date with the excellent "Summertime," from the album Homebase. The year following, he made his feature film debut in the drama Where the Day Takes You; in 1993, his supporting turn in Six Degrees of Separation was the subject of much critical acclaim. That same year, the final Jazzy Jeff/Fresh Prince record, the disappointing Code Red, was released. In 1995, Smith co-starred in the action film Bad Boys, a major box-office hit; it set the stage for his leading role in 1996's Independence Day, the summer's biggest smash. A year later, he starred in Men in Black, again the box-office champ of the summer season; recording for the first time under his given name, he also scored a smash with the movie's rap theme. Smith's debut solo LP, Big Willie Style, also appeared in 1997, notching the hits "Gettin' Jiggy Wit It," "Just the Two of Us," and "Miami." Shortly on the heels of his first box-office disappointment, 1999's Wild Wild West, he returned with the album Willennium.
at 10:30 AM
Name : Angelina Jolie
Full Name : Angelina Jolie Voight
Date Of Birth : 4 June 1975
Place Of Birth : Los Angeles, California
Sign : Gemini
Height : 5'7
Hair : Brown
Eyes : Blue
Father : Jon Voight
Mother : Marcheline Bertrand
Brother : James Haven Voight
Spouse : Billy Bob Thornton (May 2000-present)(actor, director,
writer)Jonny Lee Miller (1996-1999)(actor)
Profession : Actress
Angelina Jolie is the daughter of Academy Award-winning actor Jon Voight, and former actress/model Marcheline Bertrand. Jon Voight separated from Bertrand when Jolie was 1, remained in California while the family lived on the East coast. ''He was the perfect example of an artist who couldn't be married,'' she says. ''He had the perfect family, but there's something for him that's very scary about that.'' Jolie, is her middle name. Ultimately, she decided to use it because, she says, ''I love my father, but I'm not him''.
Angelina began training and performing at the Lee Strasberg Theatre Institute at around 12. She was seen in several stage productions at the Institute. She worked as a professional model in London, New York and Los Angeles, and has also appeared in music videos for such artists as the Rolling Stones, Meat Loaf, Lenny Kravitz, Antonello Venditti and The Lemonheads. In addition, she has acted in five student films for the USC School of Cinema, all directed by her brother, James Haven. She landed her first feature film starring part in HACKERS, about a group of high school computer hackers. Previously, she had roles in independent features Gathering Evidence and Oh No, Not Her.Angelina was married to her co-star from Hackers, Jonny Lee Miller. The marriage took place in May of 1996 where she wore black rubber clothes (although they are now divorced). She has a extensive dagger collection (likes knives) and has several tattoos (one is the Japanese word for death on her shoulder). Today Angelina splits her time between New York and Los Angeles.
at 9:40 AM
In the past actresses have proved to be lucky for their directors. There was a time when Indra Kumar could not think of making a film without Madhuri (Dixit) in it. The Chopras considered Sridevi to be their lucky mascot. Ram Gopal Varma believed that Urmila brought him the much needed luck that a director needs to survive in the film industry. Sanjay Leela Bhansali bestowed the luck factor on Aishwarya Rai. The latest addition to the above names is Vidya Balan. If Vidya's career graph is observed closely, out of the five releases that the actress has had till date -PARINEETA, LAGEY RAHO MUNNABHAI, HEYY BABY, BHOOL BHULAIYAA, GURU, all have been super hits. A trade analyst said, "Like Sridevi and Madhuri who were criticized for their bad dress sense, Vidya too has been cornered by the critics. But that has not affected her in anyway as Vidya has dished out hits one after the other. Directors continued to cast Madhuri and Sridevi in their films; the same case is with Vidya Balan. She is considered to be in top league of actress' today.' Though she is being showered with praises for her looks, Balan is not taking her career for granted and is genuinely working on her style and clothes. A source close to the actress said, "Vidya Balan is working hard on her clothes and designer Sabina Khan is helping her with it." Now with Vidya being declared a lucky mascot and Shahid the future superstar will be of any surprise if KISMAT KONNECTION immediately connects at the box-office?
at 9:39 AM
Harman Baweja, who is on a family holiday in Dubai, intends to go shopping for his girlfriend Priyanka Chopra whose birthday is round the corner. 'I don't know as yet what I'll get her. But girls like anything you give then in a gift-wrap and with a smile, trust me on that,' Harman told IANS. Harman teamed up with Priyanka, whose birthday is July 18, in his debut film 'Love Story 2050'. Talking about the family holiday, Harman said: 'Just the four of us - dad, mom, my sister Rowena and me. We took off for a five-day trip to Dubai. We all needed the break. 'The last two years and particularly the last few weeks have been very stressful for all of us. So here we are, just chilling and shopping. Actually the ladies are doing all the shopping. I'm just their bag boy.' Released on July 4, 'Love Story 2050' was panned by critics and audiences too gave it a cold shoulder but Harman is taking the criticism positively. 'In the past two weeks, I've learnt so much about life. I think I'm much wiser now.'
at 9:37 AM
Rajinikanth comes in the Kuselan for few minutes but the posters promote as if the whole movie is his. Why not even a few minutes of Rajinikanth is enough to poost the movie. Rajinikanth says “There’s already a lot of hype about the movie. I’m very nervous with everyone expecting it to run to a silver jubilee,” he says.
The distributors have sold the movie as Rajinikanth’s movie for Rs 64 crore, for more than what the move Sivaji was sold for.
at 9:33 AM
The beautiful actress Asin is still climbing her performance ladder. Still being the ambassador of a list of products in India, now she is going world wide. She would be in a commercial with Jackie Chan for an international brand. This ad would have lot of stunts performed by Jackie Chan and Asin will leave in the middle of this month to Hong Kong to finish the ad. She has been roped to act in the movie Ko Taisa , directed by Priyadarshan
at 9:32 AM
New buzz about Nayanthara is that she would be making her debut in Bollywood. She will be joining the other actress like Genelia, Sadha, and Asin who is already seeing success behind Bollywood. With the movie Kuselan, where she pairs up with Rajinikanth would take her world wide. The song with Vishal has created a waves and she has also signed a deal for K. S. Ravikumar‘s movie where she will act with Vikram.