Saturday 31 May 2008

IFI announces its new director

The new Director of the Irish Film Institute has been announced.
Sarah Glennie will take up the position in autumn 2008.
Glennie has previously worked as Director of the Model Arts and Niland Gallery and Commissioner of the Irish Pavillion at the Venice Biennale 2005.
She has curated projects for PS1 MoMA, New York, and Cork 2005 and held positions at the Henry Moore Foundation and the Irish Museum of Modern Art.
Commenting on Glennie's appointment, Eve-Anne Cullinan, Chairperson of IFI, said: "Sarah has a wealth of experience in strategic cultural planning and of running and working in public cultural institutions both in Ireland and internationally. We are delighted to welcome Sarah Glennie to IFI to lead one of the country's most popular cultural venues into an exciting period in its history."
Among the new projects to be undertaken by the IFI are a refurbishment of the IFI centre in Dublin's Eustace Street; a collaboration with the Dundalk Institute of Technology on a new facility for the Irish Film Archive and a three-year strategy plan.

Trespasser scare at Brad Pitt's house

According to police reports a 25-year-old man was arrested yesterday at the Los Angeles home of Brad Pitt, Angelina Jolie and their four children.
Officer Karen Smith said a housekeeper called police around midday after she saw a silver car blocking the actor's driveway.
The housekeeper told officers that the man, who described himself as a freelance reporter, got out of the car and asked: "Which one is Brad Pitt's house?"
The man, identified as Eric Ray Mitchell, was arrested for investigation of trespassing.
Smith said Mitchell was taken into custody on a "private person's arrest" and it would be up to the housekeeper to decide whether to press charges.
Smith said neither Pitt nor Jolie, who is rumoured to be pregnant with the couple's second biological child, were at home at the time.

Gareth Gates voted off Dancing on Ice

Pop singer Gareth Gates has become the latest celebrity to be voted out of 'Dancing on Ice'.
After the public vote, the 23-year-old star was placed in the bottom two alongside former 'Coronation Street' star Zaraah Abrahams.
All of the five judges later chose to put the actress through to next weekend's final.
However, judge Jason Gardiner praised Gates after his performance, saying: "Gareth came out and started this routine. It was amazing. You were sharp. You were on it."
Speaking after he performed his routine, Gates said: "I absolutely loved that. I really rocked out. It was really weird in the tunnel skating out on my own."

Robert Downey Jr - The Things They Say 8183

"It's a tragedy." ROBERT DOWNEY JR. describes the difficulty he had getting out of his IRON MAN costume on bathroom breaks.




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Britain's Got Talent: George Sampson Says He'll Win For His Mum

George SampsonBritain's Got Talent finalist George Sampson says he's eager to win the show for his hard-up single mum, Lesley.


14-year-old George, whose dance routine to Singing in the Rain put him through to the final of Simon Cowell's hit ITV talent search, started busking because Lesley couldn't afford to pay for his �15-a-time dance classes.


He said that winning the �100,000 prize money would change their lives completely.


He says, "I'd pay my mum's mortgage off for a start," he said. "I'm doing this for mum. I love her, we're really close.


"I do worry about money, but I stay strong."


George's parents split five years ago; and his three sisters, Chelsea, 17, Emily, 16, and Rosie, 13, went live with their dad, Brian. But, due to financial reasons, George rarely sees them.


George and his brother Luke, 19, live with Lesley, 39.


But shortly before Wednesday night's semi-final, which saw George picked by the public vote, he was reunited with his sisters for the first time in years.


He said, "We hardly ever get together. With the money, I'd be able to take them away."


Lesley admits that her son downplays their problems and puts a brave face on the situation.


She told Britain's Daily Mirror, "He downplays it because I downplay it.


"It's been hard for the last six months. The money coming in isn't covering the money going out.


"But you never know what's round the corner."


George will now face a public vote. If he wins, he'll walk away with the �100,000 cash prize; and get to perform at the Royal Variety Performance.




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No Turning Back

No Turning Back   
Artist: No Turning Back

   Genre(s): 
Pop
   Rock
   Hardcore
   



Discography:


Revenge Is a Right   
 Revenge Is a Right

   Year: 2007   
Tracks: 12


Damage Done   
 Damage Done

   Year: 2007   
Tracks: 14


Holding on   
 Holding on

   Year: 2006   
Tracks: 14


Rise Form the Ashes EP   
 Rise Form the Ashes EP

   Year: 2005   
Tracks: 9




 






Lil Wayne's Lollipop Takes Another Lick At Number One

LIL WAYNE has licked the competition in the Billboard pop charts again by returning to the top of the countdown three weeks after his LOLLIPOP hit was dethroned.
He jumps over Leona Lewis, who ended his brief reign on top last month (Apr08), and Rihanna, who stormed to the top of the charts with Take A Bow last week (15May08), to reclaim the number one spot.
Usher's Love in This Club and Jordin Sparks' No Air round out the new top five.
The New Kids On The Block reunion seems to have come at the right time - the Cover Girl hitmakers score the week's highest debut, at 57, with comeback song Summertime.

The Signal - 6/10/2008

Though in plot it shows more devotion to Kiyoshi Kurosawa's Pulse and Hideo Nakata's Ringu, David Bruckner, Dan Bush and Jacob Gentry's The Signal is, essentially, very American in its paranoia. Set against New Year's Eve in the fictitious city of Terminus, some pretty freaky stuff starts happening when every electrical device starts radiating a mysterious signal. Without warning, random people start lopping off heads, slitting and stabbing with garden shears, and plain old bludgeoning people to death for no apparent reason.



Shot on digital video in Atlanta for a (comparatively) paltry budget, this techno-thriller/horror hybrid isn't bashful in its hysteria. Besides the decapitated heads and sledged-in faces, we get drilled appendages, chemical burns, baseball-bat beatings, electrocution, and, at its most humorously grotesque, the business-end of an air pump to the neck. But as it turns out, these gory theatrics are for tapestry's sake: At the heart of all the mayhem is an old-fashioned love triangle between a husband, his wife, and the tattooed fellow she's sleeping with.



It's when Ben (Justin Welborn) awakens from a post-coital nap next to Mya (Anessa Ramsey) that the titular signal first appears, interrupting a televised horror film that looks like a backyard remake of Wolf Creek (it's actually a short film by director Gentry). The effects of the pulsing signal aren't fully comprehended until Mya comes home to her husband Lewis (fitfully-creepy AJ Bowen) and his buddies, hypnotized by the fluid palpitations that have interrupted the ballgame. A few minutes later, Lewis has bashed in one friend's head and Mya has escaped only to find her hallway filled with corpses and blood-splattered slaves to the oscillating noise. She makes her way out with her friend Rod (Sahr Ngaujah), intent on meeting Ben at Terminal 13 and fleeing to the countryside.



Needlessly, the film is broken up into three separate transmissions to give the floor to each of the film's directors. Despite these framed interruptions, this cheap-o thrill-ride has a consistent tone and, ironically, rarely stoops to cheap-o scare tactics. This falters in the middle segment where Lewis drops in on Clark (Scott Poythress) and some neighbors, unwavering in his belief that they know where Mya is. Focus is lost, leaving the tension partially disintegrated and the film almost spirals into buffoonery that wouldn't be out of place in Peter Jackson's Dead Alive. These fatty tricks ultimately confound what is otherwise an engaging hybrid, but as horror films go, it's strikingly effective in its violent theatrics.



Though it precariously dangles between zombie picture and ghost-in-the-machine nightmare, the directors avoid easy mechanics and anchor all the freak-outs to the central drama. Visceral even in its subdued moments, The Signal is too aware of its structure to be considered anything but a commendable exercise. The scenarios and metaphors are relevant enough, however, to deem it a good start to the year in horror.







Tickle Me Elmo went really extreme.

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