What the hell !?! That is on helluva accident. Police in Thailand say that they will charge a member of the Thai parliament with causing death by negligence for accidentally shooting his secretary dead with a sub-machine gun. Senator Boonsong Kowawisarat reportedly had in his possession a loaded 9mm Uzi submachine gun, though it is unclear why. According to police, the shooting took place inside a restaurant in the northern province of Phrae. The 55-year-old politician drew his weapon while he and his secretary, 46-year-old Chanakarn Detkard, were waiting to be served. The Uzi suddenly went off, and a bullet struck Chanakarn in her stomach. She was rushed to the hospital by the restaurant owner while Boonsong remained behind in shock. Due to his parliamentary privilege, the Senator has yet to be charged, but police expect he will ultimately be tried for death by negligence. If convicted, Boonsong faces as many as 10 years behind bars. Something ain’t clean in the water. He needs to be charged with murder if not at least carrying that type of weapon in public place. Did he have a license, why does he need to carry this type of weapon? Too many questions not being answered. Source
Welcome to _______ home of the fatty McFat-Fats. Population: Damn near everybody! 12 States With The Highest Obesity Rates In The Country A new government survey shows 12 states now have very high obesity rates. Overall, more than a third of adults are obese but rates vary by state. The latest figures are based on a 2011 telephone survey that asked adults their height and weight. For the first time, households with only cell phones were included. State rates remained about the same although states with very high rates went from nine to 12. At least 30 percent of adults are obese in Alabama, Arkansas, Indiana, Kentucky, Louisiana, Michigan, Mississippi, Missouri, Oklahoma, South Carolina, Texas and West Virginia. Colorado was lowest, at just under 21 percent, and Mississippi was highest at nearly 36 percent. The Centers for Disease Control and Prevention released the figures Monday. Meanwhile, the survey shows New York has a relatively low level of obesity among adults. The rate in New York stood at 24.5 percent. Colorado was lowest, at just under 21 percent, and Mississippi was highest at nearly 35 percent. Source You HAVE to take care of yourselves people! That doesn’t mean you need to have a Rosa Acosta body, but you need to be healthy and active on a regular basis. Get off your ARSE!!! Image via Shutterstock Hit the flipper to see which states made the list
Let’s go ahead and answer the question posed in our headline right off the bat: NO, Kristen Stewart might be the last actress in Hollywood who would ever get a boob job. But with this rumor making the rounds, it’s our job to ask and report on our source: Star has talked to a pathetic plastic surgeon named Dr. Matthew Schulman, who has studied contrasting shots of the star and surmised that she may have undergone plastic surgery . “Her breasts have gone from what looked like a large A cup to a large B cup,” says the New York City-physician, Dr. Anthony Youn out of Michigan adds: “While this might be the result of a new, state-of-the-art bra, it’s most likely the result of a breast augmentation.” Or of a supermarket tabloid making something up out of nothing. Star can kiss any exclusives with Kristen or Robert Pattinson goodbye now! Do you think Kristen Stewart got a boob job?
This poor lil Becky got murked thinkin’ the paper chase was sweet. A beautiful Texas teenager shot to death last month was no innocent victim but a criminal killed in a robbery gone wrong, police now say. Claudia Hidic, 17, was found dead near the back door of a man’s home in the Tanglewood neighborhood of Fort Worth on June 28, her body face down, according to the Fort Worth Star-Telegram. The back door had also been kicked in. Her death, of a gunshot wound to the head, was ruled a homicide. But while friends took to Facebook to mourn the loss of the stunning young woman, who would have been a senior at Trinity High School this fall, police revealed Hidic had put herself in the line of fire by organizing a robbery that ended in gunshots. A source close to the investigation told the Star-Telegram that Hidic was the mastermind behind the theft, directing accomplices Curtis Fortenberry and Terrance Crumley, both 21, to rob a location she specifically chose. The source, who spoke to the paper on condition of anonymity, said Hidic had been to the home before, where the threesome returned, at least one of them armed. They reportedly entered the house through the back door, where between five and six people were home. A neighbor told the paper he saw four women running from the scene after gunfire erupted. The man who found her body outside of his house told police he did know who Hidic was. By July 1, a police spokeswoman told the Star-Telegram the homeowner had stopped talking to investigators, though he was not a “person of interest in the case.” In a press release to local media outlets, police confirmed Hidic had been inside the home prior to the robbery, and said she and the two men “engaged in criminal activity after planning and coordinating a robbery … against the occupants inside,” KCEN-TV reported. Both Fortenberry and Crumley are now in police custody and have been charged with felony murder. They are being held on $100,000 bond. With a last name like Hidic, we’re guessing she wasn’t a straight Becky, but still — clearly she had no business living that thuglife if everybody is all surprised she was mixed up in this isht. SMH. R.I.P. Claudia Source MySpace/Facebook
Michigan Man Injures Privates With Fireworks Poor thang ! This is definitely not the way to celebrate Independence Day: Authorities told MLive that a Michigan man blew off part of his genitals with fireworks last Monday. Assistant Chief Terry Flynn of the Grand Traverse Metro Fire Department told The Huffington Post that his men responded to the scene and discovered the unidentified man “bleeding profusely from the genitals.” Flynn said the man lit a mortar and, when it didn’t go off, he walked towards it only to have it blow up between his legs. Flynn declined to give the man’s name or release his medical condition, citing medical privacy laws. Our prayers are with this poor man. Hopefully the doctors were able to preserve his situation. SMH. Shutterstock
This just in from Disney HQ: After bashing records across the globe, The Avengers will go from puny Earthbound box office domination to the final frontier, screening for six lucky multinational cosmonauts currently in orbit: “Marvel Studios announced today that they arranged with NASA to transfer their record-breaking blockbuster film Marvel’s The Avengers to NASA’s Mission Control in Houston, which will uplink the film to the International Space Station (ISS), currently orbiting 220 miles above Earth. The film will then be screened for the space station crew’s exclusive enjoyment.” (Take that, Pentagon !) Keep an eye out for Loki up there fellas, eh? [Press release]
Filmmaker Chris Eyre made his name with his 1998 debut Smoke Signals , a delicate indie adapted from a short story by Sherman Alexie about two young men living on the Coeur D’Alene Indian Reservation who go an a road trip to retrieve the belongings of one’s recently deceased estranged father. It was a small, wistful thing that offered a look at characters and a community that don’t get a lot of time on screen. Hide Away, Eyre’s newest work — since Smoke Signals he’s made four features that have mostly headed to TV — is in the same emotional vein as that first film, but heads away from the rez for a setting that’s more figurative and characters that are more generic (by choice, though it’s also a problem). It’s a slender story of mourning that manages some lovely bits of mood while also being dreary and a little preposterous in its spareness. Josh Lucas does a heroic amount to ground Hide Away in real feeling in the lead role, an unnamed man who is in mourning for reasons we slowly start to understand, one related to the wife and kids we see him with in gauzy flashbacks. “Are you divorced?” people ask him. “No, I’m not,” he responds numbly. He’s told by the man from whom he buys a boat at the start of a film that a lot of divorced guys apparently do what he’s doing. He doesn’t know anything about boats — what he’s looking for is an escape, a refuge — which is why he ends up with a sailboat in barely functioning condition, the Hesperus, named for the evening star. Arriving in a black suit like he either fled straight from a business meeting or a funeral, the would-be mariner pokes around the decrepit vessel on which he plans to live, and starts learning his way around. Hide Away , which was written by Peter Vanderwall, was shot and is set in a real place — on Grand Traverse Bay in Michigan — but the film strips away most identifying details, leaving the dock on which the man’s ship is moored to seem like an outpost at the end of the world. The cinematography, by Elliot Davis, makes the place look fancifully lovely, with its still, reflective water and open skies, its winter storms and cloud banks. There’s a town nearby — the man heads in sometimes to buy groceries or booze — but he doesn’t really interact with it, having chosen solitude. A few people come and go around the dock, including a guy (Jon Tenney) who actually is divorced and using his recent boat-ownership to get women, but otherwise the man’s alone. Lucas is saddled with a lot of scenes in which he’s by himself on screen, and for the most part does an admirable job of conveying someone who’s so haunted by grief that he needed to leave the world behind without actually talking about what he went through. His moments of grief — staring out, sleepless, at night; drinking himself into a stupor at Christmas while lit-up boats past by — feel rough and believable, especially in the way he courts death by acting carelessly while never actually wanting to do the deed himself. Lucas turns the man’s repair of the ship into a series of bits of physical comedy — running out of the shower after it breaks, trying to raise the sail, setting off smoke alarms when starting a fire in the stove. He makes the repetition of work into something believably soothing, makes it seem like a process through which you could genuinely start to heal. But all the interactions the man has with the few visitors he encounters and friends he makes are leadenly infused with meaning. There’s the beautiful waitress (Ayelet Zurer) at the restaurant by the dock who seems to have taken up residence there exclusively to offer comfort sex and a more maternal caring to the broken wanders who end up nearby. There’s the older man (James Cromwell) who offers words of wisdom with regard to his own sorrow — it’s “not a recipe I recommend a young man follow.” There’s the former work colleague (Taylor Nichols) who drops by to insist the man come back to his software company, offering to set him up to telecommute. And there’s the pretty check-out girl (Casey LaBow) who inexplicably comes to him for shelter after her boyfriend beats her. The entire world seems there only to patiently nurture the man back to mental health — as if he’s in some kind of extremely elaborate sanatorium in which patients are led to think that this whole recovery-by-way-of-fixing-a-sailboat thing was their idea from the start. Hide Away has more clunky moments than it does elegantly minimalist ones, the worst of which is the glimpse of what actually happened to the man’s family. It’s over-the-top and unnecessary, given that we’d already gotten the idea about why the guy feels such guilt and grief. In shaping a film so deliberately around things left out, it would have been better to give the audience the benefit of the doubt and leave a little more mystery to the nameless man and his pain. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Filmmaker Chris Eyre made his name with his 1998 debut Smoke Signals , a delicate indie adapted from a short story by Sherman Alexie about two young men living on the Coeur D’Alene Indian Reservation who go an a road trip to retrieve the belongings of one’s recently deceased estranged father. It was a small, wistful thing that offered a look at characters and a community that don’t get a lot of time on screen. Hide Away, Eyre’s newest work — since Smoke Signals he’s made four features that have mostly headed to TV — is in the same emotional vein as that first film, but heads away from the rez for a setting that’s more figurative and characters that are more generic (by choice, though it’s also a problem). It’s a slender story of mourning that manages some lovely bits of mood while also being dreary and a little preposterous in its spareness. Josh Lucas does a heroic amount to ground Hide Away in real feeling in the lead role, an unnamed man who is in mourning for reasons we slowly start to understand, one related to the wife and kids we see him with in gauzy flashbacks. “Are you divorced?” people ask him. “No, I’m not,” he responds numbly. He’s told by the man from whom he buys a boat at the start of a film that a lot of divorced guys apparently do what he’s doing. He doesn’t know anything about boats — what he’s looking for is an escape, a refuge — which is why he ends up with a sailboat in barely functioning condition, the Hesperus, named for the evening star. Arriving in a black suit like he either fled straight from a business meeting or a funeral, the would-be mariner pokes around the decrepit vessel on which he plans to live, and starts learning his way around. Hide Away , which was written by Peter Vanderwall, was shot and is set in a real place — on Grand Traverse Bay in Michigan — but the film strips away most identifying details, leaving the dock on which the man’s ship is moored to seem like an outpost at the end of the world. The cinematography, by Elliot Davis, makes the place look fancifully lovely, with its still, reflective water and open skies, its winter storms and cloud banks. There’s a town nearby — the man heads in sometimes to buy groceries or booze — but he doesn’t really interact with it, having chosen solitude. A few people come and go around the dock, including a guy (Jon Tenney) who actually is divorced and using his recent boat-ownership to get women, but otherwise the man’s alone. Lucas is saddled with a lot of scenes in which he’s by himself on screen, and for the most part does an admirable job of conveying someone who’s so haunted by grief that he needed to leave the world behind without actually talking about what he went through. His moments of grief — staring out, sleepless, at night; drinking himself into a stupor at Christmas while lit-up boats past by — feel rough and believable, especially in the way he courts death by acting carelessly while never actually wanting to do the deed himself. Lucas turns the man’s repair of the ship into a series of bits of physical comedy — running out of the shower after it breaks, trying to raise the sail, setting off smoke alarms when starting a fire in the stove. He makes the repetition of work into something believably soothing, makes it seem like a process through which you could genuinely start to heal. But all the interactions the man has with the few visitors he encounters and friends he makes are leadenly infused with meaning. There’s the beautiful waitress (Ayelet Zurer) at the restaurant by the dock who seems to have taken up residence there exclusively to offer comfort sex and a more maternal caring to the broken wanders who end up nearby. There’s the older man (James Cromwell) who offers words of wisdom with regard to his own sorrow — it’s “not a recipe I recommend a young man follow.” There’s the former work colleague (Taylor Nichols) who drops by to insist the man come back to his software company, offering to set him up to telecommute. And there’s the pretty check-out girl (Casey LaBow) who inexplicably comes to him for shelter after her boyfriend beats her. The entire world seems there only to patiently nurture the man back to mental health — as if he’s in some kind of extremely elaborate sanatorium in which patients are led to think that this whole recovery-by-way-of-fixing-a-sailboat thing was their idea from the start. Hide Away has more clunky moments than it does elegantly minimalist ones, the worst of which is the glimpse of what actually happened to the man’s family. It’s over-the-top and unnecessary, given that we’d already gotten the idea about why the guy feels such guilt and grief. In shaping a film so deliberately around things left out, it would have been better to give the audience the benefit of the doubt and leave a little more mystery to the nameless man and his pain. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Filmmaker Chris Eyre made his name with his 1998 debut Smoke Signals , a delicate indie adapted from a short story by Sherman Alexie about two young men living on the Coeur D’Alene Indian Reservation who go an a road trip to retrieve the belongings of one’s recently deceased estranged father. It was a small, wistful thing that offered a look at characters and a community that don’t get a lot of time on screen. Hide Away, Eyre’s newest work — since Smoke Signals he’s made four features that have mostly headed to TV — is in the same emotional vein as that first film, but heads away from the rez for a setting that’s more figurative and characters that are more generic (by choice, though it’s also a problem). It’s a slender story of mourning that manages some lovely bits of mood while also being dreary and a little preposterous in its spareness. Josh Lucas does a heroic amount to ground Hide Away in real feeling in the lead role, an unnamed man who is in mourning for reasons we slowly start to understand, one related to the wife and kids we see him with in gauzy flashbacks. “Are you divorced?” people ask him. “No, I’m not,” he responds numbly. He’s told by the man from whom he buys a boat at the start of a film that a lot of divorced guys apparently do what he’s doing. He doesn’t know anything about boats — what he’s looking for is an escape, a refuge — which is why he ends up with a sailboat in barely functioning condition, the Hesperus, named for the evening star. Arriving in a black suit like he either fled straight from a business meeting or a funeral, the would-be mariner pokes around the decrepit vessel on which he plans to live, and starts learning his way around. Hide Away , which was written by Peter Vanderwall, was shot and is set in a real place — on Grand Traverse Bay in Michigan — but the film strips away most identifying details, leaving the dock on which the man’s ship is moored to seem like an outpost at the end of the world. The cinematography, by Elliot Davis, makes the place look fancifully lovely, with its still, reflective water and open skies, its winter storms and cloud banks. There’s a town nearby — the man heads in sometimes to buy groceries or booze — but he doesn’t really interact with it, having chosen solitude. A few people come and go around the dock, including a guy (Jon Tenney) who actually is divorced and using his recent boat-ownership to get women, but otherwise the man’s alone. Lucas is saddled with a lot of scenes in which he’s by himself on screen, and for the most part does an admirable job of conveying someone who’s so haunted by grief that he needed to leave the world behind without actually talking about what he went through. His moments of grief — staring out, sleepless, at night; drinking himself into a stupor at Christmas while lit-up boats past by — feel rough and believable, especially in the way he courts death by acting carelessly while never actually wanting to do the deed himself. Lucas turns the man’s repair of the ship into a series of bits of physical comedy — running out of the shower after it breaks, trying to raise the sail, setting off smoke alarms when starting a fire in the stove. He makes the repetition of work into something believably soothing, makes it seem like a process through which you could genuinely start to heal. But all the interactions the man has with the few visitors he encounters and friends he makes are leadenly infused with meaning. There’s the beautiful waitress (Ayelet Zurer) at the restaurant by the dock who seems to have taken up residence there exclusively to offer comfort sex and a more maternal caring to the broken wanders who end up nearby. There’s the older man (James Cromwell) who offers words of wisdom with regard to his own sorrow — it’s “not a recipe I recommend a young man follow.” There’s the former work colleague (Taylor Nichols) who drops by to insist the man come back to his software company, offering to set him up to telecommute. And there’s the pretty check-out girl (Casey LaBow) who inexplicably comes to him for shelter after her boyfriend beats her. The entire world seems there only to patiently nurture the man back to mental health — as if he’s in some kind of extremely elaborate sanatorium in which patients are led to think that this whole recovery-by-way-of-fixing-a-sailboat thing was their idea from the start. Hide Away has more clunky moments than it does elegantly minimalist ones, the worst of which is the glimpse of what actually happened to the man’s family. It’s over-the-top and unnecessary, given that we’d already gotten the idea about why the guy feels such guilt and grief. In shaping a film so deliberately around things left out, it would have been better to give the audience the benefit of the doubt and leave a little more mystery to the nameless man and his pain. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Hasn’t this man been through enough? Prominent Detroit clergyman and chart-topping gospel singing star Marvin Winans was driving without a valid license when he was beaten, robbed and carjacked last week, according to state records. Winans, who has been ticketed at least 15 times since 2005 — once for driving 95 m.p.h. — was caught speeding and driving without a license in Hazel Park in December, Michigan Secretary of State records show. After he paid a fee to Lansing, his license was reinstated for several months but suspended again May 9 because he never settled the violations at Hazel Park District Court, the records show. If he appears to pay those tickets — one for impeding traffic as well as for driving without a license — Hazel Park will let bygones be bygones, City Manager Ed Klobucher said. We’re going to treat the pastor just like we treat anybody else and afford him the opportunity to come in and get his tickets paid,” Klobucher said today. Klobucher said he was surprised to learn of the pastor’s outstanding violations. “Somebody showed me his tickets and said, ‘You know what? This guy shouldn’t have been driving anyway’ ” when he was carjacked, he said. We just hope people and police realize the real CRIMINALS are the ones that need to get locked up for trying to murk Marvin over his whip and not the pastor SMH
