Latest Blog Posts
The previously announced Fiona Apple will be joined by Ryan Adams, Norah Jones, the Avett Brothers, and, of course, Graham Parker, on the soundtrack for Judd Apatow’s “This Is 40.”
While tracks from some of the artists, including Paul Simon, the Avetts, and Loudon Wainwright, have been released before, the cuts from Jones, Apple, Parker (who plays heavily into the plot), Lindsey Buckingham, Wilco, and Adams are all original. Jon Brion composed the score and produced several of the new cuts, including Apple’s “Dull Tool.” The soundtrack comes out Dec. 11.
The track listing for "Music From The Motion Picture This Is 40" is as follows:
1. I'm Your Angel – Yoko Ono
2. Always Judging – Norah Jones
3. What Do You Like? – Graham Parker with Punch Brothers
4. Sick Of You – Lindsey Buckingham
5. Rewrite – Paul Simon
6. Shining Through The Dark (Live) – Ryan Adams
7. Lunch Box Odd Sox – Paul McCartney
8. Brother & Sister – Lindsey Buckingham Featuring Norah Jones
9. Theme 1 (Debbie & Oliver) – Jon Brion
10. Watch The Moon Come Down – Graham Parker & The Rumour
11. Days That We Die – Loudon Wainwright
12. She Acts Like You – Lindsey Buckingham
13. Dull Tool – Fiona Apple
14. Lucky Now (Live) – Ryan Adams
15. I Got You – Wilco
16. Live & Die – The Avett Brothers
Bonus track (digital only):
17. Protection (Live) – Graham Parker & The Rumour
This word is iconic in popular culture as something the director shouts to end the shooting of a scene. It even featured prominently in last year’s Best Picture winner.
But it's the film editors who truly "cut" our films down to what we actually see on screen. Deciding what leave in, what to leave out, how to convey the narrative and how to establish pace are just a few of the editor’s extraordinarily important roles.
The work of many other crafts artists, to say nothing of the actors, is finished when the shoot is done. Others, such as the composer, only begin when the shoot is over. The film editor, on the other hand, is there throughout, working with the director until the film is just right.
A review of last night's "Suburgatory" coming up just as soon as the kugel is a gateway kugel...
From sketchy beginnings, The Weinstein Company has grown into a major Oscar player, ruling even the documentary race last year -- but one category they have yet to score in, unlike back in their Miramax days, is Best Foreign Language Film. This year, they're looking to change that with French crossover smash "The Intouchables," but they've also just extended their stake in the race by nabbing Norway's submission, "Kon-Tiki." I'll be seeing it myself soon, but even when its selection was announced, I figured this factual tale of explorer Thor Heyerdahl's 1947 expedition from South America to Polynesia on a wooden raft -- the most expensive film in Norwegian history -- would be something that could appeal to the Academy. The Weinsteins' attachment now confirms it as one to watch. True-life of Pi, anyone? [Variety]
If you genuinely enjoy the experience of watching a movie, is that the same thing as watching it ironically or making fun of it?
That's a question that's worth asking as Drafthouse Films prepares for a theatrical release of the 1987 film "Miami Connection." The movie has languished in obscurity for years now, ever since its split-second release, and was just recently rediscovered by the programming team at the Alamo Drafthouse, who played a print as part of their Weird Wednesday screening series. For those unfamiliar with how that works, the Alamo is in the business of building up a print archive, having even started a non-profit foundation to do so, and they are constantly buying prints of movies, many of which they've never heard of at all. They use their late-night screening series to look at the prints and see if there are any unsung gems in there, and when they showed the first reel of "Miami Connection," they flipped for it. They ended up making a deal with the filmmakers to give the movie new theatrical life, and this year's Fantastic Fest was the film's official coming out party.
To that end, they went all out to present the movie right on the festival's opening Friday night as the big prime-time event. If the audience wanted to just treat the entire night as one big roast, I'm sure they could have, but I would argue that the reason to enjoy a movie like "Miami Connection" is not as simple as "laugh at the terrible movie." There's a reason "The Room" became a sensation and other terrible films do not. There's a reason Zack Carlson and Lars Nielsen are fanatical about "Miami Connection" and Dragon Sound and not a dozen other silly action movies they've screened. And ultimately, I think that reason is sincerity.
It's season 10 of "Top Chef," and we're off to Seattle! Wait, we're not off to Seattle yet. This season we have a twist. Instead of the epic Alamo cook-off of last season, this time the chefs are broken up into groups and sent to work as slave labor at one of the restaurants owned by either Emeril LaGasse, Hugh Acheson, Tom Colicchio or our new judge, Wolfgang Puck. The celebrity chefs will then decide who goes through to compete on the show, and who doesn't. I like this change, as it gives each judge a chance to put at least some of the potential competitors to a test they deem most important, even if that means some people get to just skate by making a damn salad.
Well, the fun keeps on rolling at the non-stop carnival that is Briarcliff Asylum, and I'm thinking everyone on this particular ride desperately wants to get off of it. As we all know, bad things are about to happen. The only question, really, is who will be the unlucky one on this episode. Or, I should say, unlucky ones.
The first potential victim is a new character -- Anne friggin' Frank. Seriously. The show takes a turn into "Once Upon A Time" territory by (possibly) tossing in an iconic literary character; given that we already have Dr. Frankenstein in the form of Dr. Arden, I'm expecting cameos from Snow White and Captain Hook any minute. As much as I enjoy the tossing-spaghetti-at-the-wall madness of this campfest, at times it can feel random, less like homage than writers opening up Wikipedia, closing their eyes, and typing wildly into the search box. This would be one of those times.