With writer John Gatins and star John Goodman in the air leaving Savannah after film festival tributes there, Paramount had the highlights of its "Flight" crew -- Robert Zemeckis and Denzel Washington -- back in New York Monday to promote the film, which releases Friday. Zemeckis was set to appear on "Late Night with Jimmy Fallon" while Washington was all set for "The Late Show with David Letterman." Then Hurricane Sandy came a'knockin'.
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Thought you'd seen "The Artist" win its last award? Think again. The Casting Society of America pretty much partied like it was 2011 at last night's Artios Awards -- the premier honor for casting directors in the industry, given the absence of an Oscar category for the discipline. (That absence is often lamented, but let's be honest -- the average Academy member knows even less about casting than he does about sound editing.)
Anyway, while a scattering of early 2012 releases -- "The Hunger Games," "21 Jump Street," "Friends With Kids" -- had cracked the nominee list, the CSA was all about the awards contenders of 2011 when it came to choosing the winners. "The Help" took the prize in the Big-Budget Feature: Drama category, which is hardly surprising, given the number of ensemble awards (culminating in SAG's top honor) the film took down last season.
About a third of CeeLo Green's 14-track Christmas album is pretty solid. This includes consideration that CeeLo's overall approach to singing tends toward the heavy-handed, an attribute absolutely compatible with Christmas records. But the most unnatural elements -- the forced styles outside his comfort zone, clunky duets, uninspired excesses -- are what ultimately causes "CeeLo's Magic Moment" to stumblebum around the season with only a few perfectly packaged gifts.
NEW YORK – The day after John Gatins graduated Vassar in 1990 he got into a car and drove to California to be an actor. He was already having borderline "Whip-like issues," he says, referencing Whip Whitaker, the alcoholic airline pilot Denzel Washington plays in "Flight." Part of the decision was an attempt to leave those problems behind a little bit. So, naturally, he became a bartender.
For a medium we're told nobody cares about, people sure are devoting a lot of column inches to the end of cinema. Michael Cieply joins the long line of writers sounding the artform's death knell, claiming that Hollywood has lost its grip on the public imagination to TV. He points out that even the film of the moment, "Argo," has still attracted fewer viewers over its three-week run than a single episode of "Glee," while the number of specialist films released in US market has dropped by 55% in the last decade. Furthermore, Cieply quotes sources suggesting the Oscars are complicit in this disconnect, citing the recent coronation of the backward-looking "The King's Speech" (to which audiences flocked, mind you) as an example. I think people might be getting a bit dramatic. [New York Times]
As evident on the original release of "Pink Friday: Roman Reloaded," Nicki Minaj can't help but to oscillate between trash-talking raps and pure, saccharine pop music for her singles, her sides and, apparently, her personalities. For the upcoming "Re-Up" of "Roman," the bonus tracks have been taking turns batting, starting with heady and bratty "The Boys" featuring Cassie, and now with this new cavity "Va Va Voom."
Of course, Minaj can't help but to play the villain sometime in this fairytale-driven narrative, but for the most part is the Queens-bred artist mugging in a variety of false lashes, with her penchant bright colors swimming all around her. I literally laughed out loud when when a dastardly Robin Hood darkens her doorway as she bakes sweets in a cottage (not making this up) and as she idles alongside a unicorn in a creek (still not making this up).
What is a Disney movie these days?
I know what an animated Disney film was, brand-wise, when I was a kid. And when Disney reinvented themselves in the post-"Black Cauldron" world as a musical fairy tale factory, that was also a brand that was easy to identify.
But today, Walt Disney Feature Animation has perhaps the most tenuous grasp on identity that I've ever seen from them. Part of that has to do with all the competition that exists today from Blue Sky Studios and Sony Animation and DreamWorks Animation… basically a bunch of companies that have gotten very good at making movies that play to the audience that was at one point the sole domain of Disney. Then, of course, there's the in-house issue of Pixar Animation, a powerhouse team of storytellers who have arguably out-Disney'd Disney for the past fifteen years. It's hard to be the top dog when you no longer are the first pick for animators looking for work, and these days, filmmakers who want to work in animation are probably looking to Pixar the signpost for what it is they want to do.
Film companies continue to push for new ways to reach out to audiences as they figure out when it's okay to start hyping a film. Summer 2013 movies are already starting to stake their claims and premiere imagery and set visit glimpses and posters. 20th Century Fox has a pretty big stake in "The Wolverine" working, and one of the first big moments for them came last week when Empire magazine revealed some of what James Mangold told them for their upcoming story. We wrote about that piece, which included a new image of Wolverine with his bone claws extended, last week, and it seemed like one more promising detail in what is shaping up as a very promising entry in the long-running "X-Men" franchise.
Today, James Mangold and Hugh Jackman spoke directly to fans around the world who tuned in for a live online chat that YouTube streamed from Sydney. It sounds like more and more journalists are arriving in Sydney today for further press events in the days ahead, and according to Mangold and Jackman, they're only a few weeks away from wrapping the film. I'm guessing there's got to be a trailer soon at this rate. They've described the film, and now it's time to let people know what it's going to look like in motion, what that world is that they're talking about. When Mangold references both "The Bicentennial Man" and "The Outlaw Josey Wales" as thematic touchstones, it's probably safe to assume this isn't just going to be another standard-issue superhero movie.
While official Academy screenings are already under way for the long roll-call of foreign-language Oscar submissions, I've slowly been wading my own way through the pile. Having now seen in the region of 25 contenders, around two-thirds of the list remains – I'll never get to them all, but I'm still feeling more well-briefed than usual. Meanwhile, the more I see, the more impressed I am by the standard of this year's competition; the threat of “The Intouchables” notwithstanding, Academy voters will really have to go out of their way to make a dud choice.
Today's double-shot of contenders for discussion haven't been been paired for any reason beyond the fact that I saw them back-to-back at the London Film Festival last weekend. Certainly, at first glance, Mexico's serenely threatening high-school drama “After Lucia” and The Netherlands' gentle slip of a family film “Kauwboy” don't have much more than that in common. On closer inspection, however, some clear dramatic and thematic links belie the gaping tonal and formal differences between them.
Kelly Clarkson and Vince Gill take a trip back to the early ‘80s with “Don’t Rush,” a duet featured on the “American Idol” champ’s “Greatest Hits- Chapter One” set coming Nov. 19.
With its soft rock, adult contemporary production and Gill’s tasteful guitar lines, the song sounds like it could be on the charts right beside Kenny Rogers and Dolly Parton’s “Islands in the Stream” or Air Supply’s “All Out Of Love.” There’s even a pause before the key change at the end. It's as different as "Don't You Wanna Stay," her duet with Jason Aldean, could be.
[More after the jump...]