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HOLLYWOOD - Sony Pictures and Annapurna Productions brought their celebrated thriller "Zero Dark Thirty" to the Dolby Theater Monday night for what turned out to be a star studded premiere.
Maroon 5 becomes the latest band to get cheap labor for their new music video. Seriously, for “Daylight,” the latest track from “Overexposed,” the band asked their fans to turn in videos revealing some of their deepest thoughts and then a very patient editor tied them all together.
Some of the clips tie loosely into the song’s theme about desperately not wanting to leave someone at morning’s first light, but the tune is really only a jumping off point for a much deeper look at the human condition... and how hard it is to be a teenager.
Some of the responses to what people hate, what they love and what they regret are by turns funny, silly, and heartbreaking as people confess to a camera truths they have never told even their closest friends or talk about tremendous losses in their lives.
[More after the jump...]
The first thing Emmanuelle Riva wants me to know – before any mention of movies, careers or awards, before the word “Amour” even enters our conversation – is that she's feeling fine.
Admittedly, it's not an entirely unprompted statement. She's merely responding to my opening greeting, in which I mention how sorry I was to hear of her recent ill health – words which immediately draw a good-natured but puzzled laugh. “I'm sorry, illness?” she asks over the phone, via a translator, from her home in Paris. “I don't know what you mean.”
Nervous that I've kicked off an eagerly-awaited interview with an immediate faux pas, I sheepishly explain that her absence at the previous weekend's European Film Awards in Malta – where she was a popular winner of the Best Actress prize – had been explained by the presenter as the result of flu season. Happily, Riva cheerfully confirms, there must have been a misunderstanding. “I'm perfectly fine,” she says. “I was just tired. I've been doing interviews since Cannes!”
It’s still 2012, but 2013 is already shaping up to be the year of the Beyonce. Not only will Bey provide the half-time entertainment for Feb. 3’s Super Bowl and she’s directing her own
hagiography documentary to air on HBO Feb. 16, she is working on her new album with “Irreplaceable” collaborator Ne-Yo.
Ne-Yo, who was all over the place last week between his appearances on the Grammy Nominations concert, “Saturday Night Live” and Z-100’s Jingle Ball, tells MTV News that he and Beyonce are already in discussions about the new album. “Who knows? Maybe we’ll get another ‘Irreplaceable’ out of the batch,” he says.
Beyonce, who posted a photo of herself in the studio in November, has already reportedly logged studio time with hubby Jay-Z, The-Dream, Ryan Tedder, Kanye West, Diane Warren and Miguel for the follow-up to "4." Though there’s no release date or even an official announcement about a new album, The-Dream expects that we may hear some music early next year.“She’s already gearing up to get ready to put stuff out,” The-Dream told Billboard earlier this month. “I’m sure there will probably be a couple records you hear before the Super Bowl gets here.” As you recall, Madonna used her Super Bowl platform this year to promote new single, “Give Me All Your Luvin’.”
In other Beyonce news, the singer has expanded her partnership with Pepsi to the tune of $50 million, according to the New York Times, which includes media placements, promotions, and her fee. In addition to filming her fifth commercial in 10 years for the soda, her pretty pout will appear on Pepsi cans. The deal, the Times explains, also includes a fund for Pepsi to finance Beyonce’s “creative” projects, possibly ranging from live events, videos, and fashion shoots.
Though the category remains highly flexible, Amy Adams's position in the Best Supporting Actress race had been looking the tiniest bit precarious until recently. Though critically beloved, "The Master" is clearly not a consensus favorite, while her excellent work in it risks getting sidelined -- not just because of her more prominently featured male co-stars, but because the chilly tenor of her performance as a slyly controlling kewpie-doll wife doesn't invite the same emotional response as some of her chief rivals.
Things are looking up, though. A win from the Los Angeles critics, who came through for "The Master" in a big way, is a major boost, and today it was announced that Adams will receive the Cinema Vanguard Award at next month's Santa Barbara International Film Festival -- which, like Palm Springs, is a useful stop on the Oscar campaign trail.
Though still early in his career, Bruno Mars has already proven himself so capable on so many fronts from singing to writing to producing that he’s set the bar incredibly high for himself. The question is can he meet it on “Unorthodox Jukebox,” his sophomore set out Dec. 11.
The multiple Grammy winner is only 27, but as he’s shown on such songs as “Grenade” and “Just The Way You Are,” he has such a sure command of the pop idiom that it seems surprising when he makes a misstep. It’s gratifying that on “Jukebox,” with assistance from Benny Blanco, Paul Epworth, Diplo and Mark Ronson, he makes so few.
Musically, “Unorthodox Jukebox” is a glorious exploration of pop music, full of spritely melodies, layered harmonies, and catchy choruses delivered in Mars’ caramel-dipped voice. It’s lyrically that the album occasionally falls short.
More so than any other current pop male artist, Mars has a sure handle on his influences and he masterfully incorporates them throughout the album, whether it’s Prince on the retro “Treasure” (he even references the Purple One’s “Sexy MF” in the opening) or Otis Redding on the bittersweet tale of regret “If I Knew.” With its shiny, crisp production, current single, the infectious, stuttering “Locked Out Of Heaven,” owes more than a little to Michael Jackson, one of Mars’ musical heroes.
The masterpiece on here is “When I Was Your Man,” a spare, heartbreaking piano ballad that could still be radio fodder decades from now, just as we’ll still listening to Elton John’s hits from the ‘70s on a near daily basis. In fact, the song most closely resembles one of John’s hits of yore crossed with a little Stevie Wonder.
Warning though: with Mars’ rush of fame, clearly there has been some kind of run-ins with women who can politely be described as gold diggers, but Mars is not always feeling gentlemanly.
On the cascading, confessional “Young Girls,” he regrets all the pretty young things he’s yielded to as his fame has risen. He’s not going to get a lot of sympathy for diving, seemingly repeatedly, into the deep end of Temptation Island, where the water is always warm and each bikini is tinier than the next, but he sounds genuinely conflicted when he sings, “I still dream of the simple life boy meets girl, makes her his wife,but love don’t exist when you live like this, that much I know/All these roads steer me wrong, but I still drive them all night long.”
It’s doubtful that these “young wild girls” will be “the death of me,” as he fears, but if he’s as “addicted” as he claims in the song, he may want to have someone checking IDs at the door and handing out condoms.
If he feels captured in a spider web of feminine wiles on “Young Girls” and on the ode to strippers, “Money Make Her Smile” (Hey, male artists: we don’t ever need another song about girls on the pole. Motley Crue had you covered way back when with “Girls, Girls, Girls.”), things turn very dark on “Natalie” a cautionary tale about the protagonist’s plans for revenge on a femme fatale who’s taken all his money. It’s cut from the same cloth as Jackson’s “Billie Jean” and “Dirty Diana” in terms of falling for a conniving woman, but Mars promises a final result that will end with “I’ll spend a lifetime in jail/I’ll be smiling in my cell.” Oh Bruno, it takes two to tango.
And tango he does on “Gorilla,” an R-rated, explicit song about sex, where he wants to make love like an ape. Unless you’re Dian Fossey, I’m not sure a gorilla is the animal most folks wish to emulate when they mate, but there you have it.
With only 10 tracks, there shouldn’t be any filler but there are two songs here that fill that role: “Moonshine,” a mid-tempo cryptic ballad and the reggae-tinged “Show Me” is all swagger about “getting freaky tonight.” That’s all fine, but there should be a little more meat on its bones.
Mars’ pop music is so far above much of what’s played on the radio these days so these quibbles come because it’s clear he can do better. Once his lyrics reach the level of his music—and he gets over his bad girl fixation— there will be truly no stopping him.
The San Diego Film Critics Society also dropped its nominees over the weekend and, well, they flew under my radar. But here they are, and "The Master" led the way with nine nominations. Not far behind was "Argo" with eight. "Django Unchained' picked up five while "Zero Dark Thirty" only managed four. "Silver Linings Playbook" rounded out the Best Film nominees with six nominations. Check out the full list of nominees below and keep track of the 2012-2013 film awards season via The Circuit.
The Washington D.C. Area Film Critics Association announced its list of nominees for the 2012 film awards season yesterday. Had no idea. Then winners today. A little too quick a turnaround, folks. Anyway, no surprise that Steven Spielberg's "Lincoln" led the field with eight nominations. Tom Hooper's "Les Misérables" wasn't far behind with seven. But it was "Zero Dark Thirty" that took the wins for Best Picture and Best Director. It wouldn't be too crazy to expect a number of these categories to match up perfectly with Oscar. Check out the full list of nominees and winners (***) below, and remember to keep track of the 2012-2013 film awards season via The Circuit.
Hey, if you're gonna loan a song to HBO series "Girls," you might as well call it "Girls," right?
Santigold did just that, as she contributes the new track "Girls" for the first volume soundtrack for the cable comedy. As the characters struggle with their own idiosyncrasies and repeat their mistakes, so does Santi repeat her vocal rhythms "around the block." The a cappella opening gives way to a minimal drum machine beat with all the high-end your hungover heart can handle.