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<p>JD&nbsp;Pardo and Billy Burke in &quot;Revolution.&quot;</p>

JD Pardo and Billy Burke in "Revolution."

Credit: NBC

Series premiere review: 'Revolution' - 'Pilot'

What did everybody think of the new NBC drama?

I posted my review of NBC's "Revolution" over the weekend. Now it's your turn. (Or, it is for those of you who didn't already watch it online and comment in the initial review.) For those of you who just saw it, what did you think? Did this power-less world seem intriguing or boring to you? Do you want to know more about where all the electricity went? Did you feel this was a better post-Fring role for Giancarlo Esposito than his "Once Upon a Time" gig? Did you like the swordfight? Do any of the teenage characters do anything for you? And will you be watching again next week? 

Have at it.

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<p>Andy Serkis will be back to give Caesar a soul again, but it looks like they may need a new director for 'Dawn of The Planet of The Apes'</p>

Andy Serkis will be back to give Caesar a soul again, but it looks like they may need a new director for 'Dawn of The Planet of The Apes'

Credit: 20th Century Fox

Rupert Wyatt may drop out of directing 'Dawn Of The Planet of The Apes'

And if he does, he may be shooting his own career in the foot

Rupert Wyatt might want to take a breath and rethink things before he officially leaves the director's chair on "Dawn Of The Planet of The Apes."

Wyatt is very talented, no doubt about it.  His first film, "The Escapist," is stylish and full of good performances, and he managed to turn "Rise Of The Planet Of The Apes" into an unlikely hit even under enormous pressure from the studio.  The Fox development system is hard to navigate even for filmmakers who have made dozens of movies, but for someone like Wyatt, especially on a franchise as overall important to a studio's long-term strategy as the "Apes" series is for Fox.

It's important to remember how many major missteps they made over the years trying to get the series off the ground again.  There was Tim Burton's nigh-unwatchable attempt in 2001, and before that, over a decade of revolving-door development with directors like James Cameron and Oliver Stone taking a shot at the material.  Considering the way the original film series essentially helped to create the modern movie franchise model, it was pretty much a given that Fox would want to eventually get back into the business of making the movies.

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<p>Jordana Spiro and Zach Gilford in &quot;The Mob Doctor.&quot;</p>

Jordana Spiro and Zach Gilford in "The Mob Doctor."

Credit: FOX

Series premiere review: 'The Mob Doctor' - 'Pilot'

What did everybody think of the new FOX drama?

As I've said, I won't be writing reviews of every new fall series, but Dan and I did discuss "The Mob Doctorat length on last week's podcast. The short version is that while I like Jordana Spiro in general, this is a combination of watered-down hospital drama and watered-down mob drama, and the combination not only doesn't make either half better, it makes both sillier. And even if I'd been more engaged by the pilot, the Spiro character's decision at the end felt so contrived and premise-sustaining that I likely would have bailed after that.

For those of you who watched tonight, what did you think? Were you just happy to have QB1 and Zeljko Ivanek back on TV, even in these roles? Did you prefer one half of the show to the other? Did you believe Spiro would make the decision she made? And will you watch again?

Have at it.

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Watch: Tamara Taylor talks 'Bones' and 'Invasion of the Mother Suckers'

Watch: Tamara Taylor talks 'Bones' and 'Invasion of the Mother Suckers'

What's in store for Cam as 'Bones' begins Season 8
Interviews are all about priorities. You have to know what you want to discuss and if you have limited time, you can't dilly-dally in getting there.
And that's why my very first question for "Bones" co-star Tamara Taylor wasn't about any of the pivotal things that happened to Cam Saroyan in last season's finale -- no less an expert than Patricia Belcher's Caroline Julian called Cam the hero of the finale -- or any key developments going forward.
Nope. I wanted to talk about "Invasion of the Mother Suckers," the blaxploitation homage B-movie that surfaced last season and featured Cam in her pre-Jeffersonian days. 
So yes, this interview touches on Season 8, which premieres on Monday (September 17) night. Taylor and I discussed her appreciation of more serialized storytelling and how that ties into the Pelant arc. We also talked about why it was nice to see Cam respected for what she did in the finale. 
But mostly? 
"Invasion of the Mother Suckers."
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<p>&quot;The Truth About Love&quot;</p>

"The Truth About Love"

Credit: RCA

Album Review: Pink's 'The Truth About Love' revels in life's messiness

Mommyhood hasn't made her soft

A major part of Pink’s appeal over the past decade has been that she is so down to earth. Her considerable pop chops put her up there with Rihanna, Beyonce and Katy Perry, but she is the furthest thing from a pop diva.

When she sings “It’s been a shit day” on “The Truth About Love’s” first single, “Blow Me (One Last Kiss)” or prays for the elevator to come a little faster on “Walk of Shame” or admits “Sometimes I hate every single word you say” on “True Love,” there is something imminently relatable about Pink no matter how far up the charts she flies or how many platinum records she hangs on her walls. Even songs that seem joyous often come wrapped in a darkness that the self-proclaimed life-long “misfit” can’t ever quite shake. Unlike other artists who attempt to explain how things are to us, Pink is content to live in the confusing, murky margins along with the rest of us morons.

On “The Truth About Love,” her first album in four years and her first since becoming a mom, the effort Pink puts into making sure she doesn’t come off lost in the mommy afterglow is palpable (and audible). Motherhood has clearly added an important dimension to Pink’s life, but in many ways, she’s still the hot mess she’s always been. Thank goodness for that.

Much of “Love” deals with what the album title suggests: just how hard it is to make love stay. Sometimes she’s comical about it and sometimes Pink's heartbreaking, but she’s always honest. “The truth about love is it comes and it goes,” she sings in the title track and that may be the most that any of us ever really understand about it.

Musically she overtly reaches for more depth than we’ve heard from her before. She’s best known for party anthems or mid-tempo ballads about love gone wrong, but here she stretches into more musical millieus and they fit her just fine. Both the bouncy “True Love” and “The Truth About Love” owe more than a small debt to the hand-clapping songs made famous by the girl groups of yore. She goes for a White Stripes’ bluesy, echo-y vibe and distorted vocals on the verses of “How Come You’re Not Here.” Though she works with a raft of collaborators, including Dan Wilson, Max Martin, Jeff Bhasker, Greg Kurstin, and Billy Mann, there’s a consistency (and a certain recurring beat) that runs through the full album.

She can curdle with her withering lyrics. “I’ll wait right here until you get bored or she gets carded for beer,” she sneers as she simultaneously laments the absence of her cheating lover on “How Come You’re Not Here.”  “You’re an asshole, but I love you,” she sings to “the only love I’ve ever known,” on “True Love.” But we all know the truth: under that tough exterior is a soft marshmallow who isn’t beyond bursting into tears the second she’s alone.

One of the highlights is her duet with fun.’s Nate Ruess, who co-wrote “Just Give Me A Reason.” The two play a couple who are looking for some sign to stay together despite the fact their relationship is “collecting dust.” The song has an instantly recognizable  “We Are Young” stomp as its musical bed and the two play off each other well.

The same can’t be said for “Here Comes the Weekend,” one of the album’s weaker tracks. There’s an insistent four-on-the four beat that’s meant to “set off your sirens,” but the song feels a little flat until Eminem drops in out of nowhere. He’s a welcome presence, but it sounds as if he’s in a different song.  Lily Allen’s sweet-voiced guest verse on “True Love” fares much better. (Allen is credited under her married name, Lily Rose Cooper).

Pink doesn’t receive enough acclaim for her way around a ballad, even though she’s recorded beautiful ones before. She hits a new high on “Beam Me Up,” a poignant, string-laden tale about longing to be with someone who has died. Though never maudlin, the song, and her delivery, will touch anyone who “pick[s] a star to watch it shine” to feel a connection with the departed. On piano ballad, “The Great Escape” she recalls Bonnie Raitt. (Yep, you’re as surprised to read that comparison as I am to make it).

Though Ke$ha has tried to mud wrestle the title of trashy party queen away from Pink, Pink’s not about to give up her right to slur, wobble, and puke publicly without a fight, despite any new-found maturity. On “Slut Like You,” she borrows liberally from Blur’s “Woo Hoo” on the electro-clash rave up.  The message may be questionable, but the catchy beat is undeniable. On the hilarious “Walk of Shame,” she just hopes she hasn’t woken up with a tramp stamp as she tries to make a quick getaway from the previous night’s shenanigans.

With “The Truth About Love,” Pink continues on her path as the superstar we’d most like to grab a drink with. As her life experiences grow, so does her happiness, but also her questions and her confusion.  Better make that a double.

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<p>Sheri Moon Zombie does strong work as the lead in Rob Zombie's new film 'The Lords Of Salem'</p>

Sheri Moon Zombie does strong work as the lead in Rob Zombie's new film 'The Lords Of Salem'

Credit: Anchor Bay Entertainment

Review: Rob Zombie's 'Lords Of Salem' surprises and scares at midnight

Rebounding from the 'Halloween' remake, Zombie delivers his strongest film yet

If you had told me before the beginning of this year's Toronto Film Festival that I would prefer Rob Zombie's film to Terrence Malick's film, I would have laughed in your face.

And I would have been wrong.

One thing that is important to remember when looking at ratings on my reviews is that each film exists in a vacuum.  The letter grade I give has to do with how well I feel the filmmakers have accomplished their goal with the film.  At the end of the year, my top ten favorite list might not be the list of the films that had the highest letter grades for the year because I love flawed films sometimes despite their flaws, and I've seen technically "perfect" movies that didn't do much for me on an emotional basis.  So while I think Malick's film is perhaps much more accomplished on a technical level (there's no arguing with the luminous quality of Emmanuel Lubezki's photography), it left me cold in many ways, and that has to count for something.  Beyond that, it feels to me like Malick is starting to settle into his style to the point where it's almost becoming a straightjacket for him.

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Watch: 'The Mob Doctor' star Jordana Spiro discusses going dark places for FOX

Watch: 'The Mob Doctor' star Jordana Spiro discusses going dark places for FOX

What made the 'My Boys' star gravitate towards drama this year?
You can't pigeon-hole Jordana Spiro.
Between her tomboy sportswriter on TBS' "My Boys," her scene-stealing airhead in "Must Love Dogs," her Doomsday-loving cult groupie on "Dexter" and her gangster-treating MD on FOX's "The Mob Doctor," the only commonality is the actress playing the parts.
Last week, I sat down with Spiro to discuss "Mob Doctor" and Grace Devlin, who is self-explanatorily balancing her obligations as a doctor and her debt to the mob. We chatted about why she targeted a drama pilot this development season, how morally and ethnically compromised Spiro wants to see Grace become and, because I was distracted by the prayer-tinged poster behind her, the show's particular approach to faith.
"The Mob Doctor" premieres on Monday, September 17 at 9 p.m. on FOX.
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<p>Ben Folds with a Fraggle</p>

Ben Folds with a Fraggle

Watch: Anna Kendrick, 'Fraggle Rock,' Rob Corddry join Ben Folds Five video

'Do It Anyway' has the trio and the Henson puppets in reunion mode

"It's like a double reunion," Ben Folds says in the making-of video for "Do It Anyway." He's describing the sensation of his band putting out their first album in 13 years, and of "Fraggle Rock" coming back together for their 30th anniversary to help promote the set.

"Do It Anyway," as the rock group said, has a bounce like Muppets composer Paul Williams, so it works here for the video, which also features comedian Rob Corddry as a studio engineer and Anna Kendrick as the front desk ditz.

But, yeah. It's mostly Fraggles, and the imagination of Nerdist's Chris Hardwick. "We're making a Fraggle rock video," he enthuses.

Is this the sign of more Fraggly things to come? If the franchise is on the cusp of 30 years, we certainly hope so: just check out the reaction of all the musicians and actors to the theme song at the end of the clip.

"Do It Anyway" is off of "The Sound of the Life of the Mind," out tomorrow (Sept. 18). Do you like the track? Does the video give your heart much joy? Where's your Boy George tat?

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<p>Amy&nbsp;Adams and Clint Eastwood in &quot;Trouble with the Curve&quot;</p>

Amy Adams and Clint Eastwood in "Trouble with the Curve"

Credit: Warner Bros. Pictures

Amy Adams stands out opposite Clint Eastwood and Justin Timberlake in 'Trouble with the Curve'

How will it play for the Academy?

I guess I'm a little bit confused. After being told up one side and down the other to beware Robert Lorenz's "Trouble with the Curve," I found myself liking it just fine. It's a bit unruly in spots and amateurly conceived in others, but never to detriment. And even Clint Eastwood's grizzled performance, threatening to make good on the promise of "Gran Torino" (i.e. that he'll be in the self-parody business from here on out) didn't strike the sour chord I expected it to.

Then as the movie went along, I realized the framing -- my framing -- was all wrong. This isn't Clint Eastwood's movie. This is Amy Adams's movie. And she's great. Coupled with "The Master," her work here further shows a dynamic range for the actress, who by the way landed three Oscar nominations in just six years, for those keeping score at home. And if you're still not convinced, have a look at "On the Road," where she shows up out of nowhere and gives a unique if brief take opposite Viggo Mortensen.

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<p>Tim McGraw in &quot;Truck Yeah&quot;</p>

Tim McGraw in "Truck Yeah"

Watch: Tim McGraw's 'Truck Yeah' video

Does it rev your engine?

Tim McGraw’s new video for his current single, “Truck Yeah,” came out today and let’s start with the positive. First off, the clip could have featured a truckload of scantily-clad country cuties in Daisy Dukes bent salaciously over their men’s trucks and the video does not (I know that is a detriment to some). Instead, the lone female in the video is driving herself, she’s dressed sexily but not tackily, and is in complete control. Yeah, girls drive trucks too...

Secondly, though Chevrolet does get a little more branding than the rest, McGraw displays equal love for Chevy, Ford, and Dodge trucks. We’re sure there’s a commercial tie-in coming down the road, but this isn’t it.

Third, as always, McGraw looks hot.

[More after the jump...]

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<p>Tom Holland and Naomi Watts struggle to keep each other alive in Juan Antonio Bayona's new drama 'The Impossible'</p>

Tom Holland and Naomi Watts struggle to keep each other alive in Juan Antonio Bayona's new drama 'The Impossible'

Credit: Lionsgate/Summit

Review: Ewan McGregor and Naomi Watts struggle to survive 'The Impossible'

A remarkable recreation of a real disaster leaves our reviewer shaken

One of the hardest experiences of the Toronto Film Festival for me was an afternoon screening of "The Impossible," a remarkably well-made movie about an English family living in Japan who head to Thailand for the Christmas holidays, where they are caught in a sudden tsunami that is devastating, terrifying, an awesome display of nature's greatest wrath.  The family is separated and the majority of the film is made up of their efforts to reunite in the middle of a mind-boggling crisis.

"The Impossible" is by Juan Antonio Bayona, working from a script by Sergio Sanchez, and it is an impressive, muscular production that more than pays off the promise of "The Orphanage."  I liked that film, but didn't love it.  I admire the way it's made more than the particular details of the story.  It's fine.  It's solid.  Bayona and Sanchez both have aimed higher in their second collaboration, and "The Impossible" is so aggressive about what it's doing that it shook me up.  I had a near-physical reaction to some of the film's most difficult imagery, and there's a lot of it.  This is not an easy film to digest.  I would compare it to "Black Hawk Down" in that there's not a lot of larger dramatic plotting going on in addition to the survival tale.  The whole point is to put the audience in danger, to make us feel what these characters feel in a very immersive and physical manner.  Survival is the story here, as well as the reunification of the family.  It is hard to imagine anyone arguing against the skill on display in the way the film is brought to life.

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<p>Tahar Rahim and Emilie Dequenne in &quot;Our Children,&quot; Belgium's official Oscar submission.</p>

Tahar Rahim and Emilie Dequenne in "Our Children," Belgium's official Oscar submission.

Credit: Peccadillo Pictures

'Our Children' and 'Pietà' among latest additions to foreign Oscar longlist

Portugal opts for 'Blood of My Blood' over critics' favorite 'Tabu'

It's been a few days since I've updated the longlist of submissions for the Best Foreign Language Film Oscar -- and, with the deadline exactly two weeks away, a few days amounts to a tall pile of new entries. I haven't yet had time to investigate the finer points of such exotic-sounding submissions as Croatia's "Cannibal Vegetarian" -- cursory research tells me it's less about cannibals than junkie gynaecologists -- but a few higher-profile possibilities have entered along with the probable filler.

Before I get to those, however: I figured that with the submissions count up to 28 (expect that to double in the next fortnight), we have enough films to begin playing with some predictions. So you'll find a highly malleable top five on the right-hand sidebar, drawn the pool of entries so far, with further rankings on the relevant Contenders page. None of it is to be taken too seriously, of course -- least of all in this eternally confounding category. 

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