A handful of releases this week so we'll start with Robert Lorenz's "Trouble with the Curve." I'm quite the fan, and as you heard in Friday's Oscar Talk podcast, Anne is, too. I still wonder how the Academy will respond but I'm also interested in what you guys have to say. So if/when you get around to it, head on back here with your thoughts. Also, feel free to rate it via the tool above.
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The debuts just keep coming on the Billboard 200. After seven new titles bowed this week, it looks like six albums will premiere in the top 10 next week.
Pink will land her first No. 1 with “The Truth About Love,” which will likely sell up to 245,000 albums, outpacing Kanye West/ G.O.O.D. Music’s “Cruel Summer” by as much as 50,000 copies, according to Hits Daily Double.
The Killers’ “Battle Born” will be the third title of the week to surpass 100,000 units, coming in at No. 3 with sales of up to 120,000 copies.
This week’s No. 1 album, Dave Matthews Band’s “Away From The World,” will drop to No. 4, while the No. 2 album, Little Big Town’s “Tornado” will fall to No. 5.
Grizzly Bear’s “Shields” is looking good to bow at No. 6, and Carly Rae Jepsen’s “Kiss” at No. 7.
Bob Dylan’s “Tempest” drops five places to No. 8, and country singer Easton Corbin’s “All Over The Road” debuts at No. 9. Adele’s “21” comes back into the Top 10 after landing at No. 12 this week .
Happy holidays! How about some honey-voiced industrial music?
Trent Reznor's How to Destroy Angels -- his group with wife and vocalist Mariqueen Maandig, longtime collaborator Atticus Ross and art director Rob Sheridan -- is preparing another EP release, titled "An Omen." It will be the first drop through their new label home on Columbia.
Trent Reznor's name has been among the closest-associated with "new indie" or "digital economy" or the good old-fashioned "DIY." Since his snipey break with Interscope during his Nine Inch Nails days, Reznor's been a vocal proponent of operating outside of the traditional major label system. He's sold his recordings -- including his Academy Award-winning compositions for "The Social Network" -- through his own social networks and partnerships and got to keep the royalties in-house (his own house).
Nipping it in the bud, he offered this short response via Facebook:
Saigon. Shit. I'm still only in Saigon.
I kid. I am thrilled to be heading into my second full film festival this month, something I'm not always going to be able to say. These are work, and I have suffered a bit of a physical ding on my way out the door to this one. I'm hobbled, as it were, with a torn Achilles tendon, which makes walking and sitting equally painful, but it very different ways. A real pleasure, that. So I did wake up this morning feeling a little bit like Martin Sheen in that Saigon hotel room, groggy and unsure about much.
And even so, I'm looking forward to eight full days of mayhem here, starting with last night's screening of "Frankenweenie 3D," which I just reviewed for you. I also managed to catch a midnight show, because just like in Toronto, many of Fantastic Fest's most potent pleasures will be hidden at that late hour, and "Here Comes The Devil" was certainly a dark ride to take at the witching hour.
Not to be outdone the day after Fox Searchlight dropped "Hitchcock" on the season, Focus Features would like to remind everyone of its own last-minute addition: Gus Van Sant's "Promised Land." The film, starring and written by Matt Damon and John Krasinski, has launched its first trailer and it's clear it's dealing in shades of shifting American values. That could be very powerful this season.
Sometimes, decoding a director's work comes down to one movie in their career, and the case could be made that with "Frankenweenie," Tim Burton has finally created the Rosetta Stone that perfectly encapsulates his preoccupations, his inspirations, and his own peculiar world view. There is biography contained in many of his films, bits and details and a perspective on certain things like suburbia and childhood, and "Frankenweenie" could well turn out to be one of his most essential films in any discussion of who he is as an artist.
John August wrote the script for this new version of the film, but this project sprang from Burton's head and heart. The original version, the live-action short film he made during his first tenure at Disney in the early '80s, was released briefly to theaters attached to the front of "The Black Cauldron," the studio's flawed-but-fascinating foray into fantasy. Along with his other short film, "Vincent," they felt less like auditions for commercial filmmaking and more like art therapy on Disney's dime. The feature version seems to merely expand on the ideas that were already present in the short, but in ways that flesh things out nicely.
Dan and I are almost done with our picks for who should and will win the major Emmy categories on Sunday night. In our next-to-last post, it's time to look at the contenders for Outstanding Comedy Series.
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
This week there have been a number of shake-ups, from significant scheduling shifts to new movies for the season to festival premiere announcements. And there are even a few movies to discuss, too. Let's see what's on the docket...
Unless I'm very much mistaken, this might qualify as the first official longlist of the awards season. (Don't get too excited -- you might not have any energy left by January.) The nominations for the European Film Awards -- effectively the Oscars of European cinema -- won't be announced until November 3, but we now know exactly what pool of eligible films they'll be drawn from.
Since voting from the vast selection of European films to play in theaters and at festivals over the past year would be impractical -- especially given that no two country's release schedules are alike -- the European Film Academy instead narrows the field using a system in some ways similar to that of the Best Foreign Language Film Oscar. The 20 countries with the most EFA members each elect one film to represent their country in the awards. Then, over 20 further films -- some from other countries, some overlooked by the national committees -- are added to the list by a panel of EFA board members and invited industry experts.
A review of last night's "Louie" coming up just as soon as I tune in every night for "The Crying Cleaning Lady Show"...