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<p>Thom&nbsp;Yorke of Radiohead</p>

Thom Yorke of Radiohead

Credit: AP Photo

Radiohead kicks off season 38 of 'Austin City Limits'

The Shins, The Civil Wars and Bon Iver also on tap

Radiohead, the Shins and the Civil Wars are among the acts on tap for season 38 of “Austin City Limits,” the long-running live music show that runs on PBS stations.

Radiohead will kick off the season on Oct. 6 with a full-hour performance. 

Below is the broadcast schedule. Seven additional episodes/artists are still to be announced.

[More after the jump...]

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<p>&quot;Le Tableau&quot;</p>

"Le Tableau"

Credit: GKIDS

More on the four GKIDS animated feature qualifiers

'Poppy Hill,' 'Le Tableau,' 'The Rabbi's Cat' and 'Zarafa' officially join the race

As noted in the updates of Monday's Best Animated Feature Film ponderings (which revealed the acquisition of Cannes hit "Ernest & Celestine" for a 2013 release), the indie distributor GKIDS will be qualifying four films for Oscar contention this year: "From Up on Poppy Hill," "Le Tableau," "The Rabbi's Cat" and "Zarafa." Added to Disney's "Secret of the Wings" and "Arjun: The Warrior Prince" (which were confirmed to me as well), that puts us at 17 titles officially in the running thus far, one more than the 16 necessary for a full slate of five nominees. And I don't see any eligibility concerns being raised for any of them on the horizon, so we should be good to go.

I assume many readers would like to know more about these films, which could ultimately shake up the race much like the studio's efforts did last year. So below, read through the official GKIDS synopses of each and start your speculating: which, if any, could end up on the eventual slate of nominees? My bet is currently on "Poppy Hill," but each film has a shot and each, most importantly, could really connect with animators -- you know, the folks who have the ultimate say on the matter.

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<p>Taylor Swift</p>

Taylor Swift

Taylor Swift's 'We Are Never Ever Getting Back Together' stays atop the Billboard Hot 100

Which two artists have two songs each in the top 10?

Taylor Swift’s “We Are Never Ever Getting Back Together” spends its second week at No. 1 on the Billboard Hot 100 as the song gains in airplay, but drops in sales.

Following a record-setting digital download week with 623,000 copies sold, sales of  “Never” drop to 307,000, according to Billboard, but that monster sum is still enough to keep the tune at No. 1 on the Digital Songs chart as well.

Interestingly, the song, which does not have a hint of country in it, drops 13-19 on Billboard Country Songs chart, while gaining on both the ADult Pop Songs (21-18) and Pop Songs (18-16) charts.  In a move clearly designed to court country fans (and her original fan base), who may be feeling  little left out on this one, Swift will debut the video for “Never” on CMT on Thursday.

The next two spots on the Billboard Hot 100 remain the same, with Flo Rida’s “Whistle” at No. 2 and Ellie Goulding’s “Lights” at No. 3.

Maroon 5 sees “One More Night,” the second single from “Overexposed,” leap 9-4, while Fun.s’ “Some Nights” rises 6-5.

Carly Rae Jepsen continues to be the girl of summer as “Call Me Maybe” remains ensconced in the Top 10 at No. 6, while her duet with Owl City, “Good Time,” bursts into the Top 10 at No. 9.

Rounding out the top 10, Katy Perry’s “Wide Awake” drops 5-7, Maroon 5’s “Payphone” featuring Wiz Khalifa slips 7-8, and Justin Bieber’s “As Long As You Love Me” featuring Big Sean slides 8-10.

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<p>Madonna in Philadelphia</p>

Madonna in Philadelphia

Madonna starts U.S. tour off with a bang, despite a few boos

Here's what the critics had to say about opening night

After raking in more than $115 million from her 34 shows overseas, Madonna brought her “MDNA” tour,  guns blazing, to the U.S. Tuesday night. The show, at Philadelphia’s Wells Fargo Center, did not start until 10:24 p.m., which added insult to injury to some who paid $355 top ticket, according to reports. The only explanation offered by Madge was “I want to apologize for being late. We had many changes to make from Europe to America, and I wanted the show to be perfect for you because my fans deserve it and quite frankly I deserve it.”

She also continued to voice support for Pussy Riot, as she did on stage in Russia, telling the Philly crowed, “We have freedom of expression. Never forget how lucky you are to live here.”

Watch very high quality video of the opening at the bottom of this post.

From most reports, all was forgiven once she took the stage in a spectacular that won’t soon be forgotten.
Here are some excerpts from opening night reviews:

[More after the jump...]

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Cyrus Spencer of "So You Think You Can Dance"

 Cyrus Spencer of "So You Think You Can Dance"

Credit: Fox

HitFix Interview: Cyrus of 'So You Think You Can Dance' talks plugs, critics

The show's first top 20 animator talks about his unique look

Cyrus Spencer, the 22-year-old animator/robotics dancer currently competing on "So You Think You Can Dance," has been a lightning rod for viewers this season. While some viewers have grumbled about his lack of dance skill, his adoring fan base continues to vote him through week after week. Tonight, fans will get a chance to speak (or not) for Cyrus again during the show's double-barreled competition/elimination episode starting at 8:00 p.m. on Fox. I had the chance to speak with Cyrus during the TCAs, and we hashed over why he doesn't read his own reviews, what he's hoping to convince the judges to say about him, and the good thing he wants to do once the show ends.

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<p>No Doubt's Gwen Stefani at the Teen Choice Awards</p>
<br />

No Doubt's Gwen Stefani at the Teen Choice Awards

Credit: AP Photo

Listen: No Doubt's title track from 'Push and Shove' a little stronger

How does it compare to 'Settle Down?'

I'll admit it. I couldn't listen to the entirety of "Settle Down," No Doubt's first new single from their comeback album "Push and Shove." I endured it pieces, sort of like I would one of those "Underworld" movies: bits at a time, then relax and check out something that doesn't feel like an assault on the senses.

The title track from No Doubt's album arrived today via Ryan Seacrest's show, and hits much closer to the hit mark. Despite a Jamaican rap that seemed forced into the mix, it's got the patented Gwen Stefani whine-sing that excited fans in the first place. The chorus is gummy and it's well-produced on the whole with Diplo behind the decks. Feeling the cool Shakira-bop beat to carry it.

On the other hand, No Doubt member Tony Kanal called "Push and Shove" their "Bohemian Rhapsody." That statement makes no sense and should be stricken from history.

"Push and Shove" the album is due on Sept. 25.

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<p>For many young viewers, 'The Nightmare Before Christmas' is one of their introductions to the concept of the movie musical.</p>

For many young viewers, 'The Nightmare Before Christmas' is one of their introductions to the concept of the movie musical.

Credit: Walt Disney Home Video

The Vacation Read: What does movie music mean to you?

Day three of vacation is a discussion about one of the most underappreciated parts of a movie

I hope you guys are having fun with this week's posts.  I'm probably at a museum with the boys this morning, and I always enjoy those moments when I help broaden their horizons in ways that aren't about movies.  Sure, I consider Film Nerd 2.0 a major part of what I do here at HitFix, but if I've ever given you the impression that all I talk to them about is movies, that would be wrong.

Sports, for example, are a big part of Toshi's world right now, and we're just gearing up for the fall baseball season.  Both of the kids also really love anything that has to do with science, and I love watching them attack a new topic, desperate to learn.  That appetite for education is something that life tends to beat out of people at some point, but in kids, it is undimmed, vibrant, essential.

One of the things that Toshi is most curious about as we watch movies these days is the music that is created for films.  I went to a scoring session last week, and I wish I'd been able to bring him along.  He's fascinated by the scores that he owns, and he plays them every time we're in the car.  The "Star Wars" scores are big ones, of course, and he's almost completely worn his "Empire Strikes Back" CD smooth from replaying "The Imperial March."  As I've mentioned here before, he also loves "Grease" and "Singin' In The Rain" and "The Nightmare Before Christmas," and he has no trouble buying into the reality of a movie musical.  I love that he and his little brother walk around the house singing the "Godzilla" theme, happy as can be.  Movie music means something to them.  It resonates with them.

But I know people who barely even hear movie music.  My own parents often tell me that they can't "hear" a score.  They're aware there is music in a film, but they don't hear it as a discrete part of the process.  It's background.  It's just wallpaper to them.  And while I can't imagine that, I can't fault them for it, either.  To them, discussion of movie music is like having a conversation about the color in a movie.

Here's my question for you today:  how aware are you of movie music, and what movie music would you describe as important or essential to you?  If you have specific memories of the music in films, I'd love to hear those memories.  If you work in film composition, I'd love to know what inspired you and got you to pursue that as a craft.  And if you're one of those people who barely register a film's score, can you explain to me what you hear when you're watching a film?

I look forward to reading your responses to this and all the other topics this week, and I'm thanking you in advance for participating, even if you don't normally participate.  If you guys don't respond, this is going to be a very slow week here on the blog.  I'm counting on you, and I hope that by the time I return next Monday, I'll know a lot more about you, and that I can use your answers to help make Motion/Captured even better.

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<p>Kate Hudson and Riz Ahmed in &quot;The Reluctant Fundamentalist.&quot;</p>

Kate Hudson and Riz Ahmed in "The Reluctant Fundamentalist."

Credit: K5 International

Review: 'The Reluctant Fundamentalist' weighed down with all-caps ambiguity

Mira Nair's touch still AWOL in thoughtful but drab Venice opener

VENICE - I haven't got my Peanuts archives to hand at the moment, unfortunately, but I think it was that pint-sized sage Linus Van Pelt who once opined that "there is no heavier burden than good intentions." Mira Nair's "The Reluctant Fundamentalist," a commendably argumentative but airlessly diagrammatic plea for parity in the still-ragged post-9/11 dialogue between Islam and the West, feels that strain more than most. A somewhat speciously juiced-up adaptation of Mohsin Hamid's acclaimed 2007 novel, adding a shrill hostage-thriller framework to an otherwise theory-based study of mutable cultural and spiritual identity, it would be typical book-club cinema even without a noble literary source: distributors might want to consider handing a bulleted printout of Points For Discussion to patrons as they leave the cinema.

In a nutshell -- and the film is rather fond of nutshells -- "The Reluctant Fundamentalist" tells the story of Changez (Riz Ahmed), a young, whip-smart Pakistani immigrant whose vertiginous ascent up the Wall Street ladder begins to stall when the grim events of September 2001 raise external barriers of xenophobic American paranoia, not to mention internal concerns of cultural betrayal. It's material that seems tailor-made for the touch of Mira Nair, the maddeningly inconsistent Indian-American director, many of whose best films to date have focused on brittle clashes between Eastern and Western social and political mores, sometimes within a single character.

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<p>Sam&nbsp;Riley in &quot;On the Road&quot;</p>

Sam Riley in "On the Road"

Credit: IFC Films

Toronto festival audiences to see a different cut of Walter Salles's 'On the Road'

The Jack Kerouac adaptation was met with mixed reviews at Cannes

Despite mixed reaction at Cannes, one of the films I've been most looking forward to all year has been Walter Salles's "On the Road." It's set to play Toronto next month, and I have heard that Tom Luddy -- one of the Telluride Film Festival co-founders and co-directors -- is high on the film, so it could pop up there, too (fingers crossed). But as it turns out, it won't be the version seen on the Croisette in May.

Indiewire's Jay Fernandez sat down with IFC Films president Jonathan Sehring recently, and amid a bunch of talk about the film being "an opportunity [he] couldn't pass up" and apparently loving it just the way it is ("for us it's a step up"), it seems Salles went back to the cutting room and came out with a new cut. According to Sehring, this was the filmmaker's decision, as he took a lot of the summer reactions to heart.

The new cut "is about 15 minutes shorter," Sehring tells Fernandez. "It’s a little over two hours now. He’s added certain things that weren’t in the cut that was in Cannes. He has been in New York and Rio and L.A. working on it the past couple of months, and it’s going to be very wet when it gets to Toronto. We’re locked, but they’re finishing the mix up right now."

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<p>Florence Welch of Florence + The Machine</p>

Florence Welch of Florence + The Machine

Listen: Calvin Harris and Florence Welch combine again for 'Sweet Nothing'

Singer puts on her dance pants

Calvin Harris has a bevy of guest vocalists lined up for his next full-length effort and singles, and Florence Welch is among them.

The Florence + The Machine singer has teamed back up with the dance producer for a new banger, "Sweet Nothing." The track premiered today on BBC's Radio 1 -- hence the radio rip. "I'm living on such sweet nothing," she explains in a big, descending, '90s style refrain, repeated as the fours hit the floor.

Welch's huge voice has met its beat match, and though she doesn't have that traditional diva vibe when it comes to the groove, it is extremely catchy. Love, meet desparation.

Harris and Welch previously worked together on a remix of "Spectrum," which certain

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<p>Matchbox Twenty</p>

Matchbox Twenty

Listen: Matchbox 20's new swoon-worthy single, 'Overjoyed'

Soon to be playing at a wedding near you

God knows, the members of Matchbox 20 have had a tough time in love in some of their songs, including most recent single, “She’s So Mean,” but with new single, “Overjoyed,” there’s nothing but sweet love going on, man, so don’t go trying to stir up trouble.

[More after the jump...]

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<p>OneRepublic's &quot;Feel Again&quot;</p>

OneRepublic's "Feel Again"

Watch: Ryan Tedder turns on his heartlight in OneRepublic video for 'Feel Again'

Download the single and help save a life

OneRepublic may have been making hits before any of us ever heard of Florence + The Machine, but the group’s new single (and video) “Feel Again,” takes a page directly out of Flo’s handbook with the hand claps and  same tribal drum pattern as any number of F+TM songs. You can even imagine Florence Welch singing the song instead of Ryan Tedder...and we’d like to.

The song sounds like a smash. But back to the video, which premiered today. Tedder is able to “feel again,” in part, because he picks up a magical orb, as one does,  that leads him to the lowest-key rave ever, where he’ joins his band mates. There are strings of neon lights and acoustic instruments that light up, and when Tedder sings, strings of light come out of his mouth.  It’s Las Vegas crossed with Bonnaroo with just the slightest hit of Ecstasy thrown in: check out the lighted badminton rackets.

[More after the jump...]

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