A review of last night's "Bunheads" coming up just as soon as we Skype with Hugh Jackman...
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A review of last night's "Bunheads" coming up just as soon as we Skype with Hugh Jackman...
It was back in April that we premiered the first yield from Owl City's "The Midsummer Station," as mastermind Adam Young combined with Blink-182's Mark Hoppus for rock-heavy song "Dementia." Now we're proud to present, for the first time, this new album's very first track.
"Dreams and Disasters" is an appropriate kick-off to this new set from Owl City, as it's a high-energy, hyper-melodic dance number, like fireworks without the fuse. Or, rather, a car on fire: this mysterious little narrative has a foot heavy on the gas pedal, a sensation that has Young exclaiming "I want to feel alive forever after."
"The Midsummer Station" is out next week on Aug. 21 via Republic Records, and boasts current single "Good Time," a co-lead with "Call Me Maybe" summer jam star Carly Rae Jepsen.
Here is the tracklist for "The Midsummer Station":
1. "Dreams and Disasters"
2. "Shooting Star"
4. "Dementia" (featuring Mark Hoppus)
5. "I'm Coming After You"
6. "Speed of Love"
7. "Good Time" (with Carly Rae Jepsen)
11. "Take It All Away"
As I said in my recent review, "ParaNorman" is an uncommonly beautiful stop-motion film, with some of the best character work I've ever seen in this sort of movie. Part of that is because of the advances Laika Studios has made in using laser-printers to sculpt the faces, and part of it is because they really worked with their cast to get something special.
I've had several opportunities to interview each of the featured cast members of "ParaNorman," so it was an incredibly relaxed and comfortable press day. That made it easier to immediately dig into the process that they went through to help bring these characters to life.
Leslie Mann is always fun to interview. She's always forthcoming and I've never seen her be anything less than full energy, no matter what film we're discussing. I have a feeling we're going to be having some long conversations soon about "This Is 40," and I wish I'd had a chance to see the new trailer before this interview just so we could cover that as well. We had plenty to talk about, though, just discussing "ParaNorman."
Saturday night I shelled out cash to see Sundance hit "Searching for Sugar Man." Malik Bendjelloul's documentary tells the incredible story of musician Sixto Rodriguez, who crashed and burned with record sales in the States in his time (the early 1970s) but became an inspiration for South Africans fighting Apartheid throughout the decade and into the 1980s.
Of course, the kicker is Rodriguez (his stage name) never knew about his worldwide success (he was also huge in Australia). Many fans had come to believe the myth -- different depending on who's telling the tale -- that he had killed himself on stage in some dramatic fashion.
Rodriguez was re-discovered in the 1990s and actually went to South Africa to perform sold-out concerts, much to the shock and delight of his daughters, who had no idea their father had it in him. But that's where he belonged, on the stage, telling stories through really great music. Indeed, many of the major music figures who worked with Rodriguez -- as the doc points out -- consider him on the top tier of their collaborators.
In spit-balling the upcoming fall festival circuit recently, I noted that, in my view, the New York Film Festival -- at least as a launching pad for year-end awards hopefuls -- had been underutilized in its time. But things have changed the last few years.
Up until the unveiling of David Fincher's "The Social Network," NYFF had been a stopping-off point for Sundance, Cannes, Venice, Telluride and Toronto holdovers, for the most part. Films like "Good Night, and Good Luck.," "The Queen," "The Darjeeling Limited," "The Class" and "Wild Grass" opened the fest after bowing elsewhere, while closing nighters such as "Caché," "Pan's Labyrinth," "Persepolis," "The Wrestler" and "Broken Embraces" did the same. Ditto a slew of centerpiece screenings.
But that exclusive bow for Fincher's film in 2010 was a turning point. The excitement was probably dampened a bit by the fact that Sony screened the film for press in New York and Los Angeles in the middle of the Toronto Film Festival, looking to get some headway while ultimate Best Picture winner "The King's Speech" was dominating the festival conversation, but it was a good start.
After going it alone for her last album, “Speak Now,” Taylor Swift has turned to top songwriters and producers for her fourth studio album, “Red,” out Oct. 22.
Both Max Martin, best known for his work with Britney Spears and Pink, and Ed Sheeran, who has written hits for One Direction, as well as has his own solo career, collaborated with Swift on the new set, which she recorded over a two-year period. Martin co-wrote first single, “We Are Never, Ever Getting Back Together,” with Swift and Shellback. Swift debuted the stompy, up-tempo pop tune today during a YouTube chat with fans and it is already available on iTunes.
[More after the jump...]
For a film that a lot of critics continue to believe is a disaster of momentous proportions, Michael Cimino's epic flop "Heaven's Gate" has received an awful lot of second chances. The vast period western is one of Hollywood's most enduring cautionary tales: made on the back of Cimino's Oscar triumph with "The Deer Hunter," it fell prey to the director's hubris as it ran catastrophically behind schedule and over budget, ruining United Artists as it grossed not one-twentieth of its then-massive $44 million budget.
Critics may have piled onto the already woebegone film, both in its 219-minute premiere edit (still a feat of restraint compared to the five-and-a-half-hour edit Cimino originally had in mind) and the studio-shredded 149-minute version prepared for general theatrical release, but the rehabilitation has been steady and dedicated over the years. Originally unveiled in Competition at Cannes, it's since been given other illustrious platforms from to recoup its credibility.
In general, I feel like my generation has been made stupid by nostalgia. We hold on to any terrible piece of crap from our childhoods simply because we recognize it from our childhoods. I am often startled by the things that people profess love for, and the only explanation for much of it is because recognition has replaced any sort of demand for quality. With "The Expendables," people seemed willing to excuse a truly awful, uninteresting action nothing simply because of the cast, and I just couldn't hang with it.
I'm also not exactly the biggest Simon West fan in the world. Just seeing the difference between the scripts for "Tomb Raider" and the film that West eventually released was enough to make me skeptical of his taste as a filmmaker. I find myself uninspired by his work. I think he's a competent shooter, and if that's all you need from a director, he's your guy.
Gordon Ramsay takes on the task of berating and shaking up clueless hotel owners on "Hotel Hell" tonight (two night season premiere Mon. Aug. 13 at 8:00 p.m. PT, Tues. Aug. 14 at 8:00 p.m. PT; regular series time will be Mondays at 8:00 p.m.) Ramsay will travel to San Diego, California; Couer d’Alene, Idaho; Cambridge, New York; Milford, Pennsylvania; and Winter, Vermont to fix the bad, the bedbug-ridden and the downright stinky. In a conference call with journalists, Ramsay talked about what he likes (comfortable rooms), what he doesn't (scratchy towels) and why we all need to complain more.
In “Sparkle,” Tika Sumpter, Jordin Sparks, and Carmen Ejogo play sisters— and daughters of Whitney Houston’s character. The trio embarks on a musical journey during which their sibling bond deepens and they each find out some truths about each other.
Sumpter, Sparks, and Ejogo found that playing sisters came easily to them, especially as they bonded during the recording of the cast album. “You know that it’s real when somebody can deal with your attitude or not,” Sumpter joked. “When somebody’s like ‘What is wrong with you’. You’re like, ‘Look, this is how I feel right now,’ and they accept you.”
[More after the jump...]
Christina Aguilera had welcoming words to the talent reality show world for her fellow former Mousketeer Britney Spears.
At a press conference for “The Voice” Sunday at producer Mark Burnett’s Malibu mansion, Aguilera, who is a judge alongside Blake Shelton, Adam Levine, and Cee Lo Green, was asked how she felt about Spears joining “The X Factor,” since the pop queens‘ careers have somewhat paralleled each other and they have known each other since they were tweens.
“I came up with Britney. [We were in the] Mickey Mouse Club. We were very close, and our paths have always crossed and, interestingly, they will continue to cross,” Aguilera said. “I welcome her to this family of fun and entertainment and finding new talent as well....I don’t know what [advice] she’s going to offer specifically, but I know she’s a pro...I think she’s going to give great advice.”’
Without being asked specifically about fellow diva Mariah Carey, who is joining the judges panel for “American Idol,” she said in general, “I welcome these very talented women. In this business, especially in my genre of pop.. women [get] compared to each other and it’s women against women and this and that and I’m not down for that at this point in my life. I have no patience for it. C’mon, the more the merrier.”
The biggest change for Season 3 of “The Voice,” which debuts in September, is the addition of The Steal. “We go from blind auditions to the battles, this year, there’s much more at stake,” Burnett said. “When [the coaches] have their battles and select one person to stay with them and one person to leave, the other coach can buzz in and steal that person that coach has sent home.”
Each coach can steal up to two contestants from other teams. Each team will leave the Battle Round with 10 contestants. That number will drop to five in the Knock Out Round.
Levine admitted that if a dropped contestant is not picked by another coach during the Battle Round, it is adding insult to injury. “It’s pretty debilitating getting let go and then, essentially, it’s three other people not necessarily wanting to keep you,” he said. “That’s just like getting kicked in the balls and punched in the face at the same time.”
With “The Voice” expanding to two cycles per year, Burnett acknowledged that it will be tough to keep the coaches, all of whom have very active careers. Adding that the initial coaches have their “chairs for life,” Burnett said the producers will never replace one of the existing judges permanently, but the judges may rotate out for a season to tour or fulfill other career duties, and then come back. While Green, who pushed back his Las Vegas residency to film Season 3 said he “hoped” he’d be back for Season 4 this spring, none of the other judges committed on whether they planned to return, but Aguilera hinted that there may be a point when she takes a sabbatical.
“For me, personally, we’re not speaking about anybody going or leaving or the details of that, I just know that I can only be so great as a coach if I keep on re-inspiring myself by going out, making albums... and gaining new stories and experiences on the road so that I can share with my team and bring it back.”
Aguilera mentioned that she is getting ready to drop “Your Body,” the first single from her forthcoming album. According to Pop Crush, she will debut the song on “The Voice.”
As if to illustrate the point, Levine left this morning for a three-week South America tour with his band Maroon 5, but will be back in time for the start of Season 3’s live shows.