The remake of the 1976 musical film “Sparkle” isn’t intended to serve as a historical document, but it does attempt to invoke the sounds and feel of the Motown era along with race relations in 1960s Detroit. It’s “American Idol” winner Jordin Sparks’ first significant film appearance as its title role, and was to be the late Whitney Houston’s return to the big screen (and now it serves as her swan song). It gets further wattage from freshly penned contemporary R&B songs from R. Kelly, as well as an ample opportunity reintroduce Curtis Mayfield classics like “Something He Can Feel.” It's got the sacred, the profane, and some soul.
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When "Mission: Impossible 3" was released, the thing I enjoyed most about it was the way it took a convention of the series and spun an entire bad guy plot out of that. In almost every episode of "Mission: Impossible," the team would grab some low-level nobody, knock him out, tie him up, and use their magic elastic masks to steal the guy's face. Hunt's mistake in the movie was doing that to Philip Seymour Hoffman, who decided to pay him back. It would be like a "Star Trek" film where the bad guy was some anonymous red shirt who was pissed off because Kirk left him for dead on an alien planet.
When I look at the trailer for "Taken 2," it feels like the same sort of interesting riff on the conventions of the genre, and I really like the set-up. In the first "Taken," Liam Neeson killed about 10,000 dudes who were all part of the same criminal organization. It's pretty standard action movie behavior, but what seems new is the idea that those guys actually mattered to someone, and so in this film, we see them strike back at him. It's very personal, and unlike a sequel like "Die Hard 2," where pure coincidence is the only thing that brings John McClane back into the action, this is very much a reaction to what John Taken (or whatever the hell Liam Neeson's name was in the first film) did.
BEVERLY HILLS - After The CW in the morning, it's time for Showtime, with Entertainment President David Nevins.
It's unclear if Showtime has anything controversial or newsworthy or even vaguely interesting, but click through...
Some fans of retro TV may remember "Beauty & The Beast" as an '80s TV show starring Ron Perlman and Linda Hamilton, but the CW hopes a new reboot premiering Thurs. Oct. 11 (9:00 p.m. ET) will freshen up the concept. This time around, the beast isn't a lion living underground, but a former soldier (played by Jay Ryan) who's been subjected to experiments while serving in the military. "We talked about the idea… of a super soldier gone bad," Executive Producer Sherri Cooper told an audience of press tour journalists. And don't get too comfortable with this beast basically being a good guy, either. "He's going to become beastlier [as the series continues] and we're going to explore story wise what the reasons are [for him to change]. He is going to get worse…"
Now that the first wave of festival announcements has hit, let's take a look at things.
Toronto came out of the gate first with a typically stuffed program. The high marks that could easily figure into the awards race include Ben Affleck's "Argo," Roger Michell's "Hyde Park on Hudson," David O. Russell's "Silver Linings Playbook," Joe Wright's "Anna Karenina," Tom Tykwer, Andy Wachowski & Lana Wachowski's "Cloud Atlas," Juan Antonio Bayona's "The Impossible" and Stephen Chbosky's "The Perks of Being a Wallflower."
Meanwhile, films looking for distribution that could come out of the fest with a buyer, staring at the season, include Robert Redford's "The Company You Keep," Mike Newell's "Great Expectations," Shari Springer Berman & Robert Pulcini's "Imogene," Derek Cianfrance's "The Place Beyond the Pines" and Terrence Malick's "To the Wonder."
Warning: Several vinyl albums were harmed in the making of this video.
“She’s So Mean,” Matchbox Twenty’s video for the first single from its first album of all-new material in 10 years, should be retitled "She's So Hot." As the lyrics state, “You want her, but she’s so mean,” as they detail a girl who wreaks havoc but you just can’t let her go. “Mean” = “Hot.” Trust me, no guy in the world would put up with this femme fatale’s antics if she weren’t a 10. Some guys like the cray-cray, but only when it comes wrapped in a very pretty package.
[More after the jump...]
Long rumored, but discounted by some, the Venice Film Festival has officially announced that Paul Thomas Anderson's "The Master" will make its highly-anticipated premiere at the prestigious European fest.
Anderson's follow up to the Oscar-nominated "There Will Be Blood," this new drama centers on a young drifter (Joaquin Phoenix in comeback mode) and the founder of a cult-like religion (Philip Seymour Hoffman) which is beginning to finally gain traction with the general public. The filmmakers and their surrogates continue to deny the connection between the fictional religion and Scientology, but as more footage is revealed the allegory is becoming harder to discredit. The picture also features Amy Adams and Laura Dern.
The Weinstein Company is releasing "The Master" in the United States and recently moved the film's limited opening up to Sept. 14. Along with the Venice news, it's a slam dunk that the film will also screen at the 2012 Toronto Film Festival which takes place a week before its release date.
Chris Brown's "Don't Judge Me" will be his next single, but the song isn't necessarily what you'd think it's about.
"And I've been through this so many times / Can we change the subject? / You gonna start asking me questions like..."
Will you continue to be a man-child in every interview you do? Will you hit a lady again? Can you please not slut-shame Rihanna? Why did you and Drake get in a public fight at a nightclub?
"...Was she attractive? Was she an actress?"
Oh, yes. That. Those are the kind of questions I'd ask Chris Brown.
Here is the emo cover art to "Don't Judge Me," off of his album "Fortune," out now.
Green Day continues to give fans peeks into “¡Uno!,” “¡Dos!,” and “¡Tre!”, the three albums coming out over a four-month period starting next month.
Today, we get a live video of “Let Yourself Go,” filmed Nov. 17 at a club in Austin, Texas. The Alternative Press exclusive is a little slice of punk pop that is a straight-down-the-middle fastball from the trio: it’s propulsive, snarly, and energetic. Plus, Billie Joe Armstrong, Tre Cool and Mike Dirnt are appropriately scruffy, looking like they’re running on no sleep and caffeine for days on end in the black and white clip. The live version stretches out a bit after a great, anthemic start. We’re hoping the album version is a tightly-wound, 2:30 version.
[More after the jump...]
BEVERLY HILLS - It's time for the last of the network executive sessions from the Television Critics Association press tour.
Click through to see what Mark Pedowitz has to say about the network's present and future...
It's the most wonderful tiiiiiime of the year.
Sure, most people sing that phrase as part of a Christmas carol, but for me, September is the month when I get all my presents, and once again, it's looking like it's going to be a month overstuffed with pleasure.
Last week, we heard the first batch of titles that were announced for the Toronto International Film Festival, an amazing overabundance of movies I am absolutely dying to see. That's what Toronto normally is for me, a collection of things I've already heard about that I'm eager to finally lay eyes on, while Fantastic Fest tends to be the opposite. That's more about me discovering films I've never heard of and would otherwise never see, and I simply trust that the programming team, which has done an amazing job each and every year so far, is going to once again lay out a buffet of amazing treats that I'm going to savor.
This morning, we've got the official announcement of the first wave of titles, and while I don't recognize many of them, it sounds like a really weird batch of titles. Sure, they announced that "Frankenweenie" would open the fest recently, but there's a lot of truly low-budget and obscure titles mixed into some amazing revival titles in this announcement. In other words, it sounds like Fantastic Fest.
Have I mentioned that I can't wait?
In the early hours of July 20th, I found myself starring at a tiny video screen inches from my seat. My JetBlue flight had just landed at LAX after a five-hour flight from JFK and I'd randomly turned to CNN as my plane was taxing toward the gate. There I discovered that a shooting had taken place at a midnight screening of "The Dark Knight Rises" in suburban Denver. Turning on my phone, I discovered twitter was being overrun with messages of disbelief and anger. Only a few hours before, on the same plane, I'd completed a lengthy article on "Rises" Oscar chances. My intent was to post it when I got home, just in time for the film's opening day. As the details of the shooting became more and more horrific, it became clear publishing my commentary anytime soon would be incredibly inappropriate.
It's been less than 10 full days since one of the worst single shootings in American history, but even for someone not dealing with the tragedy on a day to day basis it feels more like 10 weeks. Cable news networks devoured the story like the fire that enveloped the Hindenburg. Within half a day the shooting had been politicized and over-analyzed in everything from theater safety to the depiction of violence in movies. However, like so many events in our 24/7 news cycle, the public's attention has ultimately been diverted - mostly to the non-stop barrage of Olympics news and imagery (HitFix included). And to be frank, while the thriller's box office has been slightly under its processors haul, its 60% drop this past weekend had as much to do with the nation sitting in front of their televisions and watching tape-delayed opening ceremonies and swimming from London than the Aurora shootings. And for every friend or acquaintance who admits they are weary of seeing "Rises" because of Aurora, there are there or four who have already seen the film multiple times. Make no mistake, James Holmes is as disturbed as they come, but what happened in that theater could have taken place in a health club, a shopping mall or your local McDonald's. The reality of how it could have been prevented is another conversation entirely and will no doubt become a bigger issue when the story circles back when Holmes eventually faces a jury of his peers.
In Hollywood, the industry has been so shocked by the events that it's seemingly been frozen like a deer in headlights. The other major studios quickly realized they needed to join Warner Bros. in keeping the box office grosses for that weekend under wraps, but many of them are trying to quickly forget what could have been their own greatest nightmare. Warner Bros., the studio behind "The Dark Knight Rises," has been taking what can only be described as a day by day approach and trying not to over publicize its charity efforts. This is uncharted waters for any entertainment company or corporation. Some might see their conservative actions as callous, but the legal ramifications for any public move the Time Warner division makes at this point is serious business.
Happily, Christian Bale took it on himself to visit the survivors of the shooting and the only real evidence of his trip was the Facebook and twitter photos he took in the hospital, because this was for the fans, not the local or national news media (as one publicist friend at a rival studio remarked, "He can now pretty much run for president now," which of course he can't because he's British). The tributes continued Friday when the consistently remarkable composer Hans Zimmer released an original track titled "Aurora" from which digital sales go directly to a victim's fund.
So, with the Olympics in full swing and social media more obsessed with the Olympics and Kristen Stewart and Robert Pattinson's "break-up," does it break the bounds of good taste to discuss the awards season chances for "Rises" now?
Other pundits had weighed in "Rises" chances before the film opened. One respected Oscar expert even reported on the film's triumphant response at the official Academy screenings on opening weekend after the shooting (and "moment of silence" or not, its something I personally would have postponed, if possible). At the moment, Warner Bros. is trying to delicately walk the balance of convincing moviegoers to return to the movie theater without disrespecting the victims. Sort of like the fear of flying for some. You have to remind everyone a major jetliner hasn't crashed in over a decade. This "shouldn't" happen again tomorrow. Truth be told, no one will know the true effects on movie going habits until after the Olympics. Or, at the tail end when "The Bourne Legacy," "The Campaign" and "Hope Springs" debut on August 10. So, wondering whether a full fledged awards campaign is still in the cards for "Rises" has to be the furthest thing from the minds of anyone on the Warner Bros. lot. Will that be the case two or three months from now? We'll see. "Rises" earned somewhat unexpected rave reviews from influential critics at the LA Times, Time, Salon, the Hollywood Reporter and the New York Times (it got a solid B+ in my book). It's likely to land on the top 10 lists of a number of major critics and will have grossed over $425 million in theaters when all is said and done. All notable facts and figures for most tentpole awards season contenders. But, still. Even writing this post we wonder: Is it too early to talk about awards season and "The Dark Knight Rises" again?
When victims of Aurora are still in the hospital? Perhaps I'm oversensitive, but that's the easy reminder that Oscar should always take a back seat to the real world.
"Rises" and its Oscar chances can wait.