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I am a "Gambit" pimp.
For those of you unfamiliar with the film, you can go ahead and start writing me the "thank you" note you'll eventually send to me right now, because "Gambit" is one of those movies that people get passionate about after they've seen it. I was the same way. I'd never heard of it until QT Quattro, the fourth of Quentin Tarantino's film festivals in Austin where he would take over the Alamo Drafthouse for a week or more and just show prints that he owned. It was February of 2000 when I attended the festival where he showed "Gambit," and here's what I wrote about it afterwards:
I’ve never seen GAMBIT before. In fact, I’ve never heard of it. No matter. I’ve seen it now, and I’m totally taken with it. It’s one of the most consistently clever heist films I’ve seen, and there’s a wonderful balance between the plan the way it should work and the way it finally does work. Herbert Lom and Michael Caine are both excellent in the film, delivering wry comic work, fully engaged by the whole cat and mouse of being thief and target. I have to reserve special praise for McLaine, though. When I was a kid, she was already starring in TERMS OF ENDEARMENT, so that’s the image of her I had first. It’s hard to reconcile the wicked funny f**k bunny of THE APARTMENT and this film with her New Age grandmotherly self, but there’s no denying her appeal in this film. She’s such a confident comedian, so knowing, so in command of herself physically, that she energizes the first 20 minutes of the film without saying a single word.
It’s funny what can distract you from a picture. For me, the one thing that jarred me (pun fully intended) in GAMBIT was the score, written by the wonderful Maurice Jarre. The main theme of the film is quoted directly from his own LAWRENCE OF ARABIA. It’s a major quote, and it would pull me out of the movie for a moment each and every time it happened. That’s a minor quibble, though, not even a real complaint. The day I complain about watching a great film while listening to Maurice Jarre music, you should remind me to quit doing this. This film is a long con from the moment it starts, and not just for the characters. Sargent and Neames work with confidence and poise to hoodwink the audience, and when we all realized exactly how we were being played, the audience went nuts, cheering wildly at the sheer skill. From that moment on, the film had a blank check of goodwill from me. Thankfully, it’s much more than just one clever moment. It keeps working overtime to the very last frame, which should leave you smiling from ear to ear if you have any affection at all for the genre.
Now, twelve years later, I've seen the film five or six times, and I've grown to love it even more. I have spent those twelve years doing everything I can to motivate other people to see it, which was complicated by the fact that it wasn't on video for the longest time. Right now, it's available for purchase exclusively from Amazon, as part of their Universal Vault Series, but it's also available streaming through Netflix Instant.
“Late Night with Jimmy Fallon” will celebrate the release of Bruce Springsteen’s “Wrecking Ball” with a week-long musical salute starting Feb. 27.
Springsteen and E Street Band will open the festivities with two performances on Feb. 27 and then return on March 2, “Late Night’s” third anniversary.
In between, other artists will pay tribute to The Boss. On Feb. 28, Springsteen fan Kenny Chesney will perform “I’m On Fire.” On March 1, Springsteen’s buddy Elvis Costello will play “Brilliant Disguise” with The Roots.
Jimmy Fallon previously gave a week-long salute to Pink Floyd in September that featured Pink Floyd’s Roger Waters and Nick Mason, as well as performances by The Shins, Foo Fighters, MGMT, Dierks Bentley and Pearl Jam.
Springsteen previously appeared on “Fallon” in 2010 when the two did a parody of Willow Smith’s “Whip My Hair.”
"Wrecking Ball" comes out March 6.
Well, enough belly-aching over this nonsense. Pick something and move on. So I have.
This morning's Oscar Talk let you into the bizarre, weird, obsessive head space of figuring out how 6,000 people are gonna vote. Sometimes it's easier when you don't have a dog in the hunt (and I certainly don't this year -- at least out of what's plausible), but not this time around. The major categories seem relatively decided but it's throughout the craft categories where you start to see potential scenarios popping up all over the place.
There were four categories still giving me pause when we wrapped up the podcast, areas that I felt I might just revisit and flip-flop to something else and yada, yada, yada. They were Best Cinematography, Best Costume Design, Best Sound Mixing and Best Visual Effects. But, well, I didn't. I'm sticking with what I called there and calling it a year. Let's see what happens.
Jean Dujardin may be the frontrunner to take the Best Actor Oscar in Hollywood on Sunday, but he had to endure a defeat on his home turf tonight, as the French superstar lost the César Award to the comparatively unheralded Omar Sy, who plays a young man from the projects hired to look after a wealthy quadriplegic in the domestic smash "Untouchable." (The film, incidentally, was crucified by Variety's Jay Weissberg, who describes it as racist claptrap; the Weinsteins have the remake rights.)
I doubt Dujardin is too bothered: clearly, voters for the France's answer to the Academy Awards loved "The Artist" enough that they felt free to throw someone else a bone in one major category. The Oscar frontrunner took six awards, including Best Picture, Best Director for Michel Hazanavicius and Best Actress for Bérénice Bejo, questionably nominated in the supporting race across the pond. If I'm keeping score correctly, this is Bejo's first actual trophy of the season -- it's nice for her that it came in the correct category.
Over the course of a 30-year career that includes work on over 70 films, Willem Dafoe has demonstrated an eclectic range in role selection. A quick glance at his IMDB page illustrates the variance in his cinematic range. The top four “known for” films that the site has pulled out for him are “Spider-Man,” “Finding-Nemo,” “The Boondock Saints” and “The English Patient.”
The upcoming “John Carter” reunited Dafoe with “Finding-Nemo” helmer Andrew Stanton and provided the actor with a fresh opportunity to be “turned on” as an artist: performing in a motion-capture suit on stilts. His character in the film, Tars Tarkas, is a 9-foot-tall alien from Barsoom (Mars). While speaking about his career at the recent Tempe, Arizona press event for the film, Dafoe mused about the somewhat capricious nature of cinema.
One thing that's going to be fascinating to watch unfold in the next few years is the ways films are distributed. We live in an age where the landscape seems to shift daily, and as a result, the people who will be best suited to succeed are the ones who are willing and able to embrace new ways of thinking and who are willing to try new models to deliver movies to people, both theatrically and at home.
On March 1, 2012, next Thursday night, there will be a one-night-only theatrical engagement for the new documentary "No Room For Rockstars," which traces the history of the Vans Warped Tour. Directed by Parris Patton, the film features many of the bands who were featured on the tour over the years.
In addition to showing the film, the event (you can find out which theaters are participating at the film's official website) will also feature a panel discussion with producer Stacy Peralta, director Patton, and several other people including the band Suicide Silence, conducted live from the Santa Monica Laemmle's Monica 4-plex. The film played at the 2012 Slamdance Film Festival, and it will also play at next month's SXSW fest in Austin, before arriving on iTunes on April 2 and DVD on May 15. Festivals, one-night live simulcasts, and then an iTunes release before DVD? That's certainly not the way I'm used to seeing a film get released, but that's good. I like that small films can find their own way these days.
Tonight, We Are Augustines are getting a big television introduction. In many ways, the trio has been through a number of those -- introductions and reintroductions, that is.
Billy McCarthy and Eric Sanderson originally played together in Brooklyn band Pela. One of the group's EPs was released by Brassland, founded by the guys in The National (and, for fans, the similarities between the two bands is quite striking). That business relationship floundered. Then Pela shacked up with Great Society, the shambolic spin-off label of the World's Fair management company founded by Flaming Lips manager Scott Booker. The release of full-length "Anytime Graffiti" was a weirdly soft release, with a leg in 2007 and 2008, and the band ultimately severed ties there, too.
Even having toured and opened for the aforementioned artists, plus those like Sonic Youth and the Decemberists, there was always this feeling that Pela petered on the edge of totally eating it or getting really, really big. Business just never went their way.
Instead, Pela dissolved in 2009, with Sanderson and McCarthy going on to We Are Augustines.
"Over the past 2 years we’ve faced tremendous obstacles. We recorded an album twice, had a falling out/legal battle with our old label, fired 2 managers, had a big record deal fall through," read part of the wrap-up on Pela's site.
The Augustinian transition was even marked with tragedy: McCarthy's brother, who was mentally ill, committed suicide after having spent years in solitary confinement in a California prison. The emotional impact of that, plus the exhausting traditional label system having had its way with the band previously, made for a very new and different band.
In 2011, We Are Augustines released their first album "Rise Ye Sunken Ships," a set that consisted partly of songs McCarthy had written for Pela's second full-length outing. Taking on drummer Rob Allen, the group then released the album themselves through their own Oxcart label, backed by devotees like KEXP's John Richards. "Sunken Ships" was amped by single "Chapel Song," which has just the right amount of poison and sugar, with an impactful music video to match (below).
Last year, the band also toured in the U.K. five or six times, with the help from band fans like the Boxer Rebellion. Like The National did prior to "Boxer," We Are Augustines are enjoying even greater success overseas than they are here in the U.S. For now.
Because it appears that the trio are about ready for another reintroduction.
He may actually have a gold statuette on his mantelpiece, and therefore less to complain about than wholly unawarded contemporaries like Todd Haynes and Mike Leigh, but Ang Lee's Oscar history is a curiously spotty and compromised one -- repeatedly following a pattern of apparent goodwill on the industry's part, followed by the Academy unceremoniously pulling the rug from under his feet.
Following two consecutive losses in the Best Foreign Language Film race in the mid-1990s -- one of which, for the popular family-and-food drama "Eat Drink Man Woman," qualified as a semi-surprise -- the Taiwanese native returned the very next year with his English-language debut, "Sense and Sensibility." It was a sufficient critical hit to emerge as a considerable Oscar favorite, landing Lee Best Director wins from the New York Critics' Circle and the National Board of Review, plus his first DGA nod, only for its hopes to be swiftly and surprisingly dashed when the Academy nominated the Jane Austen adaptation for seven Oscars -- none of them for Lee.
I don't want to read another story about how and if an "Arrested Development" movie is going to be made. I'll purposely avoid reports on another, "rumored" Smiths reunion. Some news just needs to be put to bed, and only brought back up if there's something solid to go on.
This is why I appreciate Andre 3000 and Omar Rodriguez-Lopez' recent candor about "new projects" from their respective bands, OutKast and At The Drive-In.
The former told GQ that, contrary to "talk on the Internet," there isn't another record from him and 'mate Big Boi.
"I have to say that as of now, there are no plans for another OutKast album," he said, adding that he is plotting another solo album and has been concentrating on collaborations (like those with Beyonce on "Party" and with Damon Albarn and James Murphy on "DoYaThing).
"There's a lot of music on the horizon. I've been living off the excitement of new artists. I've been privileged to have these new artists kind of reach out and grab back and say, 'Hey, Andre, we want you on this song'," he said. "So these new artists have kind of been keeping me alive. I've just really been feeding off of that and this year I think I'm planning to do a solo project. I don't know when it will come out, but hopefully it'll come out this year .As far as OutKast, I really don't know if or when that will happen.
Rodriguez-Lopez is busy promoting The Mars Volta's next album "Nocturniquet," but also the reformation of ATDI for the Coachella Valley Music & Arts Festival and for Spain's Benicassim Festival. He told Karrang! magazine* that getting back together with ATDI was strictly for nostalgia ($$$), and that the group wasn't going to pursue making new material.
Not to get all Donald Rumsfeld about it, but considering how many pundits are approaching Sunday's ceremony with an air of blasé resignation, there are still an awful lot of known unknowns in this year's Academy Awards race -- more, I'd venture, than there usually are at this eleventh-hour stage in the game. A presumed weight of predictability has held down the nomination list for several weeks now, dulling speculation and analysis... yet when you actually sit down to cast final predictions in all 24 categories for whatever pool you're playing in, you find yourself pausing, or even stalling, for thought far more often than you thought you might.
Of course, the blind spots in this year's race aren't where most observers would like them to be. Yes, Best Picture for "The Artist" is a done deal, and honestly, has been so for the better part of the season -- to such a degree that even picking an alternative for my final predictions list proved as difficult as it is surely futile. When the runners-up in a marathon aren't even visible from the winners' position, it can be hard to distinguish between them.