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Principle photography on Sacha Gervasi's Alfred Hitchcok biopic creatively titled "Hitchcock" began last Friday in Los Angeles. The film will star Anthony Hopkins as Hitch with Helen Mirren as his wife Alma Reville.
Well, I guess it's not a true "biopic." Based on the book "Alfred Hitchcock and the Making of Psycho" by Stephen Rebello, the film will tell the behind-the-scenes story of Hitchcock's brilliant thriller. James D'Arcy has been tapped to play "Psycho" star Anthony Perkins while Scarlett Johansson and Jessica Biel will play actresses Janet Leigh and Vera Miles, respectively.
Really, I prefer this kind of a glimpse at a person. The "greatest hits" approach to biopics is tired and rarely profound, but slices of someone's life such as this can be plumbed thematically to give a rich portrait of who they were. The chance to slow down and focus rather than breeze through the highlights for a quick fix more akin to an Encyclopedia entry than a film isn't appreciated nearly enough.
Spiritualized’s head pastor Jason Pierce, after 20 years of album-making, has forced himself into re-working well-trod scripture and reiterated motifs. Because it’s not broken, he doesn’t fix it. It’s hard for these new tunes on “Sweet Heart, Sweet Light” to not sound like something that’s been made before.
It's a night of Doubt Deja Vu on FOX's "American Idol."
For the second straight week, we're getting performances from this season's Top 7, following last week's shocking elimination and not-so-shocking save of Jessica Sanchez. And after we hear performances from the Top 7, we're gonna turn right around and hear another set of performances from the Top 7.
Yup. "Idol" is figuring we're gonna fit in 14 performances tonight.
Could be crazy.
My childhood had two DJs: Casey Kasem and Dick Clark.
Long before I started to develop my own musical taste, it was dictated to me weekly by these musical titans: Clark through my weekly dose of “American Bandstand” on TV and Kasem via “American Top 40” on radio, which started at noon on Sundays (which meant I inevitably missed hearing Nos 40-36 since we wouldn’t be home from church yet when the countdown started, but that’s a story for another time).
When word came down of Clark’s passing today from a massive heart attack at 82, my memory immediately turned to Saturdays at 12:30 p.m. in my living room in our house in Raleigh, N.C. My older sister, Jeannie, and I would plunk down in front of the TV and watch Dick Clark and his long white microphone. We knew all the star dancers by name (I vaguely remember a Louis and a Karen), and wondered if they were couples off-screen. We’d ooh and aah as they gyrated in a very G-rated fashion—unlike on “Soul Train”— in their polyester prints (this was the ‘70s, after all). The boys/men all had their hair parted in the middle, with their shirts unbuttoned down their chests, and the girls’ hair was straight as a stick, until “Charlie’s Angels” debuted, and then imitating Farrah Fawcett’s feathered locks became all the rage—for both the guys and girls. When The Village People craze began, there were cowboy and construction worker wanna bes strutting their stuff on “AB.” As much as “American Bandstand” set trends, it picked up on them just as quickly, especially during the “Saturday Night Fever” days.
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Tomorrow, at last, will bring the months of Cannes speculation to an end, as artistic director Thierry Frémaux announces this year's official festival lineup. Anybody with at least half an ear to the ground has some idea what to expect: Walter Salles's "On the Road" and Michael Haneke's "Love" (predictably picked up yesterday by Sony Pictures Classics) are among the inevitabilities, but we can hope for a few wild cards too. Last year shook up the formula slightly by adding two debut features to the Competition lineup: reaction was mixed (and neither film won a thing), but will Frémaux and company take a similar chance this year?
Whatever aces they may have up their sleeves, the festival may well have stolen tomorrow's thunder with one of today's announcements. The news that an extended, 269-minute "redux cut' of Sergio Leone's compromised 1984 masterpiece (no, I don't use that term lightly) "Once Upon a Time in America" is to premiere on the Croisette this year rather dwarfs the Competition conversation. Indeed, it'll be a remarkable lineup indeed if any one of the contemporary selections tops the restoration of Leone's gangster saga, which premiered at the same festival 28 years ago.
Nelly Furtado, who’s traversed a number of musical styles over her decade-long career, lands squarely in Rihanna territory with “Big Hoops (Bigger The Better),” the first single from her June 19 album, “The Spirit Indestructible.”
Produced by Rodney Jerkins, the tune, co-written by Furtado and Jerkins, has the rat-a-tat swagger of “Rude Boy” as Furtado, in her best street patois, lets us know, “I can go fast, I can go slow, I can go places nobody else goes.” It’s a meaningless little ditty that is all about the military beat and bragging rights (though she throws out a fun shout out to early ‘90s R&B boy band Another Bad Creation). It doesn’t have enough of a hook to work its way up the radio charts (especially since the shift to pure pop), but will likely do very well in the clubs.
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This past weekend, the deconstructed slasher flick “The Cabin in the Woods” opened in theaters. From the mind of Joss Whedon and his co-writer/director Drew Goddard, the film sets up multiple horror archetypes and then soundly and with a great sense of humor and affection for the genre breaks them down. As a woman who was once deeply enamored of the scary story, the release has called to mind what was, for me, the first moment that a chiller set itself deeply and irrevocably into my psyche.
There are horror films that I have found beautiful, poetic and masterfully crafted and still others that have simply opened a previously unknown gate of fear in me. But it is the sequence in “The Texas Chainsaw Massacre” described below that forever remains the first time a scene delved into my id and burned itself onto my conscious mind.
It started as a internet viral sensation months ago, and now Gotye’s “Somebody That I Used To Know” featuring Kimbra has found its way to the top of the Billboard Hot 100.
Propelled by Gotye’s performance on “Saturday Night Live” on April 14 and Darren Criss and guest Matt Bomer’s remake of the song on April 11’s “Glee,” the song rocketed in digital downloads last week, soaring to 542,000 copies. That was enough to send it past the 521,000 tally that Justin Bieber hit just two weeks ago with “Boyfriend.” The highest weekly total still belongs to Flo Rida’s “Right Round,” according to Billboard, at 636,000 in 2009.
A review of last night's "New Girl" coming up just as soon as Drea de Matteo is scheduled to appear...
Is Axl Rose having second thoughts about not showing up for Guns N' Roses' induction into the Rock & Roll Hall of Fame on April 14?
For the second time in a week, Rose has taken pen to paper to eloquently reveal his thoughts about the matter. As you recall, last week, he wrote a letter about why he would not attend the ceremonies.On Tuesday night, he posted a letter on Guns N' Roses website apologizing to the city of Cleveland for not showing up. We've printed it in full below, but it sounds like part of him was just plain scared of the reception he'd get (By the way, the former members of GNR who did show up looked like they were having a blast).