Michael Fassbender's had nearly a month to get over missing out on an Oscar nod for "Shame," but clearly the snub still rankles for others. While we recently had Alfre Woodard calling out the Academy on being too conservative to consider him, "Shame" director Steve McQueen has now weighed in, calling Fassbender a "once-in-a-generation actor" and extending the blame for his non-nomination to America in general: "In America they're too scared of sex, that's why he wasn't nominated. If you look at the best actor list you're saying, 'Michael Fassbender is not on that list?" McQueen may be right that a lot of voters were uncomfortable with the film, but I think he'd be surprised how many of them didn't see it at all. [Yahoo! Movies]
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You know what? I don’t think LMFAO is remotely apologetic for party rocking. At least not by the likes of the new video for “Sorry For Party Rocking.” I also am not so sure how much the Redfoo and Sky Blu’s electro-pop anthems lend themselves to complicated linear plot lines, so the duo wisely keeps the hijinks light.
The clip opens with an fake old couple reminiscent of The Ropers from “Three’s Company” or Al and Peg Bundy from “Married With Children,” in that the wife wants some action, but the husband is not in the mood. He goes over to the party house to get them to turn the noise down, but, of course, no one, even the cops, are about to stop the music.
[More after the jump...]
A review of last night's "How I Met Your Mother" coming up just as soon as I go camping in secret...
JAMES BOND 007 DECLASSIFIED
File #1: "Dr. No"
This series will trace the cinema history of James Bond, while also examining Ian Fleming's original novels as source material and examining how faithful (or not) the films have been to his work.
Directed by Terence Young
Screenplay by Richard Maibaum & Johanna Harwood & Berkley Mather
James Bond / Sean Connery
Honeychile Ryder / Ursula Andress
Dr. Julius No / Joseph Wiseman
Felix Leiter / Jack Lord
M / Bernard Lee
Professor RJ Dent / Anthony Dawson
Miss Taro / Zena Marshall
Quarrel / John Kitzmuller
Sylvia Trench / Eunice Gayson
Miss Moneypenny / Lois Maxwell
Major Boothroyd / Peter Burton
Sister Lily / Yvonne Shima
Sister Rose / Michel Mok
Annabelle Chung / Marguerite LeWars
Superintendent Duff / William Foster-Davis
Mary Trueblood / Dolores Keator
Jones / Reggie Carter
Pleydell-Smith / Louis Blaazer
General Potter / Colonel Burton
There's no pre-credits sequence sting on this one, so they hadn't had that particular a-ha moment yet. Just titles, right away. The "Three Blind Mice" segment of the credits, leading into the Three Blind Mice on the streets of Kingston, Jamaica, footage obviously shot on location, is one of the strangest transitions into a Bond film ever, but you can hardly blame them. They didn't know what they were doing completely in the first film. They were working hard to define the films right away, and the big booming theme music that starts the film is one of the signatures that was in place from the very beginning. As adaptations go, it starts off fairly close to the book, and this works to start telling the story even before Terence Young gets his credit.
It's hometowns week! Really, this is one episode which is almost interchangeable from season to season. I can't wait for this guy to meet my family! They're worried I'll get hurt! But I love him so much! Meaningful talk between the bachelor and the parents! Parents are charmed, mostly! Everyone lives happily ever after until the next bachelorette gets kicked off the show and her family gets to say "told you so," but we don't see that part. In short, Ben will be eating lots of casseroles, drinking lots of bad wine and doing his best to be a nice young man. Don't bet on skinny dipping this week.
So what’s worse than Chris Brown and Rihanna reuniting for one remix? How about the fact that they reunited for two remixes. Just in case we didn’t get the hint that she had forgiven him for bashing her about three years ago, Rihanna not only had Brown appear on the remix of “Birthday Cake,” from her album “Talk That Talk,” but she showed up on a remix of his song “Turn Up The Music” on Monday.
And wait, it gets even better! Monday was Rihanna's birthday!
On the salacious “Birthday Cake” Remix, which has been stretched by nearly two minutes from the short version that appears on the album, Brown comes in around 1:15 with the phase “Girl I want to fuck you right now/I’ve been missing your body.”
[More after the jump...]
A review of tonight's "Smash" coming up just as soon as I can hear it in the O's...
The blind auditions continue! Right now!
8:01 p.m. EST - Ducky from Pennsylvania has a silly mustache, and he paints. If he gets on "The Voice," he can get married! So, there's a lot at stake. I'd suggest he could get married anyway, as he probably needs someone to help support him and pay his bills, but alright. He performs "Tighten Up." Though he has a pretty unique, nuanced voice, no one turns for Ducky. Cee-Lo just didn't feel he was the best. Christina wishes she'd pressed her button. Adam declares he has a sweet mustache! Easy to say when you're not stuck grooming him, Adam. Blake offers him a sip from his cup. Ducky takes it, because it's all he's getting. Blake thinks he'll look back and regret not snapping him up. Carson invites everyone to weigh in on whether @duckydukemusic was unfairly overlooked.
Sleigh Bells’ “Reign of Terror” opens with the sound of a roaring crowd, a time-honored trick and tradition of heralding your own hype on the record, for the record. Alexis Krauss barks out to her band’s invisible fans as co-founder Derek Miller begins to peel back layers of break-neck guitar shreds on aptly named opener “True Shred Guitar.” It evaporates into “Born to Lose,” a sour-noted spin on well well-trod titles like “Born to Run,” “Born to Be Wild” and “Born to Fly” (and, not to ignore a recent No. 2-seller, Lana Del Rey’s “Born to Die”). “End of the Line” is like a slow dance sequence from a lost John Hughes teen drama, put to the rhythm of a double kick drum.
As the absence of any potential Oscar fodder from the just-wrapped Berlin Film Festival became apparent -- pundits on the hunt for a second consecutive "A Separation"-style crossover item were disappointed with the lineup, though cineastes needn't have been -- I got to thinking about the presence of festival fare in this year's Academy Awards class.
In recent years, the festival circuit has become far more integral to the Oscar race than it used to be: all but one of the last six Best Picture winners debuted at a high-profile festival, from Cannes and Venice to Toronto and Telluride.
That's in marked contrast to the beginning of the new century, when all five winners from "Gladiator" through to "Million Dollar Baby" were major studio productions that had no need of a festival platform. As independents increasingly dominate the awards conversation, so too do the festivals that birth them: spotting an orphan film that can be groomed into a major Oscar player has become a more viable practice for many studios than developing their own, with Harvey Weinstein still the master of the game.
Santigold has a hell of a way of announcing her spring tour. The rhythm-loving singer has been tapped to open for Red Hot Chili Peppers, along with Sleigh Bells and Little Dragon.
To celebrate, she's dropped her second song from forthcoming and tentatively titled "Master Of My Make-Believe," available below. It proceeds her first single from the fresh effort, "Big Mouth."
"Disparate Youth" actually sounds a little more grown up and a little more chilled out. Santigold's voice just flows over a hazy, bassy drive.
And as always, feel free to e-mail us questions for the podcast.