After last season's acrimonious reunion show, you'd think the ladies of the O.C. would have plenty of pent-up hostility to vent for this season's debut. Instead, we get nicey-nice meetings, tediously staged coffees and a brand new housewife -- whose main attribute, according to the other girls, is that she's classy. Classy? Who wants classy? We want a spitfire who knows how to throw red wine, hurl insults and work an unconvincing hair extension! Really, this could not be a more stultifyingly dull season debut if it was on NPR.
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Here's a rundown of some standout videos and tracks for the day, from Black Keys, St. Vincent, Niki & the Dove and Band of Skulls.
Dan Auerbach of the Black Keys hasn't just been hard at work on Dr. John's next album. He and Patrick Carney have been rocking audiences in support of latest "El Camino" in the last few months, with the below footage culled from a raucous set in New York. I find the setting disagreeable -- Webster Hall isn't even near one of the best venues in the city -- but the lights do a lot of doctoring Webster's walls for this vibrant scene.
PARK CITY - Is it fitting that Awards Campaign's last report from the 2012 Sundance Film Festival is an interview with festival legend Parker Posey?
In "The Vow," Paige (Rachel McAdams) forgets the last five years of her life after a car accident -- including her husband Leo (Channing Tatum). I asked McAdams and Tatum about what they'd most like to forget, and asked Tatum about his new movie, "Magic Mike," and how he feels about returning to stripping (on the big screen, at least).
Tomorrow afternoon, I head off to a below-freezing Germany to cover the Berlin International Film Festival -- or the Berlinale, as you prefer -- for the third year running. As with Sundance, critics will be counting on the movies to provide a little heat against the February chill, even if they don't yet know which ones. Berlin is among the hardest of major festivals to second-guess in terms of highlights: though it ostensibly forms an elevated triad of European festivals with Cannes and Venice, it can no longer compete with its sunnier counterparts for major arthouse blockbusters. As Cannes hogs the holiest auteurs and Venice claims some of the fall awards hopefuls, the Berlinale programmers have to dig a little deeper -- and in turn, the critics there have to look a little harder.
After a slight slump at the start of the decade, the fest's quieter approach is beginning to reap rewards. Not that many people were anticipating Asghar Farhadi's "A Separation" before it premiered in last year's Berlin Competition; even during the first press screening, however, the electric ripple of surprise and excitement in the audience was palpable, as it was clear a major arthouse story was being born.
The Grammy for Song of the Year is one of the most coveted awards. Unlike Record of the Year, which salutes the performer and producer, Song of the Year goes to the songwriter. Therefore, a good rule of thumb when trying to differentiate between the two often-confused categories is to think about how the nominated song sounds stripped down to just a singer and a piano or acoustic guitar. Does it still work on that level with all bells and whistles removed? If so, it’s a good candidate. Below are this year’s contenders.
I'll be curious to see what happens with "John Dies At The End" as the year progresses.
It's got to find a distributor… it's just too singular an audience experience. I understand that the William S. Burroughs version of "Ghostbusters" is a hard audience sell, but I also think there's real value in it for the right distributor. Someone's going to have to give it some TLC if they plan to open it, but with the right campaign, the film's weirdness could be an asset, not something to run from.
While we were at Sundance, I published a conversation I had with Don Coscarelli, the director of the iconic "Phantasm" films, about adapting and directing the book by David Wong as a film. He was joined by his co-producer Paul Giamatti, who helped produce the film. I had a blast with those two, and of all the formal interviews we did at Sundance, that's the one that I could have sat there continuing all day. Their enthusiasm for the film they made was infectious.
In "The Vow," Scott Speedman plays the unlucky Jeremy, whom Paige (Rachel McAdams) was engaged to before finding a new life with Leo (Channing Tatum). But when a car accident wipes out her memory of the last five years, Jeremy has another shot at love -- and gets into his share of trouble when Leo is unwilling to let go. I talked to Speedman about playing the other man, getting socked by Tatum in a key scene, and, of course, whether or not he'd do a "Felicity" reunion. It turns out he's not only thought about it, but has his own ideas of where Ben Covington would be twenty years after senior year.
As The Fray came together to work on what would become its third Epic album, “Scars & Stories,” the quartet had a collective dark night of the soul; one that could have spelled the end for the multi-platinum piano rock act best known for radio smashes such as “How To Save A Life” and “Over My Head (Cable Car).”
They were in the studio working up songs for “S&S,” out today, and “all four of us were coming of age,” says co-founder/lead singer Isaac Slade. “I was turning 30. We were trying to figure out who we are, what we want to do, how long we want to be in a band. We were partly excited that we get another chance, but partly afraid we were going to be irrelevant. It was a bad, bad week.”
[More after the jump...]
For years, Metallica has brought their music directly to the fans with endless tours. Now, with the launch of the metal act's own festival Orion Music + More, the fans can come to them.
Today, the quartet took to LiveStream to announce their weekend-long event, to take place in Atlantic City, N.J., on June 23-24. The band will close out both nights, and have tapped other bands like Arctic Monkeys, Avenged Sevenfold and Modest Mouse to play throughout. The band has also promised to play "Ride the Lightning" and the eponymous "Black album" in their entirety -- that marks the first time they've done the latter on U.S. soil.
When the nominations for this year's Academy Awards were announced two weeks ago, there was one Best Picture nominee that yielded a great sigh of relief from me. It was less that I felt it was deserving (it unquestionably is, but to quote "Unforgiven," deserve's got nothing to do with it when it comes to the Oscars) than the fact that I was actually going to have something to passionately champion.
The line-up that was settling into place until that time, I have to say, was lackluster. I mean, I think "Midnight in Paris" is delightful. I'm incredibly happy for Martin Scorsese and his personal ode in "Hugo." "The Help" really did affect me emotionally when I saw it in August. "The Artist" is charming. But none of it is really enough for me. Elsewhere, "War Horse," well, I don't really have any strong feelings on it. And "Extremely Loud & Incredibly Close" fit like a square peg in a round hole for me. "Moneyball" was really the closest I could have come to having a rally cry, but it still wasn't on the proper echelon for me.