A supposed demo of Madonna’s new single, “Give Me All Your Love” showed up on the internet today. But the question remains whether it is a true version of the song or some red herring.
Madonna’s long-time rep is playing a little coy. When we asked her to comment or confirm this was indeed Madonna and the first single from her 2012 album, she answered “It sounds great. Can’t wait to hear the real version.” While that may sound like a denial, it may be or it may not be. It could simply be her way of letting us know that there’s even a better, final version coming down the pike. Madonna's appearing at an event in New York on Nov. 12, and Billboard reports that she may be at a New York fashion show tonight as well, so the time is perfect to spring this track on us.
I think it's safe to say that Clint Eastwood has secured his legacy as a filmmaker.
Even if he'd quit directing after he totally crushed it with "Unforgiven," he would have made the case for himself as a world-class director. But at this point, the only filmmaker who works faster or more frequently appears to be Woody Allen, and like Allen, he works often enough that for every great movie he makes, at least two or three of his movies are nearly impossible to sit through. I'm amazed at how bulletproof he is these days, critically speaking, but I think the real respect you can pay an artist is to react honestly to their work and not just give them a pass based on who they are.
I can't in good conscience recommend that you see "J. Edgar," which of course isn't going to stop anyone from actually seeing it. After all, it is Eastwood directing with a screenplay by Dustin Lance Black, the Academy Award-winning screenwriter of "Milk," and it stars Leonardo DiCaprio, Armie Hammer, Naomi Watts, Judi Dench, and a typically dense Eastwood cast. Sounds great, right?
Katy Perry’s march toward her record-setting sixth No. 1 single from “Teenage Dream” continues this week with the release of the music video for “The One That Got Away.”
Perry will debut the clip on “The Ellen DeGeneres Show” on Friday, Nov. 11. The video, which stars Diego Luna, will then immediately go up on Vevo. That same day, a seven-minute, extended version of the video will play during advance screenings of Michelle Williams’ new movie, “My Week with Marilyn.”
The singer has a lot riding on the song, which is No. 34 this week on the Billboard Hot 100. If the ballad can reach the Billboard Hot 100 summit, she will become the first artist in the 53-year history of the chart to land six songs from a single album there. Right now, she is tied with Michael Jackson at five.
As someone who tracks the awards season for at least part of a living, it goes without saying that I've said some geeky things in my time. And few have been geekier than my involuntary exclamation, while discussing the Oscar prospects for "The Artist" with a colleague last week, along the lines of: "I just hope to God it gets a Best Costume Design nomination!" My colleague looked understandably flummoxed: even allowing for my keener-than-average interest in the technical categories, it seems a peculiarly specific wish. The 1920s threads in "The Artist" are top-notch, of course, as is every craft aspect of the handsome monochrome period piece. Why this category?
The answer lies not in the clothes as much as the man behind them. Costume designer Mark Bridges is one of the very best in his field, a singular artist whose imagination is equally fired by contemporary and period settings, whose visual wit and personality shine through even in projects that aren't obvious sartorial showcases. Over two decades in Hollywood, his designs have graced everything from austere Paul Thomas Anderson dramas to fluffy teen comedies to a Cirque du Soleil special, and he has precisely zero Oscar nominations to show for it.
Two years ago, History managed to find the sweet spot between its unofficial identity as The World War II Channel and the increasing popularity of exotic hi-def programming with "WWII in HD," a five-night miniseries featuring digitally-restored color footage from World War II. That was a success, so tonight through Thursday at 9, we get the sequel: "Vietnam in HD," six hours over three nights with a similar collection of eye-popping restored footage.
The music of "The Muppets" is a major part of the film's appeal, and so far, it's the soundtrack that has spent the most time in the various CD players around the house. The boys and I listen to it each day on the way to and from school, and they've already started to learn all the words to the songs.
Yesterday, Katie Hasty ran the song that opens the film, and today, we've got the actual video from that number. This is basically the opening of the film, and it introduces Gary (Jason Segel), Mary (Amy Adams), and the brand-new Muppet, Walter as they prepare for their big trip to Hollywood.
Music and dance have always been important parts of the world of the Muppets, and I'm really impressed by the way the songs in this film fit into the Muppet pantheon so effortlessly. "I've Got Everything That I Need," the song featured here, is one of the songs written by Bret McKenzie, who you may know as one of the members of Flight Of The Conchords. McKenzie's voice is crystal clear in the film, and if you like the music he performs as part of FOTC, then you'll probably have a great time with these songs.
Justin Bieber’s fans may be way too young to get the references, but his new animated video for “Santa Claus Is Coming to Town” is a delightful homage to Rankin/Bass’s Christmas television classic, “Rudolph The Red-Nosed Reindeer.” In fact, some of the scenes in the stop-motion animation are almost shot-for-shot replicas, as are some of the adorable characters. There are even some misfit toys.
If Lou Reed is the drunk uncle that ruins your Thanksgiving, then Tom Waits is the uncle to whom you offer another glass -- in the off chance he may pull one of these in your backyard.
The songsmith turned to director Jesse Dylan, media exec and son of Bob, to helm this off-the-cuff black-and-white clip. It features a sweating Waits pointing his "gun" and scratching an itchy belly as he stomps around the dirt in front of a tree and a fence. That's it. Really.
The song is culled from "Bad As Me," the Anti- artist's latest and first top 10 set, and features steady hands from those like Marc Ribot on guitar, Les Claypool on bass, son Casey Waits on drums and a little stank from Keith Richards. In part, that's why Waits tips his hat to the Rolling Stones: they claim they can't get no satisfaction, but as he sings, "I will have satisfaction / I will be satisfied."
If you need a few moment of wank material, here's nine-and-a-half minutes for free, though not commercial-free.
Duran Duran unleashed their extremely expensive Jonas Åkerlund-directed music video for new single "Girl Panic" and, boy, are there girls. Lots of them. And they're all models, kissing each other, pretending to be hung-over, air-humping, drinking champagne RIGHT FROM THE BOTTLE (!!!), brushing their bed-head from their faces and walking around the hallways perhaps in search of some diet soda or a cigarette.
The figureheads of the video are Duran Duran, played by super models Naomi Campbell as lead singer Simon Le Bon, Cindy Crawford as bassist John Taylor, Eva Herzigova as keyboardist Nick Rhodes ("as the only blonde in the band" [!!]), Helena Christensen as drummer Roger Taylor and Simon's wife Yasmin Le Bon as "the anonymous guitarist" (ouch). They dryly talk about their stardom, address former allegations like addiction, and explain why the band is "still at it" after 30 years, in bondage unis. This "encomassing humour" is funny because super models are trying be rock stars. Isn't that hilarious?
Duran Duran meta-note that they were among the first bands to use models in the videos, because nobody would have ever thought of that. And if the models-as-rock-stars metaphor is to extended, then it appears the guys and their crew spend all their downtime just making out with each other.
But to be fair, some of the shots are head-rushingly beautiful, and the fashion is sometimes on fire. I'm still not so wild about the song, which sounds outdated, and I'm so damn sweaty and exhausted by the end, I don't have it in me to give it another go, to play a fun game of "name that designer."
Duran Duran fans who live to support this single, however, will love this.
After bowing at AFI Fest just a few days ago, Clint Eastwood's "J. Edgar" is set for release nationwide later this week. And with it comes a pair of performances, from Armie Hammer and particularly Leonardo DiCaprio, that could spark up Oscar consideration as the season moves forward.
Eastwood has often been called an actor's director, and indeed, actors love working with him. He trusts them to find their way into a performance quickly. He does few takes and doesn't even call "action." It's an organic process and by most accounts, actors feel at ease under his direction. With 32 films under his belt, it's no wonder he knows what he wants and how to get it, even if the quality of the outcome can so frequently be up for debate.
With that in mind, it seemed like a good opportunity to dedicate an installment of The Lists to the greatest performances Eastwood has ushered to the screen. With 32 films come plenty of possibilities, and the cream of that crop does indeed make for a list of highly accomplished portrayals, I think.
It really isn't any mystery what the big story of the morning is. Well, it was the big story of all day yesterday, actually, but I saved it for this space. Brett Ratner, you've probably heard, decided to make a joke and say "rehearsal's for fags" at a recent "Tower Heist" Q&A. This after the Oscarcast producer has made public remarks about his sexual encounters with Lindsay Lohan and Olivia Munn. Not that anyone expected Ratner to come in and class up the Academy Awards, but it goes without saying, this got people talking. And it was Mark Harris quick on the draw calling for Ratner's head on a platter...well, calling for an AMPAS pink slip, in any case. [Grantland]