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<p>The Black Keys</p>

The Black Keys

Credit: Katie Hasty

Listen: New Black Keys B-Side 'Run Right Back' goes back in time

Check out another track from El Camino

The Black Keys' Black Friday single "Lonely Boy" b/w "Run Right Back" will be out at the end of the month, and now you can hear both sides of that effort, in advance of the Dec. 6 full-length "El Camino."

"Run Right Back" seems to be a bit of a generic, classic-rock inspired thumper, Dan Auerbach's bluesy howl moving around the curves of some unknown girl. I'm not as wild about it as I am about "Lonely Boy," but I tend to like the duo a bit more raw than they are here, despite the wild-haired guitar lick.

And with the production from Danger Mouse, "El Camino" might be a lot of that mix, oscillating between gutter-sexy blues and more straight-forward rock tracks, a combo that helped the Black Keys earn 2010 Grammy wins for "Brothers."

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<p>Glenn Howerton, Kaitlin Olson and Charlie Day on &quot;It's Always Sunny in Philadelphia.&quot;</p>

Glenn Howerton, Kaitlin Olson and Charlie Day on "It's Always Sunny in Philadelphia."

Credit: FX

'It's Always Sunny in Philadelphia' - 'The Gang Gets Trapped': The last crusade

A home invasion goes awry as the gang pays tribute to Indiana Jones

Haven't written about "It's Always Sunny in Philadelphia" in a while, but last night's was a very good one. A quick review coming up just as soon as I dream of opening an imported leather shop in Arizona...

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Oscar Talk: Ep. 69 -- Ratner, Murphy, Grazer, Crystal, Freeman, 'Hugo,' BUSY WEEK!

Oscar Talk: Ep. 69 -- Ratner, Murphy, Grazer, Crystal, Freeman, 'Hugo,' BUSY WEEK!

Also: 'The Flowers of War' qualifies and is 'The Artist' really a Best Picture threat?

Welcome to Oscar Talk.

In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.

Are you ready for the most unorganized podcast of all time? This was perhaps the busiest Oscar week of the season. I forgot to ask for reader questions (sorry) and didn't even get around to an actual rundown before recorded due to a big news item dropping right before we recorded. But hey, we can fly by the seat of our pants. Let's see what's on the docket today...

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<p>Leonardo&nbsp;DiCaprio in &quot;J. Edgar&quot;</p>

Leonardo DiCaprio in "J. Edgar"

Credit: Warner Bros. Pictures

Tell us what you thought of 'J. Edgar'

The film hits theaters this weekend

Clint Eastwood's "J. Edgar" opened in a few select theaters on Wednesday, but today's it's expanding to a wider audience and it's about that time to get your thoughts. I've already rifled off my schizophrenic take from the film's AFI Fest world premiere (and I like it less the further I spin away from it). Meanwhile, we offered up a list of the best performances from Clint Eastwood films to mark the occasion earlier this week. Now, though, it's time to put the question out to the audience. If you get around to the film this weekend, do come back and give us your take.

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<p>Gil Cates, longtime Oscar telecast producer, passed away less than two weeks ago.</p>

Gil Cates, longtime Oscar telecast producer, passed away less than two weeks ago.

Credit: AP Photo/Chris Carlson

Oscarweb Round-up: End of an Oscar era?

Also: Bill Nighy on 'Arthur Christmas' and Ricky Gervais's 2 for 1 offer

Well. What a week, huh? If there's a perspective the events of the last few days can be put into, I'm not completely sure what it is, but I think Steve Pond makes a valiant attempt in a lengthy take on the exit of Brett Ratner and Eddie Murphy from this year's Oscarcast. He marks it as a signal -- along with a few other recent events -- of the end of an era. The list of Oscar emcees since Billy Crystal last hosted (which was itself a bit of a return after an uncharacteristically lengthy absence of three years) is interesting: Chris Rock, Jon Stewart, Ellen DeGeneres, Hugh Jackman, tandems. They were all attempts to shake it up. And everything else has been boiling down to a craven desire to appeal to a broader, younger audience. Maybe it's time to re-center. [The Odds]

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<p>Annie (Alison Brie)&nbsp;doesn't like her new living situation on &quot;Community.&quot;</p>

Annie (Alison Brie) doesn't like her new living situation on "Community."

Credit: NBC

'Community' - 'Studies in Modern Movement': I have a Dreamtorium

Annie has second thoughts about living with Troy and Abed, and Pelton blackmails Jeff

A review of last night's "Community" coming up just as soon as I sing a little song about race-mixing...

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<p>Kim Wayans and Adepero Oduye in &quot;Pariah.&quot;</p>

Kim Wayans and Adepero Oduye in "Pariah."

Credit: Focus Features

Focus handling Sundance drama 'Pariah' with special care

Pay attention young Sundance filmmakers

During this time of year it's pretty common to hear someone incredulously remark "Why is [insert movie studio] releasing [insert this movie] during awards season?  It could do so much better in the [name a more appropriate time of year]."  Usually, it's because a filmmaker associated with the picture has unrealistic Academy Awards dreams for either the picture, one of their stars or, sadly, themselves.  The problem is that audiences would likely embrace the picture at a different time of year which could mean, um, better financial returns.  And, sometimes, it's a smaller distributor making a gutsy, go for broke call with little chance of success.  I'll be quite honest, until a lunch at the Chateau Marmont Thursday afternoon, I had put the striking Sundance drama "Pariah" in the "gutsy" category.

The rare example of a good opening night film at Sundance (almost a miracle), Dee Rees' "Pariah" tells the story of Alike (Adepero Oduye), a Brooklyn teenager who is struggling with her gay identity both at home and amongst her friends.  As I noted in my review from the film's premiere last January, "Pariah" is a perfect example of the resurgence of quality gay themed indie films (a trend that continued this year at SXSW with "Weekend").  However, I'm not sure anyone who saw the film at Sundance would have considered it an "awards" picture outside of obvious Independent Spirit Awards consideration.  

Of course Focus Features, which picked up "Pariah," has an impressive history with releasing and supporting groundbreaking gay films.  From "Brokeback Mountain" to "Milk" to "The Kids Are All Right" to "My Summer of Love" to "Far From Heaven" to last summer's "Beginners," the mini-major has been a social force for opening audiences to all aspects of gay life on the big screen.  With "Pariah," the studio decided to release the drama in limited release on Dec. 28 and expand it throughout January and February.  That's a pretty competitive time frame on the art house circuit, but the studio obviously believes the positive reviews the picture received so far will fuel strong limited returns. On this day, the studio had fashioned an intimate lunch featuring writer/director Rees, the incredibly charming Oduye, Kim Wayans who plays Alike's conservative mother (yes, that Kim Wayans) and Aasha Davis (best known for a short stint on "Friday Night Lights") who plays a family friend.  

Speaking to these talented ladies and a few invited journalists, I was immediately reminded of how rare it is these days for a film about real African American women to hit theaters.  Sure, there are Tyler Perry movies, but an original movie about African American women? Let alone a film that shines the light on African American lesbians?  That's almost unheard of.  And for the writers present who cover African American entertainment it was the subject they kept returning to again and again.  For Kim Wayans, who has fought for years to be given a chance with a meaty dramatic role (and succeeds beautifully), it was important to make "Pariah" for her gay niece and in memory of a gay male friend who was beaten and killed by a younger man he'd met at club. Wayans also lamented about how few positive role models there are on TV for African American girls as it's mostly filled with reality shows featuring women who just fight with each other in over-the-top arguments ("My friend and I don't know who those people are. We've never seen women act like that."). Oduye, who still looks a decade younger than her 33 years, has been moved by audiences all oner the world finding a universal truth in the picture of a person just trying to find acceptance for who they are.  Dees is looking forward to taking the film to cities in the south such as Atlanta and just getting it in theaters for audiences to discover.  And when you take all that into account, frankly, perhaps Focus is making the right move.

Realistically, "Pariah" could easily find itself the recipient of numerous critics awards outside the traditional best picture race (best first film, special achievement in filmmaking, etc.) and could also make enough top ten lists to help publicize the picture in art house theaters outside of New York and Los Angeles.  The studio is also making a smart strategic decision by making sure the screener is in Academy and guild member hands by Thanksgiving.  Granted, there will be numerous screeners hitting mailboxes ("Warrior" and "Contagion" are two recent arrivals), but in races such as original screenplay (where another indie "Margin Call" has been mentioned by members) or cinematography (remember Bradford Young's name) you honestly never know.

More importantly though, many distributors could pick up a film like "Pariah" and lose interest in it just a few months down the road.  But Focus? Nope. That's not gonna happen.  When they care. They care.  Pay heed young Sundance filmmakers.  You only get your first chance to shine once and in Dees case, she's in more than capable hands.

Oh, and don't forget to watch that screener Academy and guild members.  You may be surprised at what you think of it.

"Pariah" opens in select theaters on Dec. 28.

For year round entertainment commentary and awards season news follow @HitFixGregory on Twitter.

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<p>Mickey Rourke of &quot;Immortals&quot;</p>
<div id="myEventWatcherDiv" style="display:none;">&nbsp;</div>

Mickey Rourke of "Immortals"

Credit: Relativity

Movie Review: Tarsem Singh's 'Immortals'

Tarsem Singh's vision and Henry Cavill's star power fight a hollow story
Tarsem Singh's "Immortals," which hits theaters on Friday, has as much to do with Greek mythology as Adam Sandler's "Jack & Jill" has to do with the unraveling of the structure of DNA.
 
Yes, the main character's name is Theseus. Yes, there are characters named Phaedra and Zeus and Athena, just like you might see if you pulled your tattered Edith Hamilton down from the shelf. But it isn't *that* Theseus. It isn't *that* Phaedra. And it's barely that Zeus or that Athena. The effect is similar to watching a slacker comedy about a pair of video store clerks whose names happen to be "James Bond" and "Dr. No." 
 
"Immortals" is also set in the perplexingly contemporary and specific 1228 B.C. but it has no connection to any factual history either. 
 
Scripted by Charley and Vlas Parlapanides, "Immortals" in an amorphous blob a familiar pseudo-mythological and pseudo-historical elements possibly culled from a half-reading of Joseph Campbell and grafted together with a half-baked philosophy derived from what I'm fairly sure is a misreading of the Socrates quote that starts and ends the movie.
 
"All men's souls are immortal, but the souls of the righteous are immortal and divine," Socrates said, but when we're talking about mythological and narrative immortality, it seems to me like what the writers have done to the established story of Theseus and the Gods is basically the opposite of what we're supposed to believe about the durability and resiliency of legend. It's like saying, "Yes, this is how you become a legend. And then 3000-ish years later somebody will come along and ignore all of that stuff."
 
There's a point I'm trying to make here and I may not be making it well, so I'll just bottom line it: With its pretenses towards literary and cultural tradition, "Immortals" gives you a lot to think about, but it's probably better that you don't. This is not a smart movie, a thoughtful movie, nor a movie that gives you any reason to invest in character or plot.
 
What "Immortals" is, though, is a work of frequently breathtaking beauty. The trailers have been cut together to emphasize the involvement of some of the producers from "300" and to make viewers think that what they're getting is another tale of speed-ramping Spartans and CGI excess. But whereas "300" director Zack Snyder is, at best, an extremely gifted mimic -- I'm not going to be forgiving "Sucker Punch" any time soon -- Tarsem Singh is that rarest of cinematic creatures: He's a true visionary, though I'd restrict that mantle to calling him a visionary stylist, rather than a visionary storyteller. 
 
Because "Immortals" looks and feels like a Tarsem Singh film, rather than a "300" manque, it ends up far outstripping the merits of its script. I don't think "Immortals" ends up being a good movie, but like all of Singh's films, it's going to make a killer full-color, glossy coffee table book.
 
Click through for more...
 
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"The Vampire Diaries"

 "The Vampire Diaries"

Credit: CW

Recap: 'The Vampire Diaries' - 'Homecoming'

Damon and Elena put their plan to kill Klaus into action

 So, last week we learned a lot about our Originals, and I suspect we're going to learn a lot more, as tonight is the midseason finale and we won't be getting any new blood until January 5. As last week set up a battle royale between Klaus and Mikael, this could be one hell of a showdown. Or it could be an epic fail, not for the show, but for Elena, Mikael and Damon. Whatever plan they've put into place, you can be sure Klaus won't stumble easily into any trap they set. Part of me honestly hopes he doesn't, really. Klaus has been a great foil for the Salvatores and a villain with a dark and twisted humanity that renders him both sympathetic (Daddy-who-wasn't-his-Daddy never loved him) and terrifying (betray him and you're dead -- even if you're dear old Mom). Of course, the fact that Elena is surrounded by allies who could flip flop at any moment makes me think tonight will have more than a few twists and turns.

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<p>Jamie Bell at the 2011 AFI&nbsp;Fest and the North American premiere of &quot;The Adventures of Tintin&quot;</p>

Jamie Bell at the 2011 AFI Fest and the North American premiere of "The Adventures of Tintin"

Credit: AP Photo/Matt Sayles

Steven Spielberg's 'The Adventures of Tintin' is handily one of the year's best films

The performance capture adventure puts a bow on the 25th annual AFI Fest

Steven Spielberg's "The Adventures of Tintin" closed out AFI Fest this evening, a real coup for the festival and for Paramount Pictures (who are still well over a month away from release stateside). And the film is a dazzling experience, full of Spielberg's trademark cinematic energy. It's his best film in nearly a decade (since "Minority Report," at least).

The film was reviewed in this space by Guy upon its UK release (being one of precious few Hollywood films that manage to hit the marketplace outside the US first), and I agree with his assessment. (I'm also happy he didn't fall in with some other UK critics who seemed to have their knives out for the film overseas; I expect it to land more comfortably on these shores.)

For me, this film put a smile on my face and kept it there. It's Spielberg invigorated, the performance-capture and animation process allowing him to do things with the camera that he had only dreamed of, conjuring angles and set-pieces that surely have existed only in his head for decades but now have the freedom to run wild on the screen.

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"Project Accessory"

 "Project Accessory"

Credit: Lifetime Television

Recap: 'Project Accessory' - 'Bling It On'

It's a bodysuit challenge that ends in a double elimination

Welcome to another week of "Project Acc…zzzzzzzz." Huh? Oh, I'm sorry, "Project Accessory," which, though very similar to its parent "Project Runway," has none of the verve or excitement of the original, kind of like an ugly kid whose dad is a rock star. And no, I am not taking a swipe at guest judge Kelly Osbourne. Anyway, "Project Accessory" suffers from personality-free designers (with the exception of cray-cray Nicolina), polite judging (wow, do I miss Michael Kors) and boring challenges. We can only hope future episodes find that zing. And oh, the other thing? No Tim Gunn. Why bother, Lifetime?

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<p>Adam Scott on &quot;Parks and Recreation.&quot;</p>
<br />

Adam Scott on "Parks and Recreation."


Credit: NBC

'Parks and Recreation' - 'The Treaty': Are we having fun yet?

Leslie and Ben go crazy on each other during a model U.N., and Ron tries to rehire Tom

A review of tonight's "Parks and Recreation" coming up just as soon as I make geo-political problem-solving my bitch...

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