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Bruce Willis in "G.I. Joe 2: Retaliation"? Well, that's one way to grab some headlines. Word is that Willis is likely to step into the role of Joe Colton, the original G.I. Joe, which would mean this film's cast is pretty much a wall of macho man-meat at this point. Dwayne Johnson is bigger than ever before to play Roadblock, and Ray Stevenson's onboard as Firefly, meaning this is largely a reboot even though Paramount's treating it like a sequel. Willis and Johnson would be a big step up from Channing Tatum and one of the nine zillion Wayans, and it sounds to me like Jon M. Chu is doing everything he can to make his film rock.
Speaking of Paramount projects, some days, it's interesting just to watch something that starts small ripple its way around the Internet, picking up steam as it goes, until it finally erupts into something much larger than would have seemed possible from the way it started. I'm sure when Paramount put together their official synopsis for their upcoming "World War Z," they probably read it over a few times and felt good about how it sounded. It reads for maximum excitement, but the problem is, it doesn't really sound like it's describing "World War Z" at all. Here's what Paramount sent out:
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On "So You Think You Can Dance," ballroom expert Mary Murphy is known for her ear-splitting shrieks, soaring whooos and generally being the most excited person on the judges' panel. But after a bout with thyroid cancer, Murphy was decidedly low key when she returned to the show, giving all of us a chance to feel a little sad about the lack of Hot Tamale train action during a season when it seemed the most worthy. During a conversation at the Fox TCA after-party, I asked Murphy how she was doing, how she felt about changes to the structure of the top 20 and what she'd love to do for the finale -- but, unfortunately, won't be able to.
Radiohead are giving "The King of Limbs" and extra, erm, leg of life.
The British band has been releasing 12" singles all summer of remixed tracks from their latest album, with contributions from artists like Caribou and Four Tet. Now, all of those reduxes are being compiled into a 19-track, double-disc and download package, "TLOL RMX 1234567."
Radiohead chose their collaborators out of a crew of "electronic artists and producers who have been exciting and inspiring the members of the band." That would be you, Jamie xx, SBTRKT, Jacques Greene, Modeselektor...
Scotty McCreery lets his friends do the heavy lifting in his video for “I Love You This Big”...literally.
His band plugs in monitors and gets the whole stage set up going in the “American Idol” winner’s video for his first post-”Idol” single as he dreamily stares into space singing about how his heart starts pounding “when I look into your eyes.”
[More after the jump...]
A strong resume can be both a blessing and a curse. For director Stephen Daldry it's been just the latter. Unless, of course, he lives under the pressure of having every two of his three films nominated for the Academy Award for best picture and personally being nominated in the best director category for all of them. Something tells us that with the constant stream of good source material at his hands, he doesn't.
Kanye West shouldn’t have started hyping “Watch the Throne” last year. Undoubtedly, the full-length collaboration with Jay-Z wouldn’t have gone unnoticed all these months, but we could have at least overlooked misstep H.A.M. in January; more would have been made of near-perfect “Otis.”
After seeing "The Help" (and watching Viola Davis' amazing performance), I was pretty excited to meet the Oscar nominee. What I didn't expect, though, was to find that the actress, wearing a fitted red dress and a chic bob, looked absolutely stunning. In both "Doubt" and "The Help," Davis is the epitome of middle-aged frumpiness, and let's face it, no one looks good in a dowdy housecleaner's uniform. But Davis looked a good twenty years younger than her character in person, which just made her performance as Abileen that much more remarkable. Weighed down by decades of holding her tongue, veiled (and not so veiled) insults by employers and the death of her son, Abileen is old before her time. Davis, of course, is nothing of the sort.
One of the most frustrating habits of well-meaning Hollywood over the years has been the tendency to create movies about how white people have heroically helped one minority after another. If you only know the history of race relations from movies, it would seem that most major changes in the condition of how we live together have resulted from noble, selfless white folks who have decided to take mercy on the "lesser" races. That disturbing cultural lie is the reason I have a problem with a number of films. like "Cry Freedom" or "Mississippi Burning," movies that contain good work on important subjects, but that are hobbled by this need to have a white face at the center of things.
For Tate Taylor, the screenwriter and director of "The Help," this history of dishonesty is working against him before the film even begins, and I'm happy to admit that I walked in, arms crossed, ready to dismiss the movie. I didn't read Kathryn Stockett's novel, but I'm aware of how big a hit it was, and I expected something that was all feel-good surfaces and white guilt. Instead, Taylor deserves real credit for what he's done, avoiding many of the easy traps of the genre, and I walked away impressed by just how solid and sincere "The Help" really is. This is a case where the dynamic between the white and black characters informs the premise of the film, and they gain strength and courage from each other. This is no one-way transaction. Instead, it's a cross-class portrait of Southern women of a certain era, and the dawning of new respect between them, and it packs a heck of a punch.
Blake Shelton, whose “Red River Blue” debuted atop the Billboard 200 last month, will channel his inner Kenny Loggins for a remake of the title track to “Footloose.”
The soundtrack for the Paramount Pictures reboot of the 1984 film, which stars Julianne Hough, Dennis Quaid and newcomer Kenny Wormald, features four new versions of songs from the original. In addition to “Footloose,” teen queen Victoria Justice and country newcomer Hunter Hayes remake “Almost Paradise” (first recorded by Loverboy’s Mike Reno and Heart’s Ann Wilson), Jana Kramer puts her spin on “Let’s Hear It For the Boy” (Deniece Williams) and Ella Mae Bowen takes on “Holding Out For A Hero” (Bonnie Tyler).
Out Sept. 27, the soundtrack includes new music from Cee Lo Green, Zac Brown and Big & Rich, among others. It has a lot to live up to: the original soundtrack topped the Billboard charts and contained three Top 10 hits. The first single from the new iteration, “Fake I.D.” from Big & Rich and Gretchen Wilson dropped to No. 51 on this week’s Billboard Country Songs chart.
The movie opens Oct. 14.
“FOOTLOOSE” Soundtrack track listing:
1. Footloose – Blake Shelton
2. Where The River Goes – Zac Brown of Zac Brown Band
3. Little Lovin’ – Lissie
4. Holding Out For A Hero – Ella Mae Bowen
5. Let’s Hear It For The Boy – Jana Kramer
6. So Sorry Mama – Whitney Duncan
7. Fake I.D. – Big & Rich feat. Gretchen Wilson
8. Almost Paradise – Victoria Justice & Hunter Hayes
9. Walkin’ Blues – Cee Lo Green feat. Kenny Wayne Shepherd
10. Window Paine – The Smashing Pumpkins
11. Suicide Eyes – A Thousand Horses
12. Dance The Night Away – David Banner
Before I saw "The Help," i mostly thought of Bryce Dallas Howard as a blood-sucking vampire, M. Night Shyamalan's muse or Ron Howard's little girl. But I'll have a hard time shaking my latest recollection of her as Hilly, a sweetly vicious, adamantly racist Southern belle. Still, sitting down for an interview, the very pregnant star seemed to be the antithesis of her character. Thank God.
SAN DIEGO - Comic-Con is not necessarily the first "festival" that springs to mind when thinking of British ingenue Carey Mulligan. An Oscar nominee for her sparkling turn in "An Education," Mulligan career has seemed more suited for the red carpets of Cannes, Toronto, Venice and Park City. And yet, last month, Mulligan and a few of her co-horts found their way to Comic-Con's massive Hall H where they pitched the new thriller "Drive" to the pop culture festival's more genre-friendly audience.