As strongly as "Lincoln" has been performing throughout the season, Steven Spielberg has yet to receive much in the way of individual recognition for the film. That could change on Oscar night, of course. Until then, however, the American Cinema Editors have taken it upon themselves to reward the director, naming him the recipient of their annual Golden Eddie Award for Filmmaker of the Year.
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A quick review of last night's "The Mindy Project" coming up just as soon as I drive a motorcycle through a flaming hoop...
A quick review of last night's "Happy Endings" two-fer coming up just as soon as I do a run/walk for sexual blindness...
Harvey Weinstein has had enough success in the Oscar campaigning game -- including twin Best Picture bids this year for "Silver Linings Playbook" and "Django Unchained" -- that it can't pain him too much to admit to the odd miscalculation. Still, it's interesting to see him do so in an interview with Deadline's Mike Fleming. Weinstein blames Quentin Tarantino's absence from the Best Director category (hardly an easy race to crack this year, as Ben Affleck can tell you) on his own tardiness in sending out DVD screeners. He also claims he mismarketed Paul Thomas Anderson's "The Master": "I think the audience had trouble with the movie and needed to be guided and eased into it ... My attachment to 'The Master' was not the Scientology or religion; it was that in WWII, people like my dad and other combat veterans came back and were just lost after the war. Maybe if I’d explained the movie in those terms, that it was more of a spiritual quest for a veteran who had seen action and got lost, people might have responded differently." [Deadline]
It's strange times in Oscarland. "Argo's" wins at the PGA Awards and SAG Awards have jolted a best picture race that seemed squarely in "Lincoln's" corner. Now, are all bets off or is it just a mirage we've seen play games with Academy Awards pundits before?
PARK CITY, UTAH -- Not wanting "Twenty Feet From Stardom" to be over when it's over is a perfectly reasonable reaction to seeing the film. If, logistically, a few things fall into place, it doesn't have to be over.
The Sundance-premiered documentary was a hit as soon as it flared up on the screens in Park City this month, with Weinstein label Radius-TWC picking up the title in the first acquisition of the festival. The film featured several in-studio performances from greats like Darlene Love, Merry Clayton and Lisa Fischer, and the filmmakers even had two of those tracks pressed onto promotional 7" records.
And last week, for those who witnessed it, a quintet of those vocalists gave a "one-night-only" performance of "their" greatest hits -- tracks like the Stones' "Gimme Shelter" and the Crystals' "Da Doo Ron Ron" which depended heavily on those backing tracks -- and they took the house to church. For Love, Clayton, Fischer, Tata Vega and Judith Hill, they not earned their way into the spotlight, but they loved the material and seemingly each other.
Speaking with me in Park City, "Twenty Feet" director Morgan Neville intimated that a series of live concerts could be in the works in supporting the film's theatrical release, said to be this summer. "I think they're ready... I think it's dawning on them that this is a special moment."
For Love and Clayton -- who swapped stories and overflowing enthusiasm for the final product during our chat -- they don't want to get their hopes too high, but if it "flows"... then more live music and perhaps even an album together could be in their collective future.
Watch the videos above and below. Do you think Bruce Springsteen, Mick Jagger, Sting and others could back them?
PARK CITY, UTAH -- Casting Marilyn Manson as a teenager takes at least a little imagination, and director Quentin Dupieux never seems to be shy of that. During the Sundance Film Festival, the brain behind "Rubber" and the more recent "Wrong" introduced his freak version of a perfect world, "Wrong Cops."
And in its first "episode" of three shown at the fest, Manson is needled by lead lousy cop Mark Burnham for his music taste and is falsely accused of prostitution.
In this dys-utopia, Manson worked his casting. "He killed it," Dupieux said in the Q&A after premiere.
He also explained how an industrial/hard rock musician found his way into an absurdity like "Wrong Cops." "[Manson] was in love with 'Rubber,'" the French director said. "I wrote the part for him… he just did it."
Here's hoping it's at least as big as "Aquaman."
I have a serious question, and it's larger than the notion of whether or not people want to see an "Entourage" movie. In general, when you are invested in a television show over a long period of time, is a theatrically-released movie the ultimate goal for you as a viewer? Is that somehow considered the payoff to a good run on TV? Or is the relationship with a TV show something very different than the relationship we have with movies?
And more importantly, is it a coincidence that the studio that is making "Entourage: The Movie" has the word "Bros" in its name?
Honestly, the thing that I'd be most worried about if I were the person pulling the trigger on this one is whether or not people are going to pony up the $15 to see a long inside joke that they've already seen seven full seasons of on HBO. "Entourage" was one of those shows that I watched while I had HBO, but as it wore on, it really started to feel like one note playing over and over again. It's an easy show to beat up on because of the lifestyle it glamorizes, but there were moments where it did a nice job of laying bare the way ego drives the entertainment industry just as much as creativity. It also helped that Jeremy Piven dug into his ongoing role as Ari in a way that basically gave him the second half of his career.
A review of tonight's "Justified" coming up just as soon as I download the song about looking for a rainbow in every storm...
A quick review of tonight's "Cougar Town" coming up just as soon as my shirt is a lie...
A quick review of tonight's "New Girl" coming up just as soon as I violate the Hawley-Smoot Tariff Act...
As the Feb. 10 55th annual Grammy Awards edge closer, we’re analyzing a category a day. Today, we look at Best Pop Vocal Album.
The nominees are:
Kelly Clarkson - “Stronger”
Florence and the Machine - “Ceremonials”
Fun. - “Some Nights”?
Maroon 5 - “Overexposed”
Pink - “The Truth About Love”
WHO’S MISSING: Though the slate is very impressive, Justin Bieber’s manager, Scooter Braun, felt the Grammys were definitely in error by not including “Believe” in this grouping, and there’s a case to be made for One Direction’s “Up All Night,” which was also unceremoniously ignored. Also left out this year, Rihanna’s “Talk That Talk.”
THE PLAYERS: The Grammy voters seemingly forgot about female artists when it came to the general album of the year category and it’s easy to see how much of a failing that was when you consider how strong “Ceremonials,” “Stronger” and “The Truth About Love” are. But the strength of the albums here (including the three that are missing and could have easily replaced any of the ones nominated) show how strong pop is after a number of years of laying fallow.
THE ODDS: Conventional wisdom would be to go with fun.’s “Some Nights” since it is the only collection here also up for album of the year, but I’m breaking with that. Kelly Clarkson is really beloved. Plus, she was just in people’s faces singing live at the Inauguration. All five of the albums are strong and deserving.
THE WINNER: Kelly Clarkson, “Stronger”
Grammy Awards 2013: Handicapping the Best New Artist race