AUSTIN -- What is readily apparent from Joe Swanberg’s latest film “Drinking Buddies” is that the actors genuinely liked each other. In a press event following the film’s premiere at South By Southwest, Olivia Wilde, Jake Johnson, Ron Livingston and Anna Kendrick confirmed as much, and even more so.
Latest Blog Posts
Kelly Rowland shows some amazing restraint in the video for “Kisses Down Low,” the second single from her fourth studio album, “Talk A Good Game.”
[More after the jump...]
AUSTIN -- In the middle of Spring Break, promoting her movie "Spring Breakers," Selena Gomez has even another reason to party. The pop singer and actress has been completing work on her new album, and revealed to HitFix during our interview this week at the South By Southwest film conference the title of her new single: "Come and Get It" will be out in April, and it will be a "good taste" of the album to follow.
"This is the hardest I've ever worked on an album," Gomez told me during our sit-down, during which she described the overall sound as "pop-electro." She calls "Come and Get It" a fun dance track.
What it won't have is Taylor Swift. MTV previously Tweeted that Gomez' next single was co-written by Swift, but Gomez seemed perplexed at the suggestion that she collaborated with her friend. "I definitely didn't work with Taylor on this record, but she's heard my stuff," she explained.
The as-yet-untitled album, however, will boast the influence of "Spring Breakers" composer and soundtrack man Skrillex.
Gomez' last album, "When the Sun Goes Down," was released in 2011.
Check out the video above for more details on Gomez' album and her feelings on production. Are you ready to come and get "Come and Get It?" Do you think we'll hear it before April?
Oh Justin Timberlake, what a scamp you are! Last night on “Late Night With Jimmy Fallon,” he played delightfully dumb when Fallon asked him about changing the lyrics to “Suit & Tie” on “Saturday Night Live” in response to a certain rapper’s earlier diss.
As we previously reported, while on stage in London a few weeks ago, as he seemed to be riffing about everything under the sun, Kayne West remarked “I got love for Hov,” meaning his “Watch The Throne” partner Jay-Z, who raps on “Suit & Tie,” but then added, “but I ain’t f**king with that ‘Suit & Tie’.”
Timberlake had been silent, but very subtly he reworked the words to “Suit & Tie” on Saturday night to “My hit’s so sick got rappers acting dramatic.”
[More after the jump...]
When we laid out a slew of contenders for next year's Oscar season recently, we left off David O. Russell's currently untitled project revolving around the FBI's ABSCAM public corruption investigation of the 1970s and early 1980s. The reason was we weren't quite sure the film would make it out in time. Turns out, at least for now, that it will.
So, the ladies are back in Los Angeles, and that means no jogging by the Siene, no beheading ducks, none of Kyle's terrible fake French accent. Thankfully, drama follows these women around like vultures after a wagon train or high school chicks after Justin Bieber. It doesn't matter where they are, they can find something to scream, argue or cry about. Remember, Kyle and Kim managed to have a physical altercation in a limo. I mean, that takes some effort.
When Warner Bros' announced last year that they were shifting Baz Luhrmann's lavish 3D interpretation of "The Great Gatsby" from Christmas 2012 to an early summer release date, my first thought was that a Cannes date had to be on the cards. Then, when the film's US release date was nailed down as May 10, five days before the festival begins, I was both puzzled and doubtful: with US projects of that magnitude, Cannes tends to secure the world premiere.
Turns out I overthought things, and that my initial instinct was correct. "The Great Gatsby" has been selected as the curtain-raiser for this year's Cannes Film Festival, 12 years after Luhrmann's "Moulin Rouge!" performed the same duty.
AUSTIN - No horror movie has ever given me the same amount of anxiety before seeing it that "Pink Flamingos" did.
The first time I read about the film, I remember recoiling completely at every single part of the description. It was in Danny Peary's book "Cult Movies," and when I picked that book up in 1981, I read through it in about three days, and it started me on a search to see all the films in the book as quickly as possible. The only film that I hesitated about in any way was "Pink Flamingos." It didn't help that I read the J. Hoberman/Jonathan Rosenbaum "Midnight Movies" not long after that, and their chapter on John Waters only made me more sure I was afraid of everything that film stood for. I was still in my early teens, and while I was drawn almost innately to the wilder fringes of film, my own personal life experience was so alien to what it sounded like Waters captured in his films that I just cringed at the idea of seeing them.
Now, at the age of 42, I laugh at the idea of ever having been afraid of Divine or John Waters or the films they made together. I may not love every one of their collaborations, but I love that they collaborated. I love that they found each other, and that along with the rest of the lunatics who were part of Dreamland Studios, like David Lochary or Mink Stole or Edith Massey, they made movies that didn't capture a subculture so much as they launched one. John Waters has been so thoroughly embraced by the mainstream at this point that it's hard to remember a time he was considered a purely underground artist, but the new documentary "I Am Divine" does a great job of showing how Glenn Milstead went from being a nice Baltimore kid to being a drag icon who shocked the world.
AUSTIN - Normally, when we're at festivals the news from the outside world gets turned down to background noise, and we focus on the films we're seeing here. In the case of this year's SXSW film festival, it's hard to tune out rumblings about what might happen with the future of the "Evil Dead" franchise, particularly since there are so many different reports of what's supposedly going to happen. In order to help sort out the rumors, I am going to discuss some spoilers for the new film, so be warned.
The simple truth is that there are no official firm plans in place yet for either project, but there are conversations going on that could end up in a number of different permutations of films depending on how things come together. Sorting out fact from fantasy isn't easy especially considering some of the sources of the confusion, but it's sort of maddening to see fandom get worked up when it sounds like the things that they're discussing aren't worth getting upset about… or at least not yet.
When Fede Alvarez did the Q&A after the "Evil Dead" premiere on Friday night, he revealed that there is already work being done on a script for "Evil Dead 2," and that it's not going to be using the 1987 "Evil Dead 2: Dead By Dawn" as inspiration. Makes sense. Despite some confusion during production, I think it's clearly inaccurate to call this new movie a remake in any way.
OMG! Can you believe it? Sean is going to pick either Lindsay or Catherine! Or neither! And, if he picks one of them, he'll probably break up with her in a few months! Okay, that was a little negative, I know, but let's face it; the odds are rarely in anyone's favor on this show. Yes, it's very romantic, it's fun to watch, but it doesn't usually translate into actual, you know, nuptials.
AUSTIN - It seems fitting that Joseph Gordon Levitt's first feature film would play at the SXW film festival. There's something about this fest that feel different than any other I attend. I think of Sundance as a festival that likes to anoint the "next big thing." Cannes seems to me to believe that the people they invite are already anointed. Toronto is a glut of movies, pretty much everything that's ready at the time, and everything you can imagine is represented there. But South By Southwest feels to me like a party, like as long as you have a camera and you made something, they're interested in having you here so you can see how it plays. Everyone's invited, and that same attitude seems to be built into the DNA of Levitt's entire HitRECord initiative, which is more than just a website. It's a community of people who are constantly playing with the tools that have transformed filmmaking for the 21st century.
When actors direct, there's obviously a version of that which is more vanity project than anything, and while I've seen painless versions of that, it's always a little frustrating to me to sit through. The good news is that you'd have to be openly hostile and simply not watching to think that what Levitt's done here is anything less than a genuine work by a real filmmaker. He's got a strong sense of voice, and he is exceptionally good at communicating visual information clearly. This is a film where every cut is an additional brush stroke, where he's trying to paint a very specific portrait of the way things work between men and women. Just as I think Joe Swanberg's "Drinking Buddies" offered up some real wisdom about a particular dynamic, Levitt has a very specific idea about the relationship between the porn that men watch and the romantic comedies that women watch. It's not a connection I've ever directly made, but once you see the way Levitt makes the connection, it's a hard point to argue.