In the blessed six months between the Venice Film Festival and the Academy Awards ceremony -- the Oscar off-season, if you will -- the Cannes Film Festival is the chief hub of speculation and spitballing in the prestige-film racket. As I type this, the blogosphere is already teeming with lists predicting what films will unspool on Croisette in less than two months' time, from heavyweight Hollywood productions to keenly awaited niche items from international auteurs to far-flung obscurities vying to be the next big festival discovery.
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Lady Antebellum’s fourth album, “Golden,” was inspired by the trio’s life on the road.
Out May 7, the Grammy-winning group’s latest set developed out of experimentation between Lady A and its band as they traveled across the world. “We were just kind of in that live show mindset for this album,” said the band’s Dave Haywood, in a statement. “We had that perspective of being on a tour and having seen what translates in an arena. We have a better idea what kind of songs are so relateable where it shakes everybody like, ‘Oh my God, I’ve totally been there’.”
The band’s Charles Kelley adds that the trio wanted to reinvent themselves a little, as jangly first single “Downtown shows, but not too much. “I get annoyed when people reinvent themselves too much because there’s a reason people fell n love with you in the first place, but I think it’s important not to regurgitate the same stuff over and over again.”
The band co-produced the set with Paul Worley, who has worked with them on their previous efforts. HitFix heard the title track, the wistful, beautiful “Golden,” when the band taped an episode of CMT’s “Crossroads” with Stevie Nicks.
GOLDEN Track List:
1. Get To Me
2. Goodbye Town
3. Nothin' Like The First Time
5. Better Off Now (That You're Gone)
6. It Ain't Pretty
7. Can't Stand The Rain
9. Long Teenage Goodbye
10. All For Love
11. Better Man
12. Generation Away
Even in the midst of a life-or-death situation, Rebel Wilson just can't keep her hands off of Channing Tatum.
The "Pitch Perfect" actress, who was tapped to host this year's MTV Movie Awards following an attention-getting appearance at last year's VMAs, invades triple-nominee Tatum's personal space in the latest promo for the upcoming ceremony, which is set to air on Sunday, April 14.
And as always, feel free to e-mail us questions for the podcast.
It's a mono-coastal installment of the Firewall & Iceberg Podcast, as Dan is back home for Passover. You tell us if you notice any appreciable difference in sound quality from us being only a few hundred miles apart rather than close to 3000
30000. It's a busy show, with talk about "Game of Thrones," "Revolution," BBC America's "Orphan Black," and a lot more. The lineup:
And as always, feel free to e-mail us questions for the podcast.
Vanessa Hudgens has unzipped a new track called "$$$ex," which was inspired by her newest film "Spring Breakers." That's "sex" spelled with three dollar signs. Harmony Korine's film could essentially be explained in similar terms, though a smiley face would also be acceptable.
Hudgens leads with a cheerleader rap that Sleigh Bells would applaud, reporting the mischief that a guy with a "condom in his wallet" gets up to. The themes of girls becoming women, innocence becoming foul play and beauty getting ugly also show up in this blissfully short track; the jump-rope rhymes urges its subject to "stop being so clever" with the infantilized purr turning into the f-bomb and a sexy screech. "Don't mistake my kindness for weakness," she chants. On it.
Skrillex was the composer on "Spring Breakers" and his inspiration can be heard in a dub-step breakdown. Pop producers Rock Mafia helmed.
No doubt hoping to end any continuing speculation about the Academy Awards moving to January, the Academy of Motion Picture Arts and Sciences has revealed the key dates for the 2014 season and Oscar isn't coming early.
Kendrick Lamar and 50 Cent combined for a tour stop over the weekend, so it's only right that they appear together in the video for Fif's latest "We Up" track.
The two sit fireside in cabin, playing mandolins and a hearty game of Risk. Haha, just kidding, they're rapping on the rooftop of a beautiful California condo by a pool with the season's hottest accessory, Bored Women.
50 Cent originally had another guest on the track, but took the third verse for himself after all and allowed Lamar to take the cake regardless. The "good kid" reveals that he can get away with murder (see: manslaughter) though he has a bit of a Bob Lefsetz complex with the end of his rhyme: "I'm on Instagram looking at your favorite singer / Debating on should I fuck her or jump on her single."
"We Up" is on 50 Cent's forthcoming "Street King Immortal," which will get a new drop date soon.
Meanwhile, 50 Cent was a guest on yesterday's "Sunday Morning," talking about rap music and gun violence, saying that songs like his don't glorify gun but reflect a particular reality.
"If you were doing that and you weren't actually experiencing it, I would say you were glorifying it," he told Tracy Smith. "If you're drawing from something from your actual experience, isn't it art imitating life?"
I still look back at Will Smith passing on Quentin Tarantino's "Django Unchained" as a big misstep, especially at this point in his career. No real reason was given at the time and eventually Jamie Foxx took on the role (and nailed it), but in a recent interview with Entertainment Weekly, Smith revealed that it was because the eponymous Django wasn't central enough to the story.
After Joy Behar's announced she would be leaving "The View" after 16 years on the daytime show, it was only moments before the rumors about Elisabeth Hasselbeck following her out the door began. Barbara Walters even went so far as to attempt to dismiss them while on air, saying, "We have no plans for Elisabeth to leave this show," before ominously adding, "When one of you makes the choice to leave, that is your choice, and we will support your decision." Uh-huh. Most people interpreted that as a Hollywood way of saying Hasselbeck shouldn't let the door hit her in the butt on her way out as she makes "the choice to leave" her parking pass with the front desk and let security escort her to her car.
The first thing to keep in mind with The Weinstein Company's 2013 slate is a penchant for throwing a lot at the wall and waiting to see what sticks. So just because they have a boatload of possibilities this year, from "Fruitvale" to "Lowlife," "August: Osage County" to "Mandela: Long Walk to Freedom," that doesn't immediately mean we should find a place for all of them when taking a stab at guessing next year's Oscar line-up.
That said, those films and more make for quite a formidable group…on paper, at least. And another film, Olivier Dahan's "Grace of Monaco," just landed a latter year release date that will put it right in the thick of the awards discussion.
Weinstein has announced that the Grace Kelly biopic, written by Arash Amel and starring Nicole Kidman as the famed actress-turned-princess, will receive a limited release on December 27. Though curiously enough, that's not the same November corridor that has yielded big Oscar success for its last three awards heavies, "The King's Speech," "The Artist" and "Silver Linings Playbook." (That spot will go to "August: Osage County.")
What is it with girls in ski masks these days? At SXSW this year, bikini-and-mask-clad babes on motorcycles were driving around Austin, though it was tough to tell if they were promoting the Pussy Riot documentary, the Kathleen Hanna doc "The Punk Singer" or "Spring Breakers" (or Spring Break, period).
In the music video to Fall Out Boy's newest concoction "Phoenix," there's beautiful women donning the creeptastic attire again, this time to abducted the four-piece rock band and mostly torture them. But this isn't a cute game of cat and mouse: Patrick Stump literally gets his hand chopped off, Pete Wentz takes a syringe to the neck and a falcon is involved somehow. I'm not sure why. Maybe the band took up falconry on break.
In any case, a briefcase: don't take it if its not yours. That goes for both rock bands and inexplicably sadistic women.