We may still be in the early stages, but one of the clear narratives of this awards season has been in place for some time now: after several straight years of independent productions ruling the roost, studio fare looks set to dominate this year's Oscars, with "Argo," "Lincoln," "Life of Pi" and (we presume) "Les Mis" all riding a wave of mainstream prestige combined with multiplex appeal. Pamela McClintock examines the situation and wonders if, after recent triumphs for limited performers like "The Artist" and "The Hurt Locker," this could be the year box office once more becomes a Best Picture prerequisite, and "event pics for adults" once more become a recognized Hollywood commodity. [Hollywood Reporter]
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"I just feel like every time we go home just makes me sad and like we're not moving forward, you know?"
Yeah, I know, Rachel. Because that's how I feel watching anything on "Glee" involving the current McKinley High crew. Sure, there are new faces, but the spectacle of bland characters dominating episodes with their bad storylines is certainly sad and definitely not moving forward.
The Academy has announced that 11 films will advance in the race for Best Live Action Short Film at the 85th annual Academy Awards. A tie in the balloting resulted in 11 films as opposed to the usual 10. The press release notes that 125 films had originally qualified in the category.
Check out the full list of films below.
So, another week, another oddball challenge. But whatever could it be? The designers gasp in appreciation when Carolyn Murphy walks out wearing a vest without a shirt. Wow, I guess. Anyway, her outfit is a hint. The challenge is androgyny! They must each design an androgynous outfit that is also avant-garde. I am so excited I can barely speak! No Michael Kors rip-offs this week, but something that might (gasp) actually go down a runway in Milan or Paris, right? I'm thinking Commes des Garcons, the "Project Runway" edition. Of course, not all of our designers like avant-garde or androgyny. Laura Katheen is horrified, and so is Ivy. You know who isn't? Josh. Yeah, no shocker there.
It blows me away when I see some of the work being done in videogames today. I spend very little time writing about games here on the site, and part of the reason for that is that when I play a game, it is (A) far too infrequently for my tastes and (B) the way I choose to escape from that analytical mode that I'm in while watching pretty much any film or TV show these days. I love games. I love the way they've evolved over the years. And while I have strong opinions about the games I play, that has not been something I've consistently voiced over the years.
Right now, what intrigues me is the way the marketing of games is getting very sophisticated. The campaign for "Halo 4" was impressive, with that one live-action commercial that was produced by David Fincher, and I really dug the "Grand Theft Auto V" trailer that was recently released. But when it comes to really pulling out all the stops, I'm going to have to give it up for Ubisoft's new ten-minute sneak peek at the highly-anticipated "Far Cry 3."
A review of tonight's "Parks and Recreation" coming up just as soon as I tour the country performing a spoken-word opera about pear-shaped women...
Of all the scripted dramas on television, "The Vampire Diaries" may churn through more pure plot than any other. More happens in one episode of this show than several weeks worth of, say, "Nashville" or, say, "Criminal Minds." It's never less than exciting, but man, don't blink.
A quick review of tonight's "Last Resort" coming up just as soon as the backup singers transpose the lyric...
It's nearly time for Burrito Josh!
That's why we're all watching Thursday (November 29) night's "The X Factor," right? Burrito Josh!
He was like Vino Alan, only instead of tattoos everywhere, he had a huge beard! And instead of entertaining the troops for a living, he MADE BURRITOS!
Oh right. Alicia Keys is gonna perform also.
Oh right. We're sending home two musical acts.
OK, fine. Let's get down to business...
It does not seem possible that the next Sundance Film Festival is just over a month away now.
I mean, we're still waiting on screening dates for some of the Christmas movies, and now we're already poring over the Sundance announcements so we can figure out who's seeing what when Team HitFix descends on Park City once again for the start of the fest on January 17, 2013.
I know that I'm on midnights duty, as always, and in festival after festival, some of my favorite experiences come from the midnight line-ups. It was at Sundance two years ago that I witnessed that amazing meltdown during a screening of Lucky McKee's "The Woman," and last year, I had my socks knocked off by "V/H/S," the anthology horror film.
Looking at the titles announced today, the first thing that jumps out is the follow-up to that anthology, and I had to laugh when I saw that they've titled it "S-VHS." There will come a point when no one is alive who understands those two titles or remembers what they refer to, but for those of us who lived through the video revolution, that's immediately funny. I'm excited to see the filmmakers behind "The Raid" involved in this one, and Eduardo Sanchez, who can be described as a pioneer of the found-footage genre, is also joining the roster. Throw in Jason Eisener, the sociopath behind "Hobo With A Shotgun," and it sounds like it's going to be another huge kick.
AC/DC were among the last holdouts from digital retail of their music, but they should have perhaps thought about making more fanfare about their entry.
On Nov. 19, the evolving rock act finally unleashed its back catalog on iTunes, as well as two exclusive box sets (let's just call them bulk sets now, people). According to Billboard, combined, the 25 albums sold 48,000 downloads. The total number of songs sold were 696,000.
The best-selling album was "Back in Black" at 15,000 and "Thunderstruck" was the single best-seller with 85,000. Which surprises me. I would have thought "You Shook Me All Night Long" (64,000) would have been the winner there.
When the Beatles lifted the cold, hard curtain on their catalog to iTunes in 2010, they sold a combined 119,000 albums and 1.42 million songs.
When Led Zeppelin finally bowed, it was 47,000 albums and 300,000 songs. That was 2007.
What changes is the times, and how much promotion and marketing the catalog entities put into it. Unless you saw the timely article on HitFix.com (OK, OK, OK, and some other outlets) and checked out the iTunes shop homepage, you probably weren't entirely aware that AC/DC was now selling through iTunes. Meanwhile, consumers couldn't avoid the Beatles' launch if they tried back in 2010; and in 2007, you were still stealing all your music anyway, and iTunes, Amazon and other retailers weren't exactly in their selling prime yet.
AC/DC, of course, is still practically omnipresent. "Back and Black" is widely licensed, the band had a best-selling exclusive album through Wal-Mart recently and they still are on that first page of the karaoke catalog. But they were competing for the attentions of shoppers during Black Friday week, and digital tracks aren't necessarily the first item on everyone's wish list, as opposed to the physical product.
Do you think the so-so sales could have been better if they joined the bandwagon sooner? Or if consumers were more aware? Or both?
Which five tunes will receive coveted song of the year nods when the Grammy nominations are announced Dec. 5?
Song of the year, along with best new artist, record of the year, and album of the year, compose The Big Four. The entire Grammy voting body can vote on these awards and that can tend to skew the results in favor of the most mainstream entries.
The winner for song of the year and all the other awards will be announced at the 55th Annual Grammy Awards, airing Feb. 10 on CBS.
To be eligible a song must have been released between Oct. 1, 2011 and Sept. 30, 2012. People often, understandably, confuse record of the year with song of the year. Record of the year goes to the artist, producer, recording engineer and/or mixer, whereas song of the year’s sole recipient is the songwriter. Therefore, when thinking about the song of the year contenders, I usually think about how the song would sound if it were performed only on a piano or an acoustic guitar with no other embellishment.
In recent years, there’s been great overlap between the song of the year and record of the year nominees. For example, this February, four of the five nominees were the same in both categories. In 2011, three out of the five were the same.
My predictions, listed in alphabetical order, have some duplication, but I also included songs that I thought met my sniff test above but wouldn't necessarily be record of the year contenders.
“Call Me Maybe,” Carly Rae Jepsen: This piece of pop culture led to so many imitators and most of them held up. That’s a sign of s strong, well constructed song. Yes, it’s simple, but it’s not simplistic.
“Gold On the Ceiling,” The Black Keys: It may not be quite as catchy as “Tighten Up” but it’s still a retro, blues stomp that stands out from everything else on the radio.
“I Will Wait,” Mumford & Sons: Grammy favorites M & S craft songs that sound so good live, whether they are fully embellished or stripped down and “I Will Wait” is no exception. The banjo-led melody and the “I Will Wait” refrain create an instantly-memorable tune.
“I Won’t Give Up,” Jason Mraz: No, it’s not as jaunty as former nominee “I’m Yours,” but this plaintive love song has staying power at radio. It also one of those tunes that doesn’t seem to have that much going for it at first, but repeated listenings reveal a hidden depth.
“Locked Out Of Heaven,” Bruno Mars: The Grammys love him and this song, without the stuttering, high-gloss production, would work as a stirring ballad.
“Payphone,” Maroon 5 featuring Wiz Khalifa: Sure, it may be a little lightweight as a song, but it is so catchy that it could make it as a song of the year contender. Plus, the chorus was one of this year’s mightiest earworms.
“Spectrum,” Florence & The Machine: The song, co-written by Florence Welch and Adele’s producer/co-writer Paul Epworth, is grand and sweeping, growing from a shudder to a howl. Nothing else sounded like it this year.
“Thinkin’ Bout You,” Frank Ocean: Beautiful, provocative and sexy. Never a bad combination.
“We Are Never Ever Getting Back Together,” Taylor Swift: Not only did Swift try something new with the alternative pop melody, but the lyrics are some of her cleverest, even if she does seem like she’s 15.
“We Take Care Of Our Own,” Bruce Springsteen: In this election year, this song stood out as a statement about our country. We may feel divided, but when the chips are down, such as with Super Storm Sandy, we’ve proved over and over again that we do, indeed, take care of our own. And Springsteen’s song, which is an appeal to our higher selves says it beautifully.
Which songs do you think will be nominated on Dec. 5?