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.
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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.
As much as Dido’s three previous studio albums have been about her dreamy, ethereal voice, her projects have also been about marrying her vocals to myriad beats.
On “Girl Who Got Away,” out Tuesday (26), she uses the same basic palette but widens the parameters with largely winning results.
The album opens with “No Freedom,” an acoustic guitar-based, reggae tinged song, but it’s not long before all manner of beats and electronic music are blending in with the strong melodies.
For her first album in nearly five years, she paired with writers/producers Brian Eno, Jeff Bhasker, Rick Nowels, Greg Kurstin and her most frequent collaborator, her brother Rollo Armstrong. Under a less sure hand, so many cooks might threaten to create a disjointed effort, but, here, it merely serves to provide the many different flavors of Dido.
On the title track, she’s the girl who got away from her career temporarily— she disappeared to have a baby—but who also gets away with having a happy life: “the lover who really loved, the dancer who danced to the last song...” That happiness spills over again on the lovely spare “Sitting on The Roof Of The World” as Dido looks back on her musical journey with gratitude that she slipped through the door of success while there was still an opening, and yet she’s still able to return home.
One of the highlights is the mantra-like “Let Us Move On” featuring Kendrick Lamar. Unlike so many songs with a rap breakdown that seemingly has no connection to the tune of origin, Lamar’s portion fits in with the overall calm chill of the song and there’s a potency in the juxtaposition of his gruffness with her understated elegance.
For all the joy many of the track profess, “Girl” has many moods, some of them dark. Dido’s beatific voice lets her deliver harsh lyrics with such lilting precision that you don’t even feel the knife go in, such as on “End Of Night,” when she sings, “I feel nothing when you cry/ I hear nothing/ see no need to reply, I can smile then and turn away.”
Similarly “Blackbird” seems like upbeat tune that opens with a sunny, engaging tape-manipulated stutter step, but the words tell a different story: “Why do I bring you love, when all you give me back is pain?...There’s a blackbird in my chest all aflutter, and all caged in... wanting to break free with the wolves in my head,” Dido sings.
With Dido’s languid vocals, nothing ever feels rushed or particularly urgent, yet there’s nothing complacent about any of the work here. The airiness of her voice provides the perfect complement to the beats. While it’s easy to let her voice just glide over you like an incoming fog, those who dive deeper will find plenty lurking under the surface on “Girl.”
I know there are a number of you out there who feel that Tom Tykwer and the Wachowskis' brave, unruly stab at "Cloud Atlas" never get the recognition it deserved this past awards season. If it's any consolation, however, the Germans have shown it some respect. The German-American co-production leads the nominees for this year's German Academy Awards with nine nods, including Best Film -- though the bulk of them, understandably enough, come in the craft categories.
In the narration that begins most episodes of "Revolution," the hit NBC drama about a future dystopia where electricity has ceased to function, the show's hero Miles Matheson (Billy Burke) tells the audience, "We still don't know why the power went out, but we're hopeful that someone will come and light the way."
There was a time, not too long ago, when the Oscars would have taken place on this past weekend. With the season having been mercifully shortened, however, it's left to Britain's Empire Awards, as voted by readers of the eponymous movie magazine, to put a bow on things -- and with Jameson as their chief sponsor, they make more of a party of it than most.
We are right on the cusp of the season finale of "The Real Housewives of Atlanta," and thus some important story lines are getting wrapped up. Or unraveled, take your pick. This week, the matter of the Kenya vs. Phaedra workout video war heats up, although a quick look at Amazon suggests exactly who might have won this skirmish, at least in terms of sales. Hey, on this show, dollahs make them hollah. Wait, that's Honey Boo Boo. But hey, same idea.
I'm starting to get the feeling that the people who are going to like "World War Z" the most are the people that are already familiar with "World War Z" because they read the book and loved it.
Personally, I'm not sure what to make of these trailers. It's odd that they refuse to say the word "zombie" anywhere, especially since not every audience is going to get the title's meaning right away. It's also odd that we have yet to see a long sustained shot of what a zombie actually looks like in the film.
Instead, we're looking at lots and lots of CGI figures swarming like ants, and a buttload of Brad Pitt reaction shots. I'm not even sure if Pitt's character has the same job in this version of the story as he does in the book, because this feels more like the war against these things is in full-swing. In the book, you get an oral history from a number of different perspectives, but it feels like the world of the novel is starting to heal itself. Here, we're obviously still at the start of everything, and it's more of a "find a cure" ticking clock with Pitt's character right at the heart of it.