Aww, darn. This episode started out on such a pleasant, only mildly crazy note. But we know that mildly crazy is never as much fun as sobbing and fighting, so everything melts down pretty quickly. Plus with Taylor in the house (yes, she's still on the show; isn't that weird?), it only takes a moment for her to try to make an argument all about her, even when it's not and no one seems to have noticed she was there.
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The USC Scripter Awards is celebrating its silver anniversary this year. And in this 25th year, the USC Libraries' set of nominees is reflective of a very competitive year as, for the first time ever, a tie resulted in six nominees as opposed to the usual five.
There are very few actors who could walk away from the world of film for a decade and expect to be welcomed back by an audience, but Arnold Schwarzenegger has made a career out of defying the odds. No one would have expected that a muscle-bound Austrian with a thick accent would be able to carve out a successful career starring in not only action films but comedies as well. No one would have believed that America would embrace an action icon with the last name "Schwarzenegger." And now, he manages another truly astonishing feat, returning to the world of movies after his time spent as the Governor of California, and to complicate things, he did it in a really good movie.
I am amazed that "The Last Stand" is as fun as it is, but I shouldn't be. After all, it's directed by one of the few filmmakers to place not one but two films on my end-of-the-year top ten lists in the last decade. Kim Jee-woon has more than proven himself as a significant voice in Korean cinema with movies like "The Foul King," "A Tale Of Two Sisters," and "A Bittersweet Life," but it was the back-to-back punch of "The Good, The Bad and the Weird" and "I Saw The Devil" that convinced me that he is an important voice in genre film. He has a remarkable gift for staging action sequences, and he has a knack for building in all sorts of surprises into each sequence. I honestly believe we'll be discussing his work for as long as I'm writing about film, and now we'll be able to add a chapter to that conversation in which we talk about how he snuck into the American system making a better-than-it-should-be Arnold Schwarzenegger action movie.
Oh boy! It's week two of "The Bachelor," and you now what that means -- this is the week the women turn on one another! I could rattle on about how limited resources in a confined space tend to bring out a primitive, competitive urge in people, and how this artificial dating pressure cooker has transformed a decent guy into a demigod and otherwise normal women into psychotic monsters. I could, but what fun would that be? Bring on the crazy!
A quick review of tonight's "Bunheads" coming up just as soon as I shave above my knees...
We weighed in on “Suit & Tie,” Justin Timberlake’s first new song in more than six years, last night. We felt it was a good start and a nice, retro-soundng track.
And you are responding loud and clear as well: the song is on top of the iTunes Songs chart (in part because Timberlake’s label, RCA, is swatting the song down any time it appears on YouTube). The response at radio has been strong with many Clear Channel and CBS-owned stations playing it hourly. Billboard predicts the single could sell as many as 400,000 copies in its first week.
Here’s what some other critics are saying about the song, the first tune from Timberlake’s forthcoming album “The 20/20 Experience.”
The Los Angeles Times’ August Brown says: "We’re pleased to report that the results are quite sexy. "Suit & Tie" is a radiant, ramshackle song that's less of a coherent single and more of a coronation event. It grafts at least three different Timberlake settings -- the slow-rolling futurist, crisp-collared soul man and backseat driver to a rap kingpin (here, Jay-Z) -- into one strange track that comes off like a best-man wedding toast. It’s rambling and full of awkward transitions; yet occasionally finds its feet and ultimately heralds a joyful event: Justin Timberlake making music again."
People Magazine’s Chuck Arnold give it a thumbs up: "JT goes for a more retro vibe on this suave single, which previews his much-anticipated third solo album, The 20/20 Experience, due out later this year. With its smooth, horn-kissed lushness, it recalls the '70s R&B of Marvin Gaye as well as Robin Thicke's modern-day take on old-school soul."
PItchfork likes Timberlake, Jay-Z not so much. Writes Stephen M. Deusner: "While not quite as risky as "SexyBack" or as rewarding as "My Love", "Suit & Tie" is still one hell of a wedding reception jam, as bubbly as champagne. Timbaland creates a smooth beat out of a marimba roll and harp gliassando that Marvin Gaye must have left on the cutting-room floor, and Timberlake rides it with that fluid, effortless falsetto. "Let me show you a few things," he sings by way of seduction. Because it’s a song called "Suit & Tie", Jay-Z is on here, delivering the obligatory rapped verse like he's crashed a wedding. It's another in a string of uninspired cameos by Hova."
Billboard’s Jason Lipshutz is Team Timberlake...with reservations: "Suit and Tie" is a good song, but it's not the artifact from another planet that we've been expecting, nor it is the ambitious experiment that Timberlake alludes to when he describes heading into the studio and "just creating with no rules." Comparing "SexyBack" with "Suit And Tie" makes the latter seem almost impossibly safe: it's a sumptuous, fairly straightforward love song with forgettable lyrics ("Love is swinging in the air tonight"?), a useless opening 40 seconds and a Jay-Z verse that dutifully penetrates the beat while offering nothing unexpected."
Rolling Stone’s Dan Hyman says "Suit and Tie," a horn-addled shuffler likely to inspire many new dance routines, finds JT waxing poetic about his love for dapper duds. "I be on my suit and tie shit/ Can I show you a few things, little baby?" he croons. Jay-Z later joins in with lines about "truffle season," wearing tuxedos for no reason and the trendy designer Alexander Wang
How do you feel about "Suit & Tie?" Hear it here.
Willow and Jaden Smith are 12- and 14-years-olds, both the progeny of Will Smith. And they are "lost," according to their new track together "Kite."
Their ages are worth reiterating, shedding light on the elementary nature of each's rhymes, but also on the times: it's true that the Weeknd and Frank Ocean blew up in 2012, and in 2013, these Smiths -- as is their nature -- are imitating them.
Willow's no stranger to working her way around her girlish range like Rihanna, with previous output like "21st Century Girl." She put on her blackest eyeshade for another release "Sugar and Spice," out last week, which had her emoting over a sample from Radiohead's dour "Codex"; I did my best to ignore it (partly due to the further infantilization of women by a 12-year-old who couldn't possibly comprehend such an infliction particularly on her generation, but I digress) but "Sugar" was indicative of the sour...
Because at the top comes Jaden, with Drake as an overt influence, as he rhymes about his obvious teenaged sorrows of having every privilege and still feeling unhappy. "I am a poet, I do not explain..." he says in the middle of a 32-bar exploration of "-ain." Pain, being the most prevalent.
Lena Dunham's show "Girls" took home gobs of Golden Globes Awards last night, but today is Santigold's "Girls" triumph.
As previously reported, the songwriter contributed the song "Girls" to the "Girls" TV show soundtrack. And it's fun. It evidently is fun to other girls as well. The video companion features women and girls of all ages lip-syncing to the track, bouncing and bounding in their natural habitats. No exposed booties or eye-popping costumery; no glamorous lens tricks or luxury cars or slathered-on makeup. We're so used to artifice, it's refreshing to just see females having a good time to a song after their own heart.
The Directors Guild of America (DGA) has offered up its list of nominees for Outstanding Directorial Achievement in Documentary Filmmaking, and it's a nice slice of vindication for a pair of Oscar snubees.
Beyonce wants us to know that she’s “a human being. I cry. I get scared. I get nervous, just like anyone else.”
In the trailer for her new HBO documentary, “Life Is But A Dream,” her voice over hints at how difficult it is to be Beyonce and that her struggles to balance a commercial life with her artistic vision: “I always battle with how much do I reveal about myself...how do I stay current. How do I stay soulful,” she asks.
[More after the jump...]