She’s only 30 and yet her life is already ripe for a film about... her life. Yes, we’re talking about Beyonce.
The music icon/actress/wife/mom has been shopping around a film about herself to Hollywood studios, according to the Los Angeles Times. Beyonce stars in the documentary and is the director.
The film combines concert footage and interviews. As the LA Times notes, we’ve already gotten a taste of what a non-fiction film about her life would look like via “Beyonce: Year of 4,” a short film about the making of her album “4” and the year off preceding it, which aired on MTV last year.
Should Beyonce’s documentary come to the big screen, she is following in the recent footsteps of fellow pop stars, Katy Perry (whose “Part of Me” is in theaters now), Justin Bieber, the Jonas Bros. and Miley Cyrus, all of whom have brought their lives in concert to theaters within the last few years.
Representatives from Beyonce’s agency, ICM, did not respond a request for comment from the Times.
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She’s only 30 and yet her life is already ripe for a film about... her life. Yes, we’re talking about Beyonce.
Set your clocks: The full version of Mariah Carey’s new single, “Triumphant (“Get ‘Em),” will arrive, trumpets blaring, no doubt, at 3:45 EDT on her website, www.mariahcarey.com. In the meantime, hear a snippet below.
Her first single in two years, features Rick Ross and Meek Mill, and will be the first release from her 14th studio album, which will come out...well, the label doesn’t really know. According to a press release, more news about the album “will be announced in the months ahead.”
[More after the jump...]
Carey wrote “Triumphant,” “when I was going through a difficult time and it helped me get through it,” she tweeted, asking that her fans pay special attention “2 the lyrics #win.” Other writers on the song include Jermaine Dupri, Brian Michael Cox, William Roberts, and Robert Williams, according to showbiz411. From the snippet below, all we know is it talks about going to the mountaintop.
A number of dance remixes are forthcoming.
The news of the new single comes a week after “the earth-shaking announcement,” (yes, her label actually describes it as such) that that Grammy winner is joining “American Idol” as a judge for the 2013 season.
The Avett Brothers, Grace Potter & The Nocturnals, Gregg Allman and The Lumineers are among the artists who will join Zac Brown Band for ZBB’s two Southern Ground Music & Food Festivals this fall.
After bowing last year in Charleston, the Southern Ground Music & Food Festival will expand to Nashville this year. ZBB headlines each night at the events.
The line-up for the Sept. 21-22 Nashville fest, which will be held at Riverfront Park, is Amos Lee, David Gray, Edward Sharpe & The Magnetic Zeros, The Lumineers and Los Lonely Boys, among others.
Top names for the Charleston fest, which will be held Oct. 20-21 at Blackbaud Stadium, include The Avett Bros., Grace Potter & The Nocturnals, The Charlie Daniels Band and The Wailers.
In addition to ZBB, both festivals will feature Michael Franti & Spearhead, Jerry Douglas, and Southern Ground artists Sonia Leigh, Nic Cowan and Blackberry Smoke. Southern Ground is ZBB’s label.
As the name connotes, the emphasis is also on the food, with chefs from around the globe working with Southern Ground executive chef Rusty Hamlin. Among the ticketing options are Front Porch Stage Boxes, which allows patrons to sit on stage, enjoying a four-course gourmet meal, just feet away from the performers. Prices start at $325/seat.
Non-VIP tickets are priced for as little as $89 for a two-day early bird ticket. For more information, go to www.southerngroundfestival.com
In an interview I did earlier with Brown for the Los Angeles Times, he told me the guiding principal behind planning the line-up and festivities: “What would I want to have if I was at a festival?’,” Brown said. “I’d want to have amazing food and drink and see an eclectic group of artists play. Too much of any one kind of music for six hours in a row is going to wear people out.” Brown added that ultimately, he'd like to expand the festivals to 10 cities.
If there is any film I'm disappointed I missed by skipping the 2012 Cannes Film Festival it's Andrew Dominik's "Killing Them Softly." His last picture, "The Assassination of Jesse James by the Coward Robert Ford," was one of the best films of 2007 and of the 21st Century's first decade. He's re-teamed with the producer and star of "James," Brad Pitt, for his follow up.
I'm that guy who really doesn't like the Paul Verhoeven film.
I like things about it, certainly. I like the idea of Rekall as a company and as a premise for a science-fiction film. Then again, Rekall isn't really a premise for a movie… it's a device, something you still have to build a plot around, and the one undeniably genius move of the original script is having someone ask to have the secret agent memories implanted, only to suddenly find himself in a secret agent scenario, unsure if it's really happening or if this is what he paid for. Great idea. Huge idea. So much you can do with it.
Perhaps that's why I remain disappointed by both versions of "Total Recall" to some degree. Here's this amazing opportunity, and both films eventually just turn into fairly standard action movies. Verhoeven's film ladles on the weird and tries to be subversively funny in the same way "Robocop" was, but it's an uneasy mixture at best, and I think the Schwarzenegger film is largely witless. This is a movie that actually contains a scene where Arnold sits at the controls of a giant drill that he uses to kill someone as he screams "SCREEEEEEEEWWWWWW YYYYYOOOOOUUUU!" It's hard for me to see the things the Verhoeven film does right when there is so much of it that makes me actively embarrassed to be watching it. I saw the film a few days before it opened at a midnight screening at the theater where my friend worked. I was tremendously excited for it, and I was a fan of Verhoeven's work even before "Robocop." I'd seen "Soldier Of Orange" and "Flesh and Blood" and "The Fourth Man" already, and I really liked his overall sensibility. To me, "Total Recall" felt like Hollywood swallowing him up, and it's not until it spit him back out and he made "Black Book" that I was fully onboard one of his films again.
I think it's specifically appropriate to say that Colin Farrell is one lucky cat. After all, if anyone in Hollywood has nine lives, it's Farrell.
He was an overnight sensation when he starred in "Tigerland," Hollywood's hot new flavor of the month. Never mind that he'd been working for four years beforehand, including the show "Ballykissangel." "Tigerland" was the moment international audiences first noticed him, and almost immediately, he was everywhere. His first big commercial run included roles in "Hart's War," "Minority Report," "Phone Booth," and "Daredevil," and he failed as many times as he succeeded, enough so that when "Intermission" rolled around in 2003, just three years after "Tigerland," it was already referred to by some of the media as a "comeback."
I think Farrell has made choices over the years that indicate just how seriously he takes the job and how little he cares about stardom. You don't star in "Ask The Dust" because you think you're going to get an action figure deal out of it. You don't make "In Bruges" because you're hoping to make $50 million off of your gross points. He's worked with Malick, Stone, Mann, Gilliam. He's taken some outrageous chances, and even in his most mainstream movies, like "Miami Vice," it seems like he makes the least safe versions of these big studio films.
"X-Men: First Class" felt to me like a Hail Mary pass, a last-ditch effort to figure out what to do with the franchise, and the creative and commercial success of the film seems to have surprised the studio tremendously.
Part of what happened with the film was based on time, or the lack thereof. They had a very tight production window on "X-Men: First Class," and in situations where that happens, there is far less opportunity for anyone to second guess a choice. Matthew Vaughn and his writing partner Jane Goldman crafted something that gave a shot of adrenaline to the series, and it's little wonder they've been brought back to work on the second film in this new series as well.
When word broke recently about the possible title of the sequel, we double-checked with the MPAA and confirmed that the title "Days Of Future Past" had indeed been registered as the title. That's exciting because, like with "Captain America: The Winter Soldier," the title immediately suggests a particularly well-known story arc from the comics.
Ah, the house is in turmoil as the POV contest looms and Janelle faces the prospect of being the last judge to face losing a wee hamster. Really, it's a surprise that Janelle hasn't lost anyone yet, as her players are all such obvious floaters. Although everyone keeps talking about how Wil is physically capable of winning a physical challenge, I think this is only possible if Shane and Frank both break their legs and perhaps get electrocuted. Even Joe seems to have more of a chance, though he might suffer a massive coronary in the process. The guy really is like a walking "this is your heart on cholesterol" commercial. But I'll give the guy credit; he REALLY wants to play. Personally, I can't imagine why he wants to be surrounded by a bunch of whiny kids who spend all their time braiding hair and running up and down the stairs, but maybe his kids at home are just too mature or something.
It’s an 8th week at the summit for Carly Rae Jepsen’s “Call Me Maybe,” as the song ties Goyte’s “Somebody That I Used To Know” for the most weeks at No. 1 on the Billboard Hot 100 this year.
We’ll see next week if she can break the tie and hit nine weeks or if Katy Perry’s “Wide Awake,” which rises 3-2 this week, will surge ahead to No. 1. Billboard notes that every time a Perry song has reached No. 2 before, it has gone on to hit No. 1. “Wide Awake” switches places with Maroon 5’s “Payphone, which drops to No. 3.
Flo Rida’s “Whistle” blows its way from No. 6 to No. 4, pushing Ellie Goulding’s “Lights” down one spot to No. 5.
Once again, there are no new entries in the Top 10: Gotye’s “Somebody” falls from No. 5-6, while the rest of the chart looks the same as it did last week: Rihanna’s “Where Have You Been” is No. 7, David Guetta’s “Titanium” featuring Sia is No. 8, Usher’s “Scream” is No. 9 and Pink’s "Blow Me (One Last Kiss)” holds at No. 10.
Jepsen’s duet with Owl City, “Good Time,” will likely jump into the Top 10 next week: this week is powers its way from No. 23 to No. 13.
"We all know that there were critics who did not enjoy the first four episodes" of "The Newsroom," that show's creator Aaron Sorkin, said, "and there were critics that did. Obviously, you'd prefer that the praise be unanimous."
As fans of Norah Jones’ “Little Broken Hearts” album already know, the song “Miriam,” is the most chilling she has ever recorded. The sweet melody and seemingly benign, casual delivery belie the lyrics about a murder.
The crime of passion, by a jealous lover, is deliberately laid out, though we never know for sure the method. However, the video solves that mystery. In a clip that is as simple and plain and spine-tingling as the song, the camera focuses on Jones, calm and dressed pretty as can be, sitting in a row boat singing the song. She’s left the evidence where it won’t be found for a long time. We'll embed when we can, but for now, you can watch the Spin exclusive here.
The Phil Andelman-directed clip is the perfect visual marriage to the song. The camera moves slowly and snake-like, producing a video that provides the same cold-blooded, dead-eyed feel that song produces. There have been some other great rowboat murders, the one in the brilliant "A Place In the Sun" comes to mind, but none executed with such sang-froid.
As we previously wrote, "Little Broken Hearts" is on our short list for potential Grammy contenders for album of the year.
Even before "Prometheus" opened in May, we'd been hearing rumbles about work already underway for a sequel to the film. I'd heard that it essentially ended on a cliffhanger, and that design teams had been engaged to work on figuring out the home world of the Engineers as well as some familiar Xenomorphs.
I think it's safe to call the reaction to the film "mixed" this summer, and as a result, it seemed likely that all those early plans would go unrealized and that we'd never actually see that sequel.
Fox must have been happy with the numbers, though, because according to a report this morning in the Hollywood Reporter, Fox is pushing ahead to develop a sequel with Michael Fassbender and Noomi Rapace starring. We checked in with Fox, and it's still very early days on this one. They are indeed reaching out to new writers to try and figure the film out, but they confirm that Ridley Scott is the one steering the direction as they start to develop the movie.