For all of you who saw "American Horror Story" last night (and for those of you who didn't, cover your eyes and run -- spoilers ahead!), we finally learned the ugly truth about Bloody Face -- and unfortunately, so did Lana. Of course, one big reveal just leads to more questions. Luckily, in a conference call with journalists Quinto talked about the surprising Dr. Thredson, hinted at what's ahead for Bloody Face and his latest victim, and why things are going to be getting "a lot more disturbing in the coming weeks." The best news? Quinto promises that all questions will be answered... eventually.
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So basically, a whole lot of people I know are making "Deus Ex."
We ran a piece back in July when CBS Films made a deal with Square Enix and Eidos Montreal to adapt "Deus Ex: Human Revolution" for the bigscreen, and I said then that it is a promising property. When I wrote that, I hadn't played the game yet. So I rented it from GameFly and gave it a try, and pretty quickly realized that while I like the world and the imagery and the kinds of ideas they're playing with, I haaaaated the game itself. No fun at all. It was just a case of the mechanics being too busy and the mix of stealth and shooting all seemed very clunky, and it's one of the few games I've played where I just bailed out halfway through because nothing about it compelled me to keep playing.
Even so, the world remains fertile, and in some ways, my problems were about the gameplay being less interesting than the world or the characters. I would rather have watched it than played it. Today's announcement that C. Robert Cargill and Scott Derrickson, the team behind "Sinister," are going to be handling the co-writing and directing duties for the film is a step in that direction, and now we know the property is in the hands of people who are authentic fans of this stuff.
Chris Brown and Rihanna's new duet "Ain't Nobody's Business" is, indeed, "Unapologetic." The song has arrived in full a few days out from Rihanna's new album release, and the pair would like for detractors of their rebudding relationship to butt out.
Using a famed line from Michael Jackson's "The Way You Make Me Feel," they both sing on the refrain: "It ain’t nobody’s business / Just mine and my baby." The sound, overall, is reminiscent of MJ, which must've thrilled the pants of Chris Brown, a longtime disciple who has never shied away from the comparison. It's helmed by The-Dream.
With lines about making out in a Lexus and the continued use of "baby," one would assume that Rihanna and her baby are back together, which they've both denied in the past week. The question of their relationship status, however, will never cease to pique others' curiosity so long as Rihanna and Chris Brown make songs like "Nobody's Business." Making their business model dependent on "Nobody's Business." Business because of "Business." The snake eats it tail.
"Nobody's Business" is a decent song, if you're in a place to hear it. I think it's lame to drum up publicity based on the reformation of what I think is a screwed up relationship that should truly be addressed quietly, but if Brown-Rihanna duets are the MO in the future, so be it. This is one of the cases where the public persona plays deeply into how songs are written and performed, making their personal business of "Business" fair game in criticizing it. So it's a draw, in consideration of her deeply affected delivery of the words "hain nobah'ees bi(d)neh," Brown's bad edits on the pre-chorus, the "infectious" post-disco dance brew and wrinkle-nosed funk at the end.
Bill Condon had one advantage working in his favor from the start as director of both halves of "Breaking Dawn," the final film in "The Twilight Saga," and that is that the nature of a conclusion allows you to do things dramatically that no other story in the series can do.
Catherine Hardwick deserves high praise for the same reason Chris Columbus did on the "Harry Potter" series, because even if their respective films in their respective franchises aren't the best films in those series, they still had to get the whole thing up in the air to start with. They had to find the cast. They had to set the stage. They had to establish a tone and a visual language that every other director in the series then had to react to, and if you're the fourth guy on the series, you're going to benefit from any mistakes other people have made on the earlier films. You'll be able to build from what they've done, and while they're busy feeding the audience exposition or grappling with the inertia of a movie like "Eclipse," where nothing of consequence happens to anyone at any point, if you're making the conclusion, you get to deliver payoffs, and that's always going to be more fun.
As the annual Oscar season unfolds, there are a number of expected events that traditionally make or break a best picture winner. These signposts usually indicate who is the frontrunner, who is gaining traction and who isn't.
"Crossfire Hurricane," Brett Morgen's new documentary celebrating 50 years of The Rolling Stones (9 p.m., HBO), opens in intentionally disorienting fashion.
From "Irma Vep" to "Demonlover" to "Summer Hours," Olivier Assayas has been one of the world's most vital filmmakers for some time now, but it seems many only caught wise to his gifts two years ago with "Carlos," his galvanizing five-hour biopic of infamous 1970s political terrorist Carlos the Jackal. Thanks to its unusual release both in cinemas and as a TV miniseries, the film managed to win Assayas a slew of US critics' awards, a TV Golden Globe and even an Emmy nomination. (If that wasn't surreal enough, he lost to "Downton Abbey.")
It'll be interesting to see if the Frenchman's newly acquired admirers follow him to "Something in the Air," a softer, woozier, faintly autobiographical reflection on an equivalent period of 1970s radicalism to "Carlos." You may also know the film as "After May," a literal translation of the French title being used in other territories. It's also the one used in the first international trailer for the film, which we're pleased to premiere below -- by kind permission of Australian distributor Palace Films.
A shimmery ensemble piece casting its gaze upon a group of teenage activists variously finding their own place in the post-1968 countercultural war, it takes more cues from Assayas' 1994 breakthrough feature "Cold Water." IFC Films is releasing the film Stateside in 2013; Artificial Eye will be doing the honors in the UK.
Both HBO and Cinemax have benefited from trans-Atlantic partnerships the last few years, resulting in shows like "Extras," "Strike Back" and most recently "Hunted," the Cinemax thriller starring Melissa George as Sam Hunter, a British private spy looking for revenge on the people who tried to kill her. These partnerships have given the larger HBO family access to series and talent who might not have been available without taking on a partner in the U.K., and at a cheaper price than if they were producing it on their own.
But some partnerships don't always go smoothly, as Cinemax has found out with "Hunted." The series still has a few weeks to go in its U.S. run (original episodes air Fridays at 10), but BBC One has already announced that they won't renew the show for a second season, despite Cinemax's interest in continuing the show.
A couple of weeks ago, I commented on how Best Production Design is a welcome name change for the category previously known as Best Art Direction. It is not the only such change this year, as the award for Best Makeup is now finally called Best Makeup and Hairstyling.
For years, I have said that the hairstyling portion of this award has been neglected. Whether the sorts of films that get nominated will change remains an open question. But at the very least, this should highlight for the public that the category isn't all about prosthetics and foundation.
This remains a unique category in that there are only three nominees. Moreover, said nominees are chosen from a group of seven finalists that are announced in the weeks leading up to the nominations. Voters from the branch view bake-off reels on the work done in those seven films before choosing the nominees.
Was Abraham Lincoln secretly gay or bisexual? Playwright and "Lincoln" co-writer Tony Kushner believes there's ample reason to speculate that he may have been, but you won't find any such suggestions in Steven Spielberg's recently-released film. Why? Because matters of sexuality have no place in this particular strand from Honest Abe's political career, says Kushner. "I wanted to write about a very specific moment and I chose this moment and I don't feel that there was any evidence at this particular moment that Lincoln was having sex with anybody," he tells Tom O'Neil. "I don't say in my movie whether the Lincoln character was gay or straight. You can ask Daniel (Day-Lewis) what he was playing, but it did not seem to me a thing to make a movie about now." [Gold Derby]
A review of last night's "Suburgatory" coming up just as soon as I top streaming "Cool Runnings" to my phone...
William Joyce is one of the best guys working today in the world of children's books, and the work he produces deserves to be added to the same shelf where we put names like Sendak and Silverstein and Seuss. He has a beautiful, instantly recognizable art style, and he writes in the loveliest cascades of language. There's something very dreamy and very familiar about his work as soon as you're introduced to it. He is absolutely among the top tier of people who do what he does, and "Rise Of The Guardians" is, before anything, a tribute to his storytelling style and a fairly remarkable realization of the visual worlds he creates.
The film, written by David Lindsay-Abaire and directed by Peter Ramsey, begins with Jack Frost (voiced by Chris Pine) slowing waking up to consciousness. He remembers nothing. He is newborn to his powers, and we watch him get his footing, like the early scenes in "Bambi," and then leave into the wider world. He doesn't really understand the way the world works or what his place in it is, and he operates on an instinctual level.