You have to hand it to the Golden Globes. Barely had the chatter died down about the Academy's surprising choice of Oscar host than the HFPA chimed in with their own... and grabbed bigger headlines than Seth Macfarlane ever did. While the "Ted" man's appointment was welcomed in some quarters, others expressed concern that most viewers out in the real world don't know who he is -- a weak spot the Globes have cunningly zeroed in on by snapping up star comedy duo Tina Fey and Amy Poehler to continue the work done by Ricky Gervais in the last two years. With Fey a name many have suggested for the Oscar gig (she's presented at the big show twice), this likely ratings coup must really smart for AMPAS. I know which show I'm looking forward to more now. You? [HitFix]
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Robert Zemeckis has never made anything like "Flight," and Denzel Washington has rarely played a character this damaged. I frequently feel like studio movies arrive somewhat predigested because of how many times we've seen variations on the same basic formulas, and when you do run into something that takes its own path, that tells its own story in a way you're not expecting, it can be positively shocking. Working from a strong piece of material by John Gatins, Zemeckis seems to be trying something that is, for him, both new and a clear representation of the things that make him most interesting as a filmmaker.
I remember seeing Spike Lee talk about the making of "Mo' Better Blues," and one of the things that he said made the film difficult to shoot was a firm rule from Denzel Washington that he did not want to do any elaborate love scenes or any sort of onscreen nudity with a female co-star because of his own offscreen marriage. As good as he is, there's often a sense that he's holding back something, that he is careful about his image. It's the sort of thing that I think often affects Will Smith's choices as a movie star as well, and it can be hard to let go of after you've lived with it for a long time. I couldn't help but think about that when we first see Denzel in this film, in bed with Nadine Velazquez, finishing a beer for breakfast and doing a rail to wake himself up as she walks around the room totally nude. At one point, he gives a sideways glance right up her backside as he talks on the phone, and there is a world weary quality to the beat that is both funny and immediately crushing. This is the sort of performance where there's no personal vanity involved, and there's no thought of Denzel as Denzel.
I have certainly spent my fair share of time and column inches writing about the remake culture that we're suffering through right now, and by and large, I'm not a fan. I think there is an anemic degree of imagination on display from the studios these days, and even the excuse that these things fund the chances that they take starts to look a little thin when the remakes outnumber the originals ten to one.
But I'm willing to admit that there are remakes that make sense, and when there's a piece of material that speaks to the times we live in or that offers an opportunity that a filmmaker feels strongly about, then I'm more than happy to watch what they come up with. And in the case of "Carrie," I would argue that the time is absolutely right to revisit what remains one of the most potent of Stephen King's novels.
After all, it's not like bullying has stopped. If anything, today's technological culture has created a whole new way for kids to be tormented and teased. It's been hard reading the stories about Amanda Todd and looking at the video she left behind when she committed suicide recently and seeing how there are still people who were part of her world who continue to pile on the abuse even now that she's dead. It's just one more disturbing story in a long line of them, and while some people seem to think this is new, I think it's just a new version of something that's been around as long as there have been weak and strong kids, as long as people have felt different, as long as there has been the need for some people to victimize others to make themselves feel better.
Paula's in the house! I'm hoping Paula will actually give some concrete advice beyond, "You're so great!" or "You make my heart smile!" After all, this is her wheelhouse -- dancing, not singing, is where her true talent lies. But, let's face it, she's still Paula, so I'm expecting lots of love and those hands-splayed slow claps and blown kisses.
This weekend's viewing at the London Film Festival brought me to a pleasingly round, if short-lived, statistic: I've now seen 20 of the 71 films entered for consideration in this year's Best Foreign Language Film Oscar race. That's a pretty small proportion still, yet even this sample pool feels thick with artistic virtue and contender potential alike. From this single score of films, I feel, it'd be quite easy to draw up five-nominee slate for the ages, with several worthy alternatives left over as change – and Australia's entry, the lyrical-yet-bloodied “Lore” (A-) deserves to be near the top of the heap.
Whether for arthouse or Academy targeting purposes, “Lore” seems destined to be handed the 'Holocaust film' label – a tag that, however impartially descriptive, has lately called to mind a subgenre marked by earnest moral reinscription and grayscale suffering. Neither is a convention to which this crisp, cruel, often recklessly beautiful survival story, set against the dying breaths of Nazism, feels duty-bound. It's as much a tale of an individual's selfish spurts of guilt and rapture as one of any larger communal redemption or destruction, and as such feels very much of a piece with director Cate Shortland's woozily desirous 2004 debut “Somersault” – to which “Lore” is a too-long-awaited follow-up.
Year after year, Tina Fey and/or Amy Poehler will pop up at the Emmys, the Golden Globes, or the Oscars and be so bright and funny and quick that they've outshone the actual host of the night. So the 2013 Golden Globes will cut out the middle man and just use Fey and Poehler as the co-hosts on January 13.
Fey and Poehler are longtime friends and frequent collaborators who have worked together at Second City, on "Saturday Night Live," and in the 2008 film "Baby Mama." Both also currently star in comedies on NBC (which will air the Globes), Fey in the final season of "30 Rock," and Poehler on "Parks and Recreation."
The promotion from presenter to host doesn't always go as smoothly as we might hope (witness Ricky Gervais on these same Globes), but the Fey/Poehler team has me genuinely excited to watch the ridiculous Golden Globes for the first time in forever.
I'm going to have to stop watching clips and trailers at this point, I think.
Then again, this latest clip is so much fun that I'm not sure I'm going to be able to stop myself.
I know very little about Silva, the mysterious bad guy that Javier Bardem is playing in the film, but one of the keys to making a Bond film work is pitting him against someone who is a worthy adversary. So far, the early reviews that I've glanced at seem to really like Bardem's work, and this new clip is one of the best glimpses we've had so far of Silva and Bond together.
What I like about this is the way it feels like Silva is engaged in the game here. It feels like he's enjoying the cat-and-mouse with Bond, and the move he pulls to get away is pretty great. It's also pretty clear that this is another film where Javier Bardem is visually disturbing, adding to the menace. Nobody makes wigs more upsetting than Bardem, and his "blonde policeman" thing he's got going on here is really freaky.
Kelly Clarkson’s “Greatest Hits—Chapter 1” doesn’t hit streets for another month, but today we get the track listing and cover art. The artwork, which is a little cheesy, ties in with the “Chapter 1” theme and looks like a book cover.
The story goes back to the beginning, including “A Moment Like This,” Clarkson’s first single after winning the first edition of “American Idol” in 2002, and extends through Clarkson’s fifth studio album, 2011’s “Stronger.” In addition to popular tunes, such as “Miss Independent,” “Because of You,” “Breakaway” and “Since U Been Gone,” the set also includes new track “Catch My Breath.”
"Greatest Hits – Chapter One" Track listing
1 Since U Been Gone
2 My Life Would Suck Without You
3 Miss Independent
4 Stronger (What Doesn’t Kill You)
5 Behind These Hazel Eyes
6 Because Of You
7 Never Again
8 Already Gone
9 Mr. Know It All
11 Don’t You Wanna Stay (with Jason Aldean)
12 Walk Away
13 Catch My Breath
14 People Like Us
15 Don’t Rush (featuring Vince Gill)
16 A Moment Like This
17 I’ll Be Home For Christmas
Two of the films that most frustrated me this year were "The Amazing Spider-Man" and "Prometheus," and it's important to point out that I don't get frustrated when I see a film that is terrible from start to finish. Those are easy to dismiss.
I get frustrated when I see a film that has real potential but which falls short thanks to certain decision-making. "The Amazing Spider-Man," for example, is a film that has many of the pieces right. Casting is a big part of making these films work, and I think they cast the film incredibly well. It was the script that made me crazy with that one, and I knew that the film had been tinkered with repeatedly during production, with some major parts of the film dropped very late in the process.
In his clip for new single, “Locked Out Of Heaven,” Bruno Mars brings the party down to earth.
The intentionally grainy clip, has a great ‘70s soul feel, as Mars performs in small, crowded club where everyone’s sweat is mingling together and you can’t tell where your body ends and the next person’s begins. It’s hot as hell, but everyone is jumping and jiving and loving every minute.
[More after the jump...]