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<p>Rick Ross' &quot;Touch'N You&quot; featuring Usher</p>

Rick Ross' "Touch'N You" featuring Usher

Credit: Def Jam

Listen: Rick Ross and Usher reunite for new single 'Touch'N You'

Explicit jam officially kicks off 'God Forgives, I Don't' promo

It was only a couple weeks ago that Usher unzipped "Lemme See" featuring Rick Ross in promoting his new album "Looking for Myself"; now the pair are back together for another sexy back-and-forth for Rozay's new single "Touch'N You."

Def Jam is touting the track as the first official single from Ross' much-anticipated "God Forgive, I Don't" album, which he'll drop on July 31. A release says that this steamy, explicit, mainstream tune "sets the tone for what will be Ross’ most epic, most ambitious album to date."

If that's so, then look for a lot of steam-windowed R&B combos with Bawse's confident woof, because this mid-tempo bedroom jammer has Usher over-repeating his intentions of "f*ckin' you." Of course, there's a radio version available -- "Touch'N You" -- reminiscent of how Enrique Iglesias, tonight, is "lovin'" you.

Ross' rhymes work, though, and its another gangbusters combination from this team, who could benefit from each others' prowess as they drop their respective new albums. As repetitive as I think "f*ckin' you" gets, it on a meta-level reflects the actual nature of, well, f*ckin'. Good work, lit team, "Touch'N You" sounds like a definite hit.

“So that’s what I did with this project…it’s my best body of work yet. 'God Forgives, I Don’t' is a very dark story…it’s extremely lyrical. The music is next level. I’m expecting nothing but the biggest results. That’s what’s needed, and I’m going to deliver,” Ross says in a statement on his new effort. He announced it -- and new signings and albums from his Maybach Music label -- at a press conference in New York two weeks ago.

Since "Touch'N You" is the official single, that means cuts like "You the Boss" and "I Love My Bitches" were promotional, so await word if they make the final tracklist.

What do you think of the track?

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<p>Kim Basinger in &quot;L.A. Confidential,&quot; which won no prizes at the 1997 Cannes Film Festival.</p>

Kim Basinger in "L.A. Confidential," which won no prizes at the 1997 Cannes Film Festival.

Credit: Warner Bros. Pictures

The Lists: Top 10 Cannes Film Festival losers

Rounding up some of the greatest competition entries not to win a single award

I can hardly believe it's snuck up on like this, but today I jet off to the south of France for the Cannes Film Festival, which officially kicks off tomorrow with the premiere of Wes Anderson's "Moonrise Kingdom." Currently, we're in the exciting night-before-Christmas stage of the festival. 22 Competition films (among a buffet of others in secondary strands) lie unseen ahead of us: all of them have serious artistic intentions and creditable names attached, and have been hand-picked for the programme by the powers that be.

Yet there will be successes and there will be failures: predicting the annual critical disaster as much a sport as handicapping the jury awards. We have no idea what the prizewinners and/or future classics from the lineup might prove to be -- and that "and/or" is crucial, since the two don't always overlap. Cannes juries are no less capable than the Academy of missing the boat with their choices, of passing over long-haul masterworks for short-lived sensations. Will future generations care about Palme d'Or winner "The Wind That Shakes the Barley" -- any more than people today care about "The Mission?"

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<p>Nope.&nbsp; Don't know what it's doing or why, and frankly, I reached a point where I just didn't care.</p>

Nope.  Don't know what it's doing or why, and frankly, I reached a point where I just didn't care.

Credit: Universal Pictures

Review: Ridiculous and giddy, 'Battleship' is way more miss than hit

Befuddling in concept, frustrating in execution, this is why people hate summer movies

"Battleship" is, in a word, ridiculous.

Even sitting down to write about the film, I feel ridiculous. It's a movie in name only, a simulation of a movie, and it is by far the strangest thing that Peter Berg has ever put his name on.  I do not see the director of "The Rundown" or "Friday Night Lights" in this film at all.  That's not to say it is without any personal touches, but they feel more like him distracting himself from the absurdity of the material than a real connection to what he's making, and the result is a wannabe-blockbuster that should be studied in film schools as a perfect example of what happens when commerce becomes more important than concept.

Written by a computer program that Universal cleverly named "Erich and Jon Hoeber," I'm still not even sure what the actual premise of the movie is.  I can tell you what happens in it, but plot is not premise.  I cannot imagine the meetings in which grown, rational people sat around planning this film, because nothing about it makes sense.  You would think someone involved in signing $250 million worth of checks would have at some point spoken up and said, "Is it okay that none of this is even remotely coherent?"  Evidently, it's fine, because the film almost seems to delight in the specific form of nonsense that it offers up, and there's not a hint of shame to the enterprise.  It is blissfully, cheerfully stupid, and it doesn't remotely care about reality.

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<p>Chelsea of &quot;Survivor: One World&quot;</p>

Chelsea of "Survivor: One World"

Credit: CBS

Interview: Chelsea Meissner talks 'Survivor: One World'

Third place finisher isn't sad about getting shut out
"Survivor: One World" wrapped up on Sunday (May 13) night with the first all-female Top Five in the show's history.
Because of timing relating to NBC and FOX upfront presentations on Monday, I wasn't able to do exit interviews with Alicia and Christina, but I was able to get on the phone with the three castoffs who faced The Jury and were up for the million dollar prize.
Up first?
That would be 26-year-old Chelsea Meissner, who finished third after failing to receive a single vote from the Jury. 
Chelsea, who was partners-in-crime with Kim, as they decimated the entire male contingent after the Merge, had a hand in most of the season's strategic intrigue, but she probably lost Jury support when she basically endorsed her friend in her opening statement. 
In her exit interview, Chelsea discusses her support for Kim, her Final Tribal emotions and tries to explain Christina's accusation that she hates people. 
Click through for the full Q&A... 
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<p>Debbie Reynolds is just one of the memorable movie mothers we discuss on this special Mother's Day edition of 'The Motion/Captured Podcast'</p>

Debbie Reynolds is just one of the memorable movie mothers we discuss on this special Mother's Day edition of 'The Motion/Captured Podcast'

Credit: Paramount Pictures

Listen: The MCP starts Year 3 with Movie God, Darren Bousman, and movie Moms

It's hard to believe, but we're actually back on the air

It has been a while.

I could offer up excuses, but the truth is that things just plain got away from Scott Swan and me, and there's no other way to put it.  Our best intentions were repeatedly frustrated by real-life obstacles, and we let them build up week after week.

The only reason we finally sat down to do this again is because you have all been so vocal about wanting a new podcast, and I take your feedback seriously.

This week, we decided to talk about Mother's day and the long tradition of mothers in movies.  We also brought back Movie God, the game that broke me in our final episode of Season Two, and we welcomed Patrick Morgan, known to AICN readers as Henchman Mongo, to help us kick off this year's version of the game.

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<p>Megan Hilty and Katharine McPhee in &quot;Smash.&quot;</p>

Megan Hilty and Katharine McPhee in "Smash."

Credit: NBC

Season finale review: 'Smash' - 'Bombshell'

The show will go on, but should it?

A review of the "Smash" season finale — and some thoughts on where the show should/could go in its second season — coming up just as soon as I hate it when you get literal...

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<p>Cobie Smulders, Alyson Hannigan and Josh Radnor in &quot;How I&nbsp;Met Your Mother.&quot;</p>

Cobie Smulders, Alyson Hannigan and Josh Radnor in "How I Met Your Mother."

Credit: CBS

Season finale review: 'How I Met Your Mother' - 'The Magician's Code'

Lily gives birth, Barney takes Quinn on a trip, and Ted makes a call

A review of tonight's "How I Met Your Mother" season finale coming up just as soon as I recount a romantic tale by a Diaper Genie...

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<p>Demi Lovato</p>

Demi Lovato

Credit: Evan Agostini/AP

Are Britney Spears and Demi Lovato the right choices for 'X Factor'?

After lots of rumors, both are confirmed today as judges

Simon Cowell would like to make one thing perfectly clear: if you are a straight white male over the age of 15, he really doesn’t have much need for you.

The confirmation of Britney Spears as a new judge on “X Factor,” as well as the relatively surprising announcement that she and returning judge L.A. Reid will be joined by Demi Lovato shows very clearly that Cowell is serious about snaring the 12-34 female demo and not much else. Of course, all of these talent shows are geared toward females anyway, so Cowell is not even pretending that he means otherwise anymore.

This is, of course, despite the fact that “X Factor” includes the positively generic “Over 30” group.

So how do we see this playing out? L.A. Reid will be the voice of criticism on the show— and if we’re going to give them an “American Idol” analog— the Randy Jackson. Remember when Jackson was the lightweight panelist on “Idol?” Now he’s positively a Thor-sized hammer of sound critique compared to Jennifer Lopez, who will be played by the part of Demi Lovato on “X Factor,” and Steven Tyler, who will be played by Spears.

After  the first season on U.S. television didn’t deliver the ratings he’d bragged endlessly about, Cowell knew he had to shake things up. Out went judges Paula Abdul and Nicole Scherzinger and host Steve Jones and in are Lovato/Spears and a host to be named later. 

Not that we expected anything sage or profound from their comments at the official announcement, but they did nothing to quell my doubts that Spears and Lovato will look at the artists and mutter encouragements that offer little in the way of true instruction.

Spears talked about how “fun” the experience will be and how she’s ready to find the “true star.” Lovato said she was “excited to represent my generation.” And, well, L.A. Reid, who has worked with some truly exquisite talents as a songwriter, producer and record head, said, “I’m the luckiest guy on the planet, standing new to these three. This is the Rolls Royce of television right here.”  Come again? Did he turn into a pillar of salt after he said that?

We’ve already expressed our doubts about Spears’ ability to provide any meaningful commentary here, in part because we simply don’t remember anything truly insightful ever coming out of her mouth during an interview.  And, furthermore, as many of the commenters said on my original piece, is someone who has to lip sync her way through her live show the best person to judge a contest that features artists performing live? But she does bring with her more than 20 million friends on Facebook and 16 million Twitter followers, making her a one-woman promo machine.

So what about 19-year-old Lovato? She’s been on TV since she was a tot on “Barney & Friends,” and then on her own Disney show, “Sonny With A Chance.”  She’s breaking out of the Disney camp,  but while under its reign, she showed to be an actress with a nice comedic style and her voice is a strong pop one.  “X Factor” accepts contestants as young as 12, which means that many of the younger applicants will have grown up with Lovato.

Here’s what else they have in common: both present as very sympathetic people who have been through their own shares of issues lately in a very public and cruel arena and have seemingly bounced back with admirable resilience. Other than making them compassionate to other people’s struggles, I’m not sure how that qualifies them to be judges, but I know that some folks will be tuning in simply to see if Spears is a trainwreck or if she is cogent, and to see if Lovato is as fragile before the camera as she has hinted in some interviews that she may be. Even though I know that’s how the game is played, it doesn’t make it any easier to stomach.

Lovato has turned her struggles into a campaign to help fellow teenage girls realize they don’t have to be “perfect” by Hollywood’s impossibly strict standards. If she applies her mentoring through that filter, she could bring a very interesting and valuable perspective to the proceedings. But my fear is that both will be so sensitive to the pain they have gone through that they will be reduced to little more than “good job!” for fear of hurting someone. They’ll have to learn the difference between being mean and giving truly constructive criticism in order to be effective judges.

They will have a very short grace period to prove they have wisdom from their decades of experience to impart or are going to be so entertaining that their lack of anything meaningful to say doesn’t matter. Lovato has impressed me in interviews as someone relatable and smart, so, while she’s still incredibly young for such a gig, she is absolutely used to the rigors of a weekly TV show.

Time and time again, I come down to Spears being the weak link here...and the main draw.

We’ll be watching when the new season bows this fall.

Will you watch to see how Spears and Lovato fare?

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<p>'s &quot;This Is Love&quot;</p>'s "This Is Love"

Listen: Will.I.Am's new song, 'This Is Love'

Eva Simons plays the Fergie role on the solo shot

Will.I.Am’s solo efforts have yet to yield any of the traction that his Black Eyed Peas’ success has brought.

Will that change with “This is Love,” presumably the next single from his forthcoming solo album, #willpower. The first single was non-starter “T.H.E.” featuring Jennifer Lopez and Mick Jagger.  Our guess is that the answer is no.

[More after the jump...]

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<p>Adam Lambert</p>

Adam Lambert

Credit: RCA/19

Album Review: Adam Lambert's continuing evolution on 'Trespassing'

The former 'American Idol' runner-up has a lot to say on sophomore set

Adam Lambert’s sophomore major label set, “Trespassing” opens with a full blast of bravado. “Wait til you get a load of me!,” the American Idol season eight runner up declares over and over on the thumping, hand-clapping tune, redolent of Queen’s “Another One Bites the Dust” crossed with Michael Jackson’s “Beat It.”

Ready or not, Lambert is kicking down the door. He’s not just coming in, he’s claiming a seat at the head of the table and you will be served. The 15-track set is awash in Lambert’s influences: the aforementioned Queen and Michael Jackson, as well as Scissor Sisters, George Michael, and, even, Parliament.  To his credit, while he wears these inspirations with obvious homage, he still creates his own document here with his own history overriding those of any of his musical touchstones.

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<p>I&nbsp;could try to come up with a witty justification for why I chose this image to represent season two of 'Buffy The Vampire Slayer,' but who would I fool?</p>

I could try to come up with a witty justification for why I chose this image to represent season two of 'Buffy The Vampire Slayer,' but who would I fool?

Credit: Mutant Enemy/20th Century Fox Home Video

Listen: 'The Buffy Project' tackles season two as the show grows up

FEARnet critic Scott Weinberg returns for round two

I hate starting any article with an apology, but here we go.

In the first episode of our "Buffy Project" podcast, we were plagued by my oncoming illness and some ugly technical issues.  It sounded about as bad as it could.

This time, I managed to figure out how to route my Skype through my Garage Band on my laptop and record Scott Weinberg directly so we sounded closer in terms of quality.  Everything worked like clockwork, and the whole time I recorded, I watched to make sure levels looked good.

So I have no idea how, when we finished, only half of the podcast recorded.

I would imagine that Scott is probably going to stake me the next time he sees me, and I don't blame him.  We talked for about 50 minutes this time about season two, one of the best seasons of the show, and certainly one of the most important in terms of the overall growth of the series.  It was loose and fun and exactly what I hoped it would be when we first discussed doing these podcasts.

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<p>Colleen Atwood with her designs for 'Snow White and the Huntsman'</p>

Colleen Atwood with her designs for 'Snow White and the Huntsman'

Credit: AP Photo

Tech Support: Costume designer Colleen Atwood on the painstaking ensembles of 'Snow White'

The nine-time Oscar nominee sheds light on the darkness and decay of the upcoming fairytale adaptation

Three-time Oscar winner Colleen Atwood has been designing costumes for some of the most elaborate Hollywood productions for the better part of three decades. Perhaps best known for her singular collaborations with director Tim Burton (another of which, "Dark Shadows," is currently in theaters), she has made her career working with seasoned directors like Jonathan Demme, Michael Mann, Andrew Niccol and Rob Marshall.

But for "Snow White and the Huntsman," Atwood found herself working with debut feature director Rupert Sanders on a large-scale endeavor bursting at the seams with design elements. And she came away impressed with the the first-timer's ability to channel the stress and be all the stronger for it.

"I knew him from commercials and I always thought he had kind of a good quality to him," Atwood says, surrounded by a gallery of costume elements from the film. "This is a lot of movie for a first-time director. He did all the right things. He kept enough strength up to make the film, where sometimes on a movie like this even a seasoned director by the end is just baked. I thought he really managed his energy and his focus in a great way and he just got stronger and stronger as the movie went on, and he got more confidence."

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