Oh, yay, it's time to dwell on all the boring minutiae of Pandora's wedding. You know, I didn't like this stuff when I was getting married, and just because it's pukingly expensive here doesn't make it any less annoying. We watch Lisa and Pandora fawn over their gorgeous wedding invitations ($15,000! That's a NEW CAR for some people. Not a car Lisa would be caught dead in, but a car nonetheless). Fawning and seemingly useless wedding planner Kevin Lee endlessly chirps "million dollar wedding" and "fabulous" like a brain-damaged parakeet while Pandora and Lisa sample ridiculous drinks (it's infused vodka! And nitrogen! And martini glasses made out of the skulls of a rare and practically extinct species of mountain goat! It's fabulous!) While Lisa isn't entirely sold on the cocktails, Giggy gobbles up some of the food, so at least the catering gets a thumbs up. Kevin Lee, of course, thinks it's fabulous.
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The members of Hot Chelle Rae, who took home the best new artist award at the American Music Awards a few days ago, may have only experienced their first big hit with “Tonight Tonight” this summer, but they have decades of experience at their disposal.
That’s because the pop quartet, whose second RCA album, “Whatever,” comes out tomorrow (Nov. 29), grew up in the music business and have learned from a very young age how to navigate both the creative and professional sides of their careers.
Lead singer Ryan Follese and his drumming baby brother Jamie, as well as Nash Overstreet, have dads who are prominent, award-winning, Nashville-based songwriters, who have written hits for the likes of Randy Travis, Faith Hill, Brooks & Dunn, Blake Shelton, Kenny Chesney and The Judds (Nash’s brother is Chord Overstreet, formerly of “Glee.”) Bassist Ian Keaggy’s father is Dove Award-winning contemporary Christian artist Phil Keaggy.
After all that clamoring to anoint this or that contender, the New York Film Critics Circle was stuck in a theater being the FIRST! to see "The Girl with the Dragon Tattoo" while preparations for the first legitimate awards show of the season were being finalized. And say what you might about the Gotham Awards, which some argue turn in dubious representation of the independent film scene year after year, but I'm glad it was them, instead of a group led by outright ego, who fired the starting gun.
Alas, the starting gun didn't come with any particular dose of authority, as things ended in a tie for Best Feature. Two of the year's absolute best films shared the prize, however: Terrence Malick's "The Tree of Life" and Mike Mills's "Beginners." I am so okay with that.
The surprises actually started early, though, with a heartening win for Dee Rees in the Breakthrough Director category. Rees, whose "Pariah" has been nurtured all season by Focus Features, beat out high profile contenders such as Sean Durkin ("Martha Marcy May Marlene") and Vera Farmiga ("Higher Ground"), as well Evan Glodell ("Bellflower") and Mike Cahill ("Another Earth") for the honor.
I, like many Americans, traveled back to my hometown for Thanksgiving, and coming back to New York, I can't shake that good old high school feeling.
No, I don't mean that feeling you get watching "Young Adult" (just wait, ladies, you'll see). Emo jump-starters The Promise Ring are getting back together, and Fugazi are finally ready to launch a long-standing project that puts many of their live show recordings and paraphernalia together in one place.
Nicki Minaj dresses down for once in a music video, but it's only to mimic Lil Wayne, in Birdman's "Y U Mad."
Weezy, Nicki and Birdman all show up and trade verses in this new clip, which features Nicki as the self-proclaimed "female Weezy" (in baggy pants, a wife beater and wack braids) and as the Nicki Minaj we're all growing used to -- that is, Nicki Minaj rocking Band-Aid couture.
First, let's start with the positives: Minaj on the hook is perfect. The lyrics are like a dare, a proclamation of war, and just goofing around -- the latter which I wish there was more of in this sometimes-dour clip. Birdman found the right, heightened beat for his drip-drop verses, and Weezy just sticks to being Weezy without any guitar riffs to mess with his froggy sound.
It's nice to see the Cash Money/Young Money crew hanging out around the holidays, but in a way, Minaj is still singled out, ever "the girl." See, to be playing on the same field as the boys, she has to dress like a boy. When she's flexin' with Birdman, she's wearing a ravaged-swimsuit look that the other toy-girls don elsewhere in the clip. Hell, why aren't the boys wearing some Crayola wigs and fetish heels?
Eh, let's not have that much fun. Minaj is still rising, with her "Roman Reloaded" to testify to her sophomore return in February. Wayne's still the face, even if "Carter IV" was kinda crap. The imbalance must remain, even if it shouldn't.
Also, the fade-out is a cop-out.
And, also, Wayne: you're banned from the spark-and-smoke intro. You've reached your quota.
FX has announced its mid-season schedule, with premiere dates for "Justified," "Archer" and the new animated comedy "Unsupervised," created by a trio of "It's Always Sunny in Philadelphia" producers.
The third season of "Justified" will debut Tuesday, January 17 at 10 p.m. Neal McDonough and Mykelti Williamson - both alums of Graham Yost's short-lived NBC cop drama "Boomtown" - will be on hand as two of this season's villains, along with returning stars Timothy Olyphant, Walton Goggins and company.
"Archer" begins its third season two nights later, Thursday, January 19, also at 10 p.m. (And this release will give me the kick in the pants I need to watch the concluding installment of "Heart of Archness" already.) It'll be paired with "Unsupervised," which was created by "Sunny" writers Rob Rosell, Scott Marder and David Hornsby, and has a voice cast including Justin Long, Kristen Bell, Fred Armisen, Romany Malco, Kaitlin Olson and Alexa Vega, along with Rosell and Hornsby themselves. The show is about a pair of teenage best friends, Gary and Joel, trying to do the right thing with no parental supervision.
I'm always interested in the outcome of Sight & Sound magazine's annual critics' poll, since it's perhaps the broadest and most international of its type: its 100 contributors range from their own writers to Peter Bradshaw to Armond White, ensuring a list that's reflective of the year's critical trends. This year, I feel slightly more invested than usual, because for the first time, I was invited to participate.
Every critic was asked to submit a list of their five "best, favorite or most important" films of the year. You'll be able to see mine, along with everyone else's, when Sight & Sound publish the full results of the poll online next week. For now, however, we have the Top 10 (or 11, given a tie at the bottom), and it's a typically credible if not terribly surprising one.
It was pretty much a foregone conclusion that Terrence Malick's "The Tree of Life" would top the list: divisive it may be, but the film remains unrivalled as the critical talking point of 2011. It won the poll by a comfortable margin: editor Nick James reveals that it had half as many votes again as the similarly predictable runner-up, Asghar Farhadi's "A Separation." Check out the full list below.
When you hear Bon Iver's song "Hinnom, TX," do you think of a sun-fueled hazy drive in the car as you roll right through that enormous state?
If so then, boy, do we have a video for you.
Isaac Gale and David Jensen directed the clip below as part of the larger video project from the soft-rockin' songwriter. As previously reported, there are 10 videos getting lined up for the 10 songs on the self-titled album, set for re-release as a digital deluxe edition tomorrow (Nov. 29); the vids are to be "consumed as a visual extension of the music, to enhance each listener's experience," reads a statement.
These aren't "official music videos" in the traditional sense, so perhaps that's why it's OK if you find this little orange-dappled stroll kinda boring. It's not like Bon Iver's songs are the audio equivalent of "Immortals" or anything.
I'd been dimly aware of the re-appropriation of the sinister Guy Fawkes mask from Alan Moore and David Lloyd's "V for Vendetta" graphic novel -- and, of course, its Wachowski-branded 2006 film adaptation -- as a symbol of protest by present-day political and environmental demonstrators. I have only recently begun noticing it in the real world, however.
As the Occupy movement took shape -- in the past few weeks, chiming in neatly with Guy Fawkes Day (November 5) three weeks ago, I've spotted that leeringly stylized visage stencilled on more than a few walls in London, including one on my own block. It was in front of this one that I heard the following dry exchange between two skinny-jeaned students that put things, I felt, nicely in perspective:
"Isn't that from the film where Natalie Portman shaved her head?"
"Yeah, protesters are using it to make a point."
"Huh. It was a rubbish film, but I wouldn't bother protesting about it."