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<p>Julianne Hough is just one of the many reasons to enjoy Craig Brewer's new remake of the '80s dance film 'Footloose'</p>

Julianne Hough is just one of the many reasons to enjoy Craig Brewer's new remake of the '80s dance film 'Footloose'

Credit: Paramount Pictures

Review: Craig Brewer finds the beat for appealing remake of 'Footloose'

Great chemistry is the secret to a successful update of the '80s fave

Much of 1980s pop culture bounced off of me.  There were many giant hits that I simply wasn't interested in, and "Footloose" was one of those.  I saw it.  I was aware of it.  The soundtrack was omnipresent.  But it wasn't really my cup of tea.  It was only later, looking at it in the context of Herbert Ross's career, that I considered the film and really appreciated what it is.  The film works as a story of teenage rebellion and it works as a dance-based musical for the age in which it was made.  Ross was the right choice for that picture based on his history with musical films, and his "Turning Point" is one of the classic dance movies of all time.

Hiring Craig Brewer to helm the remake of the film was inspired, and it pays off as a choice in the way he's approached the material.  Brewer's script is reverential to Dean Pitchford's script for the original, but it also manages to have its own voice.  The film opens with a sequence that immediately recalls the title sequence from the original film, close-ups of dancing feet, a great way to kick off with energy and charm and letting the audience know that it's going to get something familiar but with a new edge to it.

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<p>&nbsp;Justin Bieber</p>

 Justin Bieber

Credit: AP Photo

UPDATED Watch: Justin Bieber previews 'Mistletoe' video. Where's Selena?

When will the full holiday video drop?

UPDATE (11:23 PM): MTV has announced that Justin will sit down for a 30-minute interview with the network directly following the "Mistletoe" video premiere. Fans can submit text or video questions via Twitter using the hashtag #AskBieber.

ORIGINAL STORY:

Where's Selena Gomez? Justin Bieber snuggles with another brown-haired cutie in this sneak peak at the video for "Mistletoe," the lead single from the Bieb's holiday album, "Under the Mistletoe," which drops Nov. 1.

[More after the jump...]

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<p>&nbsp;Adele</p>

 Adele

Credit: AP Photo

Can Adele make it 3 weeks at No. 1 on the Billboard Hot 100?

Who scores her first Top 40 hits?

In an era when it is almost impossible for ballads to gain traction at Top 40 radio, Adele’s “Someone Like You” has landed its third week at No. 1 on Billboard’s Hot 10.

The song gains in both radio plays and digital downloads, as it surges past the 2 million mark in digital sales.
The top three on the Billboard 100 remain the same as they were last week:  “Someone Like You” followed by Maroon 5’s “Moves Like Jagger” featuring Christina Aguilera and Foster the People’s “Pumped Up Kicks.” The latter two both gain in airplay. In a stat we’re sure Foster the People would gladly trade for some upward movement, “Kicks” has now spent seven weeks at No. 3, a feat matched or surpassed by only three other songs that didn’t reach No. 1, according to Billboard.

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<p>The sound team of J.J. Abrams' &quot;Super 8&quot; includes a legend in the field, two-time Oscar winner Ben&nbsp;Burtt.</p>

The sound team of J.J. Abrams' "Super 8" includes a legend in the field, two-time Oscar winner Ben Burtt.

Credit: Paramount Pictures

Tech Support: 'Tintin' and 'Super 8' stand out among Best Sound Editing contenders

Other hopefuls include 'War Horse,' 'Transformers' and 'Real Steel'

I began Tech Support this season by analyzing two of the categories that award disciplines which can be explained relatively easily – Best Visual Effects and Best Cinematography. This week's field isn't so easily reductive, but I always give it a try for new readers.

The sound editing Oscar recognizes achievements probably better reflected in its previous names – Best Sound Effects Editing and Best Sound Effects. In essence, the category rewards the creation of artificial sounds, which are necessary for the movie’s soundtrack. It differs from sound mixing, which is the weaving and integration of all sound elements – dialogue, music, effects and production audio – into one coherent soundtrack.

Traditionally, fairly similar films are nominated here as in the sound mixing category (last year’s 2/5 matchup aside): loud films, war films, blockbusters, Best Picture contenders with action, etc. That said, films in which most of the soundscape is artificially created do tend to do better here than in the mixing field, such as animated titles and, for instance, last year's nominee in the field, "TRON Legacy."

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<p>Stieg Larsson's Millennium Trilogy is an international best-seller.</p>

Stieg Larsson's Millennium Trilogy is an international best-seller.

Credit: Random House

'Dragon Tattoo' makes its way to graphic novel

Rights to Stieg Larsson's Millennium Trilogy picked up by DC Entertainment

If you're not a comic book fan, you nevertheless might still be aware of DC Comics' massive changing of the tide last month. The publisher revamped its line-up, instituted a re-numbering of 52 titles and made all issues available digitally on day of release, hoping to lure new readers. The move was accompanied by a giant media blitz and, indeed, sales were through the roof all month.

The company's latest announcement dovetails nicely with what we do here, seeing as David Fincher's adaptation of Stieg Larsson's "The Girl with the Dragon Tattoo" is primed for a December release and will very much figure into the conversation this awards season. DC has revealed its plans to convert Larsson's Millennium Trilogy, consisting of "Dragon Tattoo," "The Girl who Played with Fire" and "The Girl who Kicked the Hornet's Nest," to the graphic novel format via its Vertigo imprint.

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<p>Donald Glover in a scene from tonight's &quot;Community.&quot;</p>

Donald Glover in a scene from tonight's "Community."

Credit: NBC

Preview: 'Community' tells 7 stories in one with 'Remedial Chaos Theory'

Tonight's episode manages to showcase most of the things that are great about the series

It's still very early in the TV season, but there seems to be a rising tide of concern among "Community" fans on two different fronts: 1)That the ratings so far this fall have been down notably over a year ago, and 2)That the season's first 3 episodes haven't wowed many of you, and in fact have left many concerned about the creative state of the show.

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<p>Czech foreign film entry &quot;Alois Nebel&quot;&nbsp;could help widen the animated feature field to 16 contenders.</p>

Czech foreign film entry "Alois Nebel" could help widen the animated feature field to 16 contenders.

Credit: Aerofilms

Oscarweb Round-up: Will Czech entry 'Alois Nebel' qualify as animated and boost the field?

Also: 'Skin I Live In' talent makes the rounds and Weinsteins shift 'Marilyn' release

You snooze you lose. I've been meaning to make note of Czech foreign film entry "Alois Nebel" for some time, as it is also an animated film that could figure into the animated feature race. Well Steve Pond has confirmed that the film will be submitted in both categories, though there is still the question of whether the film will be deemed eligible or not due to the use of roto-scoping. If it is, it could help push the number of eligible contenders to 16, which would yield a slate of five nominees this year. [The Odds]

Let's see what else is going on in the Oscarweb today...

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<p>Casey Wilson and Megan Mullally on &quot;Happy Endings.&quot;</p>

Casey Wilson and Megan Mullally on "Happy Endings."

Credit: ABC

The Morning Round-Up: 'Up All Night,' 'Suburgatory,' 'Modern Family' & 'Happy Endings'

Another quick tour through the Wednesday night comedies

Last week's morning round-up post was well-received, and it seems like doing that from time to time gives me a chance to touch on shows  which I would otherwise not have the time or material to devote full posts to. Today, I'm going to stick with the Wednesday comedies I watched last night, with brief thoughts on, in order, "Up All Night," "Suburgatory," "Modern Family" and "Happy Endings," coming up just as soon as I have a Master's in "gotcher nose!"...

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<p>There's lot for &quot;The Walking Dead&quot;&nbsp;survivors to be scared about in season 2.</p>

There's lot for "The Walking Dead" survivors to be scared about in season 2.

Credit: AMC

Review: AMC's 'The Walking Dead' returns strong for season 2

Episodes produced before Frank Darabont's departure work very well

When last we left Rick Grimes, the weary hero of AMC's zombie apocalypse drama "The Walking Dead," he and his friends and family had just escaped the exploding headquarters for the Centers for Disease Control, not long after learning that the odds of a cure for the zombie plague were somewhere between slim and none. Rick and company hit the road, uncertain of what to do next, or even if the fight to stay alive was still worth it.

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<p>&nbsp;Jude Law and Rachel Weisz in &quot;360.&quot;</p>

 Jude Law and Rachel Weisz in "360."

Credit: BBC Films

Review: The circle of lifelessness in '360'

London Film Festival opens with a misfire from Fernando Meirelles

LONDON - There are precious few good screenplays that begin with the words, "A wise man once said...". There are fewer still that use this introductory wisdom to undermine their entire metaphorical throughline. Peter Morgan's script for "360," a vacuous theoretical spin on "La Ronde" with a parade of loveless characters seemingly linked only by the same globe-trotting interior designer, falls into neither of these elite categories.

Certainly, alarm bells start ringing when the aforementioned line is completed with the instruction, “If there’s a fork in the road, take it” – an epiphany of which “360” is sufficiently proud that it gets repeated at the film’s close. (It’s about circles, you see.) Quite aside from the fact that Morgan and director Fernando Meirelles seem to have their definitions of wise men and fridge magnets confused on this occasion, the fork-in-the-road analogy is a jarring one with which to frame what otherwise purports to be a story of cyclical connectedness—in which sexuality, in particular, is revealed to have concentric consequences, though few of them particularly drastic, for its geographically scattered ensemble players. Can a circular road—such as Vienna’s Ringstraße, none-too-subtly namechecked in the film’s token Schnitzler-tapping Austrian strand—also fork?

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<p>Mary Elizabeth Winstead and Joel Edgerton go head-to-head with a familiar monster in the new prequel, 'The Thing'</p>

Mary Elizabeth Winstead and Joel Edgerton go head-to-head with a familiar monster in the new prequel, 'The Thing'

Credit: Universal Pictures

Review: Irritating prequel to 'The Thing' gets the big choices wrong

If all you want is a slick 'Alien' ripoff, you might be happy

For those of us who were avid filmgoers in 1982, the last few years have been very strange.  First they made a sequel to "TRON" that cost several hundred million dollars, which is just plain strange considering the way the first film fizzled at the box-office.  They recently announced plans for a return to the world of "Blade Runner," another movie that just didn't work at the box-office, and now we've got this weekend's release of a prequel to John Carpenter's "The Thing," another choice that makes no logical business sense.

I love Carpenter's film.  I loved it when I saw it in 1982.  As time has passed, I've grown more and more impressed by what Carpenter accomplished, and I've also come to view it as a bit of a miracle.  It is one of the bleakest films I've ever seen, completely pessimistic.  It features some of the most disturbingly surreal imagery in any horror film, but it is also a model of restraint.  I love that time has been kind to Carpenter's movie, and I love the way it's grown in time just like "Blade Runner" has, slowly but surely pushing the film's overall reputation from "bomb" to "overlooked gem." 

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<p>Antonio Banderas talks about his new role in Pedro Almodovar's &quot;The Skin I&nbsp;Live In.&quot;</p>

Antonio Banderas talks about his new role in Pedro Almodovar's "The Skin I Live In."

Antonio Banderas and Elena Anaya fit into 'The Skin I Live In'

Revelations about Almodovar's twisted 'cold horror' flick

As the fall continues, the movies must slowly bet getting better.  And coincidentally, in New York and Los Angeles at least, moviegoers will get the chance to sample the latest film from Pedro Almodovar, "The Skin I Live In," tomorrow.  And while I don't think the film has any real chances for major Oscar nominations (and neither did the Spanish film committee who passed it over for foreign language film consideration), it's a twisted and out-there thriller that will shock many ticket buyers looking for something different at the multiplex.

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