Previously on “Big Brother”: oh, you know what happened. Let’s not play games, you and I. Games are for the sad souls inside the “Big Brother” house. Rachel and Jeff are up for eviction, though either one has the chance to return to the house thanks to the latest twist in the game. Will both remain on the block? Since it’s PoV night, we’ll know by the end of the hour. Onto tonight’s events…
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The "Harry Potter" film series was a juggernaut pretty much from start to finish, occupying ten years of pop culture real estate by sheer force of will. There was no guarantee up front that the films would work, or that fans would be happy, or that the studio would be able to get all the films made before the kids got too old to star in them. It seemed like a huge challenge up front, and the way they pulled it off has been sort of overwhelming to witness. It is a triumph of filmmaking as mountain climbing, an accomplishment that few would have been able to pull off, much less with the style and grace of this series.
How many other film franchises genuinely got better as they went? How many film franchises produced eight films in a decade? Especially films of this size and complexity? "Harry Potter" is one of those singular things, and especially over the back half of the series, David Yates and Steve Kloves did a lot of the heavy lifting as the director and screenwriter of the films, and they made a whoooooole lot of money for Warner Bros. in the process.
Little wonder, then, that Warner Bros. is in the process of finalizing the deals for David Yates and Steve Kloves to re-team for a multi-movie version of Stephen King's epic "The Stand."
Pia Toscano has places to go and a past to escape in the video for “This Time,” so she hits the road in a Mustang convertible and a time machine since she’s able to transport herself instantly from a bucolic field to a beach to a city street in no time flat. And change outfits.
The mid-tempo ballad showcases the “American Idol” season 10 contestant’s strong vocals, but is such a non-starter that we’d almost suggest you watch the video with the mute button on and just imagine the sound of the waves crashing.
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Mary J. Blige’s “The Living Proof,” from “The Help” is stirring mid-tempo ballad about the journey taken by some of the characters in the movie. She sings “Nothing ‘bout my life’s been easy, but nothing’s gonna keep me down, no/because I know a lot more today than I knew yesterday so I’m ready to carry on.”
While the words are most likely about the maids in the movie, they also mirror much of Blige’s often harrowing journey, so it’s no surprise that she delivers them with such heartfelt conviction in the video for “The Living Proof.” It came out today, which, no coincidence here, is the same day the movie hits theaters.
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Bruce Willis in "G.I. Joe 2: Retaliation"? Well, that's one way to grab some headlines. Word is that Willis is likely to step into the role of Joe Colton, the original G.I. Joe, which would mean this film's cast is pretty much a wall of macho man-meat at this point. Dwayne Johnson is bigger than ever before to play Roadblock, and Ray Stevenson's onboard as Firefly, meaning this is largely a reboot even though Paramount's treating it like a sequel. Willis and Johnson would be a big step up from Channing Tatum and one of the nine zillion Wayans, and it sounds to me like Jon M. Chu is doing everything he can to make his film rock.
Speaking of Paramount projects, some days, it's interesting just to watch something that starts small ripple its way around the Internet, picking up steam as it goes, until it finally erupts into something much larger than would have seemed possible from the way it started. I'm sure when Paramount put together their official synopsis for their upcoming "World War Z," they probably read it over a few times and felt good about how it sounded. It reads for maximum excitement, but the problem is, it doesn't really sound like it's describing "World War Z" at all. Here's what Paramount sent out:
On "So You Think You Can Dance," ballroom expert Mary Murphy is known for her ear-splitting shrieks, soaring whooos and generally being the most excited person on the judges' panel. But after a bout with thyroid cancer, Murphy was decidedly low key when she returned to the show, giving all of us a chance to feel a little sad about the lack of Hot Tamale train action during a season when it seemed the most worthy. During a conversation at the Fox TCA after-party, I asked Murphy how she was doing, how she felt about changes to the structure of the top 20 and what she'd love to do for the finale -- but, unfortunately, won't be able to.
Radiohead are giving "The King of Limbs" and extra, erm, leg of life.
The British band has been releasing 12" singles all summer of remixed tracks from their latest album, with contributions from artists like Caribou and Four Tet. Now, all of those reduxes are being compiled into a 19-track, double-disc and download package, "TLOL RMX 1234567."
Radiohead chose their collaborators out of a crew of "electronic artists and producers who have been exciting and inspiring the members of the band." That would be you, Jamie xx, SBTRKT, Jacques Greene, Modeselektor...
Scotty McCreery lets his friends do the heavy lifting in his video for “I Love You This Big”...literally.
His band plugs in monitors and gets the whole stage set up going in the “American Idol” winner’s video for his first post-”Idol” single as he dreamily stares into space singing about how his heart starts pounding “when I look into your eyes.”
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A strong resume can be both a blessing and a curse. For director Stephen Daldry it's been just the latter. Unless, of course, he lives under the pressure of having every two of his three films nominated for the Academy Award for best picture and personally being nominated in the best director category for all of them. Something tells us that with the constant stream of good source material at his hands, he doesn't.
Kanye West shouldn’t have started hyping “Watch the Throne” last year. Undoubtedly, the full-length collaboration with Jay-Z wouldn’t have gone unnoticed all these months, but we could have at least overlooked misstep H.A.M. in January; more would have been made of near-perfect “Otis.”
After seeing "The Help" (and watching Viola Davis' amazing performance), I was pretty excited to meet the Oscar nominee. What I didn't expect, though, was to find that the actress, wearing a fitted red dress and a chic bob, looked absolutely stunning. In both "Doubt" and "The Help," Davis is the epitome of middle-aged frumpiness, and let's face it, no one looks good in a dowdy housecleaner's uniform. But Davis looked a good twenty years younger than her character in person, which just made her performance as Abileen that much more remarkable. Weighed down by decades of holding her tongue, veiled (and not so veiled) insults by employers and the death of her son, Abileen is old before her time. Davis, of course, is nothing of the sort.
One of the most frustrating habits of well-meaning Hollywood over the years has been the tendency to create movies about how white people have heroically helped one minority after another. If you only know the history of race relations from movies, it would seem that most major changes in the condition of how we live together have resulted from noble, selfless white folks who have decided to take mercy on the "lesser" races. That disturbing cultural lie is the reason I have a problem with a number of films. like "Cry Freedom" or "Mississippi Burning," movies that contain good work on important subjects, but that are hobbled by this need to have a white face at the center of things.
For Tate Taylor, the screenwriter and director of "The Help," this history of dishonesty is working against him before the film even begins, and I'm happy to admit that I walked in, arms crossed, ready to dismiss the movie. I didn't read Kathryn Stockett's novel, but I'm aware of how big a hit it was, and I expected something that was all feel-good surfaces and white guilt. Instead, Taylor deserves real credit for what he's done, avoiding many of the easy traps of the genre, and I walked away impressed by just how solid and sincere "The Help" really is. This is a case where the dynamic between the white and black characters informs the premise of the film, and they gain strength and courage from each other. This is no one-way transaction. Instead, it's a cross-class portrait of Southern women of a certain era, and the dawning of new respect between them, and it packs a heck of a punch.