Quelle horreur! It takes a lot to make the rigidly set-in-its-ways Cannes Film Festival switch things up a bit, but the European elections on Sunday, May 25 have necessitated some shifting in the usual schedule. The Competition awards, usually presented on the last night of the fest, will now be handed out the night before, on Saturday; the final Competition film will also screen a day earlier, on Friday. Those of us to stay on until the bitter end will now have the whole weekend to catch up with any major titles we missed, while a screening of the Palme d'Or winner will close the festival. Is that in place of the usually lousy Closing Film? [Screen Daily]
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After the show's co-creators did almost everything they could to make us dislike both Patrick (Jonathan Groff) and Kevin (Russell Tovey) in episode three, "Looking for $200/hour" takes a 180 degree turn and tries to find some chemistry between the two characters.
We begin with the duo spending Sunday in the office hard at work on a last minute presentation. Eventually they take a break to actually catch up and learn something about each other. (And yes, I'm considering putting swinging chairs in the HitFix office. Fun!). Shocker: Kevin's long distance relationship isn't as blissful as it might have initially seemed. Will Patrick pounce on the opportunity?
Wow, that was some brawl, wasn't it? I never really expected to see Kandi come completely unglued, but, as Cynthia points out, you do not mess with Kandi's man, ever. Well, not unless you want to see her cut a bitch.
While most of the big events that came to pass in this episode were ones we saw coming from a mile away (the moment we knew Lord Gillingham was coming back for a visit, we knew Anna's secret wasn't going to stay so secret), there was still satisfaction to be had in how so many of these moments played out. Sure, we can pretty much place money bets on what's ahead for Mary's love life, but that doesn't make me any less interested in watching it all play out (pigs + mud = romance). That being said, there were surprises, and big ones. Well, one big one. Edith.
A review of tonight's "Girls" coming up just as soon as I am being written about in popular service publications...
A review of "The Walking Dead" mid-season premiere coming up just as soon as I eat all the pudding...
A review of tonight's "Shameless" coming up just as soon as I try to steal a helicopter...
A review of tonight's "True Detective" coming up just as soon as I'm the Michael Jordan of being a son of a bitch...
BERLIN - "The student has become the master" is, at least more ofthen not, a complimentary phrase, denoting the completion of an education, the expansion of a tradition or, at the very least, the perfection of one good party trick. Yet snider derivations of that sentiment have been applied my a number of colleagues to A.J. Edwards's "The Better Angels," a lushly conceived, exhaustively realized debut feature that'd be pretty formidable stuff coming from a more practised filmmaker -- and derided in some quarters as a self-impressed knock-off.
When George Clooney's "The Monuments Men" was pushed back from its scheduled 2013 release date, the message was clearly sent that it wasn't seen as awards material -- but that didn't have to be a bad thing. Perhaps it was simply a fun commercial caper to brighten up the drab February release slate, an "Ocean's 11" in period dress. Then the reviews came out, suggesting there truly was cause for concern: Kris is among the few with at least a kind word for it, but others (including HitFix's Drew McWeeny) have piled on it for being dull, pompous and featherweight all at once. It certainly went down like a lead balloon at the Berlinale, where it was booed by German audiences and accused of jingoism.
The USC Scripter Awards are one of my favorite events of the film awards season. Yes, they are unique in that they recognize the authors of both screenplays and source material, and can often present a unique slate of honorees, but it's also a lovely personal excursion when I can make it, as the echoes of my days toiling away on various papers and thesis efforts in the halls of the Doheny Library make it an annual homecoming for me.
This year's 26th annual ceremony made for a wonderful evening as not only was the master himself, "Chinatown" screenwriter Robert Towne, in the house to receive the Literary Achievement Award, but Solomon Northup himself was able to land his own prize this season due to the unique nature of the proceedings. John Ridley shared the award with the late Northup as "12 Years a Slave" beat out fellow adaptations "Captain Phillips," "Philomena," "The Spectacular Now" and "What Maisie Knew."
Oscar-pool betters looking for tips in the Best Production Design race shouldn't be too reliant on the Art Directors Guild Awards: in their 17 years of existence, the Academy has agreed with one of their selections on 10 occasions. Last year, they did not -- while the ADG plumped for "Anna Karenina," "Life of Pi" and "Skyfall," the Academy surprised most pundits by picking "Lincoln" instead.