Right up there with Roger Deakins, Mexican master Emmanuel Lubezki is surely among the cinematographers most due for Oscar recognition: he'll surely get his sixth Oscar nomination for "Gravity," and this looks increasingly likely to be the year he finally takes the gold. Today's must-read is a Vulture "master class" with Lubezki, in which he talks us through five dazzling shots from his career, focusing exclusively on his partnerships with Alfonso Cuaron and Terrence Malick, including this year's gorgeous twofer of "Gravity" and "To the Wonder." Take note, Academy. [Vulture]
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While films like "Hugo" and "Lincoln" may have received their first looks at the annual New York Film Festival via "secret screenings" in recent years, attendees can probably stop holding their breath for another surprise at the on-going 51st annual.
Columbia seems determined to get a new version of "Masters Of The Universe" into theaters, and I have to wonder who the audience is that they believe is eagerly anticipating this project.
Terry Rossio has been hired as the latest screenwriter to take a crack at the material, and while the story by Borys Kit at the Hollywood Reporter mentions that the project used to be called "Grayskull," that's actually a different incarnation of the film altogether. That was the 2008 version, developed by Joel Silver and written by Justin Marks. This new version, which is set to be produced by Todd Black, Jason Blumenthal and Steve Tisch, had John M. Chu attached as director for a while. Basically, Chu seemed set to become the official caretaker of Things '80s Kids Loved, but it appears he is now off the film.
After a film strikes a chord with moviegoers like "Gravity" did last weekend, it's easy to try and find analogies for it among previous Best Picture nominees or winners. One comparison that continues to be made is to James Cameron's 2009 game changer, "Avatar." Before we judge the merits of that argument, let's jog your brain and revisit some movie history, shall we?
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Lady Gaga has birthed the new album cover to her next album "ARTPOP."
The pop star poses nude as a plastic version of herself, fairly makeup-less, with lights shining down on her to make her eyes rather placid, if not downright tired. And I say tired because she is straddling a shining blue orb, to which she may have just performed coitus or given birth, the photographer's flash reflected back at us. She is gripping her breasts -- spheres censored -- an activity less sexual than protected. Renaissance and classical art is chopped and screwed in a sun's rays pattern behind the giant hot pink letters of her name.
The artwork is by Jeff Koons, who she name-checks in her latest single "Applause." Gaga Tweeted the lyrics in her reveal of the cover.
As the nation is having its Naked Miley Cyrus conversation, it's interesting to have yet another provocative image of solo female singers straddling balls that are not of the "Wrecking" variety. There's a celebrity awareness in this image, and while I don't think it's really all that pleasing, it wants to intimate a larger conversation about plastic "pop" music and the legacy of art before it.
Or all the songs could just sound like "Applause" and I'd be OK with that.
"ARTPOP" is out on Nov. 11.
Do newlyweds Avril Lavigne and Chad Kroeger make beautiful music together?
Well, that may be stretching it, but on their new duet, “Let Me Go,” they both bring out the best in each other and dial back on the bombast.
“Let Me Go,” which will be on Lavigne’s new album out in November, is light years better than first single, the snotty “Here’s To Never Growing Up” and rambunctious second single “Rock ‘N Roll.”
The piano/strings ballad is reminder that Lavigne can really sing, and she sounds so much better when she drops the vocal affectation that is on so many of her songs. Yes, the song sounds very ‘80s-ish, but, hey, if you’ve seen “The Goldbergs,” you know the ‘80s are back.
Kroeger shows admirable restraint on his one verse and if you’re not a Nickelback fan, the good news is that you only have to hear him for about 30 seconds and during a short call-and-response section. If you are a Nickelback fan, you may find yourself wishing for more Kroeger.
There's a very long, nearly 40-second fade that most radio stations will chop, but it's a nice outro.
I smell a huge AC hit.
What do you think of "Let Me Go?"