ms bacall turns 89 today. happy birthday betty.
Tuesday, September 17, 2013
Monday, September 16, 2013
'Glee' Sneak Peek: The Beetles
The "Glee" Beatles tribute will be a two-part celebration of the famous music of the Fab Four. The songs "Glee" will cover:
1. "Yesterday"
2. "Drive My Car"
3. "Got To Get You Into My Life"
4. "You’ve Got To Hide Your Love Away"
5. "Help"
6. "A Hard Day’s Night"
7. "I Saw Her Standing There"
8. "All You Need Is Love"
9. "Get Back"
10. "Here Comes The Sun"
11. "Something"
12. "Sgt. Pepper's Lonely Hearts Club Band"
13. "Hey Jude"
14. "Let It Be"
Carrie Preston Finally Gets Her EMMY
carrie preston finally won her emmy for 'the good wife'. but why the hell is this award given early at the 'creative emmy award show'. it's kind of insulting. the fabulous ms preston nabbed 'guest actress in a drama'. if you've missed her on 'the good wife' you are missing one of tv's best ever performances!
the male counterpart went to the more than deserving dan bucatinsky in 'scandal'.
the male counterpart went to the more than deserving dan bucatinsky in 'scandal'.
'Sleepy Hallow' Debuts Tonight
so this marks the official beginning of the fall season. it is followed by the new season of 'bones' on the fox network.
Sunday, September 15, 2013
Saturday, September 14, 2013
Friday, September 13, 2013
Thursday, September 12, 2013
Wednesday, September 11, 2013
Tuesday, September 10, 2013
'The Railway Man' First Trailer
colin firth is one of my faves. the film itself is not generating buzz on the festival circuit. i don't care. if colin's in it it is a must see.
it is based on a bestselling memoir by eric lomax. Firth plays Lomax, a man who was captured in Signapore and forced into a Japanese POW camp, where he was made to work on the Thai-Burma Railway. Kidman plays his wife, who wants to get to the bottom of her husband's suffering and Skarsgard is a fellow survivor of the ordeal.
Monday, September 9, 2013
Sunday, September 8, 2013
'Morning' Trailer
also coming out of toronto is 'morning' starring jeanne tripplehorn as the grieving mother dealing with ehe accidental loss of her child. kyle chandler, jason ritter and laura linney also star. it is set for a 9/27 opening. looks like a sleeper that could to me. i'll keep an eye on this one.
here is the haunting trailer.
here is the haunting trailer.
Saturday, September 7, 2013
John Barrowman on Being Gay and Gay Marriage
i love this guy more and more every day. you can catch him on 'arrow' and don't forget he's a terrific singer. more than terrific. yeah i love this guy.
Toronto: Your Best Picture Winner Will Be '12 Years a Slave'
i am reprinting this 'new york' magazine article without permission. why? because it states what every critic i've read coming out of thr toronto film fest is saying" 12 years a slave will be hard to beat this coming awards season.
(i will remove if requested)
Suspend the betting, close the books, and notify the engraver: I've just seen what will surely be this year's Best Picture winner, and it's 12 Years a Slave. There's no question in my mind that this will be our ultimate awards season victor, and the fact that there's still any room for debate at all means that Oscar bloggers were high on more than mountain air last week at the Telluride Film Festival, where the film first sneaked before tonight's official Toronto Film Festival premiere. In fact, I'll go one further … no, two further: Not only will 12 Years triumph in the Best Picture category, but I'd put my money on a historic Best Director win for Steve McQueen, and I'd mark Chiwetel Ejiofor as the frontrunner for Best Actor. Like, what's gonna beat this movie? Freakin'Monuments Men?
To bring you up to speed — though if you're unfamiliar with 12 Years a Slave, that won't last long — the fact-based film stars Ejiofor as Solomon Northup, a free violinist living in 1841 New York who is drugged by two shady employers (one of whom, randomly, is Saturday Night Live's Taran Killam), then kidnapped from his family, transported to Louisiana, and sold into slavery. Renamed Platt, the badly beaten Northup struggles to sublimate his personality in order to survive, a task that is already dehumanizing but becomes downright untenable when he is sold to the sadistic plantation owner Edwin Epps (played by Michael Fassbender, who previously starred for McQueen in Hunger andShame).
I'll leave the eventual review of 12 Years a Slave to my colleague David Edelstein; all I can tell you about is the audience reaction, plus my gut instincts. On the first count, the movie was simply shattering. It wasn't just that people broke down crying throughout — though plenty in my audience did — it's that during the closing credits, when I finally found it in me to stand and turn around, I looked back at faces that were shell-shocked to the core. One writer friend of mine was inconsolable, speechless; I took him to get a drink, and for a while at the bar, we just sat and said nothing. At a film festival, you're often expected to move on to the next screening or assignment, but this movie had knocked us flat, and two people normally quick with words not only couldn't find them, but didn't need to. Later, I had that same, silent "holy shit" moment with several other colleagues who'd seen the movie; when my roommate came home from her 12 Years screening as I was writing this article, she said simply, "There it is, we're done. Game over."
I expect the Academy will agree with her. There are still many movies yet to screen here at Toronto — August: Osage County, based on the Pulitzer Prize-winning play, could be a contender — and Oscar blogger Jeff Wells told me he thinks that David O. Russell is due for an Academy Award and that the forthcoming American Hustle could be his ticket. But could even the best versions of those movies feel seminal the same way 12 Years a Slaveimmediately does? There hasn't been a filmed project that engages this galvanically with the subject of slavery since the television miniseries Roots; yes, we got Django Unchained last year, but compared to the hard truths of 12 Years, that jape-filled Best Picture nominee is from another dimension. It helps, too, that the movie is an across-the-board formal triumph. McQueen makes not a single misstep with the camera, many of the actors are turning in career-best work (or, in the case of surefire Supporting Actress nominee Lupita Nyong'o as a sympathetic fellow slave, building a career on the spot), and behind-the-scenes contributions from writer John Ridley and compose Hans Zimmer are simply sterling.
Should another film come along that's capable of equalling 12 Years a Slave, I'd be happy for my awards predictions to be proven wrong, but let's get real: That isn't going to happen. It's the capstone to a remarkable year for black cinema that also includes success stories Fruitvale Station and The Butler, and it could reign supreme in a night destined to make Oscar history, especially if McQueen becomes the first black filmmaker to take home Best Director. As I sat in the bar with that shattered writer tonight and we struggled to speak, I said, "A century from now, when they put together a montage about the history of movies? They'll put the film we just saw in the first ten seconds of that montage." He didn't even question it; he just nodded, a lump rising in his throat. Normally, I'd feel like I was sticking my neck out to engage in that sort of hyperbole, but this is as easy a call as I've ever made. Beat that, kids.
I'll leave the eventual review of 12 Years a Slave to my colleague David Edelstein; all I can tell you about is the audience reaction, plus my gut instincts. On the first count, the movie was simply shattering. It wasn't just that people broke down crying throughout — though plenty in my audience did — it's that during the closing credits, when I finally found it in me to stand and turn around, I looked back at faces that were shell-shocked to the core. One writer friend of mine was inconsolable, speechless; I took him to get a drink, and for a while at the bar, we just sat and said nothing. At a film festival, you're often expected to move on to the next screening or assignment, but this movie had knocked us flat, and two people normally quick with words not only couldn't find them, but didn't need to. Later, I had that same, silent "holy shit" moment with several other colleagues who'd seen the movie; when my roommate came home from her 12 Years screening as I was writing this article, she said simply, "There it is, we're done. Game over."
I expect the Academy will agree with her. There are still many movies yet to screen here at Toronto — August: Osage County, based on the Pulitzer Prize-winning play, could be a contender — and Oscar blogger Jeff Wells told me he thinks that David O. Russell is due for an Academy Award and that the forthcoming American Hustle could be his ticket. But could even the best versions of those movies feel seminal the same way 12 Years a Slaveimmediately does? There hasn't been a filmed project that engages this galvanically with the subject of slavery since the television miniseries Roots; yes, we got Django Unchained last year, but compared to the hard truths of 12 Years, that jape-filled Best Picture nominee is from another dimension. It helps, too, that the movie is an across-the-board formal triumph. McQueen makes not a single misstep with the camera, many of the actors are turning in career-best work (or, in the case of surefire Supporting Actress nominee Lupita Nyong'o as a sympathetic fellow slave, building a career on the spot), and behind-the-scenes contributions from writer John Ridley and compose Hans Zimmer are simply sterling.
Should another film come along that's capable of equalling 12 Years a Slave, I'd be happy for my awards predictions to be proven wrong, but let's get real: That isn't going to happen. It's the capstone to a remarkable year for black cinema that also includes success stories Fruitvale Station and The Butler, and it could reign supreme in a night destined to make Oscar history, especially if McQueen becomes the first black filmmaker to take home Best Director. As I sat in the bar with that shattered writer tonight and we struggled to speak, I said, "A century from now, when they put together a montage about the history of movies? They'll put the film we just saw in the first ten seconds of that montage." He didn't even question it; he just nodded, a lump rising in his throat. Normally, I'd feel like I was sticking my neck out to engage in that sort of hyperbole, but this is as easy a call as I've ever made. Beat that, kids.
'Stay' Steve Grand's Follow-Up to 'All American Boy'
mr grand is fulfilling the need: young men in love in the summer, music and on video. i happily support him and his music.
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