YouTube, the word is well known to everyone who watches videos online. It is
the most popular video website in the world. If you ever think of uploading
videos online then YouTube will be your fist destination. There are various
advantages of creating your own video instead of uploading them on
YouTube. If you have a video oriented business or have too many videos then I
recommend you to setup your own video website. In this tutorial I will guide you
how to easily create your own fully functional YouTube like video website using
WordPress.
For this you need VideoCraft theme. VideoCraft is a premium WordPress theme
developed to make it simple for users to setup their video site easily. To
download and learn more about VideoCraft theme click here.
Install this theme from your WordPress dashboard and activate it to see it in
action. After activating theme your WordPress website will turn into a
functional video website. All you have to do is upload the content and videos;
you can also link videos from other top video streaming site such as youtube,
dailymotion, vimeo etc.
As you activate VideoCraft theme it will ask you to upload sample data so
that you can check if it's functioning properly or not? Click on "insert sample
data" and your website will be populated with dummy data.
After you check your website you can delete all dummy data by clicking on
"yes delete please". VideoCraft theme not only allows you to upload
videos but it also allows registered users to upload videos. It's a
user-oriented site so after setting up your video website with VideoCraft theme
you will constantly get videos from users of your website. Here is an option in
theme panel of VideoCraft theme that whether you directly want to publish videos
from users as soon as they upload or in pending mode.
Theme also offers you space for advertising banner to make some bucks for
you. If you are able to get high traffic then you can earn huge money from
advertizing.
VideoCraft theme adds an option of "VIDEO" in left panel of your WordPress
Dashboard. You can create new video categories, add new videos, new video tags.
You can easily create and add new categories and tags directly from your
dashboard. You can directly upload new videos or embed videos from other top
video websites by clicking on "add new" option under "video".
There are more settings to browse through, VideoCraft theme offers you
minimal requirements to start your own video streaming site. It's easy and
requires no technical knowledge to run your own video website.
Are they telling you that they think that it is a fashion show sexy video
that they feel other people will enjoy as much as they do? These questions are
things that you might not have thought about, yet need to be taken into account
before you even think about sharing your videos. Many people have been looking
for a new place to post their video treasures for others to enjoy along with
them.
There are many different types of fashion shows out there that we are
referring to, not just those that are professionally organized and presented. We
are thinking about those simply put together back-yard fashion shows where your
kids are showing off what they created for themselves or their dolls. By 'kids'
we are talking about your teenagers and young adults here. You might have been
thinking that we were referring to something else here but that simply is not
the case. What would you think if you had a place that you could post those
videos? You do not need to look too much further for the perfect website to
share that treasured video.
There are so many ways that a fashion show video can be considered a sexy
video that you might not think about. Have you ever sat watching a fashion show
video and thought that it was also a pretty funny video because of the fact that
there are some things that seriously went wrong that you, or those who put it
together, had not counted on? This is something else that you will want to take
into account when you decide that you want to share your fashion show video with
everyone. How many times have you yourself decided that you are going to pull a
small prank on someone that is involved in your fashion show video so that it
gets caught on tape?
This is not that surprising, but it also makes it a bit difficult to actually
decide which of the three types of video it really is: funny, prank or sexy.
This is because it is actually all three at once. There are also so many people
that really like watching these types of videos; which is exactly why video
sharing websites are up online in the first place. Making these videos available
for everyone is something that many video lovers are looking for and really
enjoy being able to do. You never know what type of video might just catch your
fancy and make you laugh like crazy. Looking for these just got a bit
easier.
Louis Vuitton Fall Winter 2012/2013 runway show at Paris Fashion Week by Marc
Jacobs.
Full steam ahead with this show... amazing! All the model hopped off the
train with their own porter carrying their bags (from the new collection of
course). Watch and enjoy the journey!
Vivienne Westwood is a name synonymous with fashion. Her shows are guaranteed
to get people talking as a statement is always at the heart of the collection. Vivienne Westwood Gold Label
collection at Paris Fashion
Week encapsulated a 'Woman as Warrior' theme. "I can't keep banging on about
climate change, so I decided to express my thoughts about the planet through
strong women, and the fact women are the guardians of culture," said Dame
Vivienne Westwood after her show. Her inspirations from around the world were
captivating. Prints and patterns created the fabulous looks of the show
including batik prints, country florals, pinstripes and British plaids. The
statement making geometric prints balanced with Victorian blouses with puff
sleeves meant a balance between warrior and femininity. The tousled hair styled
with face paint complimented the collection. Facts: Colours: Burgundy, Moss green, Red and grey Must have items: Victorian blouse, ruched pencil skirt and
kaftan Footwear: Glittery footwear, ankle boots and pointed
shoes Lanvin Autumn Winter 2011 2012
Among those helping to pour the content into our willing consumer brains is
ad executive Misha Galkin (Ed Stoppard). But a tragic accident on one of his
commercial shoots sends his career into a tailspin and leads him to retreat from
the world. When he returns, the scales drop from his eyes and he’s plagues by
visions of weird creatures that can directly influence our thoughts. And there’s
an even more sinister plan at work. But can he save us from our own appetites?
The cast also features Leelee Sobieski, Max von Sydow and Jeffrey Tambor.
The Branded set in a dystopian future where corporate
brands have created a disillusioned population, one man's effort to unlock the
truth behind the conspiracy will lead to an epic battle with hidden forces that
control the world.
Release Date: September 30th, 2012
Director: Alexander Doulerain, Jamie Bradshaw
Writers: Alexander Doulerain, Jamie Bradshaw
Actors: Andrey Kaykov, Atanas Srebrev, Ed Stoppard, Emma Stickgold,
Ingeborga Dapkunaite, Jeffrey Tambor, John Laskowski, Leelee Sobieski, Lyubo
Yonchev, Mariya Ignatova
Genre: Drama
MPAA Rating: R
Distributed by:Roadside Attractions
MPAA Rating:Rfor language and some sexual content.
Genres:Drama Thriller Mystery
Synopsis: A surreal, dystopian society where corporate brands have
unleashed a monstrous global conspiracy and one man seeks to discover the truth
and ultimately battle the hidden forces that really control the world.
Despite our red carpet faves like Beyonce, Rihanna and Nicki Minaj skipping
the event, there were enough style standouts to keep us happy -- and this year
cute couples ruled the red carpet (which was actually white this year).
Fellow Mary Jane enthusiast Miley Cyrus, wearing a dangerously low cut and
short white hybrid jacket-dress (seriously, this was a wardrobe malfunction
waiting to happen), presented the award to Wiz.
He chuckled as he took the mic, then thanked “God first, because God is
amazing — so amazing. I want to thank my mom, my dad, my family, everyone who
let me do what I do to get to this point.” Khalifa then thanked his label, radio
reps, the DJs who spun his hits and, of course, “My beautiful fiancee, she puts
up with all my crazy stuff.” Too cute! The camera panned over to Amber Rose, who
blushed, clapped and giggled. They really are adorable together. And believe it
or not, her white dress was actually more modest than Miley’s.
Wiz was clearly moved by the victory, even admitting, “I’m shakin’ up
here!” Unfortunately, though it appeared he had more people to thank, he was cut
off by music and show runners. Come on guys, Zooey Deschanel‘s iPhone commercial
can wait! Let the man speak.
At the end of "The Avengers," the members of the crime-fighting team head
off in different directions. But they'll certainly be back.
The Los Angeles Times got some time with Avengers director Joss Whedon just
before the film's premiere two weeks ago, but only now has an intriguing titbit
come to light online about the possibility of him directing Avengers 2.
“You know, I’m very torn. It’s an enormous amount of work telling what is
ultimately somebody else’s story, even though I feel like I did get to put
myself into it."
"Iron Man 3," "Thor 2" and "Captain America 2" are all slated for the big
screen during the next two years. And the speculative hype for additional
projects has skyrocketed in light of "The Avengers' " staggering $200 million
opening weekend.
"We're not shy about believing that all our characters have great stories
to tell," says Marvel Studios president Kevin Feige.
Iron Man will be the first to return with a solo project as his third
installment begins production next month in North Carolina. Robert Downey Jr.
and director Shane Black will bring back wise-cracking Tony Stark for a May 3,
2013 release.
FOR those of you who haven't yet had chance to see The Avengers - or Marvel
Avengers Assemble as it's known in the UK - we are about to enter the world of
spoilers so here's your one and only warning.
If you are among the masses who have watched the film - and propelled it to
record-breaking heights at the box office - you will be aware that there is a
teaser scene amid the credits that gives us the first onscreen look at the
cosmic baddie Thanos.
We see The Other, leader of alien race the Chitauri (who Loki recruits as
his otherworldly army), telling his shadowy master that attacking Earth "would
be to court death". The master then turns and gives an evil smile.
With some rumors before the film's release claiming Captain America
archenemy Red Skull was in The Avengers, the reveal of Thanos (see below) at
least explains where that notion came from - although the comic book version is
sometimes depicted as blue or purple.
Derived from the personification of death, Thanatos - a daemon from Greek
mythology - Thanos was the diabolical child of writer-artist Jim Starlin. First
appearing in Iron Man 55 in 1973, the god-like villain is a member of a race
called the Eternals. He hails from Titan, a moon of Saturn, and strives to
extinguish all life in the universe as tribute to his one true love, Death
herself.
More women in big action movies? Sounds like a good thing – as does another
Whedonesque Avengers 2, to be honest.
For more details on The Avengers and Marvel's ongoing plans for the
characters that appear in it, be sure to listen to our Avengers spoiler podcast
with Marvel studio head Kevin Feige below.
The Dark Knight Rises is soon coming to theatres in July and the hype is
already on as to whether the movie will be able to break its own record for The
Dark Knight.
Recently, a new leaked image of Bane was revealed by the Total Film
Magazine during an interview with Christian Bale and Tom Hardy. The image showed
Bane in his mask.
It's the question on everybody's lips. If you use Twitter, you will have no
doubt seen various film writers and box office analysts discussing whether or
not The Dark Knight Rises will be able to topMarvel's The Avengers at the box
office later this year. It's not hard to understand why either, especially as
The Dark Knight was the first comic book movie to gross $1 billion (after being
re-released that is). Now, Joss Whedon's superhero ensemble has smashed every
record set by Christopher Nolan's last Batman movie, and analysts are currently
predicting that it will ultimately take the #3 spot on the list of all-time
highest grossing movies. So, the question now is, will The Dark Knight Rises be
able to topple The Avengers? Here's your chance to share your thoughts on this
controversial subject...
"It's not as bad as you might think. You just put it on. Work out where you
drool goes. That's it. Mask work is good fun. This one wasn't painful; there was
the stunt mask and there was the up-close on for the sexy glam shots," said Tom
Hardy during an interview with Total Film Magazine.
The end of the trilogy, The Dark Knight Rises has been set eight years
after "The Dark Knight" and features new characters of Selina Kyle played by
Anne Hathaway has also revealed her role as the Catwoman.
"It's an incredible role. It's one of the most famous comic-book characters
for a woman. But, also, it's Catwoman In this franchise. It's hard to talk about
Selina Kyle because she's intensely private and mysterious. She has her own
ethics, which can involve doing things other people might consider
questionable," said Anne Hathaway and as reported in Flicksandbits.
"THE DARK KNIGHT RISES footage was as awesome as you'd expect. Saw footage
of "The Bat" in action. IMAX stuff looks sick. Nolan is amazing," as per a tweet
by Steven Weintraub, Editor-in-chief of Collider.com.
The footage screened at the CinemaCon included Batman in his new Batcave,
and slight reveals of Catwoman played by Anne Hathaway.
"A new, atmospheric Bat-score was used here, music that slowly built in
tension and eeriness the way Joker's theme did in The Dark Knight. There was
plenty of images of Batman and Catwoman in action here, lots of Batpod stuff,
brawling and explosions", described IGN.com.
Footage showed an epic battle scene between Bane, the film's main villain,
and Batman. Bane's merc army and the Gotham City Police Department also brawl in
the streets of Gotham City. The clip also reveals footage of The Dark Knight
Rises' new character John Blake.
"In the scenes shown Blake flashes a badge and is quickly seen wielding a
shotgun, but the most interesting cut featured a giant bridge crumbling in an
explosion and then a reaction shot from Gordon-Levitt. Just as with trailers,
it's hard to know if that will actually be the cut in the final film or if it
was done for dramatic effect, but it most definitely had the latter", according
to Cinema Blend.
It would also mark nearly one year since the marketing team from Warner
Bros. first launched The Dark Knight Rises official website in May 2011. TDKR's
viral marketing campaign utilized encrypted audio that sounded like chanting.
Once fans decipher the code, it provides a link to a Twitter page where the
first official image of Bane was revealed.
Additional marketing materials have surfaced since then including a leaked
prologue trailer featuring Bane. The upcoming trailer may reveal even more
footage of Bane, offering fans a closer look at the Dark Knight's foe. Looking
from past released trailers, Bane appears systematic in his terrorist plots and
also a physical threat to Batman.
Fans also got a glimpse at another popular Batman character Catwoman in its
second trailer along with leaked photos. Actress Anne Hathaway portrays the
caped crusader's sexy rival Catwoman, aka Selina Kyle who dances with Bruce
Wayne in TDKR's second trailer.
The latest news would shoot down past rumor that the new TDKR trailer may
be attached to Tim Burton's Dark Shadows. No word yet on when the trailer will
be available online. For those planning to see The Avengers, you will be sure to
get a little extra value for your movie ticket.
The Avengers seems to be in the running for the most-talked-about superhero film of the year. Fortunately, we're only in May, and a raft of other similar films released in the next few months, including, but not limited to, a reboot of Spider-Man and the final Batman, will easily challenge this particular end-of-the-world superhero fantasy.
What makes The Avengers mildly interesting is the combination of superheroes and the inevitable banter between them - especially any scene in which the ever-witty Robert Downey Jr. appears as Iron Man. Downey comfortably extends his run as the billionaire Tony Stark who is amicable with or without his technologically superb suit of metal.
But the film has many flaws, and at nearly two and a half hours, there are plenty of opportunities to tune out completely. Most significantly, until the final two or three reels of the film, the action seems to take place in another world that is completely alien to the viewer.
Joss Whedon, the occasionally surly genius behind Buffy, Angel, Firefly and to a lesser degree, Dollhouse, has done it. He's created an ensemble superhero film that actually works.
Ever since Iron Man teased us with a cameo from Samuel L. Jackson as Nick Fury, head of S.H.I.E.L.D., propositioning a reticent Tony Stark to join 'The Avengers initiative', fans have been understandably worried. It's hard enough to get one superhero right, let alone a team of them. So how did Whedon manage to make a film that hits harder, faster and cleaner than any of the individual elements (Thor, Iron Man, The Hulk, Captain America, and so forth) combined?
The Avengers is an idea that never seemed particularly promising until it was announced Whedon would be writing and directing it. Prior to this, many were excitable over the prospect, but felt it smacked of corporate grandstanding -- an idea taking place whilst suits scrambled to find someone who could make a convincing cash-cow; someone to clumsily jam various heroes from smaller cash-cows into what would probably be a spectacular piece of artistic diarrhoea. Whedon, however, does no such thing.
First off, it's worth seeing the films which have thrown their hats into the ring here: Iron Man is uniformly excellent, with Robert Downey Jr. absolutely nailing every facet of Tony Stark's simultaneously arrogant and noble personality, a personality which didn't get any evolution in Iron Man 2, but here, gets an unbelievable amount of time and space to breathe and develop. Chris Hemsworth does a fantastic job as Thor; Thor is, again, worth seeing, and is a fairly faithful translation of just how much cheese and chivalry a Thor movie should have. Captain America was a brilliant portrait of patriotism, jingoism and loyalty painted in big, bold, broad strokes, with Chris Evans front and centre as the titular hero. You can, however, probably afford to skip both abortive attempts at bringing The Hulk to the big screen: here, Mark Ruffalo is given the mantle of Bruce Banner. In short, you'll feel each tiny eddy of this story all the more keenly if you've seen the individual films, but Whedon is enough of an artisan to convey a weight of backstory for those new to this universe regardless.
As we've mentioned, Nick Fury (Jackson) and his shorter, whiter, almost humourless counterpart Agent Coulson (played superbly by Clark Gregg) have been scouring the earth for heroes to form a team called The Avengers, whose job would be fighting the battles that mere mortals aren't capable of fighting. The initiative never took off. The Avengers kicks off with Loki (Tom Hiddleston) invading S.H.I.E.L.D. headquarters, as a precursor to an all-out invasion of Earth. It compels Fury to form the kind of group Whedon excels at portraying: a hyperactively disparate and dysfunctional family unit. The film then begins to revolve around scene after scene of bickering, in which our heroes ricochet off one-another, forming alliances, incessantly hectoring each others weaknesses, and, eventually, forming frighteningly realistic and deep relationships. The Avengers really does become a story about a family comprised of lonely gods.
This might be why Whedon has succeeded with The Avengers; he's focused on the humanity of the characters. For example: Jeremy Renner and Scarlett Johannsen as Hawkeye and Black Widow respectively, both bring more depth than anything thought possible to two characters who could have been peripheral, but here become just as pivotal as The Hulk, Cap, Stark or Thor. Whether we're watching the two 'human' Avengers unravel, or their bigger, badder, apparently stronger cohorts, they all have the same problem: they're on the outside looking in. Good superhero stories always convey a core truth: it's not the power you have, it's what you do with it. Whedon has these titans whittling away at one another, being petty, curmudgeonly, wonderful arseholes over niggling personality issues, while the world teeters on the brink of destruction.
The film portrays a magnificently nuanced series of moral wrestling matches; in which the stalwart, vintage idealism of Captain America is pitted against the bracing but reckless whimsy of Tony Stark; the baffling but endearing reticence of Banner against… well, everyone. Whedon knows that it's all well and good to have superb fight sequences (and they are superb: each fight is like a martial ballet, especially as the movie progresses), but unless you're deeply invested in those doing the fighting, you may as well be watching Clash of the Titans.
Also, The Avengers is, at times, hilarious. And somehow, the 3D doesn't actually detract from the experience. There are perhaps only two flaws with this film. Firstly, you can't please everyone. Comic fans will find flaws with what was or wasn't done to their liking, and this is well within their wheelhouse, so we can't and shouldn't fault them for this. Comics are long-running, immersive narratives, and if you'd been reading a constantly evolving story for decades on end, you'd be irate if someone didn't do it justice. Secondly, the film doesn't leave a great deal of room for those who don't like superheroes. Which might sound stupid, but many critics are… well, stoic people. And stoic people don't usually like films brimming with required knowledge, or explosions of awesomeness.
Even if you know a lot about cults, there's a mystery at the heart of cult psychology that is singular in its creepiness. And that's the mystery of identity: What happens to people as their personalities bend and waver and recede under the influence of the leader and the group? Do their identities change? Or do they, in effect, become ghost versions of who they were? Sound of My Voice, the story of two Los Angeles bohemians who infiltrate a cult to make a documentary exposé about it, is a small-scale, shot-on-DV movie that, in its stripped-down low-budget way, gets deeper into the fascination — the mental horror — of cults than Martha Marcy May Marlene did.
At the start, the two doc filmmakers — Peter (Christopher Denham), owlish and ironic, and Lorna (Nicole Vicius), docile and sincere — are blindfolded and driven to a drab suburban basement, where an elaborate secret handshake — it lasts 30 seconds — allows them to be led to an inner sanctum. There they meet Maggie, the white-robed cult leader, who claims to be from the year 2054. She's played by Brit Marling with a mix of sensuality, hostility, and all-knowing attitude that is freakishly captivating, not to mention a little scary. The rituals are scary too — notably a group regurgitation that looks like something out of a very sick porno. It's all about breaking down who people are, but does Peter get broken down too? Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.'
Whether this alleged emissary from 2054 is lying—and if she is, whether she’s doing so with malicious intentions—is left just murky enough to begin causing doubt even in the markedly logical mind of an amateur documentarian (Christopher Denham) who has personal reasons for wanting to prove Marling a fraud. He and his girlfriend (Nicole Vicius) have patiently infiltrated the group and found their way into the inner circle, but aren’t prepared for what they find. Warm but unforgiving, fragile but steely, Marling is a fascinating presence, and Denham is drawn to her for reasons beyond just needing to take her down. Every ominous note the film sounds about the group—a spontaneous lesson in target practice, an insistence on fasting and purging—is answered by another “Well, maybe…”
The film, directed with efficiency by first-timer Zal Batmanglij, is a little too lean, filled with strong scenes that bump up against one another with no space to expand or resonate and an ending that’s unavoidably abrupt. But Marling provides a grave, otherworldly center around which everything else orbits—a wispy blonde apparently dying from her contact with our present, she speaks with a vague, New Age-y mysticism, but is also capable of being grounded, funny, and nothing like a sci-fi martyr. In the film’s best scene, she’s asked by her followers to sing a song from her time. The one she comes up with is familiar, and so audacious a choice viewers will likely think she has to be faking—and then that she couldn’t possibly be passing it off with such sincerity if she was. Who’s to say what will seem new again in the future? Or what vulnerable people will swallow?
If you are looking for pure entertainment then this isn’t the film for you as you’ll be required to think a little bit, but the payoff is both wonderful and frustrating. The ending will leave you extremely puzzled and your brain may hurt for a bit because the finale can be interpreted in two distinct ways. SPOILER The first way is tsound of my voice still 300x168 Sound of My Voice Review and Red Carpet Interviewso believe that she is actually from the future and what Peter witnessed validates that prospect.
The second way is to believe that the entire thing was a con and that everybody involved, including the Justice Department and the kid, were in on it from the get go. This is where my brief conversation where Brit comes into play. She said I should go the romantic route and think positively, so I’m bound to settle on the first theory.
It’s best to say up front that director James McTeigue’s take on the final days of Edgar Allan Poe in The Raven probably falls far short of historical accuracy. While Poe did indeed die in Baltimore in 1849 – most likely from complications related to his rampant alcoholism or possibly rabies after being found hallucinating outside of a pub – his final mysterious days were likely nothing close to those depicted by writers Ben Livingston and Hannah Shakespeare. The truth was probably far more depressing and sad than this mostly enjoyable Sherlock Holmes aping yarn befitting of the famed gothic author until a tragically misguided conclusion.
Arriving unwelcome in Baltimore as a washed up drunken prat turned literary critic, Poe (John Cusack) spends most of his time bickering with his editors about being pushed out of the local paper and teaching women how to write poetry for his rent and booze money. While the once mighty Poe seems to have fallen far, a locally based serial killer has taken to recreating Poe’s ghastly horrors and mysteries as actual gristly murders. The local police enlist Poe’s help to stop the killer, who has also targeted his new fiancée (Alice Eve).
Not a lot of what happens in The Raven makes logical sense, but it makes almost perfect narrative sense. Much like a lot of the real Poe’s work, this film lines up a trail of breadcrumbs that the audience has to follow to reach a final revelation, but that’s not to say that it’s dully handled. McTiegue keeps the action moving along at a great pace, and showing a visual style not too far removed from his work on V for Vendetta. Even when the film’s editing seems to fail him at sometimes the most inopportune of times, the film is good looking enough to shrug off some minor inconsistencies.
Cusack's performance as Poe injects a shot of adrenaline into director James McTeigue's carefully rendered but rather lifeless re-creation of 19th-century Baltimore. The actor plays Poe as a flask-swigging rapscallion, constantly spouting self-aggrandizing boasts that mask his inner insecurities. He's a jerk but an entertaining, flamboyant one. You wouldn't want to hang around him, but you don't mind watching his antics, and Cusack lets us see how Poe feeds on the negative energy he creates, the fuel to his self-destructive fire.
Poe is broke and questioning his own talents ("I've got nothing left," he mutters. "I've used up all my tricks.") He's madly in love with the beautiful Emily (Alice Eve), but her wealthy father (Brendan Gleeson) disapproves, so they keep their affair secret. Then the murders begin, with the killer leaving clues and notes aimed at Poe. Who is taunting the author and why? What does he want, and how far will he go?
"The Raven," written by Ben Livingston and Hannah Shakespeare with an obvious affection for Poe's work, remains engaging as long as the murder investigation remains in the background and Poe commands our attention.
Cusack is primarily known as a gifted comedian, but he's equally good at roles that require him to reveal glimpses of his inner darkeners ("The Grifters," "The Ice Harvest," "Money for Nothing"). Unfortunately, McTeigue (who directed "V for Vendetta" and "Ninja Assassin") is more comfortable with pyrotechnics and flash than angst and brooding. The longer "The Raven" goes on, the less use the film has for Cusack, who visibly checks out of the picture once he's reduced to running around frantically, playing Sherlock Holmes.
By the time special effects a la "The Matrix" pop up, "The Raven" has drifted away into the land of brain-dead sensationalism and dunderheaded story knots. Poe, for one, would not have been pleased.
When discussing The Three Stooges movie from the Farrelly brothers, one has to begin with the brilliant work of Sean Hayes, Will Sasso and Chris Diamantopoulos as Larry, Curly and Moe. It is almost impossible to capture an icon, much less three, and the trio of actors headlining our 21st century rebirth of the brothers Stooge have not only paid respects to the legends, but continue their legacy.
After having the three leads nailing their part of the film, who helms the project has to be perfect, given the subject matter and its place in comedy and Hollywood history. The Farrelly brothers could not have been a better choice. One can almost imagine the sibling pair working with the three Depression-era performers and being on the same page when it comes to the science of delivering the funny, minus of course the modern push-the-envelope method of humor the brothers are known for.
Children have always adored the Stooges, and the 20th Century Fox film is no different. At our screening, there were quite a few laugh-out-loud moments that frankly surprised us, but the younger tones of laughter were emitted machine gun-like throughout.
The story of this film takes a few liberties with the Stooges' story that some purists may have issues with, but like the old serials, it is told in three parts -- each about 30 minutes long.
The first finds our tawdry threesome arriving as mere infants on the doorstep of a Catholic orphanage. They soon hit the terrible twos that seem to last well into adulthood. The story, when it comes to The Three Stooges, is almost irrelevant. It’s all about two things: The bits and the bond that binds these three.
The lovely Sofia Vergara is the femme fatale who is behind the plot of the story (that’s as much of a spoiler as I’ll give.) She, along with the attractive female cast of Jersey Shore are not above getting “slap-sticked” in the movie; you’ve got to admire beautiful women who don’t take themselves too seriously.
The story starts out at a Catholic orphanage when someone throws a canvas bag out of a moving car onto the front steps of the home. In the bundle are baby versions of Moe, Larry and Curly. The good Sisters are delighted with the babes—for a while.
The story is of the “fish out of water” genre but isn’t stale. Moe, Larry and Curly set out to raise money to save the orphanage, but have to go out into the world for the first time to do it. It made me think of the similar plot of The Blues Brothers (1980) movie starring Dan Ayckroyd and John Belushi. I don’t know if it’s a nod to them or not but it works.
And speaking of nods, there are at least two nods to the Discovery Channel’s Deadliest Catch. The first is when, after being victim to one too many antics of the Stooges, Sister Mary-Mengele says she’s leaving. When asked where she’ll go she replies that her brother is in the Alaskan crab fishing business.
Soon the trio is about to set out on their journey astride a bicycle built for three (if that makes sense.) The salute comes when Moe throws a hook that latches onto a passing truck. If you watch Deadliest Catch you’ll see the deckhands throw the same kind of hook in the sea to bring up the pots that are hopefully filled with crabs.
When it comes to the bits, the Stooges 2012 carry on the spirit of the originals. All three actors not only know their way around a laugh, but also possess keen insight into the public persona of the characters they are portraying. Second, the kinship that the original stars channeled that drew a nation into their web of wickedly physical humor is still present. Despite slapping and eye-poking each other all day long, they are able to forgive and forget, and snore away the night together when the day is done.
The supporting cast is mostly up to the challenge. Jane Lynch is her usual awesome self while Larry David shocks us with his self-deprecating humor as a nun. Yes… a nun! Unfortunately the overall story of The Three Stooges lets us down… just a wee bit. But an enormous amount of respect has to go out to all those involved for even tackling the challenge of bringing a unique America-of-a-different era enigma to the world of today.
We know which Springfield is the real Springfield that inspired the town in The Simpsons.
But now people are wondering which local landmarks made it into the hit show.
Okay, point of clarification: The Simpsons don’t actually live in the Pacific Northwest. Yesterday, the world learned that Homer, Marge, Bart, Lisa, and Maggie’s hometown was named after Springfield, Oregon.
But Simpsons creator Matt Groening never claimed that the series really takes place in the Beaver State. As everyone knows, Springfield is located in a state that borders Ohio, Nevada, Maine, and Kentucky — that is, one that’s fictional.
Ask most people around the area, and they'll tell you some places in and around Springfield bear an uncanny resemblance to those in the cartoon.
Springfield's museum might shed light on the city's history, but the museum's director holds another original piece. It's a spoof the city created for a contest years ago.
Written by Niel Laudati and Steve Woodward, it highlights the similarities between the Simpsons' Springfield and Oregon's Springfield.
For example, some wonder if Max's Tavern in Eugene could be Moe's.
"Moe's is a huge bar in the series, been in there for 20 years, and that was a connection people always made," Laudati said.
And the wood products mill, some say, bears a resemblance to the power plant.
The Springfield Simpson comparisons are definitely creative. We'll give them that. But there's also one no longer here -- the Springfield arch.
"That's the old lost arch that used to be in the Glenwood area, and a flood took that out many years ago," Laudati said.
Then there are the characters.
"I look like Bart. No, I mean Homer," said Sweety's owner Jack Koehler. Koehler says he's not Homer but says for a certain amount he would be.
All kidding aside, while the show at times can be unflattering, those on Springfield's Main Street struggling to revitalize see this as an opportunity to turn yellow into green.
"I think Springfield, if they take advantage of it, it is something that could be globalwide known," Koehler said.
"I think people will start looking to Springfield and finding what we have to offer here, so I think it's amazing," said Eugene resident Leslie Taubenfeld.
"They are pretty famous, and it sounds pretty cool that our city can be an icon of that," said Adey Gabuya.
"We're already hearing it from the arts community," Laudati said.
Another noted comparison is the names of streets in Portland are the same as names in the show.
Also, some say Shelbyville is Eugene, which is the wealthier larger city close to Springfield.Guess we'll all just keep wondering.
But don’t tell that to Homer Simpson. Since Groening’s revelation spread across the internet, the yellow-bellied kwyjibo has been tweeting up a storm about his city’s supposed locale. Shortly after the Springfield story broke, the Simpson patriarch’s official account reacted to the news: “Springfield’s in Oregon, I am the walrus, and Maggie killed J.F.K. Now you know,” he declared. (People have simply got to stop giving that baby guns.) Later tweets celebrate Oregon as “California’s toupée,” employ pun-tacular dad humor, and express misgivings about Groening’s home state. Evidently, Homey isn’t totally sure how to take this tidbit of information.
And he’s not the only one who feels conflicted. For a record-breaking 23 seasons, the mystery of Springfield’s exact location has been one of The Simpsons‘ most enduring running gags. Even though we know the town can’t really exist, speculating about where it might be is a favorite fan pastime — it’s up there with ranking the series’ best episodes and debating when, exactly, its “golden age” ended. Revealing which Springfield inspired Homer’s Springfield doesn’t solve the riddle, but it does take some of the fun out of guessing.
The magic mirror, the poisoned apple, the Seven Dwarfs, the evil queen, the handsome prince, and the fair maiden called Snow White all make appearances in Mirror Mirror. But with director Tarsem Singh at the helm, the enchanted qualities of the Snow White saga are muffled by the weight of visual peacockery. The director of Immortals and The Cell never met a lily he didn't want to gild and then photograph through a kaleidoscope. And his curiously unemotional, obsessive attention to the superficial look of things, combined with a screenplay by Marc Klein and Jason Keller (from a story idea by Melissa Wallack) that layers a jokey post-modern sensibility over an old Grimm fairy tale, makes for a dull and unbewitching movie.
Julia Roberts enjoys herself immensely as Snow's evil stepmother the Queen. And well she might: The character is a psychological classic, a woman vain about her beauty, depressed about aging, and jealous of the young women who will inevitably unthrone her as Fairest of Them All. Playing step-mama with a wink (the heartless bee-yotch also spends money like a sultan while her subjects suffer in poverty), Roberts gets to act out the meanest, pettiest, and most amusingly wicked of urges, laying on the cartoon cruelty. Confidently still one of the Fairest of Them All among her own generation, the movie star has fun with the cute contradiction of a pretty woman playing an ugly competitor.
Anyway, the Queen might just as well save some of her dragon breath: As played by Lily Collins (The Blind Side) with an assist from her screen-hogging, disorienting dark eyebrows, our Snow is a rather bland girl with none of her stepmom's charismatic personality. In a nod to Tangled and the present-day preference for young heroines who know martial arts, archery, or other forms of kicking ass, Snow is, as they say, an agent in her own self-empowerment. (At least I think they say that, in some women's magazine or other.) The young woman takes lessons in swashbuckling from her friends the Seven Dwarfs, and proves to be such a deft hand with a sword that the Handsome Prince — played with true easy charm by The Social Network's Armie Hammer — almost doesn't know what to make of her.
The Seven Dwarfs? They're jokey and squabbly and physically rambunctious — all those things that come with being a) an all-male comic-relief element and b) dwarf actors in a comedy. The guys spend their days as woodland bandits. And when they fight, they look awfully cool when they suddenly become tall, lifted up by their stilt-like giant accordion pantaloons.
Oh, those pantaloons! Mirror Mirror is a film that's all picture and no propulsion, each scene static in a basic set-decoration color scheme of teabag and banana. But those pantaloons — and every other costume in the movie — are marvels of artistry by the late, great multimedia artist Eiko Ishioka. Sprung from Eiko's unique imagination, every garment is an art installation, every hat a fantastical sculpture. And that's just for daily wear. When the Queen plays a chess-like diversion with living pieces moving across a game board floor and, especially, when the Queen throws a fancy ball, the designer dresses the players in creations that display more vitality, standing still, than the whole movie does, joylessly pushing towards its Happily Ever After finish.
Oscar-nominated director/co-writer Gary Ross creates a faithful and compelling adaptation of “The Hunger Games” that will only whet avid fans’ appetites to see the sequels played out on the big screen.
Adapted from the first book in Suzanne Collins’ best-selling dystopian book trilogy for young adults, “The Hunger Games” stumbles over a few of the anticipated pacing and storytelling pitfalls but mostly meets and in some arenas even exceeds expectations.
As expected, the movie has Ross’ steady, intuitive direction, an excellent cast working in top form, magnificent costume and production design, a stellar if understated soundtrack and score, plus Collins’ own pen (along with Ross’ and Billy Ray’s) applied to the script all going for it. These pluses really add up to a satisfying cinematic experience, which as a “Hunger Games” fan, I found to be quite a relief. After all, there are so many ways that a movie version of Collins’ dystopian near-future sci-fi tale about a government-mandated, live-for-television game show that forces teenagers to fight to the death could have gone horribly wrong, but thankfully, Ross and Co. get so much of the story right.
As expected, the series’ fervent fans turned out in droves for 12:01 a.m. Friday screenings, with several houses at Harkins Bricktown 16 crowded with movie-goers, including many dressed as their favorite characters from the books. (My thanks to Harkins for provided me with midnight passes so I could bring this review to you.)
Oscar nominee Jennifer Lawrence (“Winter’s Bone”) brings her now-standard but still impressive ability to portray both toughness and vulnerability to the lead role of Katniss Everdeen, a 16-year-old denizen of the Appalachian Mountains. In the not-too-distant future, what was formerly North America has been replaced by Panem, which consists of a weathly, corrupt Capitol situated in the Rocky Mountains and surrounded by 12 poor, oppressed districts whose residents provide all the necessities and luxuries – food, electronics, and in the case of District 12, coal – to the Capitol and are ruthlessly kept under the government’s thumb by the militaristic Peacekeepers.
The Hunger Games are another means of keeping the populace down: In penance for a long-ago attempt at overthrowing the government, each district is required each year to provide two tributes – a boy and a girl – between the ages of 12 and 18 to travel to the Capitol, receive training and then fight to the death in the Games. Only one of the 24 tributes will survive, and everyone is Panem is legally required to watch the dehumanizing brutality play out live on television.
In District 12, Katniss has become accustomed to surviving: Her father was killed in a mining accident when she was a child, and since her mother couldn’t cope, it fell to Katniss to provide for her family, including her beloved younger sister Prim (Willow Shields). Katniss and her best friend Gale (Liam Hemsworth), whose father died in the same accident, keep their families fed by breaking the law and hunting game in the woods outside District 12.
When it comes time for the 74th annual Hunger Games, Prim has turned 12 and is eligible for the first time for the lottery, or Reaping, that will determine the district’s two competitors. Despite Katniss’ every effort to protect her and against all odds, Prim is plucked at random from the thousands of entries, and Katniss’ reaction is immediate and instinctive: She volunteers to take Prim’s place.
To make matters worse, the male tribute drawn for the Games is Peeta Mellark (Josh Hutcherson), the baker’s son who once saved Katniss and her family from starvation by sneaking her bread.
Katniss and Peeta are whisked off to the Capitol by the etiquette-obsessed Effie Trinket (Elizabeth Banks), District 12′s vacuous, flamboyantly dressed government representative, and the inebriated Haymitch Abernathy (Woody Harrelson), who as District 12′s only previous winner of the Games is tasked with mentoring the pair through this year’s installment.
When they arrive at the Capitol, Katniss and Peeta are beautified, battle trained and literally paraded about for the benefit of the rich and privileged (in chariots around a Coliseum-esque arena, no less). Katniss’ stylist Cinna (Lenny Kravitz) dresses them in flaming costumes that leave an impression but also provides quiet moral support for the terrified girl.
All the tributes also are interviewed on live TV by the affable but oily longtime Hunger Games host Caesar Flickerman (Stanley Tucci, terrific as usual), and Peeta picks that moment to reveal his longtime crush on Katniss. Unsure whether his proclamation is true or not, Katniss goes along in the hopes of garnering sponsors and fan support that could be vital to surviving the games.
Once they enter the arena and face their fellow tributes – including “careers” who have trained since childhood for the Games – it’s clear Peeta and Katniss will need all the help they can get if they want to make it back to District 12 alive.
Ross keeps the plot economically unfurling from the opening moments and after the Reaping, ramps up the action to a near-breakneck speed, but he still is unable to quite keep up with page-turning pace of Collins’ cliffhanger-per-chapter novels. He, Collins and Ray efficiently and skillfully edit down the story to its essentials while still keeping the essential plot and character developments, along with the vivid details that make the story unique. But some elements, such the bond that forms between Katniss and 12-year-old District 11 tribute Rue (Amandla Stenberg), are just too rushed to make the kind of emotional impact that they had in the book.
Despite Lawrence’s stellar efforts, the movie misses the internal monologue of Collins’ first-person novel, particularly since Katniss’ voice is so distinctive, insightful and vital to really understanding the love triangle that makes up one of the story’s many layers. Although Hutcherson and Lawrence have strong chemistry, their characters’ complicated relationship doesn’t get quite enough time or space to develop, though giving the story’s romantic angle short shrift is preferable to letting it slip into the forefront.
But the movie does have one storytelling advantage: It takes viewers inside the control room of the Games, showing the cold-blooded way in which Head Gamemaker Seneca Crane (Wes Bentley sporting some jaunty facial hair) and his technicians put the tributes in harm’s way to make the spectacle more entertaining. Plus, Crane’s periodic meetings with Panem’s ruthless leader President Snow give the excellent Donald Sutherland more screen time.
Ross keeps the harrowing, bloody fight sequences just within the parameters of the PG-13 rating – I wouldn’t recommend the movie to children younger than 12, and they should be a mature 12 at that – but more importantly, he keeps with them a heartbreaking sense of cruel realism. These aren’t the kind of action scenes that make you want to cheer for a hero, they make you cringe at the exploitation these children are forced to endure.
And really, the laser focus on the story’s meaningful core is the true triumph of the movie version of “The Hunger Games.”
John Carter is far from the disaster it’s been made out to be in some circles…nor is it an unqualified success. It has enough visual effects and production values for three movies, and almost as much story material, which is one of its problems. But it does provide vigorous, eye-filling entertainment, and paves the way for Taylor Kitsch (best known so far from his work on the TV series Friday Night Lights) to become a major movie star.
I never read Edgar Rice Burroughs’ novels about Carter and the planet Mars (known to the locals as Barsoom), but a friend who is a lifelong devotee was quite pleased with this adaptation, by director Andrew Stanton, Mark Andrews, and Michael Chabon, declaring it true to the spirit of the books even though it adds many ideas of its own. As one of Pixar’s star players, Stanton is an experienced cinematic storyteller, which is why it’s disappointing that his first live-action project is so unwieldy at times. My challenge was keeping track of the many curious and unusual-looking characters that populate the picture. (All I can say with certainty is that Tharks don’t fly.)
John Carter (a virile, and likable, Kitsch) is a Confederate soldier who, in the wake of a family tragedy, has become uncontrollable, a wild animal who is ready to lash out at anyone and everyone. Fate and circumstance transport him to the planet Mars, where the lighter gravity gives him the ability to jump and soar about. This impresses even the fiercest warriors he meets, including a feisty princess (Lynn Collins) whose father is urging her to marry one of their enemies in order to create a peaceful alliance. The question is whether or not Carter is willing to take sides in a battle that is not his own.
This epic-scale production is the latest to offer a visual-effects landscape so palpably real that it’s impossible to tell where actors and sets leave off and movie magic takes over. At one time this achievement alone would have made John Carter a major event; today, it is just the latest in a string of films to show off such technical wizardry. While we can still marvel at the amazing sights laid out before us—like an apparent monster who turns out to be an overgrown puppy-dog-like pet—it is imperative that we never lose sight of who’s who, and what’s at stake. That turns out to be a tall order.
I can only call the finished film a mixed bag, with exciting scenes followed by dull stretches. But no movie so rich in imagination and so skillfully staged could or should be dismissed out of hand. If you have even the slightest curiosity about John Carter, I’d encourage you to see it.
As to why the folks at Disney decided to leave “…of Mars” off the title, I have no idea what they hoped to accomplish. Readers have devoured Burroughs’ novels under that name for decades; turning it into a generic name seems downright silly.
You’ve gotta love the 16-year-olds on ‘American Idol,’ the youngsters stepping up to the plate of one of the most intimidating stages in the country and singing their hearts out. With nerves running painfully high among the ‘Idol’ Top 13 tonight, some stars-to-be are ramping up the energetic vibe, while others are losing their cool in the spotlight. Unfortunately, super young Shannon Magrane, who sang Whitney Houston‘s ‘I Have Nothing,’ missed her opportunity to shine.
Dressed in sequined black leggings and a leather jacket covering a neon blue and pink shirt (a stylish nod to the Houston-dominated ’80s), Magrane took a stab at the pop queen’s ‘I Have Nothing.’ Though she hit some spot-on moments, the beloved blond kept falling back into a string of flat notes. Every time she reached for something especially big, she just couldn’t quite get there — most noticeably, perhaps, during the biggest point in the song in what was supposed to be an epic Houston key change.
Still, the songstress looked like she was remaining calm, smiling and continuing in her performance right until the end. When it was all over, Jennifer Lopez empathetically voiced what everyone in the audience was dying to say.
“Sweet baby,” she offered with an all-knowing tone. “I think the thinking got the best of you a little bit on that one. You can sing that song … We didn’t get to hear that here tonight.” Encouraging the young singer in her abilities, J. Lo advised her not to rush the big notes and to “just tell the story,” adding, “That’s what you have to do when you get up there.”
“I think your nerves got the best of you baby,” Steven Tyler chimed in like a dad talking to his disappointed teen. “It’s a huge song, and you kind of crashed and burned on the turnaround.” With a good-natured smile, Magrane urged, “I didn’t get to show you guys tonight, but I can sing my butt off on that song,” seeming to grasp that she didn’t sing anything off tonight. It remains to be seen if America takes pity on the talented young teen or gives her the boot for missing the mark.
Paying tribute to the late great Whitney Houston, Shannon Magrane performed ‘I Have Nothing’ on American Idol Top 13.
The 16-year-old contestant from Tampa, FL sang her version of ‘I Have Nothing’ on American Idol Top 13 live performances on Wednesday night. Here’s what the judges have to say about Shannon’s performance.
Randy Jackson: Your nerves got the best of you tonight, I could feel, and everything you go for, you didn’t hit it, wasn’t great tonight.
Jennifer Lopez: You can sing that song, but we didn’t .First off I am glad the judges decided to judge for once. I actually agreed almost all the time. As I suspected, and was proved right, the girls are better than the guys this year. So if a guy wins this year it will for sure be another tragic tale in Idol lore. Yeah I know it’s just the first real show but we also got a real look at the talent. And I will bet the odds change radically next week. And a minor word of caution to all the Idols but one, try to perform as far away from Jessica Sanchez as possible. Just a random thought.
You’ve gotta love the 16-year-olds on ‘American Idol,’ the youngsters stepping up to the plate of one of the most intimidating stages in the country and singing their hearts out. With nerves running painfully high among the ‘Idol’ Top 13 tonight, some stars-to-be are ramping up the energetic vibe, while others are losing their cool in the spotlight. Unfortunately, super young Shannon Magrane, who sang Whitney Houston‘s ‘I Have Nothing,’ missed her opportunity to shine.
Dressed in sequined black leggings and a leather jacket covering a neon blue and pink shirt (a stylish nod to the Houston-dominated ’80s), Magrane took a stab at the pop queen’s ‘I Have Nothing.’ Though she hit some spot-on moments, the beloved blond kept falling back into a string of flat notes. Every time she reached for something especially big, she just couldn’t quite get there — most noticeably, perhaps, during the biggest point in the song in what was supposed to be an epic Houston key change.
Still, the songstress looked like she was remaining calm, smiling and continuing in her performance right until the end. When it was all over, Jennifer Lopez empathetically voiced what everyone in the audience was dying to say.
“Sweet baby,” she offered with an all-knowing tone. “I think the thinking got the best of you a little bit on that one. You can sing that song … We didn’t get to hear that here tonight.” Encouraging the young singer in her abilities, J. Lo advised her not to rush the big notes and to “just tell the story,” adding, “That’s what you have to do when you get up there.”
“I think your nerves got the best of you baby,” Steven Tyler chimed in like a dad talking to his disappointed teen. “It’s a huge song, and you kind of crashed and burned on the turnaround.” With a good-natured smile, Magrane urged, “I didn’t get to show you guys tonight, but I can sing my butt off on that song,” seeming to grasp that she didn’t sing anything off tonight. It remains to be seen if America takes pity on the talented young teen or gives her the boot for missing the mark.
It has been confirmed that Taylor Swift is set to release a brand new album full of brand new songs in 2012. A lot of people had been thinking, and some even hoping, that the country singer would be releasing an album of covers.
However, that is not to be. Although Taylor has been performing a number of different covers while on her tour, she insists that her album will be her own. Yet she did not deny that there may be a cover on the album but I guess we’ll have to wait and see.
Taylor Swift has confirmed that she has already penned 10 brand new tracks for the album and that they will be along the same lines as her previous tracks. It is quite a feat for the singer, who recently confessed that her biggest fear is getting writers block. No such problem there it seems.
Hollywood more beautiful singer Taylor Swift is cooking for her new album. It is big projects for 2012. This is not amazing for celebrities because they always do new experiment for their albums. Singer Taylor’s song is sad and already in the planning stage. Singer excitedly dished that it is not only big thing but she has up her sleeve for upcoming year. She is making time for some other projects. Singer Swift told ‘now tour continues chugging along through the early part of 2012 with her perfume.’
Pop star told ‘she is working on some amazing and surprise projects that may or may not happen with possible some acting.’ She also adds ‘I am really excited about next album and I have been writing. I can’t believe that it comes out in a year but I am already excited about it.’ Singer share about her holiday ‘I am excited about holidays and I much love Christmas. I love buildup to Christmas festival that everything is exciting wintergreen with Christmas tree.’ She always celebrates Christmas festival with her friends and happiness. It is very good enjoy of signer.
Swift, 22, whose "Dear John" song was seen as a bitter ode to ex-boyfriend John Mayer, told Vogue magazine that she was working on her fourth album, and is currently single.
The country-pop crossover artist, who famously wears her heart on her songwriter's sleeve, said that writing about past loves is a way to ease the pain.
"There's just been this earth-shattering, not recent, but absolute crash-and-burn heartbreak and that will turn out to be what the next album is about," she told Vogue in a cover story for its February edition.
"The only way that I can feel better about myself -- pull myself out of that awful pain of losing someone -- is writing songs about it to get some sort of clarity," she said.
Swift dated "Brokeback Mountain" star Gyllenhaal for about three months in late 2010 before their much-photographed relationship ended suddenly around the Christmas holidays that year. U.S. celebrity magazines claimed that Gyllenhaal had ended the relationship because he was unhappy at the attention the couple was generating.
Swift told Vogue she did not feel like dating at the moment. "I really have this great life right now, and I'm not sad and I'm not crying this Christmas, so I am really stoked about that."
Asked whether she was crying last Christmas, Swift replied, "I am not gonna go into it! It's a sad story!"
Dazzling and debonair, actors and actresses arrived on the 2012 Oscars red carpet looking their very best. Dressed in stunning designer frocks, with brilliant smiles and fluttering hearts, Hollywood's top contenders were thrilled to be at the 84th Annual Academy Awards at the Kodak Theatre in Hollywood.
"This is our Super Bowl, isn't it guys?" asked E! News host Giuliana Rancic.
On Hollywood's biggest night of the year, all eyes were on the red carpet. Celebrities, no doubt, underwent a plethora of preparations and a calming of nerves before hitting the 2012 Oscars. Luckily, the reliable Southern California weather was sunny and warm; droplets of rain would have only wilted hours of primping and prodding.
Many of the dresses came straight from the runways in Paris, New York, London and Milan. Stylists typically present their celebrity clientele with 40 to 80 dress options. The most of-the-moment, wow-factor dress is typically chosen. Glenn Close wore custom-made Zac Posen; Viola Davis chose a brilliantly bright frock.
This year, the Oscars red carpet was just not about superficial beauty. It was also about conscientiousness.
The third annual Red Carpet Green Dress contest took place this year and the winner, Valentina Delfino, got to dress "The Artist" ensemble actress Missi Pyle's 5-foot, 11-inch frame in an eco-friendly gown. Made from organic silk, hand-dyed mineral pigments and recycled polyester, Pyle made a momentous statement with her attire. The contest was established in 2010 by Suzy Amis Cameron, wife of "Titanic" and "Avatar" director James Cameron.
"Ultimately, Red Carpet Green Dress isn't about beautiful gowns," Cameron told the Los Angeles Times. "It's really about bringing awareness to the fact that we can be kind to the planet and still wear something really gorgeous - and to then take that a step further, for people to think about the carbon footprint of their everyday clothes."
Another trend on the 2012 Oscars red carpet was minimal jewels. Delicate jewelry serves to complement a beautiful actress and her equally beautiful gown. There is no need for chunky, overpowering jewelry when you are wearing Chanel or Versace.
"Jewelry should be minimalistic - the dress should be the 'celebrity,' so to speak," fashion designer Allen B. Schwartz told The Jerusalem Post. "We're moving towards a very minimal period of accessorization," added designer Marc Bouwer. "If people are going to wear something, it's going to be one strong piece or almost nothing at all."
The Oscars have the uncanny ability to turn actresses into princesses for one night. Some are even raised to the level of goddesses. These women are the best dressed. From Angelina Jolie to Jessica Chastain, from Michelle Williams to Bérénice Bejo, a fabulous dress can truly transform its wearer.
Sometimes the red carpet brings shocking fashion surprises. In 1996, Sharon Stone tossed aside what was most likely a mountain of designer dresses handed to her and opted for a GAP turtleneck! Needless to say, Stone did not make any "Best Dressed" lists.
John Ottway (Liam Neeson) awakens stretched out across a row of upholstered seats firmly planted in the wet ground. Unbuckling the seatbelt, Ottway carefully lifts himself and stands erect. He dazedly scans his surroundings: a never-ending horizon of white. This isn't some angelic purgatory. It's the unforgiving, Alaskan Arctic. Spotting an embankment, Ottway clumsily scampers to its summit and finds a disemboweled fuselage, separated from the wings of his charter plane.
Miraculously surviving a plane crash may just prove to be Ottway's death sentence. He must brace himself for the sub-Arctic cold, assuming he can fend off the first night's hypothermia. Then he has to deal with the remaining survivors -- fellow ex-cons and undesirables, employed to protect an oil company's refinery. But if the humans don't tear each other to shreds then there are the carnivorous, bloodthirsty wolves, tempted by the smell of fresh carcass, and of course, the thrill of live meat.
While this catastrophic crash may be what sets director Joe Carnahan's narrative in motion, the usually over-indulgent, bombastic filmmaker (Smokin' Aces, The A-Team) has pared back his aesthetic gimmicks in The Grey. Despite a marketing team adamantly trying to convince the public otherwise, this man versus the wild yarn is short on superfluous action and gore; instead, it is a traditional B-movie deftly told and contemplative in its craftsmanship.
Cast adrift in the opening minutes, Ottway buries himself amid the powdered arctic by day, protecting pipeline workers from the aggressive wildlife. Yet when off-duty, he finds himself among other similarly employed ex cons. He is a wandering shell of a man, overtaken by melancholy. He appears doomed. Such exposition is carefully handled in a hallucinatory monologue set to poetic verse -- a letter he is writing to his dearly departed wife. It is all eerily autobiographical, conjuring up Neeson's own personal tragedy (the untimely death of his spouse, Natasha Richardson). And perhaps it makes the viewer all the more open to Neeson's on screen trauma.
Managing a tall philosophical order, The Grey works because it sticks to the genre's narrative conventions while depicting the harsh reality of the physical world. Carnahan spares us from quick-edit obscenity, allowing Ottway and a team filled out by expert supporting players -- Dallas Roberts, Frank Grillo, Joe Anderson, and Dermot Mulroney -- to shed their alpha male reticence quickly after the plane's wreckage has settled. Grim but never cynical, The Grey elicits the sensorial by focusing on its human subjects. For the first time since his debut Narc, Carnahan shows restraint, relying on performance rather than a pair of digital, editing room scissors. He composes moments of grisly beauty.
After the film's crash, Ottway and company tend to a bleeding compatriot (James Badge Dale) who has punctured a vital organ. He lies in repose frightened, pleading, and in need of a consoling hand. Carnahan lingers on the death. As the wound gushes blood, some men watch in terror; others mitigate the pain; another laughs in confounding hysteria. But each of these hardened men succumbs to the circumstance's otherworldliness. It's honest, ugly, visceral, and for these stoics, an encounter with their destiny that will in all likelihood occur sooner rather than later.
In this vast expanse of hopelessness, The Grey is a rare mainstream action picture, exploratory in genre and of whatever lies beyond. Ultimately ten minutes too long and concluding a bit too tidy for the questions it poses, The Grey, however, does dare to show not merely the human imperative to survive under the most primal conditions; but it abides by an honor code of human dignity, separating us from the amoral beasts that prey.
As you all know by now, one of the most famous, beloved singers of all time, Whitney Houston, passed away unexpectedly on Saturday, February 11, 2012 in her Beverly Hills hotel room. Although there is speculation that the 48-year-olds death was due to a combination of drugs and alcohol, no official cause of death has been confirmed. But does it even matter how she died? Fans of the six-time Grammy-winning, 170-million-album-selling artist don't seem to think so. When the news broke on Saturday, people began to flock to her discography.
As a result, 195,000 digital copies of the best-selling single of all time by a female artist, Houston's "I Will Always Love You," have been purchased in the past week. Those sales, combined with a huge presence on the radio, have propelled the song back into the top 10 of Billboard's Hot 100 singles chart for the first time since 1993. It currently sits at No. 7, while two of Houston's other songs, "I Wanna Dance With Somebody (Who Loves Me)" and "Greatest Love Of All," sit at Nos. 35 and 41, respectively. She may be gone, but Ms. Houston's music will certainly live on forever.
As a style blogger, it feels weird to write about the passing of Whitney Houston. Like it's not my place or something. Culture critics like Sasha Frere-Jones from The New Yorker and Rich Juzwiak from The Daily have written beautiful, moving pieces about her legacy and the significance of her career, and knowing both of them professionally, I can testify to how heartfelt the eulogies are. After the news of her death broke, MTV aired an hour-long music video special last night, and though part of me wants to chime in about that voice, and what she did for women of color in music, the aspect of Whitney Houston's life that we'll talk about here is her memorable music video style.
From her super '80s, backless, body-con getup in "I Wanna Dance With Somebody" to the all-white fur coat and white flip-flops of a G'd up Whitney decrying some philandering scumbag in "Heartbreak Hotel," the fascinating thing about the Jersey-born Guinness Record-holding multi-platinum recording artist is that despite her model body and stunning face she never fell victim to a hypersexualized image.
It's not that she downplayed her good looks (she was always immaculately turned out) but in revisiting all of her greatest hits, it's notable that she predominantly opted for big-lapel suits, ripped-up boyfriend jeans, oversize leather and denim jackets, knee-length skirts, and a grip of turtlenecks. With the exceptions of her early work like "I Wanna Dance..." and "How Will I Know," Houston rarely played the protagonist of her videos (though I guess she did take a turn as the "other woman" in "Saving All My Love").
She was usually the omniscient narrator, which apparently required some sartorial gravitas. Seriously, take a minute and watch EVERY video and you'll notice she wears a jacket or coat in a great number of them. Whitney Houston never met a matte red lipstick she didn't like (until she discovered an appropriate dark burgundy for "It's Not Right But It's Okay"), and nobody wore a turban or choker better. Nobody. So in honor of a style icon and a game-changer, we bring you Whitney through her music videos.
Synthpop band Cobra Starship have recruited singer/rapper Sabi for ‘You Make Me Feel…,’ a new track from their upcoming album ‘Night Shades.’
Backed up by a simple beat and minimal synth arrangement, charismatic frontman Gabe Saporta sings about finding the girl he’s been missing:
“Girl, I’ve been all over the world looking for you / I’m known for taking what I think I deserve, and you’re overdue.”
Sabi, a newcomer who scored her first big break by rapping on the Britney Spears track ‘(Drop Dead) Beautiful’ from ‘Femme Fatale,’ provides the chorus and the “na-na-na-na-na” melody that carries the song as Saporta sings “You make me feel that…,” but never quite finishes the thought.
‘You Make Me Feel…’ is more understated than some of the group’s previous work, but it feels like a potential summer hit.
Cobra Starship have been unleashing sassy pop songs on the world since 2006. (For a limitless supply of entertainment, scan their complete discography, which includes song titles like ‘Being From Jersey Means Never Having to Say You’re Sorry’ and ‘Pete Wentz is the Only Reason We’re Famous.’)
They recorded the ‘Snakes on a Plane’ theme song but didn’t score a major hit until teaming up with Leighton Meester for ‘Good Girls Go Bad’ in 2009.
‘Night Shades,’ featuring ‘You Make Me Feel…’ and another leaked song, ‘Don’t Blame the World, It’s the DJ’s Fault,’ is expected later this year.
Calling it one of the ‘stupidest songs he ever heard,’ Toby Keith was still drawn toRed Solo Cup for the very damn same reason everyone else is: It’s the definition of an Earworm hit, you simply cannot get it out of your head. He chose to record it the same way it was recorded on the demo, with acoustic string band instruments and not only that but he recorded it with the song’s writers: the Warren Brothers (Brad and Brett) and the Beavers Brothers (Jim and Brett).
Originally intended by Toby Keith to be nothing more than a fun little ‘deep cut’ on one of his yearly album releases, the 2011 release Clancy’s Tavern, after it was recorded he then decided it’d make for a fun little music video and all of the sudden the song became a viral internet sensation. With millions of page views at YouTube, that had radio interested (though there are edited versions of the song for them to play, if they wish) in “Red Solo Cup” and the stations kept playing it and playing it despite Toby saying that “Clancy’s Tavern” would be his next single.
The viral sensation continued to grow, Glee’s Ryan Murphy saw the video, had it integrated into a recent Glee storyline and that has only helped Toby Keith follow-up his first #1 hit in a couple of years (“Made In America”) with a song that is looking likely to rival “Courtesy of the Red, White & Blue” and “Should’ve Been A Cowboy” as the biggest hit of his long career. Now, to many this would be a blasphemous opinion but the evidence is clear. It’s not only on its way to being one of Toby’s biggest hits but it’s also a very good thing for country music, traditional died in the wool country music. And perhaps no other artist BUT Toby Keith could’ve gotten the song recorded, owing to the fact that he owns his record label.
Traditional fans may dislike much of the stuff Toby’s released the past few years – along with virtually everything else on commercial radio – but they should be dancing a jig to this song every time it comes across their ears. Yes, it’s a stupid song about a solo cup but it’s about a topic country music does so well, drinking. It’s also melodically one of the most traditional sounding songs on the country dial these days and best of all, it proves that country music doesn’t need to have swelling orchestras, loud telecasters, drum machines and hip-hop beats to get the audience’s attention (young and old alike).
“Red Solo Cup” may never win a Grammy or a CMA or ACM award and there will clearly be people who don’t get it (like my own brother) but clearly, there are many, many more of us who do get it. It’s a little ditty about a stupid little red cup, sure but it’s a COUNTRY song that cannot be mistaken for anything other than a classic country ditty. It’s not meant to be rocket science nor is it meant to be a ‘picasso.’ “Red Solo Cup” is pure escapism entertainment that has entered the collective minds of many people in America. When’s the last time you could say that about a true country (and western) song?
Look, “Red Solo Cup” is a stupid song and it shouldn’t work. But it does and that’s the beauty of a great, simple country song. Country music is a genre of music that is of the people, by the people and for the people. Country music is about real things from real lives, even little drunken pleas of love for a little red plastic cup. Country music is relatable and “Red Solo Cup” is relatable and it may not be the ‘savior’ for country music that some think artists like Jamey Johnson is, but “Red Solo Cup” is good, nay, it’s GREAT for country music.
Adele is onto her third single from ’21″ called “Set Fire To The Rain.” Her talent’s have come at a perfect time in music.
Like most trends, music styles are cyclical. This was the summer of pop with Katy Perry, Lady Gaga and The Black Eyed Peas dominating the radio. I’m not saying these artists and their songs are bad, quite the opposite. However, one cannot deny that Adele’s talents are “raw.” Her sound is pure and her style is organic.
Much like “Rolling In The Deep,” and “Someone Like You,” “Set Fire To The Rain” is continues the story of the heartbreaking breakup Adele experienced. She is a very “what you see is what you get personality. When asked how she came up with the title for this song, she responded “it came to me in the middle of the night while taking a wee.” Adele told MTV News:
It broke my heart when I wrote this record, so the fact that people are taking it to their hearts is like the best way to recover. ‘Cause I’m still not fully recovered. It’s going to take me 10 years to recover, I think, from the way I feel about my last relationship. It was the biggest deal in my entire life to date. … He made me totally hungry. … He was older, he was successful in his own right, whereas my boyfriends before were my age and not really doing much. And he got me interested in film and literature and food and wine and traveling and politics and history, and those were things I was never, ever interested in. I was interested in going clubbing and getting drunk.
Adele has since revealed that she is mending fences with her ex and talking with him again. I can’t imagine being this guy! Men be on notice…one bad breakup could lead to the album of the year!
