Former 'N Sync singer Lance Bass has debuted his first new music in 12 years - a cover of Australian producer Anise K's collaboration with rap icon Snoop Dogg. The gay star unveiled his version of Walking On Air online on Monday (20Jan14), admitting he fell in love with the "fun dance track" as soon as it was brought to his attention.
He tells Eonline.com, "For the last two years I've been listening to demos, just trying to figure out if I want to get back in the studio. I hadn't heard anything that resonated with me. But a couple of months ago, a track from Anise K landed in my lap from a friend of mine and he was like, 'I think this will be your first song.'"
However, Bass, who is in the process of recording his own album, insists he has "zero plans" to return to the stage, adding, "I'm going to release it (the song) and if people love it, hopefully it will climb the charts... I'm just going to play it by ear."
The original Anise K song featured relative unknowns Bella Blue and Ian Thomas on vocals and a guest appearance by Snoop Dogg, and became a club hit in 2012.
Bass moved into film and TV after the Bye Bye Bye hitmakers announced an extended hiatus in 2002, but he reunited with Justin Timberlake, J.C. Chasez, Joey Fatone and Chris Kirkpatrick for a brief performance at the 2013 MTV Video Music Awards last August.
It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
Found-footage filmmaking has been all the rage in horror films for the past few years with the Paranormal Activity franchise and its innumerable variants making enthusiastic use of the cheap but effective vérité technique for conjuring scares. Silent House the new (well somewhat new) thriller from the husband-and-wife directing team of Chris Kentis and Laura Lau may not technically be found-footage but its hand-held “captured in real time” approach achieves essentially the same effect minus the idiotic faux disclaimers attesting to its "authenticity."
Presented as a single 88-minute take without any visible editing (think Alfred Hitchcock’s Rope) Silent House stars Elizabeth Olsen (Martha Marcy May Marlene) as Sarah a somewhat aloof young girl staying with her father (Adam Trese) as he and his brother (Eric Sheffer Stevens) renovate their family’s waterfront vacation home in preparation for its sale. After years of neglect the house has fallen into disrepair lacking electricity phone lines or much of anything else that might possibly aid a girl in surviving a home invasion the potential for which is made abundantly clear in the film’s opening act.
And just who might wish to pay Sarah an unwelcome visit? Silent House’s script written by Lau offers any number of likely suspects from the vandals who’ve repeatedly trashed the vacation home to the unsavory ex-boyfriend who’s recently resurfaced in Sarah’s life. And that supposed “childhood friend” who paid her an ominous visit can’t possibly have good intentions. Oh and let’s not forget the simmering feud between Sarah’s father and uncle the fallout from which is bound to turn one of them homicidal. Perhaps they’ll all join forces and form some kind of supergroup the Power Station of sociopaths.
Whoever they are they’re exceedingly ill-tempered as Sarah learns when she happens upon her bloodied father in one of the upstairs bedrooms. Sounds of footsteps signal that his attacker(s) is near and soon Sarah is engaged in a terrifying game of hide-and-seek scrambling about the house to evade capture.
Generous kudos must be paid to cameraman Igor Martinovic who works in lock-step with Olsen in Silent House trailing close behind as she darts up and down the stairs peering over her shoulder as she gingerly opens a door and training on her face as she grimaces in silent terror trying to contain her panic as her unseen tormentor approaches. There are times however when Silent House could use a steadier hand. During some of the film’s more frantic moments the action becomes so hopelessly frenzied as to turn cinema vérité into cinema vomité.
Silent House’s "captured in real time" gimmick is exceedingly well-executed with hidden cuts spread pretty much seamlessly throughout the film. (Of course the fact that I spent a good deal of time scanning for said hidden cuts testifies to its potential to become a distraction.) Lau and Kentis establish a steady build-and-release rhythm with the tension while dropping in subtle clues here and there as to the motives behind the mayhem.
The success or failure of Silent House ultimately hinges on the efforts of Olsen who quite impressively shoulders the burden of inhabiting nearly every frame of the film. Olsen is significantly more nuanced than your typical scream-queen and it’s her performance alone that holds the film aloft during its more ludicrous moments.
Good as she is Olsen can’t hope to rescue the film’s poorly conceived third act. Over a year removed from its 2011 Sundance debut Silent House saw its ending thoroughly rejiggered in preparation for its theatrical release with the final 15 minutes replaced entirely. In its existing iteration the film abruptly takes leave of its senses during the climax with a flurry of preposterous twists and revelations that are only frightening in their abject inanity.
Click here to hear Elizabeth Olsen talk about Silent House's arduous shooting process in our exclusive interview.
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February 14, 2011 12:33pm EST
Brad Anderson’s new film The Vanishing on 7th St. asks you to fear the haunting abyss that is the darkness but the more terrifying void is its story. Or lack thereof. Seeing as how it’s billed as a mystery horror-thriller and this from the director of neo-noir classics like The Machinist and Transsiberian I expected at least a few minor scares; I should’ve known they’d come only from Hayden Christensen’s performance.
The film is set in Detroit and follows a handful of survivors (including John Leguizamo Thandie Newton Jacob Latimore and Christensen) of an inexplicable power outage that seems to have consumed the entire city’s population. They must put the pieces of this puzzling event together to understand what’s happening and figure out how they can stay alive with looming shadows closing in on them.
With a less competent director at the helm this movie would’ve been a total disaster. The script is terrible focusing on one-dimensional characters their back-stories and a bunch of crackpot theories that hint at explanations but never follow through (in its defense the film is meant to be inconclusive but that doesn’t make up for bad dialogue plot holes etc.) Luckily Anderson is in his element with ambiguous narratives and creates a startling atmosphere that is interesting to examine. It has an unpolished gritty texture that brings to mind similar low-budget horror flicks but is enhanced by startling sound effects and an unnerving score from relative newcomer Lucas Vidal. Still all style and no substance only goes so far and The Vanishing on 7th St. never hits the throttle.
Essentially a creature feature without the creature the film is best looked at as an apocalyptic survival tale. The problem is that there’s nothing adventurous or enthralling about it. The characters’ encounters with the shadows are repetitive and the effect gets old quickly. Furthermore half of the cast (I’ll let you guess who) is incapable of conveying fear and if they aren’t afraid then how are you the audience supposed to be? I tried analyzing the film from an existential standpoint as a few of the characters question the reason for this human extermination but I couldn’t find any genuine moments of meditation.
Without question the star player here is Anderson who proves that he can do his job even when other members of the creative team don’t. The fact that he was able to develop such a striking tone from a sub-par screenplay is a testament of his ability as a storyteller.
If you have ever been embarrassed by your big loud family then you will certainly relate to Toula (played by Nia Vardalos) the narrator and main character in My Big Fat Greek Wedding. After all her suburban home is modeled after the Parthenon and her father (played by Michael Constantine) believes a squirt of Windex can cure anything--including bursitis--and that every word in the English language derives from a Greek root. At 30 Toula is still living at home and kowtowing to her strict father--who believes that every Greek woman's ambition should be to marry a Greek man have Greek children and feed everyone until she dies. Suffice it to say he is less than happy when Toula becomes engaged to Ian (played by John Corbett)--a non-Greek. What ensues is a hilarious tale of what happens when two families--one loud Greek Orthodox the other conservative Episcopalian--must reconcile their differences for the sake of their children's happiness. Vardalos' narration of the events that are occurring--and how she feels about them--helps draw the viewer into Toula's world.
Vardalos is great as Toula and presents her character's traits and peculiarities fittingly well like her low self-esteem and the way she slouches. More importantly Vardalos made Toula's character believable. When Toula begins taking classes at a local college her confidence improves she puts on a little makeup combs her hair and voila! She's transformed into a beautiful person oozing happiness. It's quite charming. Corbett is well cast as the sweet and accepting fiancé but he comes across as a little bland. That really dated haircut certainly doesn't win him any points either. Constantine as Toula's strict father is chauvinistic and thick-headed but he plays his cards just right so you can never really hate the character straight out even though he treats his wife and kids like a Neanderthal would. As Aunt Voula Andrea Martin is by far the most hilarious of the bunch and she delivers each line with zany conviction. For all you 'N Sync fans Joey Fatone has a small role as Toula's cousin and has maybe three lines in the film.
My Big Fat Greek Wedding is based on comedy writer Vardalos' one-woman show. Tom Hanks and his wife Rita Wilson saw the show and apparently liked it so much they decided to produce it through their Playtone studio. Directed by Joel Zwick the film is not the first to deal with big weddings and what happens when too many family members get involved. Ang Lee did it better with the 1993 romantic comedy The Wedding Banquet about a gay Taiwanese-American man who marries a young Chinese woman to satisfy his parents as did Mira Nair with last year's Monsoon Wedding about an arranged Indian marriage. But Zwick who has directed a slew of TV shows from Happy Days to The Wayans Brothers keeps things fresh and funny despite the tired storyline. Set in Chicago but filmed in Toronto the film feels authentic especially the scenes in the family's diner Dancing Zorbas their house and their neighborhood. But the movie could have done without the cartoonish old-world granny with anti-Turkish sentiment.