Comprehensive coverage of Monday's truly horrific attack on the Boston Marathon will be unending as the FBI and Boston police put together the pieces of who, what, and why such events took place. And as the nation sits in wonder while motives are unearthed, news, cable, and network outlets will be shifting their coverage to focus on keeping the public informed on the terrible tragedy.
It is being reported that President Barack Obama will deliver a statement about the Boston events today at 6:10 PM ET. It is believed that all the major networks will cut into their broadcasts to cover President Obama's remarks.
The biggest difference in programming is over on the cable news outlets — all of whom have shifted their coverage to focus on the day's events. So far, only NBC plans for regularly-scheduled primetime scripted programming to be preempted. See below for comprehensive information regarding the changes.
- ABC News will anchor Nightline from Boston tonight,with World News with Diane Sawyer's broadcast extended to a full hour. In the morning, George Stephanopoulos and Josh Elliott will be reporting from Boston for Good Morning, America.- CBS News will extend its CBS Evening News program from 6:30PM to 8PM in order to cover the explosions from New York.- CNN will run AC 360 from 8PM - 10PM ET tonight, with host Anderson Cooper hosting live from Boston.- Fox News has made several adjustments to its programming, explaining that it will circumvent its regularly-scheduled Five program at 5PM ET to accomodate live reporting from Shepherd Smith. The network's primetime pgorams — Bill O'Reilly, Sean Hannity, Greta van Susteren — will all be live and focus on the bombing. Bill Hemmer will anchor from Boston in the morning. Over on the Fox Business Network, Neil Cavuto will anchor a special live report starting at 8PM ET.- NBC News has announced that NBC Nightly News will also extend to a full hour tonight. Additionally, the new episode of Revolution, slated for 10PM ET will be preempted for news coverage anchored by Brian Williams with reports from Matt Lauer, Lester Holt, Ron Allen, Pete Williams, Katy Tur and others. Tomorrow will see Today Show host Matt Lauer and Lester Holt in Boston, alongside Morning Joe's Joe Scarborough and Mika Brzezinski.- MSNBC will see The Rachel Maddow Show reporting live from Boston. Tomorrow will see Chris Jansing reporting live throughout the day in the city.
Check back for the most updated information as the story develops.
A few weeks ago, the much-anticipated Tron: Legacy soundtrack from Daft Punk -- a.k.a. those two French dudes in robot helmets -- hit shelves everywhere. The critical reaction to Guy-Manuel de Homem-Christo and Thomas Bangalter's work? Some hate it, some love it. But regardless, the release got us thinking so we gathered a collection of our favorite motion picture soundtracks or scores in cinema history.
Tron: Legacy is out this weekend on December 17.
The Graduate (1967)
Director: Mike Nichols
Music by Simon & Garfunkel
At the end of The Graduate, as Benjamin grabs Elaine, we witness a protagonist broken by frustration but overtaken by hope. They finally escape, and in that moment of relaxation, as "Sounds of Silence" chimes in, Benjamin crashes -- identifying with his own realization that he doesn't know what the hell to do, he didn't grow up and he's the same fearful 20-year-old as before. Subtract the song? You're left with an empty, emotionless scene. So here's to you, Mrs. Robinson -- for breaking Benjamin. We really do love you more than you'll ever know.
A Hard Day's Night (1964)
Director: Richard Lester
Music by The Beatles
Sure, throwing The Beatles on the list may seem like an easy cop-out, but sometimes you just need to take a moment and recognize that there's a reason the Fab Four are widely regarded to be one of the greatest bands the world has ever known. Because, quite simply, they are fucking awesome. A Hard Day's Night captured Beatlemania at its highest point and showed off what the group did best: music.
Director: John Carney
Music by Glen Hansard, Marketa Irglová
In Once, we don't even know the main characters names, but that doesn't matter. With each song, we feel their heartbreak, their frustration and perhaps most importantly, their love. A much-deserved Oscar winner for Best Song, "Falling Slowly" will continue to be the best-fucking-heart-ripped-out-break-up song for years to come.
Director: Danny Boyle
Music by Various Artists
Sex, heroin, and punk music: does much more need to be said? Danny Boyle's Trainspotting not only used great music, but maximized its cinematic potential. Without the peppy, catchy "Lust for Life" from Iggy Pop or Lou Reed's heartbreaking "Perfect Day," the atmosphere of the worlds -- both good and bad -- of hard drugs would've been lost.
(Warning: This clip features heavy drug use. NSFW)
Good Will Hunting (1997)
Director: Gus Van Sant
Music by Various Artists
In his short career, the late Elliott Smith managed to be one of the most prolific songwriters of the modern music era. And despite his songwriting being so unbelievably sad, perhaps his most famous track, "Miss Misery," gives hope. The Oscar-nominated song found its fame placed at the end of Good Will Hunting, softly playing behind a man who has decided to leave all he knows just to see about a girl.
The Royal Tenenbaums (2001)
Director: Wes Anderson
Score by Mark Mothersbaugh, Songs by Various Artists
In The Royal Tenenbaums, director Wes Anderson looked to one of the most brilliant musical minds of the past 40 years: Mark Mothersbaugh. The Devo-frontman contributes to an odd collection of artists -- ranging from Nico to Elliott Smith -- to form a seamless stretch of music that flows together so effortlessly the songs feel more at home on the soundtrack than in their place of origin.
This Is Spinal Tap (1984)
Director: Rob Reiner
Music by Spinal Tap
Turn it up to 11.
Raiders of the Lost Ark (1981)
Director: Steven Spielberg
Score by John Williams
With 45 Oscar nominations, it's safe to call John Williams one of the most prolific and successful composers of all-time -- and Raiders of the Lost Ark is his finest work. Through the grand and dramatic score, he channeled all his talent to capture the true essence of Indiana Jones and forever thrust him into the spotlight as a true hero.
Almost Famous (2000)
Director: Cameron Crowe
Music by Various Artists
Secretly, we all wish we were rock stars during the '60s and '70s. Few films illustrate the culture of spurring fame like Almost Famous. And what would a rock 'n' roll film be without rock 'n' roll? This soundtrack is more than a sweet mix-tape your cool uncle gave you. The music -- from Elton John's anthem "Tiny Dancer" to the harmonies of Yes -- perfectly shows the development of a young boy tossed into one helluva situation, yet somehow emerges a mature young man.
Director: Alfred Hitchcock
Score by Bernard Herrmann
One way to measure success in cinema is to look at how a film stands up over time. Psycho, though released fifty years ago, still contains one of the most terrifying moments in movie history: the infamous shower scene. The reason for its enduring success? That disturbing screech.
Steve and Terri Irwin are crocodile relocators in Far North Queensland Australia. They spend a lot of time well relocating crocs--saving a baby kangaroo and charming a few snakes along the way. But all that's about to change. A U.S. satellite has exploded in space and its black box has re-entered the atmosphere and ended up in the gut of a nasty 12-foot croc the Irwins are about to relocate. The FBI CIA and goodness knows what other agencies are out to find the box at any cost because it contains data that could change the world's power structure. When the agents cross paths with the Irwins they become convinced that the two croc hunters are actually spies mainly because as one agent says toward the end of the film "You don't make that kind of money in cable television." That's for sure and that's probably the reason the producers turned The Crocodile Hunter cable show into a movie. It definitely wasn't because the script was irresistible: The plot is as transparent as shed snakeskin and the acting (if it can be called that) is as stiff as the spikes on a croc's back. I'm sure this is the kind of movie that a critic shouldn't take seriously but from its lizard-pooh opening to its crocodile-pooh finish The Crocodile Hunter: Collision Course really stinks.
Director/story writer/producer John Stainton was working with Irwin long before The Crocodile Hunter TV show became an international hit. In fact he wrote a movie script for Irwin in the mid-1990s that was scrapped because he didn't think Irwin should be acting. It's a shame he didn't take that thought process one step further; we'd all have been spared an agonizing guided tour of a good idea gone very very bad. The film's stars while appealing enough in the one-hour documentary format simply can't sustain a full-length motion picture and Mr. Irwin would have done well to heed his own advice--"Don't muck with it." Granted at least Stainton was smart enough to present the Irwins doing what they do best--enthusiastically working with wild animals while talking straight into the camera. The task of plot development is left to the other cast members--mainly Australian actors doing caricatures of Americans--who overdramatically play out the goofy spy plot in scenes that are completely separate from the Irwins' animal antics until the last 10 minutes of the film. The Irwin family dog Sui is probably the best actor of the bunch--and the smartest too. Most of the time she looks like she'd rather be just about anywhere else which is the most intelligent thing anybody in this film does.
As if anybody needed it The Crocodile Hunter: Collision Course is proof that what works on TV doesn't necessarily make a good movie; the Crocodile Hunter documentary routine quickly grows frustrating in the film because the Irwin scenes do nothing to further what little plot the movie actually has. Plus the reason why the Irwins continually talk into the camera goes unexplained until the very end of the film--and when someone finally mentions the fact that the Irwins have been "filming" their show throughout the movie it's so offhand that it's easily missed. At the same time the spy storyline that drives the plot is trite and because of the movie's bizarre structure it's played out by actors the audience couldn't care less about rather than by the ones they came to see. The spy scenes separate the Irwin segments like commercials--and like commercials when they come on you just want to get up and go to the bathroom grab a snack or feed the dog. The best thing that can be said for Stainton's direction is that at least he's not afraid of the film's ridiculousness. Bad though the movie is in every way Stainton puts it all out there as enthusiastically as Steve Irwin wrestles crocs and that's saying something. The film also gets across the Irwins' admittedly important message about conservation loud and clear but that probably won't be enough to keep its audience from becoming extinct.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.