Superstar couple Beyonce and Jay Z are set for a big night at the 2014 BET Awards with four nominations apiece. The Crazy in Love hitmakers will compete against each other in the Best Collaboration category, in which Beyonce's song Drunk in Love, which features her husband, will battle Jay Z and Justin Timberlake's Holy Grail. Drake and Majid Jordan's Hold On (We're Going Home), Robin Thicke, T.I. and Pharrell Williams' Blurred Lines, YG's My Hitta collaboration with Jeezy and Rich Homie Quan and I Luv This by August Alsina and Trinidad Jame$ are also up for the prize.
Meanwhile, rivals Jay Z and Drake will go toe to toe in the Best Male Hip Hop Artist category, alongside Future, J. Cole and Kendrick Lamar, while Beyonce will battle Janelle Monae, Jhene Aiko, K. Michelle, Rihanna and Tamar Braxton for the Best Female R&B/Pop Artist title. Jay Z and Beyonce will also vie for the coveted Video of the Year award with the videos for Drunk in Love and Partition, respectively. Pharrell Williams' Happy, Chris Brown's Fine China and Drake's Worst Behavior are also nominated.
In the movie categories, Angela Bassett, Gabrielle Union, Kerry Washington, Lupita Nyong'o and Oprah Winfrey will fight for the Best Actress prize, and Chiwetel Ejiofor, Forest Whitaker, Idris Elba, Kevin Hart and Michael B. Jordan are up for the Best Actor trophy. The Best Movie nominees are: 12 Years a Slave, The Best Man Holiday, Fruitvale Station, Kevin Hart: Let Me Explain and Lee Daniels' The Butler.
The 2014 BET Awards will be handed out at the Nokia Theatre in Los Angeles on 29 June (14).
The full list of nominees are:
Best Female R&B/Pop Artist: Beyonce, Janelle Monae, Jhene Aiko, K. Michelle, Rihanna, Tamar Braxton
Best Male R&B/Pop Artist: August Alsina, Chris Brown, John Legend, Justin Timberlake, Pharrell Williams
Best Group A$AP Mob Daft Punk Macklemore & Ryan Lewis TGT Young Money
Best Collaboration August Alsina featuring Trinidad Jame$ - I Luv This Beyonce featuring Jay Z - Drunk in Love Drake featuring Majid Jordan - Hold On (We're Going Home) Jay Z featuring Justin Timberlake - Holy Grail Robin Thicke featuring T.I. & Pharell Williams - Blurred Lines YG featuring Jeezy & Rich Homie Quan - My Hitta
Best Male Hip Hop Artist Drake Future J. Cole Jay Z Kendrick Lamar
Best Female Hip Hop Artist Angel Haze Charli Baltimore Eve Iggy Azalea Nicki Minaj Video of the Year Beyonce - Partition Beyonce featuring Jay Z - Drunk in Love Chris Brown - Fine China Drake - Worst Behavior Pharrell Williams - Happy
Video Director of the Year Benny Boom Chris Brown Colin Tiley Director X Hype Williams
Best New Artist Ariana Grande August Alsina Mack Wilds Rich Homie Quan ScHoolboy Q
Best Gospel Artist Donnie McClurkin Erica Campbell Hezekiah Walker Tamela Mann Tye Tribbett
Best Actress Angela Bassett Gabrielle Union Kerry Washington Lupita Nyong'o Oprah Winfrey
Best Actor Chiwetel Ejiofor Forest Whitaker Idris Elba Kevin Hart Michael B. Jordan
YoungStars Award Gabrielle Douglas Jacob Latimore Jaden Smith KeKe Palmer Zendaya
Best Movie 12 Years a Slave The Best Man Holiday Fruitvale Station Kevin Hart: Let Me Explain Lee Daniels' The Butler
Subway Sportswoman of the Year Brittney Griner Lolo Jones Serena Williams Skylar Diggins Venus Williams
Subway Sportsman of the Year Blake Griffin Carmelo Anthony Floyd Mayweather Jr. Kevin Durant LeBron James
Centric Award Aloe Blacc - The Man Jennifer Hudson featuring T.I. - I Can't Describe (The Way I Feel)" Jhene Aiko - The Worst LiV Warfield - Why Do You Lie? Wale featuring Sam Dew - LoveHate Thing
Best International Act: Africa Davido (Nigeria) Diamond Platnumz (Tanzania) Mafikizolo (South Africa) Sarkodie (Ghana) Tiwa Savage (Nigeria) Toofan (Togo)
Best International Act: UK Dizzee Rascal Ghetts Krept & Konan Laura Mvula Rita Ora Tinie Tempah
Universal via Everett Collection
Lone Survivor isn't a film for the faint of heart. It's a film that beats you down and only lets you up for a few precious moments before the credits roll, but that emotional throttling is what helps make the film such a powerful experience.
Peter Berg's Lone Survivor tells the story of Operation Red Wings, primarily focusing on a group of four Navy SEALs who are sent to the mountains of Afganistan to capture or kill a member of the Taliban. The plan goes wrong, and the team has to fight for their lives to escape the enemy-infested area. The film does a marvelous job of ratcheting up the tension before collapsing into its main action sequence, one that is as thrilling as it is unsettling. The long sequence brings forth memories of the infamous D-Day opening of Saving Private Ryan, except this film's fire-fight stretches out the violence like a medieval torture device. The langourous scene is, at times, hard to sit through. Each moment slips by in coiled tension. It's undoubtedly uncomfortable, and the film makes a point to never make the violence fun or enticing. The action isn't consequence-free, and every bullet fired carries weight, making the scenes brutal and unrelenting because of it. The film takes on the aura of a horror movie that wants you to feel every second that ticks by, and director Berg makes sure that a pressing hopelessness starts to weigh on the viewer just as it does on the soldiers.
Mark Wahlberg is plenty capable as Marcus Lutrell, a member of the SEAL unit that is sent on the mission. The supporting cast plays its parts admirably by believably infusing a diverse set of personalities and values into the soldiers, while still keeping them in tune with the same military culture that governs much of their thoughts and actions. There's a great scene where a difficult decision has to be made, and the viewer gets to see the different directions to which some of the character's moral compasses are tuned. Sometimes the right thing can mean different things to different people when the risk of death is on the table. The real standout in the cast is Ben Foster, whose SO2 Matthew Alexson swirls with barely contained fury. He is darkly intense and has electric screen presence that really starts to manifest when the bullets star flying and things become dire.
Universal via Everett Collection
For all the good will that the film builds up in its first and second act, the final third of the film hits some snags as history demands that the story take itself to a different location, sacrificing some of the tension that it has built up. In the last 30 minutes of the film, there are some odd tonal choices that don't gel with the tension brimming in the first half. A comedic scene involving a language barrier stands out in particular.
The movie makes a point to steer clear of any political judgment, and it doesn't try to lay blame for the botched mission on any one head. And while the film never outwardly states and opinion on the conflicts that America found itself embroiled in during this time period, the searing brutality depicted in the movie highlight that no one should be subjected to the pain that these men were faced with. Made abundantly clear is the soldiers' willingness to drop everything and serve their country the best way they know how. Lone Survivor tries to honor the soldier, but not glorify war.
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Lone Survivor is at its best when it makes you feel the worst. It gives soldiers their due reverence by showcasing the true terror of the battlefield, and while the film does start to sag a bit in its third act, it's still more than worth the experience in order understand the consequences of war, and its toll on the people in the trenches.
Get ready to have some new tunes to jam out to this Holiday season. Yes, we still can cherish old faves like "Silent Night," but Jennifer Hudson's latest musically-fueled film Black Nativity is sure to expand your Christmas iTunes playlist.
After struggling mother (Hudson) faces eviction — despite her uncanny belting ability — she sends her son off to live with his estranged grandparents in Harlem. While Hudson's character grapples with making enough dough for her and her son to merely get by, her boy (named Langston in honor of the appraised writer) questions if he is the source of his mother's strife.
The upcoming Christmas flick is a newfangled twist on Langston Hughes' "gospel-song play" from 1961 about Jesus' birth.
With an all star cast including Forest Whitaker, Angela Bassett, and even Mary J. Blidge and rapper Nas, this musical drama remixes Christmas staples with hip-hop when it comes into theatres November 27th.
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Silent Hill: Revelation 3D has a lot of things working against it from the get go. It's based on a video game franchise that debuted in 1999 has been milked for sequels ever since (the current total of Silent Hill games is nine) and the movie itself is a sequel to the disappointingly dumb 2006 film directed by Christophe Gans. What's more the bitter aftertaste of Resident Evil: Retribution is still lingering in the mouths of survival horror movie/gamers and although they have entirely different plots and take place in totally different universes that's not necessarily enough to take the edge off for weary viewers.
It would take a dazzling director with a stellar cast and a first-rate script to overcome those sorts of obstacles and Silent Hill doesn't have any of those things. Writer/director Michael J. Bassett is obviously fond of both video games and horror (his previous movies include Solomon Kane and Deathwatch) the cast is decent with some exceptions and the script… well it's better than Resident Evil. If anything we can give Bassett credit for his enthusiasm. You really can't win when you try and make a video game movie no matter how many hours you spent playing Doom as a teen. Whether that's at the hands of the studios or the creative teams themselves isn't clear; it's simply a nut that hasn't been cracked yet.
The good news is that you don't really need a grasp on the video game or previous movie's narrative to follow the Revelation's plot. Harry (Sean Bean) has been lying to his daughter Heather (Adelaide Clemens) for a very long time. He's convinced her that her dreams about a terrible place called Silent Hill are the longstanding effects of a car crash that killed her mother and that they have to move around and take on new identities all the time because he killed a prowler in self-defense. Heather has other problems like the occasional hallucinations about a terrible alternate universe that's populated by monsters and industrial junk and flickering lights. One minute she'll be doing something normal and then suddenly the walls are burning down to the rafters and something with a butt for a face is shambling towards her. It's a raw deal.
Heather's first day at her new school is not that great; she meets a cute guy named Vincent (Kit Harington) who wants to be buddies but she makes it clear she's pretty bad ass and not one to pal around since she'll just be leaving town again anyway. When she comes home from school her dad has disappeared and the living room is a huge mess. If she wasn't clear on what to do next someone used his blood to write "COME TO SILENT HILL" on the wall with a funky sigil next to it which matches this weird object she's had since she was little. Luckily Vincent has a car and more than a few troubling secrets of his own underneath those glossy brown curls. He offers to drive her and off they go. Typical chitchat between them is about the nature of reality and dreams and Vincent's batty grandfather who's locked up in an insane asylum.
This is where things get really convoluted. Silent Hill is indeed a terrible place where ash falls from the sky during the day and horrible things come out to menace any townsperson dumb enough to be out at night. It's an eerie world that comes close to the truly terrifying Silent Hill games on occasion. After a while though it's mostly just Heather and occasionally Vincent running around in what seems like mazes of rusty bloody walls with the occasional gruesome monster popping out to halfheartedly menace them.
There's a dash of The Wicker Man here with the requisite creepy sacrificial cult and some Hellraiser-esque torture thrown in but it stops short of being a full-blown Clive Barker nightmare. There is some gore and disturbing images but the choice to use practical effects for almost all of the monsters is far more impressive in theory. Those monsters look okay from afar but rubbery up close whereas the only CGI monster is an impressive spidery thing made up of doll parts. The use of strobe lights and other effects is absolutely maddening especially in conjunction with the 3D which is mostly used for cheap gimmicks like splashing blood at the viewer.
There's something oddly satisfying about the way that the movie follows the trajectory of a video game; it's even laid out like a video game universe with different goals and bosses at each location. The problem is that what is believable or acceptable in a video game doesn't necessarily translate to a movie — in a game you're busy solving puzzles and killing monsters and it's easier to overlook kitchen-sink plots. Even though the movie doesn't completely hew to the game's story it's got the same mentality that more is better when it's really just more. And the more that's piled on the more ridiculous it gets. When everything is at a fever pitch that kind of weirdness becomes a baseline and nothing is shocking. Unlike in the games there's just one ending no matter how you play it.
The image of an eight-armed, headless demon that uses the eyes of its victims to track further prey will stay with you… especially when you see it in perfect, crisp, mystifying 3D. That’s what attendees of the New York Comic Con panel for the forthcoming Silent Hill: Revelation movie learned, upon being treated to several pieces of dazzling footage courtesy of director Michael J. Bassett, producer Samuel Hadida, and stars Adelaide Clemons and Kit Harington (the latter of whom was applauded by a passionate community of Game of Thrones aficionados).
The panel opened with the team sharing the new three-dimensional trailer for the picture, which seemed to favor depth and density over the “popping out of the screen” gimmick that many 3D flicks tend to opt for. This aesthetic has so grand an affect on the viewing of the trailer, in fact, that director Bassett insisted, “If you don’t see the movie in 3D, you’re really not seeing the movie we made.”
The trailer offered glimpses into the various haunting settings of Silent Hill: a hellish prison, a fiery nightmare carousel, an ashen, snowy wasteland (prompting the aforementioned Thrones fans to call out, “Winter is coming!”). But the creatures are the real sell here.
In the trailer and a scene from the film, also shown at the panel, fans got to see the likes of ghoulish ambassadors from the titular underworld, faceless nurses, and a slew of other shriek-inducing creatures — and that should be taken literally. Star Clemons actually treated the panel audience to her own expert scream, which Bassett insisted was provoked (unintentionally) during every single scene the actress filmed. But somehow, despite the horrific nature of the beasts, the combination of Bassett's creative eye and his application of 3D drapes every one of his terrifying creatures in an essence of strange beauty.
In addition to the trailer and the clip, the panel also debuted what they called “the first 3D featurette,” which showcased the present stars discussing their characters, as well as veteran chiller Malcolm MacDowell, who likens his Silent Hill character to King Lear.
Horror is a polarizing genre, and video game movies even more so. But one area in which Silent Hill should thrill universally is the visuals: with a depth reminiscent of a highly frightening Avatar, there is little issue to take with how this film looks so far.
[Photo Credit: Open Road Films]
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The 45 year old was filming action epic Solomon Kane in Prague, Czech Republic, last year (08) when a fight scene went badly wrong.
The Rome star was hit in the head by a stuntman wielding a sword and was rushed to hospital for emergency treatment.
Purefoy explains, "This seven foot Czech stuntman came at me with his sword but I ducked too late and he caught me.
Director Michael J. Bassett admits the incident left him fearing the worst for his star.
He adds, "James went down like a sack of spuds (potatoes). There was blood all over his face, and I thought, 'Is he OK?'.
Bassett was relieved when the actor was discharged by medics, having just suffered a minor injury - but the accidents onset continued with Purefoy on the end of the second stunt which went awry.
He explains, "(Purefoy) got his own back on his return, accidentally stabbing an extra just below the eye.".
Lavished with rich period detail (it's set in 1971 Salford England) and hilarious anecdotes the film revolves around the plans by George (the father) to marry off his sons to good Pakistani girls. The movie opens with his handsome eldest son bolting from the altar to live a secular (and decidedly fashionable) life even though it means being severed from his kin. It all unfolds with great energy that never lets up even at the cathartic hour of reckoning between tribe and elder.
George's irascibility is brilliantly telegraphed in Om Puri's remarkable craggy face (last seen in Hanif Kureishi's "My Son the Fanatic"). Linda Bassett as his
common-sense wife Ella captures the inner struggle between a loving dutiful (and abused) spouse and a mother protective of her children's happiness. The ensemble playing their fractious brood -- six sons and one sassy daughter -- is a joy to watch.
Much of the tale's brisk charm lies in its frenetic intergenerational conflict which Damien O'Donnell brilliantly navigates. O'Donnell milks each scene for every possible grain of comedic friction.