By the time the third, super-sized season of NBC's The Sing Off went off the air in the fall of 2011, not many people were watching. Although the network didn't pick up any new cycles for 2012, it never officially canceled the show, either. But — thanks to the success of Pitch Perfect (and the dismal state of NBC's ratings) — the a cappella singing competition is headed back to TV.
"I am happily able to confirm that casting is going on. The show is back," producer Deke Sharon confirmed to Entertainment Weekly. Although Sharon couldn't confirm whether host Nick Lachey and judges Ben Folds, Shawn Stockman, and Sara Bareilles will return, he did reveal that Mark Burnett Productions has come on board for Season 4, which will likely return for a short holiday run (much like Seasons 1 and 2).
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The decision to make The Sing-Off a full season was always kind of baffling. Well, the reasoning behind it was obvious: It had great ratings for a small investment, and with NBC's entire lineup struggling, it was a natural choice. But the scheduling brass forgot one important thing: No one likes a cappella that much, not even the people singing it. A month-long contest is fun and easy to get invested in. A season-long commitment? No thanks.
While you might not be as excited as I am about this news, there are plenty of reasons why you should be. The Sing Off is so much better than The X Factor, The Voice, or American Idol, and here's why:
1. No Audition Round B.S. The first two or three audition episodes are always kind of fun, but at a certain point you just kind of want the competition to start. Yes, even on The Voice, although the blind auditions are arguably the best part of that show. There's none of that bulls*** on The Sing Off. We already start with a finite number of groups.
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2. Smart Judges Although Nicki Minaj's bizarrely on-point but rambling critiques are spicing up American Idol for its twelfth go-around and Blake Shelton and Adam Levine have emerged as superstars thanks to their judging prowess on The Voice, there's no panel as good at their jobs as Ben Folds, Shawn Stockman, and Sara Bareilles. The three manage to combine their technical knowledge of music with their emotional responses to each performance into the most useful, accurate criticism on any singing competition show. Ever.
3. It's Only a Month Long Awkward fall experiment aside, here's the best reason why The Sing Off is so much cooler than all those other singing competitions: It's mercifully short. Don't have it in you to spend months following your favorite group to the finals? The Sing Off is for you. Plus, as Sharon told EW, NBC is planning to revert to the old format of airing the show during the holidays, when there's nothing else new on TV.
Are you a Sing Off fan? If you weren't before, has your love of Pitch Perfect inspired you to give it a shot?
Follow Jean on Twitter @hijean
[Photo Credit: Mitchell Haaseth/NBC]
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While Steven Spielberg's Saving Private Ryan helped define the style of a modern day war film it was his HBO mini-series Band of Brothers that truly captured the World War II experience. The multi-part saga dealt with every nook and cranny of the US military's involvement in the war from large scale battles to intimate character details. The new movie Red Tails developed and produced by Spielberg's Indiana Jones collaborator and Star Wars mastermind George Lucas attempts to cover the same ground for the sprawling tale of the Tuskegee Airmen—albeit in a two hour compressed form. The result is a messy handling of a powerful story of heroism. The good intentions make it on to the screen...but the drama never gets off the runway.
Red Tails assembles a talented cast of young actors to portray the brave men of the 332nd Fighter Group a faction of the Tuskegee Airmen. The ensemble is reduced to a jumble of simplistic one-note characterizations: Easy (Nate Parker) the do-gooder with a dark past; Lightning (David Oyelowo) the suave rebel who never listens to orders; Junior (Tristan Wilds) the fresh-faced newbie ready for a good fight; and the rest a nameless group of underwritten yes men all with just enough backstory to make you interested but never satisfied. Thankfully with the little material they have to work with the gentlemen excel. Rapper-turned-actor Ne-Yo is a standout as the quick-witted Smokey overshadowing vets Terrence Howard and Cuba Gooding Jr. (who spends most of the movie chomping on a corn cob pipe and grinning).
With the plethora of characters comes too many plot threads and Red Tails stuffs its runtime with everything from epic flyboy dog fights romantic interludes (Lightning finds himself infatuated with a local Italian woman) office politics alcoholism and even a POW camp escape. If there was a true lead character the movie may have succeeded in stringing the events together in a coherent narrative but instead Red Tails is choppy and uneven. The aerial battles for all their CG special effects nastiness are incredibly exhilarating but when the movie's not tackling the intensity of a battle (which it does often) it comes to a near halt. That mostly comes down to history standing in the way—the crux of the story focuses on how segregation caused the military's higher ups to avoid utilizing the Red Tails in true battle. Meaning there's a lot of talk on how the team should be fighting as opposed to actually doing it.Director Anthony Hemingway tries to do this important historical milestone justice but the execution flies too low even under made-for-TV movie standards. Red Tails is a dull history lesson occasionally spruced up with Lucas' eye for action. The charisma of the the main set of actors goes a long way in keeping the film tolerable but they can't fill the gaping hole where the emotional hook belongs. This is a movie about heroes yet not once are the filmmakers able to pull off a moment that feels remotely brave. Which is unfortunate—as it's a story of the utmost importance.
After breaking out two years ago with the teen pregnancy comedy Juno writer-director Jason Reitman trains his keen acerbic eye on the modern business traveler in Up in the Air a bittersweet comedy about one man’s turbulent journey of self-discovery and redemption.
George Clooney stars as Ryan Bingham a corporate downsizer (he fires people for a living essentially) and seasoned road warrior whose aversion to real human connection is reflected in his mammoth stockpile of frequent flyer miles the fruits of a job that calls for 300-plus days spent away from the office. Thoroughly content with a life spent in hotel bars and airport lounges Ryan begins to slowly unravel when he’s tasked with mentoring Natalie (Anna Kendrick) a fresh-faced recent graduate with a bold set of ideas for transforming the business of firing people — ideas that threaten both Ryan’s untethered existence and his budding relationship with Alex (Vera Farmiga) a fellow corporate nomad whose penchant for low-effort commitment-free relationships mirrors his own.
Enchanted by visions of a perpetual booty call replete with racy Blackberry messages and romantic trysts arranged via Outlook Ryan begins to suspect he might have found his soulmate in Alex. Inconveniencing his idealized scenario however is his travel partner Natalie a probing perceptive gal who proves a far more worthy adversary than he initially anticipated. As Ryan exposes Natalie’s real-world inexperience and naivety in a series of mildly disastrous business meetings she in turn refutes his resolutely isolationist approach to love and relationships. Soon their mutual resentment gives way to a father-daughter dynamic characterized by genuine albeit guarded affection. As his carefully crafted barriers steadily erode Ryan’s thoughts increasingly turn to Alex and he begins to contemplate the previously unthinkable prospect of putting down actual roots.
Corporate downsizing emotional detachment and the dehumanizing effects of modern technology aren’t exactly the most lighthearted of topics but Up in the Air avoids wallowing in dour Death of a Salesman territory with the help of Reitman’s sharp perceptive wit and a handful of lively cameos from comic heavyweights like Danny McBride Zach Galifianakis and J.K. Simmons. In fact the whole affair makes for a surprisingly uplifting experience in a "saddest happy ending" kind of way. Though the latter half of the film is hampered by structural deficiencies and a pair of melodramatic sadly predictable twists that move the plot forward but diminish its overall impact it still qualifies as one of the top films of the year and Reitman’s best work to date. Consider Up in the Air a surefire Oscar contender.
A Los Angeles apartment building falls prey to something very nasty--won’t you come along for the ride? A TV news crew accompanies a fire company to a Los Angeles apartment building where something has gone wrong. VERY wrong. For the next 90 minutes the characters--and the audience--embark on a grimy gritty shock-filled rollercoaster ride through the hallways of an apartment building that is soon under siege by both a threat inside and the obligatory threat (i.e. the authorities who are always interested in keeping the lid on things) outside. It’s never really explained what the pesky pestilence is that kick-starts this horror thriller nor does it really matter. As seen through the lens of the TV cameraman (Steve Harris) the audience gets a good jolt of high-concept horror in the tradition of The Blair Witch Project and Cloverfield--but certainly more effective and better-rendered than the latter. It’s a pure edge-of-the-seat horror-fied (and horror-fried) adrenaline rush which should find great favor with fans of the genre. This is not a movie about acting unless acting is determined by how well people play under pressure. This is a concept movie a gimmick movie. The actors are merely there to fulfill their functions--show up scream and die--which they do with solid dispatch. Dexter’s Jennifer Carpenter as the TV reporter-cum-heroine-by-default looks dynamite and screams even better. Jay Hernandez as a friendly fireman portrays manly panic quite well. He’s a hero and he’s a hunk but oh boy are the odds stacked against him! The majority of the ensemble cast ends up as fodder but they manage to make a positive impression that hurries this film along. This is not an actor’s movie but the actors most certainly do their part to keep the proceedings moving along. The real star of the show is Minnesota-born filmmaker John Erick Dowdle who maintains a relentless pace that serves this story--and the intended audience--very well indeed. If the intent was to make a gory paranoid rollercoaster ride that never lets up then the director has succeeded. You want to read more into it? Go ahead. I’m going for a drink to settle my nerves!