Cult singer Jenny Lewis has become the latest celebrity vintner with the launch of her own Californian red. The former Rilo Kiley star has unveiled The Voyager, named after her new album, a wine made from a "blend of carignan, valdiguie and petit sirah" grape varieties.
Bottles of the new tipple, made with tastemakers at California-based domaineLA, retail at $29.99 (£17.64) and even come with a download coupon for Lewis' new music.
The musician joins the likes of Drew Barrymore, Gabrielle Union, Miranda Lambert, Sir Cliff Richard, Francis Ford Coppola and Angelina Jolie and Brad Pitt, who all have their own wine labels.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Bonnie McKee's music video for "American Girl" just dropped and it features a slew of celebs. The video for the catchy, bubble-gum pop tune includes stars like Katy Perry, Jenny McCarthy, Adam Lambert, Ms. "Call Me Maybe" Carly Rae Jepsen, Ke$ha, Kiss, Macklemore, E!'s Fashion Police crew, the hilarious Kathy Griffin, Jane Lynch, Jewel, and a handsome Lance Bass among plenty others.
The "American Girl" video bounces from A-lister to A-lister as each star sings and dances to a line of the Award-winning songwriter's hit. McKee, who has teamed up with pop star Katy Perry on a bunch of her songs, even got a nice shout out from the fellow "California Gurl." Cutie-pie Perry tweeted, "Wanna see me in bed in my pj's?! Watch this then" and posted a link to the video (below). And yes, Perry looks absolutely adorbable bopping along to the ditty in her jammies.
Although Bonnie McKee, who is a successful songwriter-turned-superstar, looks super fly with her hippie-styled headband and firecracker popsicle, it's hard to focus on the red-headed singer when every celebrity you can possibly imagine keeps captivating the screen. But then again, with lyrics like "Hot blooded, all American girl/ I was raised by a television" a cast of celebrities sounds about right.
Having friends in high places will undoubtedly boost views on McKee's Vevo channel. But after all the hits she supplied her video co-stars, it seems to us like they owed her one in return. Regardless, it's super fun watching some of our fave stars rock out to this head-bopping, sugary track.
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In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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The Academy of Country Music released their 2012 nominations this morning with Kenny Chesney leading the pack with nine nominations in a variety of categories, including Entertainer of the Year, Best Male Vocal Artist, and Best Album of the Year (for Hemingway's Whiskey). You don't really have to be a country fan to knows who Chesney is, at least by name alone, so it's no surprise he earned so much recognition this year. He's basically the country equivalent of Country Music's Katy Perry -- they're both too beloved to not get nominated.
Meanwhile, Jason Aldean came in an impressive second with six nominations, ahead of Lady Antebellum who collected five, followed by Brad Paisley who received four and Taylor Swift, Toby Keith, Grace Potter and the Eli Young Band all tying with three apiece. Fans' votes will determine the finalists for the New Artist of the Year category, which will be announced in February. Additionally, Reba McEntire and Blake Shelton are set to co-host the award show, which will air live on April 1 on CBS from the MGM Grand Garden Arena in Las Vegas.
Check out the nominees in some of the top categories below:
Entertainer of the Year
Male Vocalist of the Year
Female Vocalist of the Year
Vocal Duo of the Year
Love and Theft
Vocal Group of the Year
The Band Perry
Eli Young Band
Zac Brown Band
Album of the Year
Chief – Eric Church
Four The Record – Miranda Lambert
Hemingway's Whiskey – Kenny Chesney
My Kinda Party – Jason Aldean
Own The Night – Lady Antebellum
For the full list of nominees in all categories, click here.
Source: AMC Country, Reuters
Set in post-World War III Los Angeles Southland Tales takes place over the three days leading up to a huge Fourth of July celebration as the world is crumbling around the city’s citizens who are living in a city that has been turned into an armed camp by the government. There’s a huge cast of characters in this disjointed tale written and directed by Richard Kelly including Boxer Santaros (Dwayne 'The Rock' Johnson) an action-movie star married to Madeline (Mandy Moore) the spoiled rich daughter of a powerful senator. Boxer turns up near the beach in L. A. suffering from complete amnesia; he’s watched by a military sniper named Pilot Abilene (Justin Timberlake) who also narrates the film and seems to hold the key to the mystery of what happened to Santaros in the desert that caused his mental breakdown. Meanwhile Santaros falls for activist porn star Krysta Now (Sarah Michelle Gellar) as radical anti-government forces led by Cyndi Pinziki (Nora Dunn) plot a huge terrorist event to take place on the Fourth. Add in a police officer (Seann William Scott) who may be the link between all the other characters and you’ve got the gist of the story. Unfortunately there are easily 10 other characters wandering around in this mishmash of a plot played by everyone from Miranda Richardson John Larroquette and Christopher Lambert to Wallace Shawn Kevin Smith Jon Lovitz and Bai Ling and not one of them seems to have a clue as to what is actually going on--which is exactly how the audience watching feels too. It is a mystery how so many usually talented actors stumbled into this incoherent mess of a movie much less how they have all succeeded in giving some of the worst performances of their careers. Dwayne Johnson the usually likable wrestler-turned-actor leads the pack resorting to rolling his eyes and twitching his fingers to portray a man in emotional distress. Sarah Michelle Gellar is equally abysmal; her ridiculous porn-star/talk-show-host character comes off as a complete caricature not a characterization. Miranda Richardson simply chews the scenery and Wallace Shawn actually does a caricature of himself which is just weird. It is no wonder that when this inane flick debuted at the Cannes Film Festival in 2006 people booed and walked out. The shock is that Sony coughed up more money for special effects and a re-edit--perhaps that is because there are so many well-known names on the cast list? Whatever the reason the still two-and-a-half-hour film is so jumbled enervating and downright boring that we’re pretty certain you’ll be tempted to head for the bathroom and never come back. The only thing that might keep you interested is if you have a Bai Ling fetish (although why you would pick her to obsess over is a complete mystery); she spends the movie vamping it up in costumes that make her look like the porn star instead of Gellar. Writer-director Richard Kelly had a cult hit with Donnie Darko which apparently made him believe that there is a market for movies that are incredibly incoherent and lacking in the most basic narrative focus. Sadly he’s made just that movie with Southland Tales; in fact he explains himself in three graphic novels and a large Web site the prequel to the movie that we apparently should have investigated beforehand since the film is supposed to be the last three chapters of the saga. But therein lies the rub as no filmmaker should assume that moviegoers will have taken the time to do those things before entering the theater. For anyone who has not embraced this self-involved filmmaker’s other work Southland Tales simply comes across as a mixed-up jumble of half-baked ideas performed by actors who look like they are involved in a high school video project not a bona fide Hollywood movie. And if the steady stampede for the door during the screening we sat all the way through is any indication this is a movie that will have patrons who have actually paid for the experience considering a quick sneak away into a different movie in the multiplex. Lord knows that only someone who is paid to watch would actually sit through this whole film. After all those are two hours and 24 minutes of life that we will never get back.