Gone Girl and The Imitation Game were the big winners at the 2014 Hollywood Film Awards on Friday night (14Nov14) after taking home seven honors between them.
The David Fincher thriller, starring Ben Affleck as a cheating husband who is suspected of killing his wife, earned the top prize of Hollywood Film, while Gillian Flynn took home the Hollywood Screenwriter award for turning her bestselling book into a movie of the same name.
The Imitation Game was a quadruple winner, earning Benedict Cumberbatch Hollywood Actor and Keira Knightley Hollywood Supporting Actress for their portrayals of famous World War Two encryption specialists Alan Turing and Joan Clarke, while filmmaker Morten Tyldum was named Hollywood Director and Alexandre Desplat earned the title of Hollywood Film Composer.
New dad Robert Downey, Jr. took time out of diaper duties to celebrate his The Judge co-star Robert Duvall as Hollywood Supporting Actor, the first award of the night, while Angelina Jolie honored Jack O'Connell with the New Hollywood award for his performance as Olympian-turned-war hero Louis Zamperini in Unbroken.
The Hollywood Film Awards, which recognize "excellence in the art of cinema and filmmaking", serves as the official launch of the Hollywood awards season. The ceremony was hosted by Queen Latifah from the Hollywood Palladium and featured appearances from Jennifer Lopez, Johnny Depp, Laura Dern, Amy Adams, Christoph Waltz, Robert Pattinson, Hilary Swank, Jonah Hill and Geena Davis.
The main list of winners at the 2014 Hollywood Film Awards is:
Hollywood Film - Gone Girl
Hollywood Blockbuster - Guardians of the Galaxy
Hollywood Actor - Benedict Cumberbatch, The Imitation Game
Hollywood Actress - Julianne Moore, Still Alice
Hollywood Supporting Actor - Robert Duvall, The Judge
Hollywood Supporting Actress - Keira Knightley, The Imitation Game
Hollywood Breakout Performance, Actor - Eddie Redmayne, The Theory of Everything
Hollywood Breakout Performance, Actress - Shailene Woodley, The Fault In Our Stars
Hollywood Director - Morten Tyldum, The Imitation Game
Hollywood Breakthrough Director - Jean-Marc Vallee, Wild
Hollywood Screenwriter - Gillian Flynn, Gone Girl
Hollywood Ensemble - Foxcatcher
Hollywood Career Achievement - Michael Keaton
New Hollywood - Jack O'Connell, Unbroken
Hollywood Documentary - Supermensch: The Legend of Shep Gordon
Hollywood Comedy Film - Top Five
Hollywood Animation - How To Train Your Dragon 2
Hollywood Cinematography - Emmanuel Lubezki, Birdman
Hollywood International - Jing Tian
Hollywood Visual Effects - Scott Farrar, Transformers: Age of Extinction
Hollywood Film Composer - Alexandre Desplat, The Imitation Game
Hollywood Song - Janelle Monae, Rio 2
Hollywood Costume Design - Milena Canonero, The Grand Budapest Hotel
Hollywood Editor - Jay Cassidy and Dody Dorn, Fury
Hollywood Production Design - Dylan Cole and Gary Freeman, Maleficent
Hollywood Sound - Ren Klyce, Gone Girl
Hollywood Makeup and Hairstyling - David White and Elizabeth Yanni-Georgiou, Guardians of the Galaxy.
British rapper Professor Green has slammed pop star Cheryl Cole over her choice of tattoos. The Read All About It hitmaker, who has a number of inkings, is adamant the former Girls Aloud singer is "gorgeous" but he fears she is ruining her beauty with bad body art.
Last year (13), Cole unveiled an enormous bright red tattoo of roses covering her lower back and her entire buttocks, insisting she wanted a new inking after surviving a brush with death when she contracted malaria in 2010.
However, rapper Green, real name Stephen Manderson, fears his fellow Brit is destroying her natural beauty.
He tells British magazine Heat, "Cheryl Cole has got dreadful tattoos. (Her buttock tattoo) is done by one of my favourite tattoo artists. I just think she's got some horrendous tattoos; she's made some bad choices. She's gorgeous isn't she? She seems lovely as well, but yeah, bad tattoos!"
Actor Bill Cosby is set to loan officials at The Smithsonian his African-American art collection for a new exhibit. The impressive haul, which features works from artists including Beauford Delaney, Faith Ringgold and Jacob Lawrence, will be part of the Conversations: African and African-American Artworks in Dialogue exhibition, which will launch at The Smithsonian's National Museum of African Art in Washington, D.C. in November (14), as part of the prestigious venue's 50th anniversary.
A statement from Cosby reads: "It's so important to show art by African-American artists in this exhibition.
"To me, it's a way for people to see what exists and to give voice to many of these artists who were silenced for so long, some of whom will speak no more."
Museum director Johnnetta Betsch Cole adds, "The exhibition will encourage all of us to draw from the creativity that is Africa, to recognise the shared history that inextricably links Africa and the African diaspora and to seek the common threads that weave our stories together."
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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British singer Cheryl Cole had an enormous tattoo inked over her backside to cover up a hideous piece of body art, according to an expert. The former Girls Aloud star shocked fans last year (13) when she unveiled her new design, featuring huge red roses and green leaves covering her entire lower back, buttocks, and the top of her thighs.
She later told fans the artwork, which took 15 hours to complete, had "a personal meaning behind it" but now an expert tattoo artist has suggested the singer used the inking to cover up a previous design she had fallen out of love with.
James Woodford even suggests Cole might have been embarrassed by a previously popular lower back design which has since gained an unfavourable reputation among women.
He tells rock magazine Q, "That's a cover-up. Of a 'tramp stamp'? We call them 'arschgeweih' - a**e antlers. There's no other reason to have roses that dark and it's a weird shape. I would wager that this is the start of a full back piece."
Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
This was, without a doubt, an excellent year for Hip-Hop music. Jay Z, Kanye West, and Timbaland (as a producer) all returned to a certain glory with their new projects. Artists like Pusha T, Kendrick Lamar, J. Cole, and A$AP Rocky became key players in the game. And lots of new artists generated positive buzz. Lots of magazines like Rolling Stone are counting down the best Hip-Hop albums of the year, but we're going to keep it simple with 5 definitive hip-hop tracks of 2013. Obviously, tons of great songs came out, but if we had to put 5 singles into a time capsule, these would be it!
Black Skinhead, Kanye West
People can hate on this guy all they want, but the lyrics, production, and impact of this song were amazing. And once it found its way to the trailer for Martin Scorsese's The Wolf Of Wall Street (perfectly appropriate, in part because of the line "I'm aware I'm a wolf/Soon as the moon hit"), it became that much more epic.
Started From The Bottom, Drake
To say that this song was "everywhere" would be the understatement of the year. Even Chris Brown -- who still has beef with Drake -- was spotted losing his mind to this in the club. Now whether or not Drake himself "started from the bottom" is debatable (well, okay, it's not true at all), but we'll let the whole thing slide if only so we can enjoy the song.
Feds Watching, 2 Chainz feat. Pharrell
Like it or not, 2 Chainz is one of the defining artists in hip-hop right now. And for people who had been supporting him since he was still Tity Boi (and one half of the group Playaz Circle) his latest album represented a return to his original style. "Feds Watching" had a dope beat and was (thankfully) lacking in some of the silliness that people had come to associate with Chainz. It was a good look for him.
Picasso Baby, Jay Z
When Jigga merged Hip-Hop with performance art (with the help of Marina Abramović), he showed that Hip-Hop already was performance art. "Picasso Baby" as a song, video, and short film became a movement that ultimately proved hip-hop is already in the realm of high art.
Control, Big Sean feat. Kendrick Lamar & Jay Electronica
Although the entire world stopped spinning (seriously) as practically every, single rapper in existence responded to Kendrick Lamar's now-iconic, unforgettable verse (which was not, in fact, an actual diss), Big Sean and Jay Electronica both went in on this one. This was, quite easily, the most discussed song of the year, and with good reason. Next year, we'll have to see if Kendrick Lamar will remain King of the game.
Give Martin Freeman an empty room and he'll give you comedy. The best parts of The Hobbit: An Unexpected Journey — an admittedly mishandled movie in large — involved his subdued grimaces, his Chaplinian waddling, and the way he carried himself with equal parts neurosis and snark in every scene. If there is one primary misstep of An Unexpected Journey's terrifically improved sequel, The Desolation of Smaug, it is the spiritual absence of Bilbo Baggins.
Freeman's good-natured but disgruntled Hobbit takes a backseat to the Dwarf team in this chapter of Peter Jackon's three-part saga, distributing the heavy lifting among the front lines of the bearded mooks. Thankfully, we're not shafted with too much "Thorin's destiny" backstory, instead focusing on the trek forward, through far more interesting terrain than we got last time around. The Dwarves voyage through a trippy woodland that'll conjur fond memories of The Legend of Zelda's unnavigable forest levels and inside the borders of Lake-town, a man-occupied working class monarchy that is more vivid and living than any place we have seen yet in the series. And while Unexpected Journey's goblin caverns might have been cool to look at, none of the quests in Desolation feel nearly as close to a tangential detour. Every step the Dwarves take is one that beckons us closer to the central, increasingly engaging story.
Desolation is not entirely without its curiosities. While Gandalf's mission to meet the Necromancer serves to connect the Hobbit trilogy to the Lord of the Rings movies, the occasional cuts over to the wizard's pursuits are primarily distracting and just a bit dull. Although we're happy to welcome the Elf race back into our Middle-earth adventures, it's easy to imagine a version of this story that didn't involve side characters like Legolas and Kate... I mean, Tauriel... and still felt whole (perhaps even more cohesive). The latter's love affair with hot Dwarf Kili seems like a last minute addition to the canon, and one not built on anything beyond the cinematic rule that two sexually compatible attractive people should probably have something brewing alongside all the action.
But the most egregious of crimes committed by Desolation is, unquestionably, the shafting of Bilbo Baggins to secondary status. Yes, he proves himself a savior to his fellow travelers four times in the film, but long stretches of action go by without so much as a word from the wide-eyed burglar. When he finally takes center stage in his theatrical face-off with Smaug — an exercise in double-talk reminiscent of Oedipus outsmarting the Sphinx — the film picks up with a new, cool energy, with a chilling fun laced around the impending doom of their back-and-forth. We've been waiting since the first frames of Unexpected to see how the dragon material will pay off, and it does in spades... albeit in the final third of Desolation, but with equal parts gravitas and fun, to reunite us with our Tolkien passions once more.
Benedict Cumberbatch's dragon doesn't do much to subvert expectation — he's slithering, sadistic, vain, manipulative, and vaguely Londonian. But tradition feels good here. Smaug's half hour spent toying with the mousey Bilbo (who does get a chance to showcase his aptitude at small-scale physical comedy here) is terrific in every way.
Its Hobbit problem aside, Desolation proves itself worthy of Bilbo's past proclamation. "I'm going on an adventure!" more than pays off here, in the form of mystifying boat rides, edge-of-your-seat efforts in dragon slaying, and the most joyful action set piece we've seen in years. Twelve Dwarves, twelve barrels, and one roaring river amounts for enough fun to warrant your trip to the theater for this latest outing into Middle-earth.
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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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We’re three quarters into 2013 and the year is already chock full of creative and unique music videos. In the 1980s and '90s, artists wanted to create videos that were meaningful and larger-than-life, but in today’s digital age, the art of music videos is starting to be replaced by DIY videos that aim to go viral. Thankfully, the following artists have managed to find a happy medium between the two, and the result is 10 of the best music videos that have come out this year.
Allison Weiss – “Making It Up” We all know that breaking up is hard to do, but what happens when you get dumped by the one creature that’s supposed to be give you unconditional loyalty? Allison Weiss knows what that pain’s all about. In the Kristen Winter-directed video for “Making It Up,” Weiss comes home to a note on her bed that simply says, “Allison – I can’t do this. I’m sorry. –Scott.” You can’t even do it in person? How rude, Scott! A lot of furrowed brows and pacing around later, Weiss goes off to confront her dumper … who just happens to be her dog. Weiss is perfect in her genuine disappointment over breaking up with Scott, the handsome dog with the stylish name-embroidered scarf that clearly anyone would’ve fallen for. Breaking up has never been cuter.
Django Django – “WOR” In this brilliantly-directed Jim Demuth video, Django Django take the audience into a dizzying look into a night in the life of the infamous Well of Death riders in Allahabad, India. Clocking in at less than 5 minutes, the video is more like a mini-documentary, showcasing not only the crazy stunts that the daredevils pull off, but also the human side of the stuntmen, giving introductions and quotes from the featured riders. The visuals are the perfect complement to the rousing music, and the video manages to leave afterthoughts about mortality and heroism lingering in the viewer’s mind. Deep stuff.
The Knife – “Full Of Fire” If you know anything about Swedish electro duo The Knife, you know that they’re the dictionary definition of “awesomely weird as hell.” “Full Of Fire” is one of their less creepy songs, more upbeat and frantic than sullen and saturnine, and the almost-10-minute-long video works to keep up with the pace. “Full Of Fire” is essentially a short film by Stockholm and Berlin-based filmmaker/visual artist Marit Ostberg that takes the audience on a crazy ride through protests, random people’s apartments, kids playing with broken glass, and so much more haphazardness.
David Bowie – “The Next Day” (NSFW) 2013 was the year that David Bowie decided to venture back into the music world and show us all how it’s really done. The title track of his latest (and twenty-fourth) studio album, “The Next Day” video was written by Bowie himself and directed by famed Canadian-Italian photographer/director Floria Sigismondi. The video finds Bowie as a Jesus-type prophet singing in a dive bar to an audience of washed up church figures who are drinking their pain away. Marion Cotillard stars as a gorgeous siren (so basically, herself) who gets a really bad case of stigmata, while Gary Oldman is featured as a sleazy priest who just wants to get his dance on. The Catholic League denounced the video, calling it a “mess,” which basically translates as “Welcome Back” as far as Bowie is concerned.
Foals – “Late Night” (NSFW) British indie rockers Foals have a doozy with the NABIL-directed “Late Night.” A 5 minute exercise in existentialism, “Late Night” goes through the basic human events that make up late nights, like death, sex, crime, birth, suicide, violence, and drama. Set in a decrepit hotel straight out of a Hitchcock film, the band plays in the lobby while chaos takes place between the floors and walls. Although the visuals are graphic, the video is anything but gratuitous when it comes to nudity and violence, instead focusing on the realness and grittiness of basic human instincts instead of glorifying them.
Beach House – “Wishes” Beach House’s “Wishes” was directed by Eric Wareheim, one half of Adult Swim comedy duo Tim & Eric. The video is ridiculously amazing, if only for the fact that the star of the show is Ray Wise (yes, Twin Peaks Ray Wise). Wise stars as a football coach singing the melancholy “Wishes” to a huge crowd before the start of a game, while cheerleaders do their routines with bigass machete things and horse-headed people start to pop out in the crowd. “Wishes” is what Tim Riggins would’ve seen if he dropped acid before the start of a game in Friday Night Lights. In other words, this video rocks.
Yeah Yeah Yeahs – “Sacrilege” (NSFW) NYC’s Yeah Yeah Yeahs never disappoint with their videos, and “Sacrilege” is no different. Directed by French collective Megaforce, “Sacrilege” has model/actress Lily Cole bedding a bunch of men (and 1 woman), only to wind up getting chased through the streets by all her paramours who want to burn her at the stake. Whoa.
Atoms For Peace – “Ingénue” Thom Yorke. Interpretive dance. If those 4 words don’t make your entire life, you’re probably hopeless. Directed by Garth Jennings, “Ingenue” has a simple concept: dress Yorke up like the new kid at Hogwarts, stick him in front of a white screen, and get him to bust out some Wayne McGregor-choreographed dance moves with dancer Fukiko Takase. The result is 4 minutes of the best continuous GIFs you’ll ever find anywhere.
Justin Timberlake featuring Jay Z – “Suit And Tie” Thankfully, Justin Timberlake stopped trying to make “Timberlake, actor” happen for a bit and went back to what he does best: music. “Suit And Tie” was his big return back to the pop world, and the David Fincher-directed video lives up to the grandiosity of his comeback. The video juxtaposes 50s-style charm with contemporary hip hop dancing, and the black and white film makes the whole affair look classy (even the chick writhing around on the wet floor). In an age where everyone and their dog is trying to make their own meaningful videos with their iPhones, the glamor and lavishness of “Suit And Tie” is refreshing, taking us back to the extravagant videos of pop stars of yore.
Yo La Tengo – “I’ll Be Around” At the end of January, indie rockers Yo La Tengo released their video for “I’ll Be Around,” directed by Phil Morrison of Junebug-fame. The video is as minimal as the song, featuring Superchunk frontman Mac McCaughan singing the track with an acoustic guitar in the woods. The forest shots are simply beautiful, and poem-like text and recipes for delicious stuff are superimposed throughout the video. “I’ll Be Around” ends with the band sitting down for dinner, only to have bassist James McNew get arrested by some buzzkill cops (probably for being part of a kickass band that makes illegally awesome music videos).
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