Rock veterans Pink Floyd are to release their first new album in 20 years. The legendary band will unveil The Endless River in October (14), their first new record since 1994's The Division Bell.
The album is based on a series of tracks originally recorded in 1994 and previously intended for release under the title The Big Spliff.
Following the death of Pink Floyd keyboardist Richard Wright in 2008, David Gilmour and Nick Mason headed back into the studio to expand on the existing tracks and add some vocals to the songs.
However, fans hoping the news paves the way for a long-awaited reunion tour from the band are set for disappointment - a spokesman tells British newspaper The Sun on Sunday that the rockers will not be hitting the road to promote the album.
Veteran rockers Pink Floyd have dashed fans' hopes of a comeback after they launched a dramatic countdown to a major announcement that turned out to be the release of an anniversary CD box set. The band split in 1995 and briefly reunited for the Live 8 charity gig a decade later (05), leaving fans clamouring for more shows.
They threw fans into a frenzy this week (beg19May14) by setting up a website in reference to the 20th anniversary of their final record, 1994's The Division Bell.
The website featured a digital countdown and a space-themed video with views from the International Space Station set to a Division Bell track, sparking speculation they were planning to announce a reunion tour or a one-off performance for charity.
However, the countdown ended on Tuesday (20May14) with the announcement that the band will release a deluxe edition of The Division Bell to mark 20 years since it first hit shelves.
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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
Touting itself for the definitive awards show for "stuff guys want," the Guys Choice Awards is Spike's annual tribute to men who deliver on manliness, women who define modern hotness (which requires both looks and brains, people) and general stand outs in both pop culture and sports that fit the bill. Really, anything goes if it's up a man's alley.
This year, celebs from across Hollywood came to party at the rowdiest awards show in town, including Adam Sandler, Jeremy Renner, Mila Kunis, Matthew McConaughey, Kristen Bell, Julianne Hough, Channing Tatum, Malin Ackerman and Andy Samberg. This year's big winners were even more diverse. Here's the rundown of the kings of the 2012 Guys Choice Awards:
Best Ass Kicker
Most Dangerous Man
Floyd Mayweather Jr.
Holy Grail of Hot
Our New Girlfriend
Guy of the Year
Top Fantasy Leaguer
Hot and Funny
Outstanding Literary Achievement
Dick Cheney, In My Time
Tina Fey, Bossypants
Jean-Claude Gahd Damn
Rookie of the Year
Best Fight Scene
Mark Wahlberg (Contrabad)
Mark Wahlberg (Ted)
'Hunger Games' and 'Twilight Saga: Breaking Dawn' Among MTV Movie Award Winners
MTV Movie Awards Winners: Which Winners Were Actually Good?
Pulitzer Prize Winners: 2011 Fiction That Could Have Won
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
It's that time again, the MTV Movie Awards nominations are out and once again, we can marvel at the ridiculous categories that the network formerly known as Music Television dreamed up. This awards show is like the spring break of film awards. After all the sincerity and somber ceremonies during the awards season, this is the one where Howard Stern might show up in ass-less chaps or two actresses might kiss onstage when they get an award; it's also the one that isn't afraid to hire a legitimate comedian to host the dang thing so we might laugh instead of looking at James Franco and Anne Hathaway like they must have lost their minds. The comedian this year is SNL's Jason Sudeikis -- or Floyd (sigh) if you're a die-hard 30 Rock fan.
Most importantly, it's the ceremony where viewers can actually participate in what movie gets which moonman because everything is determined by online voting -- granted, it's not like we're looking at the best of cinema across all categories for this thing. This of course means that The Twilight Saga: Eclipse will probably win everything because fan girls are stationed noon and night voting to make sure the Edward and Bella kiss beats the Jacob and Bella kiss for the "Best Kiss" award. Well, let's get these nominations lined up so you can start figuring how who to vote for.
Harry Potter and the Deathly Hallows, Part 1
The Social Network
The Twilight Saga: Eclipse
Best Female Performance
Emma Stone, Easy A
Emma Watson, Harry Potter and the Deathly Hallows, Part 1
Jennifer Aniston, Just Go With It
Kristen Stewart, The Twilight Saga: Eclipse
Natalie Portman, Black Swan
Best Male Performance
Daniel Radcliffe, Harry Potter and the Deathly Hallows, Part 1
Jesse Eisenberg, The Social Network
Robert Pattinson, The Twilight Saga: Eclipse
Taylor Lautner, The Twilight Saga: Eclipse
Zac Efron, Charlie St. Cloud
Best Breakout Star
Andrew Garfield, The Social Network
Chloë Grace Moretz, Kick-Ass
Hailee Steinfeld, True Grit
Jay Chou, The Green Hornet
Olivia Wilde, TRON: Legacy
Xavier Samuel, The Twilight Saga: Eclipse
Best Comedic Performance
Adam Sandler, Just Go With It
Ashton Kutcher, No Strings Attached
Emma Stone, Easy A
Russell Brand, Get Him to the Greek
Zach Galifianakis, Due Date
Best Line From A Movie
Alexys Nycole Sanchez, Grown Ups:
"I want to get chocolate wasted."
Amanda Bynes and Emma Stone, Easy A:
Amanda Bynes: "There is a higher power that will judge you for your indecency." Emma Stone: "Tom Cruise?"
Jesse Eisenberg, The Social Network:
"If you guys were the inventors of Facebook, you'd have invented Facebook."
Justin Timberlake and Andrew Garfield, The Social Network:
Justin Timberlake: "... A million dollars isn't cool. You know what's cool?" Andrew Garfield: "A billion dollars. And that shut everybody up."
Tom Hardy, Inception:
"You mustn't be afraid to dream a little bigger darling."
Christoph Waltz, The Green Hornet
Leighton Meester, The Roommate
Mickey Rourke, Iron Man 2
Ned Beatty, Toy Story 3
Tom Felton, Harry Potter and the Deathly Hallows, Part 1
Amy Adams vs. The Sisters, The Fighter
Chloë Grace Moretz vs. Mark Strong, Kick-Ass
Daniel Radcliffe, Emma Watson and Rupert Grint vs. Death Eaters, Harry Potter and the Deathly Hallows, Part 1
Joseph Gordon-Levitt vs. Hallway Attacker, Inception
Robert Pattinson vs. Bryce Dallas Howard and Xavier Samuel, The Twilight Saga: Eclipse
Ellen Page and Joseph Gordon-Levitt, Inception
Emma Watson and Daniel Radcliffe, Harry Potter and the Deathly Hallows, Part 1
Kristen Stewart and Robert Pattinson, The Twilight Saga: Eclipse
Kristen Stewart and Taylor Lautner, The Twilight Saga: Eclipse
Natalie Portman and Mila Kunis, Black Swan
Best Jaw-Dropping Moment
James Franco, 127 Hours, Cuts Off His Arm
Justin Bieber, Justin Bieber: Never Say Never, Performance Spectacular
Leonardo DiCaprio and Ellen Page, Inception, Paris Café Scene
Natalie Portman, Black Swan, Mutilation: Pulls the Skin off Her Finger
Steve-O, Jackass 3D, Port-A-Potty Bungee Stunt
Best Scared-As-Sh-- Performance
Ashley Bell, The Last Exorcism
Ellen Page, Inception
Jessica Szohr, Piranha 3D
Minka Kelly, The Roommate
Ryan Reynolds, Buried
Biggest Badass Star
Alex Pettyfer, I Am Number Four
Chloë Grace Moretz, Kick-Ass
Jaden Smith, The Karate Kid
Joseph Gordon-Levitt, Inception
Robert Downey Jr., Iron Man 2
The MTV Movie Awards air Sunday, June 5. Voting ends June, 4, except for best movie which ends right before the award is given out on June 5.