Motley Crue rocker Nikki Sixx has urged fans not to vote for him in the Loudwire Music Awards, insisting he does not need trophies to "validate" his achievements. The musician is nominated in the Best Bassist of 2014 category as part of the publication's annual fan-voted awards, but Sixx is adamant he does not deserve the accolade.
In a post on Twitter.com he shared a link to the poll's webpage and added, "Please don't vote for me. Way better bass players on here and I don't need awards to validate what I've achieved..."
Other nominees in the category include Royal Blood's Mike Kerr and Slash's collaborator Todd Kerns. The vote closes next month (Feb15).
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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Dame Elizabeth Taylor's grandson Rhys Tivey is following the Hollywood icon into the spotlight as a jazz trumpeter. The 23 year old, who graduated from New York University in 2012, showed off his musical talents at his maternal grandmother's 2011 funeral by performing a rendition of Amazing Grace at the ceremony, and now he is launching his debut album with his own band, the Rhys Tivey Quartet.
He will celebrate the release of No Voice, No More with a gig at actor Chris Noth's Big Apple bar, The Cutting Room, next week (23Jan14).
Tivey is the son of sculptor Liza Todd, Taylor's only child with film producer Mike Todd, and artist Hap Tivey.
Stephen King's The Stand needs to be made into a big-budget film. There was a decently made mini-series that included some notable actors. That version was even produced by King himself. However, the television medium doesn't allow the story to explore the haunting parts of King's vision of the end of the world. The mini-series also felt a little bland at times. The film may have lost Ben Affleck to his infamous run as Batman and may end up casting Christian Bale, but here's our fantasy casting for the film series.
Johnny Depp as Randall Flagg
Randall Flagg is charming, attractive, and can seduce people out of their souls. Yet, in the next moment beat them mercilessly to death or make them go mad with just a look. Depp has the good looks and the convincing darkness to portray an agent of the devil. His roles in films like Dark Shadows and Sweeney Todd show he can be dark and twisted while still maintaining his charm, humor, and sex appeal. He also created the definitive anti-hero in Jack Sparrow.
Walt Disney Co via Everett Collection
Cicely Tyson as Mother Abigail
Mother Abigail is a 108-year-old woman, the oldest living human being, and a prophet of God. She becomes a lightning rod for all the good people left in the world to gather together. At 80 years old, Tyson just won a Tony for her role in The Trip to Bountiful. She is an amazing actress and her recent role in The Help has proven that nothing can stop her.
Summit Entertainment via Everett Collection
Emma Stone as Frances Goldsmith
Frannie is pregnant and in her early twenties. As the flu strikes, she questions if she should keep the baby. She’s smart, funny, and attractive enough to get a bit of a love triangle going. Stone is attractive, quirky, and has already seen the apocalypse starring in Zombieland. While most of her films have been comedies, she did show her dramatic muscles in The Help. She also has shown she has the edge to potentially kick ass and it would be great to see her actually do it on screen.
Walt Disney Co via Everett Collection
Matthew McConaughey as Stu Redman
Stu is affectionately known as East Texas. He is one of the first known survivors of the super flu. He plays a major part in the story and the survival of Mother Abigail's followers. When you think of Texas you think of McConaughey. His recent success and Oscar buzz with Dallas Buyer's Club show that the dramatic actor is back along with the comedian we remember from movies like Magic Mike. He has the right level of folksy charm that would encourage a community of survivors to rally behind him.
Millennium Entertainment via Everett Collection
Ryan Gosling as Larry Underwood
Larry Underwood is a sexy rockstar. He spends the bulk of the story with multiple women who want the best for him but sadly he disappoints them. Tons of women in America would love to see Gosling in this role. He has the huge fan following to be believable as a rock star. His role as a ne'er do well stunt driver in Drive and as a lothario in Crazy Stupid Love make him well suited for this role.
FilmDistrict via Everett Collection
Taylor Schilling as Nadine Cross
Nadine Cross is a former school teacher that meets Larry on the road. They connect and bond but she's a virgin and can't be with him. Who is she saving herself for ... who do you think? Randall Flagg. Schilling is huge right now given the success of Orange is the New Black. In the show, she's able to play a virginal innocence while still maintaining a slightly dark and twisted edge. After all, how pure can you be in prison?
Warner Bros. via Everett Collection
Joseph Gordon-Levitt as Nick Andros
Nick Andros is a deaf-mute that is introduced to the audience when he is savagely beaten. He becomes a major player in Mother Abigail's society despite being only able to communicate by writing notes. Levitt has the acting chops to breathe life into this challenging role. He has played off-beat characters in films like Hesher and Don John.
Relativity Media via Everett Collection
Helen Mirren as Glen Bateman
Glen Bateman is a retired sociology professor that loves painting and Kojack the dog. In the book, Bateman is a man. However, given her success in the Red films, Mirren proves she is part of the boy's club. Also, the book is a little light on female characters so it would be great to have such a dynamic actor as Mirren in such a pivotal role. Bateman helps re-establish society in the post-flu community. Plus, in an alternate life, couldn't you imagine Mirren as a ballsy sociology professor. We can pretend Teaching Mrs. Tingle never happened.
Focus Features via Everett Collection
Jonah Hill as Harold Lauder
Harold Lauder is a chubby, know-it-all teenager with some pretty dark thoughts. Now, Hill isn't that chubby anymore, however he is really stretching into dramas. He also proved in 21 Jump Street that he can play a believable teenager, even if its a grown man playing a grown man pretending to be a teenager. He'd be great as this slightly homicidal genius that becomes obsessed with Frannie.
Columbia Pictures via Everett Collection
John Cho as Lloyd Henreid
Lloyd Henreid is a petty criminal that gets caught in a murder spree right before the flu breaks. Flagg rescues him from prison and makes Lloyd his right-hand man. Given his recent run as a villain in Sleepy Hollow, Cho clearly can play bad. Also, it would be great if the film adaptation could not only break convention by having a male character played by an actress like Mirren but also to have a criminal played by an Asian-American actor. Stereotypes have to be broken somewhere.
New Line Cinema via Everett Collection
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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American footballer-turned-TV host Todd Christensen has died. He was 57. The former Oakland Raiders player passed away in a Utah hospital on Wednesday (13Nov13) after suffering complications from a liver transplant. He had been reportedly waiting for the operation for 10 months while doctors found a donor.
After starting his National Football League (NFL) career in 1979, the athlete made five Super Bowl appearances, winning two with the Raiders, before his retirement in 1988.
After giving up football, Christensen moved into athletics and became the top decathlete in the world for ages 45-and-over. He then carved out a TV career, working as a broadcaster and co-hosting the debut season of American Gladiators alongside Mike Adamle.
He continued commentating until 2012, when he fell ill with liver disease.
The Rock and Roll Hall of Fame has announced its shortlist of nominees for 2014. While the Hall of Fame is little more than a vanity project for a cabal of self-important baby boomers headed by Rolling Stone publisher Jann Wenner, who last had his finger on rock's pulse sometime before the Sex Pistols' "Anarchy in the U.K." came out, it's always fun to predict who will and won't make it in on each year's ballot. So here they are, in approximate likelihood of induction.
Because artists are eligible 25 years after their first record was released, Nirvana have been nominated on the first possible ballot. (Bleach came out in 1989.) They will sail through, which the board will consider proof that they're down with The Kids, notwithstanding that The Kids that bought Nirvana's albums are in our 40s now.
Ronstadt will be this year's sympathy vote, since she recently disclosed that her singing career is over due to Parkinson's Disease. A technically gifted (and drop-dead gorgeous) singer, Ronstadt was often hampered by her lack of interpretive skills. For example, she seemed genuinely oblivious to the fact that Randy Newman's "Sail Away" was sung from the point of view of a slave trader.
He's been eligible for 11 years, and as a critically-respected solo artist who also scored some major radio hits, he's exactly in the hall's wheelhouse. Given the comparative lack of sure things in this year's shortlist, this may be his year.
Although the board is notoriously anti-disco (Donna Summer didn't get in until after she died), the commercial resurrection of Nile Rodgers via Daft Punk's "Get Lucky" might sway a few members to recognize the architectural genius of hits like "Good Times" and "Le Freak."
Hall & Oates
There was a period in the early 1980s where critics considered Daryl Hall a genius blue-eyed soul songwriter on the level of Todd Rundgren and John Oates an amiable dude with a killer mustache. Perhaps some residual nostalgia for the duo's hits might bring them in. Personally, I think they should be inducted just for this incredibly bizarre and primitive video for "She's Gone."
Perhaps the only act who genuinely wants to be in the Hall of Fame, Kiss are rock's most shameless hucksters. And frankly, they deserve recognition just for the fact that they pioneered the licensing and merchandising that made pop music even more profitable than it was. But the board still has the antiquated view that rock is art, maaaaaaaaaaaaaaaaaaan, and that being too commercial is uncool.
LL Cool J
With his primary career these days being an amiable TV actor, it can be hard to remember just how outstanding singles like "The Bells" and "Goin' Back To Cali" were -- LL was one of the first next-gen rappers taking the music in new directions after the first wave had passed their peaks. Like Hall and Oates, he'll get in eventually, but this may not be his year.
Given The Replacements' "loveable losers" image, it would actually be entirely fitting if they became one of those bands who never actually make it in. When they do -- which they will, eventually -- it will shut the door on the entry of other key Amerindie bands of the mid-80s like Husker Du and the Meat Puppets. The board thinks they only need one representative.
Like Rush, Kiss and Black Sabbath, Yes has their diehard fans who think the Hall of Fame is a joke for not including their favorite band. The Hall is indeed a joke, but that's not why.
Still stigmatized by the overblown reaction to some widely misunderstood quotes Yusuf Islam (the man formerly known as Cat Stevens) gave to a newspaper in the wake of the fatwa against British author Salman Rushdie, Stevens may never make it into the Hall. But then, his pleasant but lightweight take on UK folk-rock is hardly the most earthshaking music of its time.
Okay, look: Machine Head was awesome. I mean, "Space Truckin'" and "Highway Star" will still rock your face off, and even as overplayed as it is, "Smoke on the Water" has one of the all-time great riffs. But the rest of Deep Purple's catalogue is at best third-string boogie. If artists with only one great album are eligible, let's induct The Stone Roses immediately.
Dr. Dre will someday make it into the Hall as a producer, but Jann Wenner lets the band whose signature song was called 'F--k tha Police" into his playground over his dead body. And Ice Cube's acting career makes NWA seem less threatening with every family comedy he makes.
Honestly, The Zombies are probably my favorite band on this entire list: "She's Not There" is maybe the most perfect single of the British Invasion, Odessey and Oracle is start to finish brilliant, and through Rod Argent's electric piano solos, they were possibly the very first band to bring a modern jazz influence into Top 40 pop. But they remain probably too obscure a niche taste to make the final ballot.
That goes double for The Meters. All rock critics genuflect to this New Orleans institution led by the legendary Art Neville, but I've always suspected that most of those copies of Fire on the Bayou in their collections don't actually get pulled out much.
I love Link Wray's doomy, reverb-driven instrumentals as much as the next guy, but given that his first, biggest and best hit "Rumble" came out 55 years ago, I can't help but think that if he was going to get inducted it would have happened by now.
The Paul Butterfield Blues Band
Much like The Meters, critics love to name-drop Butterfield and his legendary guitarist Mike Bloomfield, but Bloomfield remains far more beloved for his mid-'60s work with Bob Dylan than for much-lauded but little-heard albums like East/West.
Frank Sinatra, Rock Hudson and Gary Cooper's doctor has died, aged 93. Rexford Kennamer, who was dubbed the Physician to the Stars, diagnosed Cooper's terminal cancer and famously accompanied Elizabeth Taylor to the funeral of her husband Mike Todd.
He passed away at the Alabama home of his nephew last week (28Sep13), according to Reuters.
An internist and cardiologist in Beverly Hills, he became one of Taylor's close friends after meeting her on the set of 1944's National Velvet, when he was a contract doctor for the studio.
Kennamer was offered lucrative book deals to reveal all about his famous clients but he turned them all down.
Although we can't single out any episode of Breaking Bad that we'd consider a disappointment, we've delved back into the archives to compile a list of our 10 favorite hours from the world of Walter White. Peruse our list (in chronological order) and chime in!
"...And the Bag's in the River" (Season 1, Episode 3)This gem is three episodes into the series, but marks the true beginning of Walter White's submission to the dark calls of desperation, and introduces us for the first time to the meticulous, poetic writing of the masterful drama. To think back now upon the panic-stricken, remorseful, humanistic Walt we see in "Bag's in the River" is almost eerie...- Michael Arbeiter
"Peekaboo" (Season 2, Episode 6)Another relatively early turn, "Peekaboo" gave fans a special, piercing insight into just how much Breaking Bad did intend to resonate with us. In its bleakest setting yet, its lowdown failure Jesse exemplifies a degree of flickering humanity that we hadn't yet seen in his attempts to rescue a silent young boy from the clutches of his dangerous, maniacal parents. We have seen this sort of emotional weight many times since then, but "Peekaboo" stands as one of the most impacting entries.- Michael Arbeiter
"4 Days Out" (Season 2, Episode 9)Walt, believing he's on death's doorstep, gets Jesse together for one last cook. One that will stow away enough money to provide for his family. But when the trusty RV fails to start, and the pair runs out of drinkable water, Walt doesn't have to worry about surviving his caner, he has to worry about surviving the night. This bottle episode really allows the characters shine as they let their true feelings break through, coming close to dying in the New Mexican desert.- Jordan Smith
"One Minute" (Season 3, Episode 7)That scene where those seemingly emotionless twin brothers (commonly known as "The Cousins") come to kill Hank is hands down my favorite scene of Breaking Bad. Yes, neither Walt or Jesse are in the scene, but Hank, a different heartbeat of the show, fights for his life against two well-dressed, vengeful murderers. Few scenes have incurred more yelling-at-the-screen ("Drive, you idiot!") than during the one minute counting down to the attack. Viewers sometimes get too wrapped up in how ruthless Walt is or how misunderstood Jesse is, and forget that this show also has impressive action-packed scenes of violence and suspense. Hopefully this scene is a good reminder of that for us all.- Casey Rackham
"Fly" (Season 3, Episode 10)Easily the most polarizing episode in Breaking Bad's run watches Walt melt under the influence of painkillers, growing rattled over the presence of a pest in his lab, internally undone by his toxic secret of having watched Jane die and terrified that he might reveal this to Jesse... or worse, live with it forever. Call it a "pretentious" or boring episode if you will, naysayers, but there are few examples of such deft character work on modern television.- Michael Arbeiter
"Half Measures" (Season 3, Episode 12)If only for the promotion of background prostitute Wendy to a glorified heroine (complete with her own theme song!) and Mike Ehrmantraut's first impressive speech about, as the title would suggest, half measures, Season 3's penultimate episode stands out as one of the most memorable turns in the show's history.- Michael Arbeiter
"Full Measure" (Season 3, Episode 13)Poor Gale. Poor, sweet, sweet Gale. If Breaking Bad had anything close to a pure innocent, it was definitely the hapless Mr. Boetticher, Gus' cook-in-training who got caught up in the messy politics of meth manufacturing. His murder was an unfortunate act of self-preservation from Walt and Jesse (or so they saw it). Gale was like a sweet little lamb that had no idea the axe was swinging right towards his head.- Jordan Smith
"Crawl Space" (Season 4, Episode 11)After Gus drags Walt to the desert and threatens to kill his entire family, Walt scrambles home to find his money in order to vanish — but the money is missing and Walt is screwed. That instance of Walter lying in his dusty crawl space, sobbing and then madly cackling as his whole world folds in on itself, is one of Breaking Bad's most horrific images. - Jordan Smith
"Dead Freight" (Season 5, Episode 5)There was some criticism for this episode being too gimmicky because of the train heist, but it was just what the show needed. Season 5 definitely had some slow points, and the suspense involved with extracting the right amount of methylamine and replenishing it with the right amount of water under a time constraint was just the touch of adrenaline that the season needed pumped back into it. Plus, we found out just how soulless Todd really was when he shot a little boy point blank, and immediately saw the impact that it was going to have on Jesse's fragile conscience.- Casey Rackham
"Felina" (Season 5, Episode 16)Maybe we just think that this episode is one of the best because we just watched it and are full of lots of feelings, but it seems like we're going to be calling it one of our favorite episodes for years to come. We've all been trying to get inside Walt's head and figure out what he's been thinking for five seasons, and this series finale finally let us all glimpse into his genius mind for just a moment... and that's all we needed. Long live Heisenberg. Oh, and Jesse (we love him too).- Casey Rackham
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One of the ongoing character beats of Breaking Bad throughout its 5-season run was that even as he became the Scarface of Albuquerque, Walter White's heart belonged to vintage '70s soft rock. The show's music supervisor Thomas Golubic outdid himself with a conceptually perfect send off for the series last night, playing Badfinger's 1972 hit "Baby Blue" over the episode's haunting final images. Combining Walter's taste in music, the color of his high-quality meth and the song's dead-on opening line ("Guess I got what I deserved..."), it was the best possible way to say goodbye to the series.
Too bad almost no one from the band is around to enjoy the moment: Badfinger are possibly one of the most cursed bands in rock 'n' roll history. One of the first bands signed to the Beatles' Apple Records, they had a period of being the Fab Four's chosen proteges: Paul McCartney gave them their name (their first album, 1969's Maybe Tomorrow, had been released as The Iveys) from his working title for the song that became "With A Little Help From My Friends." He also wrote their first hit single, "Come and Get It." George Harrison had the band play on his solo album All Things Must Pass and at his 1971 charity concert for the people of Bangladesh at Madison Square Garden. Harrison, along with Todd Rundgren, produced Straight Up, the album that "Baby Blue" appeared on. Plus, the band's two main songwriters, Pete Ham and Tom Evans, wrote "Without You," the epic ballad that Harry Nilsson (and, later, Mariah Carey) took to the top of the charts. But tensions caused by Badfinger's larcenous management led both Ham and Evans to commit suicide, in 1975 and 1983 respectively. Tertiary singer-songwriter Joey Molland has led periodic reunions of the band ever since, even though he didn't write or sing most of the band's best material; original drummer Mike Gibbins died of a brain aneurysm in 2005.
Straight Up is the strongest of the original band's six albums, and handily includes both "Baby Blue" and Badfinger's biggest chart hit, "Day After Day." Go with No Dice (featuring the hit "No Matter What" and the original "Without You") next. Avoid anything that came out after 1975's Wish You Were Here, the last album before Ham's death, and shun anything recorded under the name "Joey Molland's Badfinger" as if the mp3 would give your laptop a rash.
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