The nominees for the 2013 Grammy Awards will be announced tonight for the first time in a flashy, live concert at Nashville's Bridgestone Arena hosted by Taylor Swift and LL Cool J that will feature performances by fun., The Band Perry, Maroon 5, Janelle Monae, The Who and others.
While previous years' Grammys have been dominated by a single powerhouse artist or album (I'm lookin' at you, Adele), this year it could be anyone's game. Will Billboard sensations Justin Bieber and Rihanna get nods, or will indie darlings like Frank Ocean, Mumford and Sons, and The Black Keys rule the night? I guess we just have to wait and see!
Check back at 10:00 PM ET as we reveal the nominees along with CBS' broadcast.
Best Pop Vocal Album
Kelly Clarkson, Stronger
Florence and The Machine, Ceremonials
fun., Some Nights
Maroon 5, Overexposed
Pink, The Truth About Love
Record of the Year
"Lonely Boy," The Black Keys
"Stronger (What Doesn't Kill You)," Kelly Clarkson
"We are Young," fun. featuring Janelle Monae
"Somebody That I Used to Know," Gotye featuring Kimbra
"Thinkin Bout You," Frank Ocean
"We Are Never Ever Getting Back Together," Taylor Swift Best New Artist Alabama Shakes fun. Hunter Hayes The Lumineers Frank Ocean Country Solo Performance "Home," Dierks Bently "Springsteen," Eric Church "Cost of Livin," Ronnie Dunn "Wanted," Hunter Hayes "Over," Blake Shelton "Blown Away," Carrie Underwood Album of the Year El Camino, Black Keys Some Nights, fun. Babel, Mumford and Sons Channel Orange, Frank Ocean Blunderbuss, Jack White Song of the Year "The A Team" Ed Sheeran (songwriter: Ed Sheeran) "Call Me Maybe" Carly Rae Jepsen (songwriters: Tavish Crowe, Carly Rae Jepsen & Josh Ramsay) "Adorn" Miguel (songwriter: Miguel Pimentel) "Stronger (What Doesn't Kill You)" Kelly Clarkson (songwriters: Jörgen Elofsson, David Gamson, Greg Kurstin & Ali Tamposi) "We Are Young" fun. featuring Janelle Monáe (songwriters: Jack Antonoff, Jeff Bhasker, Andrew Dost & Nate Ruess) Best Pop Duo/Group Performance "Shake It Out" by Florence + The Machine "We Are Young" by fun. featuring Janelle Monáe "Somebody That I Used To Know" by Gotye featuring Kimbra "Sexy And I Know It" by LMFAO "Payphone" by Maroon 5 & Wiz Khalifa Best Pop Solo Performance Adele, "Set Fire to the Rain (Live)" Kelly Clarkson, "Stronger (What Doesn't Kill You)" Carly Rae Jepsen, "Call Me Maybe" Katy Perry, "Wide Awake" Rihanna - "Where Have You Been" Best Dance Recording Avicii, "Levels" Calvin Harris feat. Ne-Yo,"Let's Go" Skrillex feat. Sirah, "Bangarang" Swedish House Mafia feat. John Martin, "Don't You Worry Child" Al Walser, "I Can't Live Without You" Best Dance/Electronic Album Steve Aoki, Wonderland The Chemical Brothers, Don't Think deadmau5 Kaskade, Fire & Ice Skrillex, Bangarang Best Rock Performance Alabama Shakes,"Hold On" The Black Keys, "Lonely Boy" Coldplay, "Charlie Brown" Mumford & Sons, "I Will Wait" Bruce Springsteen, "We Take Care of Our Own" Best Hard Rock/Metal Performance Anthrax, "I'm Alive" Halestorm, "Love Bites (So Do I)" Iron Maiden, "Blood Brothers" Lamb of God,"Ghost Walking" Marilyn Manson ,"No Reflection" Megadeth, "Whose Life (Is It Anyways?)" Best Rock Song Jack White, "Freedom at 21" Mumford & Sons, "I Will Wait" The Black Keys, "Lonely Boy" Muse, "Madness" Bruce Springsteen, "We Take Care of Our Own" Best Rock Album The Black Keys, El Camino Muse, The 2nd Law Coldplay, Mylo Xyloto Bruce Springsteen, Wrecking Ball Jack White, Blunderbuss Best Alternative Music Album Fiona Apple, The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do Bjork, Biophilia Gotye, Making Mirrors M83, Hurry Up, We're Dreaming Tom Waits, Bad As Me Best R&B Performance Estelle, "Thank You" Robert Glasper Experiment feat. Ledisi, "Gonna Be Alright (F.T.B.) Luke James, "I Want You" Miguel, "Adorn" Usher, "Climax" Best Traditional R&B Performance Anita Baker, "Lately" Beyonce, "Love on Top" Melanie Fiona, "Wrong Side of a Love Song" Gregory Porter, "Real Good Hands" SWV, "If Only You Knew" Best Urban Contemporary Album Chris Brown, Fortune Miguel, Kaleidoscope Dream Frank Ocean, Channel Orange Best R&B Album Robert Glasper Experiment, Black Radio Anthony Hamilton, Back To Love R. Kelly, Write Me Back Tamia, Beautiful Surprise Tyrese, Open Invitation Best Rap Performance Drake feat. Lil' Wayne, "HYFR (Hell Ya F---ing Right)" Jay-Z & Kanye West, "N---as In Paris" Nas,"Daughters" Kanye West feat. Big Sean, Pusha T & 2 Chainz, "Mercy" Young Geezy feat. Jay-Z & Andre 3000, "I Do" Best Rap/Sung Collaboration Flo Rida feat. Sia, "Wild Ones" Jay-Z & Kanye West feat. Frank Ocean & The-Dream, "No Church in the Wild" John Legend feat. Ludacris, "Tonight (Best You Ever Had)" Nas feat. Amy Whinehouse, "Cherry Wine" Rihanna feat. Jay-Z, "Talk That Talk" Best Rap Song Nas, "Daughters" Wale feat. Miguel, "Lotus Flower Bomb" Kanye West Featuring Big Sean, Pusha T & 2 Chainz, "Mercy" Drake feat. Lil' Wayne, "The Motto" Jay-Z & Kanye West, "N---as In Paris" Snoop Dogg & Wiz Khalifa Featuring Bruno Mars, "Young, Wild & Free" Best Rap Album Drake, Take Care Lupe Fiasco, Food & Liquor II: The Great American Rap Album, Pt. 1 The Roots, Undun Nas, Life Is Good Rick Ross, God Forgives, I Don't 2 Chainz, Based on a T.R.U. Story Best Country Song Carrie Underwood, "Blown Away" Ronnie Dunn, "Cost of Livin' " Eli Young Band, "Even If It Breaks Your Heart" Alan Jackson, "So You Don't Have to Love Me Anymore" Eric Church, "Springsteen" Best Americana Album The Avett Brothers, The Carpenter John Fullbright, From the Ground Up The Lumineers, The Lumineers Mumford & Sons, Babel Bonnie Raitt, Slipstream Best Blues Album Shemekia Copeland, 33 1/3 Dr. John, Locked Down Ruthie Foster, Let It Burn Heritage Blues Orchestra, And I Still Rise Joan Osborne, Bring It on Home Head to Grammy.comfor the nominees in all 81 categories! Follow Abbey Stone on Twitter @abbeystone [Photo Credit: FREDERIC J. BROWN/AFP/Getty Images] More: Wait, Really? 12 Grammy Winners You Won't Believe American Music Awards Winners' List: Did Justin Bieber Best Rihanna For Top Honors? The 2012 MTV Video Music Awards Winners Are...
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Mobster-turned-movie producer Chili Palmer (John Travolta) decides to shift over to yet other creative albeit dangerous terrain: The music industry. He's spurred along by the murder of his friend small-time music maven Tommy (James Woods) who leaves behind a beautiful widow Edie (Uma Thurman) and a massive debt to a dangerous rap music mogul Sin LaSalle (Cedric the Entertainer). Chili tells Edie about Linda Moon (Christina Milian) a gifted singer he decides to manage after seeing her perform. With her raw talent Linda has the potential to bail them out. But first they have to get her out of a nasty contract and abusive relationship with her former manager Nick Carr (Harvey Keitel) his right-hand man Raji (Vince Vaughn) and his right-hand man a bodyguard with the unfortunate name of Elliot Wilhelm (The Rock). Complicating things are the Russian mob and a bevy of cops keeping Chili in their crosshairs. This all feels tacked on as the nameless accented characters serve the same purpose as robots in a science fiction movie--they can get blown away without sacrificing any stars or feeling any emotion (prioritize those considerations as you wish).
John Travolta who has barely aged in the 10 years since the first film is in top form in Be Cool. He lives up to the title and his character's name. No matter how dire the circumstances no matter how much he's outnumbered and no matter how many gleaming pistols he has aimed at him he never ever loses his even-keeled demeanor. But maybe that's the problem--because if Chili doesn't ever break a sweat then why should we the audience? Thurman isn't exactly showing her years either but has little to do as Edie. Vince Vaughn is the best he's ever been--he's amped up thinks he's black and sports a high-pitched laugh that is instantly annoying and hysterical. As Raji's gay bodyguard the Rock has a great time lampooning himself (at least the raised eyebrow bit) and revealing terrific comic timing. Cedric the Entertainer would have been better off as more of a reluctant menace to play toward his skills instead of against them. Even the young up and comer Milian does a nice job playing the ingénue singer. But have you ever thrown a party and realize that you've actually invited too many of your good friends? And you don't get to spend enough time with any of them? Well adding the following to the list above is: Andre Benjamin of the hip hop grou Outkast plays Dabu--a klutzy overeager trigger man for Cedric the Entertainer; the late Robert Pastorelli as a deli-sandwich eating hit man; Danny DeVito in a cameo reprising his character from the original; and Aerosmith's Steven Tyler playing himself.
Director F. Gary Gray's understated style and clarity is what made a movie like The Italian Job so entertaining. But with Be Cool that style is mostly absent. There is a flatness to the direction; specifically there are a lot of close-ups for one-liners and many scenes go on just a few beats too long (one that comes to mind is an otherwise funny scene where The Rock models impossibly gay threads for himself in a mirror). In some cases jokes are simply repeated instead of building. Those are heavy sins for a comedy. Plus the kind of breezy cinema that Be Cool and its predecessor Pulp Fiction have traded on has now become a little worn out. It's just not enough anymore to have a black-clad Travolta confidently stride across a room toward danger even if he does it better than almost anybody else. Or having charismatic tough guys oozes the cool all while discussing things like the merits of a Burger King sandwich. What's needed in Be Cool is a slightly fresher perspective. The convoluted plot with its meaningless table-turning doesn't help matters. It's a series of entertaining moments rather than a coherent movie.
The tragic opera tells the story of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera waging a reign of terror over its occupants [cue the organ music]. Think The Elephant Man meets The Hunchback of Notre Dame--except this particular "monster" has some serious sex appeal. I mean honestly his only "disfigurement" is some scarring on one side of his face which he covers with a rather classy mask. No big whoop. But I digress. When he falls desperately in love with the lovely ingénue Christine (Emmy Rossum) who has lived in the opera house for most of her life the Phantom devotes himself to molding the young soprano into a star exerting a strange sense of control over her as he nurtures her extraordinary talents. But when Christine falls for the dashing Raoul (Patrick Wilson) all hell breaks loose as the Phantom's growing jealousies threatens to tear everyone apart [OK now it's really time to cue the organ music].
Fans will no doubt be happy their favorite musical has finally made it to the big screen but the musical's original stars Michael Crawford and Sarah Brightman have been replaced in the movie version by hot young actors. This is a very wise decision considering the film's rather longwinded nature. In other words even though the Phantom performers keep singing and singing and then sing some more at least they are appealing to watch (and they did do all their own singing). Butler (Lara Croft Tomb Raider: The Cradle of Life) is particularly effective as the Phantom all brooding mysterious and far more intriguing a suitor than pretty boy Raoul played blandly by Wilson (HBO's Angels in America). With her alabaster skin and long luscious locks Rossum (The Day After Tomorrow) also does a nice job as Christine. But she is unfortunately limited to only a few range of emotions--either all doe-eyed and somber over her Phantom doe-eyed and gushy over Raoul or just plain doe-eyed. As for the supporting players Minnie Driver nearly steals the show as the Italian soprano diva La Carlotta. As the only breath of fresh air in the musty opera house you definitely crave more of her.
It's taken about 15 years to bring Webber's smash hit to the big screen. Apparently after winning every known theater award for Phantom the legendary producer-composer approached director Joel Schumacher in 1988 to do the movie after being impressed by Schumacher's work on The Lost Boys. Hmmm The Lost Boys to Phantom of the Opera--I'm still trying to tie that one together. Anyway Webber had to postpone production for personal reasons and then Schumacher was busy doing such films as Tigerland and Phone Booth. Finally the time was ripe to make Phantom coming on the heels of the musical movie boom started by Moulin Rouge and Chicago. Schumacher certainly incorporates all the right elements from the young and talented cast to the opulent sets and magnificent costumes. The problem is the material: Phantom really isn't all that compelling of a story. Sure the stage production was and still is a theatrical event especially as the Phantom moves on catwalks all over the theater and the impressive chandelier comes crashing down on the stage. But for the film adaptation there needs to be something more than just grand posturing set pieces and operatic music. Maybe a little more dialogue? A sex scene? Anything?
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.