A new illustrated book lifts the lid on the jazz scene in 1920s New York. The tome, titled Jazz. New York in the roaring twenties, penned by Robert Nippoldt, takes a look at the time when the likes of Louis Armstrong and Duke Ellington made the Big Apple swing.
Warner Bros.' The Great Gatsby has divided critics but opened strong, with a much better than expected $51.1 million. Solid support from the female audience and fans of F. Scott Fitzgerald's classic novel propelled the film to an impressive second-place debut. Under the direction of visionary director Baz Luhrmann (Moulin Rouge!, Romeo + Juliet), this big screen 3-D adaptation of the Roaring Twenties tale of wealth, excess, greed and deception boasts the major star power of Leonardo DiCaprio, Tobey Maguire and Carey Mulligan and a soundtrack featuring some of the hottest contemporary artists. This was a perfectly counter-programmed release in the middle ground of the release schedule between the openings of last week's Iron Man 3 and the May 17 release of Star Trek Into Darkness.Obviously with a $174.1 million North American debut last weekend, Disney's Iron Man 3 was always a lock for first place with a second weekend gross of $72.472 million. With around 215 million North American bucks in the vault heading into the weekend, the film will bank nearly $285 million by Sunday night after just 10 days in domestic release and a worldwide total pushing toward the $1 billion mark with $949 million ($284.9M Dom/$664.1M) globally to date!Dropping way down from the top two films is Paramount's Michael Bay action film Pain & Gain which earned an even $5 million in its third weekend and a total to date of $41.6 million.
Lionsgate's Tyler Perry Presents: Peeples opened in fourth place with a gross of around $4.85 million. According to the studio, the marketing campaign’s primary target for the comedy is African American female movie-goers, mothers and their daughters (in celebration of this Sunday being Mother’s Day) and fans of the film’s producer, Tyler Perry.
The top 5 is rounded out by Warner Bros.' baseball drama 42 in its fifth week with a weekend gross of $4.65 million and a impressive domestic total to date of $84.7 million. Tom Cruise's Oblivion from Universal lands in sixth with $3.864 million and $81.6 million to date.
Look for the debut of Star Trek: Into Darkness this Friday as the summer movie season continues to march boldly on.
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Warner Bros.' The Great Gatsby has divided critics, but should open strong with solid support from the female audience and fans of F. Scott Fitzgerald's classic novel. Under the direction of visionary director Baz Luhrmann (Moulin Rouge!, Romeo + Juliet), this big screen 3-D adaptation of the Roaring Twenties tale of wealth, excess, greed and deception boasts the major star power of Leonardo DiCaprio, Tobey Maguire and Carey Mulligan and a soundtrack featuring some of the hottest contemporary artists. An expected debut in the $45 million range will land the film in second place, but make this one a solid performer in the middle ground of the release schedule between the openings of last week's number one film Iron Man 3 and the May 17 release of Star Trek: Into Darkness.
Obviously with a $174.1 million North American debut last weekend, Disney's Iron Man 3 is a lock for first place with a gross in the realm of $85 million. With around $215 million North American bucks in the vault heading into the weekend, the film should have banked over $300 million by Sunday night and a worldwide total pushing toward the $1 billion mark!
Third place should go to the debut of Lionsgate's Tyler Perry Presents: Peeples with a gross of around $10 million. According to the studio, the marketing campaign’s primary target for the comedy is African American female movie-goers, mothers and their daughters (in celebration of this Sunday being Mother’s Day) and fans of the film’s producer, Tyler Perry. Perry continues his very fruitful relationship with the studio and his prolific output ensures a consistent flow of modestly budgeted product aimed at a very loyal following of fans.
This will leave Paramount's Michael Bay action film Pain & Gain, Warner Bros. baseball drama 42 and Tom Cruise's Oblivion to fight for the leftovers over this second weekend of the summer movie season.
Check out this clip from The Great Gatsby:
[Photo Credit: Warner Bros.]
Rocker Jack White is getting into the spirit of the extravagant Roaring Twenties by releasing platinum and gold disc versions of The Great Gatsby soundtrack. The album for the highly-anticipated film includes songs from Jay-Z, Beyonce, will.i.am, Lana Del Rey and Emeli Sande, as well as White's track Love Is Blindness.
The former White Stripes star has now released limited edition vinyl versions of the soundtrack - which are plated with real gold and platinum - through his label, Third Man Records.
A post on the company's website reads, "Disc one is platinum and disc two is gold. These are the first-ever commercially available records made using these precious metals via this process... All of these elements (gold, platinum, aluminium, wood and brass) showcase the Art Deco-meets-modern style, classic meets cutting edge, which is the essence of The Great Gatsby film and Third Man Records."
The vinyls are on sale for $250 (£161) from Friday (10May13).
To bogart a few idioms from the 1920s: This skirt is one swanky kinda vamp! She's really puttin' on the Ritz, eh? And how! Isla Fisher is really nailing the glamour of the roaring twenties in one of the two new posters from Baz Luhrmann's upcoming The Great Gatsby. This sure doesn't look like the girl we once knew from Wedding Crashers, that is for sure. By the looks of the poster alone, Fisher is both radiant and smoldering—and may have finally found the role to remind people she's more than just the crazy sister that attacked Vince Vaughn sexually. As fans of the novel, Fisher's vibe embodies her character to a T. It's a welcome sign for a film that's been pushed back from Christmas of this year to mid-2013—A notion that caused several fans to question and worry about the film's ability to adapt the iconic novel.
The images showcase Fisher as Myrtle Wilson, a woman with a connection to the man on the other poster, Tom Buchanan. Played by Joel Edgerton, homebody is serving us some serious James Joyce realness in the poster below. Seriously, they look like twins! The couple holds the key to a central storyline within the film, and their stature within society is well-represented by the glimmering, art deco filigree backdrop, as well as the general air of wealth radiating from the two.
For those who skipped 9th grade English, The Great Gatsby is set in the summer of 1922, where our narrator, Nick Carraway (a Yale graduate and World War I veteran) rents a small house on Long Island after taking a job in New York. This house just-so-happens to be near the mansion of Jay Gatsby—your everyday, run-of-the-mill, mysterious millionaire host of fabulous parties where folks go to see and be seen. Daisy is Gatsby's pretty second cousin whose rich husband, Tom Buchanan, was at Yale with Nick. There are glamorous parties, fabulous clothing, important rich people, love, domestic violence, deceit, betrayal, and murder. Just your average day where the other half live, of course.
The Great Gatsby charlestons into theaters with the rest of its dance partners (including stars Tobey Maguire, Leonardo DiCaprio, and Carey Mulligan) on May 10, 2013.
What do you think of the newest posters for The Great Gatsby? Let us know in the comments!
[Photo Credit: Warner Brothers]
Follow Alicia on Twitter @alicialutes
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Disney’s Wreck-It Ralph is a loving, informed tribute to all things video games. It practically breathes pixels and speaks in long streams of wistful 8-bit code. It deeply draws from the well of recognizable digital characters of gaming past and comfortably references their function as well as their form. In other words, we don’t just see Sonic the Hedgehog; we see him lose rings when he’s struck by a moving object in our periphery. So why is it that this movie doesn’t just play to the geek seats?
Like all great animated films, or great films of any genre really, Wreck-It Ralph goes beyond the playful visuals, wacky characters, and knowing nods to operate on a higher level…thematically speaking. Ralph’s physical journey may take him through electrical wires and various game cabinet conduits, but his figurative journey harkens back to one of the oldest archetypes in American cinema. So let’s pop another quarter into Wreck-It Ralph, replay it, and see how high it scores metaphorically.
Ralph is a bad guy. He resides in a game in which a tiny handyman with a hammer must rapidly undo the damage to an apartment building inflicted by Ralph. The game, Fix-It Felix Jr., has been in operation for thirty years, and Ralph is tiring of his antagonistic position and desires more out of life. After being cast as the villain and disliked by all the other characters in his game as a result, he begins to see the other titles in the arcade as attractive real estate. That is, the grass begins to look greener on the other side of the screen.
This may be a broad-stroke thematic foundation, but that is precisely why Wreck-It Ralph reaches such a wide audience: much as in the first moments of Breakout, the wall is infinitely easier to hit. Ralph’s situation, his objectives, artfully unifies us as a society. What Ralph is really out to wreck is the unfavorable reductive station in life to which he has been assigned and that he cannot accept. It is, to a certain extent, a take on the Horatio Alger myth: the concept that anyone, no matter their origins, can reach the fullness of their potential with hard work. Ralph is a reflection of the idea of a self-made man, a blue-collar champion fiercely pursuing happiness that extends beyond what his status will afford him.
It is not a to-the-letter expression of this concept. In Alger’s myth, the hero desires riches as much as self-satisfaction, the quaint notion of rags to riches. The primary motivation is therefore to escape poverty; symptomatic of the era in which his books were penned. However, at the core, what his character construct speaks to is the refusal to accept the circumstances into which one is born, or programmed in Ralph’s case. Ralph’s aim is far more valuable — though there is a gold medal involved.
We’ve seen this subject probed time and time again through the history of film. Most of the classic Warner Bros. gangster movies (e.g. 1939's The Roaring Twenties , 1946's The Big Sleep) are predicated upon a young man’s desire to make something of himself. His morals are eventually superseded by a lust for money and power in what turns out to be a cautionary corruption of the American Dream. In some ways, one could view Wreck-It Ralph as a Warner gangster film moving in the opposite direction: Ralph striving to shift from bad to good. Perhaps in that way Tony Stark would be a more appropriate model. He is a selfish, self-indulgent arms dealer whom fate imbues with an inclination toward super-heroic altruism. So yes, Ralph is Iron Man and James Cagney simultaneously.
But the search for cinematic characters exemplifying the idea of the self-possessed, blue-collar hero working his way up the ladder of success and status doesn’t even have to venture outside of the Disney spectrum. Just this year we saw Disney's Brave, about a woman intensely opposed to the gender classifications of ancient Scottish society. Pinocchio wants to be a real boy and The Sword and the Stone’s Wart dreams of being a great knight while everyone around him makes policy of reminding him he’s a lowly squire. Aladdin and Cinderella speak more to Alger’s tenet of rags to riches, though their success is largely attributable to the intervention of outside supernatural forces, which makes them a bit too passive for apt comparison.
The classic gaming trappings may provide suitable enticement for the nostalgic geek, but the themes zipping through Wreck-It Ralph’s underlying narrative circuit boards are what give extra life to these electric characters. And whether Ralph ultimately takes up residence in another game or back in his own, what matters are the respect and honor he earns and how they fundamentally alter his social station. His resilience and determination yield a personal success story that actually challenges the absolutism of being labeled a bad guy.
[Photo Credit: Walt Disney Pictures]
Follow Matt Patches on Twitter @misterpatches
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Television fans are a unique set. We're the type of people who devote hours upon hours a week to our fictional, televised friends. We laugh at their jokes and cry when they cry because our favorite shows are just so darn good. But the intensity of the laughter and the tears is all thanks to the fact that we regard these characters as something of a family. We know them. We understand them. We love them unconditionally. And actors deserve recognition for being able to elicit that level of a reaction from their fans. Naturally, when they're not given their due, we're forced to react, well, emotionally. How, exactly, will we react? That depends on the actor in question. Next up is Boardwalk Empire's most valuable player, Steve Buscemi.
Do you have an obsession with the Roaring Twenties? If so, you probably tune in to watch the epic HBO series Boardwalk Empire and are therefore probably (and rightfully) a fan of the great Steve Buscemi. Nucky Thompson is the show after all — and each season, the reason why us fans can't wait to return for more blood and gore.
It might seem odd for a woman like me who is usually knee-deep in celebrity weeklies to care about a high-minded program that focuses on the prohibition and the brothel-mob scandals of the 1920s — but when I tuned into the premiere episode, I was simply blown away by Buscemi.
His work on the show makes it difficult to believe he has never actually won an Emmy. The actor has been nominated five times — once before in 2011 for Outstanding Lead Actor in a Drama Series for Boardwalk — but this year better be his year. After all, Buscemi bounced back from the loss with an even better performance in Season 2, flexing Nucky's leader-of-the-pack muscles. Who else but Buscemi could tackle Boardwalk's sensitive subjects and dramatic showdowns with such finesse? (Just see Season 2's brutal final scene. I'm still shuddering imagining it.)
It's hard to believe that any actor, no matter how gifted, could allow an audience to emotionally connect with such a vicious murderer, but, sure enough, Buscemi managed. Nucky's relationship with his soon-to-be wife Margaret and his soon-to-be adoptive kids was so heart-warming that you couldn't help be heart-broken watching it deteriorate. Even if Nucky wouldn't allow his inner pain to translate, Buscemi did.
It's talent like this that should be honored at the Emmys. Don't believe me? Go ahead. Turn on your television Sunday nights and tune in for Season 3 of Boardwalk. That is sure to set you straight.
Otherwise, I certainly won't go straight. I'll have no other choice than to simply down an entire whiskey bottle, throw it right off of the shores of Atlantic City, and inevitably go waste away my savings at the nearest depressing casino. Don't leave me penniless, voters.
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: HBO]
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Set in New York City during Prohibition, newspaper reporters Scott Norris and Pat Garrison of the "New York Record" investigate racketeering. Assisted by Pinky Pinkham, a beautiful singer at the Charleston Club, they strive to acquire the headline-making stories by infiltrating the rackets.