Brooke Shields became a star and attracted mild controversy in this show, director Louis Malle’s first American production. Co-writer & producer Polly Platt and cinematographer Sven Nykvist collaborated on Malle’s fascinating look at life in a New Orleans brothel early in the 20th century. Prostitute Susan Sarandon raises two children in the upscale bawdy house, and art photographer Keith Carradine becomes an artist in residence. It’s a non-moralizing portrait of a bygone lifestyle. The handsome remastered release co-stars Diana Scarwid and Barbara Steele — and comes with a new interview with Brooke Shields.
Pretty Baby
Blu-ray
Viavision [Imprint] 174
1978 / Color / 1:85 widescreen / 109 min. / Street Date November 4, 2022 / Available from / £
Starring: Susan Sarandon, Keith Carradine, Brooke Shields, Frances Faye, Antonio Fargas, Gerrit Graham, Matthew Anton, Mae Mercer, Diana Scarwid, Barbara Steele.
Cinematography: Sven Nykvist
Production Designer: Trevor Williams
Costume Supervisor: Mina Mittelman
Film Editor: Suzanne Fenn, supervisor Suzanne Baron
Music adapted by Jerry Wexler,...
Pretty Baby
Blu-ray
Viavision [Imprint] 174
1978 / Color / 1:85 widescreen / 109 min. / Street Date November 4, 2022 / Available from / £
Starring: Susan Sarandon, Keith Carradine, Brooke Shields, Frances Faye, Antonio Fargas, Gerrit Graham, Matthew Anton, Mae Mercer, Diana Scarwid, Barbara Steele.
Cinematography: Sven Nykvist
Production Designer: Trevor Williams
Costume Supervisor: Mina Mittelman
Film Editor: Suzanne Fenn, supervisor Suzanne Baron
Music adapted by Jerry Wexler,...
- 1/24/2023
- by Glenn Erickson
- Trailers from Hell
This What We Do in The Shadows review contains spoilers.
What We Do in the Shadows Season 4 Episode 10
Guess what? We don’t have to guess what anymore. What We Do in the Shadows’ season 4 finale doesn’t give all the answers, but it breaks through walls to try. The vampire mockumentary series has made a running gag of breaking the fourth wall, and leans back into it for revelations, brisk rebuttals, and sad goodbyes. “Sunrise, Sunset” closes the chapter by erasing much of it. We can almost hear Nadja’s (Natasia Demetriou) lulling tones reminding the audience to forget what we should have remembered.
Like the vampire club Nadja’s, which lost its bite and is now bleeding out cash, with no nutritional value beyond whatever fluids human improv comedy troupes bring from outer space. The montages of the club’s demise into children’s entertainment hit comic sweet spots,...
What We Do in the Shadows Season 4 Episode 10
Guess what? We don’t have to guess what anymore. What We Do in the Shadows’ season 4 finale doesn’t give all the answers, but it breaks through walls to try. The vampire mockumentary series has made a running gag of breaking the fourth wall, and leans back into it for revelations, brisk rebuttals, and sad goodbyes. “Sunrise, Sunset” closes the chapter by erasing much of it. We can almost hear Nadja’s (Natasia Demetriou) lulling tones reminding the audience to forget what we should have remembered.
Like the vampire club Nadja’s, which lost its bite and is now bleeding out cash, with no nutritional value beyond whatever fluids human improv comedy troupes bring from outer space. The montages of the club’s demise into children’s entertainment hit comic sweet spots,...
- 9/7/2022
- by Alec Bojalad
- Den of Geek
How a Middle School Violin Teacher Became the Secret Sauce for the Music to HBO’s ‘Last Movie Stars’
Singer, songwriter, former frontman of indie rock’s “The Walkmen” and now composer, Hamilton Leithauser can’t play the horns, but that didn’t deter him from accepting a gig to put music to the HBO six-part series “The Last Movie Stars.”-
Helmed by Ethan Hawke and executive-produced by Martin Scorses, the docu-series chronicles the love story of Paul Newman and Joanne Woodward alongside their simultaneously flourishing Hollywood careers. Hawke enlisted a host of well-known voices — including Karen Allen, George Clooney, Oscar Isaac, Latanya Richardson Jackson, Zoe Kazan, Laura Linney and Sam Rockwell — to narrate the tale. It was also Hawke who called on Leithauser to compose both score music and songs for “Last Movie Stars.”
“1000 Times,” “Rough Going” (I Won’t Let Up) and “Here They Come” were among the songs Leithauser chose to include. In a conversation with Variety, he shares his process in scoring the series...
Helmed by Ethan Hawke and executive-produced by Martin Scorses, the docu-series chronicles the love story of Paul Newman and Joanne Woodward alongside their simultaneously flourishing Hollywood careers. Hawke enlisted a host of well-known voices — including Karen Allen, George Clooney, Oscar Isaac, Latanya Richardson Jackson, Zoe Kazan, Laura Linney and Sam Rockwell — to narrate the tale. It was also Hawke who called on Leithauser to compose both score music and songs for “Last Movie Stars.”
“1000 Times,” “Rough Going” (I Won’t Let Up) and “Here They Come” were among the songs Leithauser chose to include. In a conversation with Variety, he shares his process in scoring the series...
- 7/27/2022
- by Jazz Tangcay
- Variety Film + TV
The Sting
Happy New Year to all our readers, if you're looking for more streaming selections, check out our recent snowy Spotlight.
The Sting, 11.50am, ITV4, Monday, January 3
They'd already proved a tough double-header to beat in director George Roy Hill's Butch Cassidy And The Sundance Kid and the twin wattage of Robert Redford and Paul Newman at the top of their game shines just as brightly in this slick comedy drama from the same director, this time written by David S Ward. The pair play con artists Henry (Newman) and Johnny (Redford) who hatch an elaborate sting to liberate a load of cash from mobster Doyle (Robert Shaw). Everything has the click of satisfaction in this film, from the mechanic of the sting itself to the Depression-era production design and the piano score from Scott Joplin - something the Academy acknowledged with seven Oscars, including Best Film.
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Happy New Year to all our readers, if you're looking for more streaming selections, check out our recent snowy Spotlight.
The Sting, 11.50am, ITV4, Monday, January 3
They'd already proved a tough double-header to beat in director George Roy Hill's Butch Cassidy And The Sundance Kid and the twin wattage of Robert Redford and Paul Newman at the top of their game shines just as brightly in this slick comedy drama from the same director, this time written by David S Ward. The pair play con artists Henry (Newman) and Johnny (Redford) who hatch an elaborate sting to liberate a load of cash from mobster Doyle (Robert Shaw). Everything has the click of satisfaction in this film, from the mechanic of the sting itself to the Depression-era production design and the piano score from Scott Joplin - something the Academy acknowledged with seven Oscars, including Best Film.
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- 1/3/2022
- by Amber Wilkinson
- eyeforfilm.co.uk
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By Fred Blosser
To say that George Roy Hill’s “The Sting” (1973) was a hit is like calling Amazon a successful little internet business. Starring Paul Newman and Robert Redford, “The Sting” placed second in ticket sales for its year of release ($159.6 million), surpassed only by “The Exorcist.” In the Academy Awards ceremonies on April 2, 1974, it earned seven Oscars, notably honors for Best Picture, Best Director, and Best Original Screenplay. The Best Picture award sparked a brief controversy as to whether the stylish but relatively lightweight film about an elaborate confidence scheme deserved the accolade. The pot was further stirred during the awards broadcast, when the screenwriter, David S. Ward, flashed a gesture on stage after picking up his statuette. It was the same signal used by real-life con artists to declare victory over unwary dupes, some observers asserted. Whatever the merits of the argument,...
By Fred Blosser
To say that George Roy Hill’s “The Sting” (1973) was a hit is like calling Amazon a successful little internet business. Starring Paul Newman and Robert Redford, “The Sting” placed second in ticket sales for its year of release ($159.6 million), surpassed only by “The Exorcist.” In the Academy Awards ceremonies on April 2, 1974, it earned seven Oscars, notably honors for Best Picture, Best Director, and Best Original Screenplay. The Best Picture award sparked a brief controversy as to whether the stylish but relatively lightweight film about an elaborate confidence scheme deserved the accolade. The pot was further stirred during the awards broadcast, when the screenwriter, David S. Ward, flashed a gesture on stage after picking up his statuette. It was the same signal used by real-life con artists to declare victory over unwary dupes, some observers asserted. Whatever the merits of the argument,...
- 10/16/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
A few years ago, Conor Oberst was attending a Christmas party at Nate Walcott’s home in Los Angeles when he told his Bright Eyes bandmate he had an idea. “It kind of just came out of my mouth,” Oberst, 40, recalls: “’Let’s do it. Let’s make a record.’”
To Walcott, the decision to end the band’s unofficial hiatus of nearly a decade felt organic. “It wasn’t like I was standing in the kitchen and dropped a pound cake,” the 42-year-old musician cracks. “Schedules were aligning. Also,...
To Walcott, the decision to end the band’s unofficial hiatus of nearly a decade felt organic. “It wasn’t like I was standing in the kitchen and dropped a pound cake,” the 42-year-old musician cracks. “Schedules were aligning. Also,...
- 9/4/2020
- by Angie Martoccio
- Rollingstone.com
The great Larry Wilmore joins us to share some very personal double features.
Show Notes: Movies Referenced In This Episode
1917 (2019)
Animal Crackers (1930)
Duck Soup (1933)
My Little Chickadee (1940)
A Night At The Opera (1935)
A Hard Day’s Night (1964)
The Manchurian Candidate (1962)
The Manchurian Candidate (2004)
The Parallax View (1974)
Singin’ In The Rain (1952)
A Clockwork Orange (1971)
Planet of the Apes (1968)
Conquest of the Planet of the Apes (1972)
Close Encounters of the Third Kind (1977)
E.T. The Extra-Terrestrial (1982)
Jaws (1975)
The Stepford Wives (1975)
The Party (1968)
The Return of the Pink Panther (1975)
The Pink Panther Strikes Again (1976)
Richard Pryor: Live In Concert (1979)
Richard Pryor: Live And Smokin’ (1971)
Jo Jo Dancer, Your Life Is Calling (1986)
Dolemite Is My Name (2019)
Lenny (1974)
The Human Centipede (First Sequence) (2009)
Lolita (1962)
Caligula (1979)
The Night of the Iguana (1964)
The Elephant Man (1980)
What Would Jack Do? (2020)
Blue Velvet (1986)
The Apartment (1960)
Some Like It Hot (1959)
Double Indemnity (1944)
The Sting (1973)
Butch Cassidy And The Sundance Kid...
Show Notes: Movies Referenced In This Episode
1917 (2019)
Animal Crackers (1930)
Duck Soup (1933)
My Little Chickadee (1940)
A Night At The Opera (1935)
A Hard Day’s Night (1964)
The Manchurian Candidate (1962)
The Manchurian Candidate (2004)
The Parallax View (1974)
Singin’ In The Rain (1952)
A Clockwork Orange (1971)
Planet of the Apes (1968)
Conquest of the Planet of the Apes (1972)
Close Encounters of the Third Kind (1977)
E.T. The Extra-Terrestrial (1982)
Jaws (1975)
The Stepford Wives (1975)
The Party (1968)
The Return of the Pink Panther (1975)
The Pink Panther Strikes Again (1976)
Richard Pryor: Live In Concert (1979)
Richard Pryor: Live And Smokin’ (1971)
Jo Jo Dancer, Your Life Is Calling (1986)
Dolemite Is My Name (2019)
Lenny (1974)
The Human Centipede (First Sequence) (2009)
Lolita (1962)
Caligula (1979)
The Night of the Iguana (1964)
The Elephant Man (1980)
What Would Jack Do? (2020)
Blue Velvet (1986)
The Apartment (1960)
Some Like It Hot (1959)
Double Indemnity (1944)
The Sting (1973)
Butch Cassidy And The Sundance Kid...
- 3/10/2020
- by Kris Millsap
- Trailers from Hell
“I’m stuck to the bed with brain zaps in my head,” singer-songwriter Joanna Sternberg intones on the opening track of their debut album, Then I Try Some More. Playing by themself on piano, “This Is Not Who I Want To Be” narrates a brutally difficult period in the 27 year-old singer’s life. “That song is about when I was going through heroin withdrawal and I should’ve been in a hospital, but I did it in my room and I literally just wrote that song as it was happening to me,...
- 8/16/2019
- by Jonathan Bernstein
- Rollingstone.com
Christopher Knopf, the prolific screenwriter behind Emperor of the North, 20 Million Miles to Earth and a host of TV Westerns in the 1950s and '60s, has died. He was 91.
Knopf died Wednesday of congestive heart failure at his home in Santa Monica, his wife of 44 years, Lorraine, told The Hollywood Reporter.
Knopf wrote for the CBS Western Zane Grey Theater, starring Dick Powell, and its spinoff, Trackdown, starring Robert Culp; penned the pilot episode for ABC's The Big Valley; and created CBS' Cimarron Strip, starring Stuart Whitman.
His much-admired television work also included 1977's Scott Joplin: King of Ragtime (for which he ...
Knopf died Wednesday of congestive heart failure at his home in Santa Monica, his wife of 44 years, Lorraine, told The Hollywood Reporter.
Knopf wrote for the CBS Western Zane Grey Theater, starring Dick Powell, and its spinoff, Trackdown, starring Robert Culp; penned the pilot episode for ABC's The Big Valley; and created CBS' Cimarron Strip, starring Stuart Whitman.
His much-admired television work also included 1977's Scott Joplin: King of Ragtime (for which he ...
- 2/16/2019
- The Hollywood Reporter - Movie News
It’s not hard to see why someone imagined a stage musical could be made out of “The Sting,” the 1973 Oscar Best Picture winner starring Paul Newman and Robert Redford as Depression-era con artists who pull off the ultimate heist. After all, George Roy Hill’s artfully constructed film leaned heavily on Scott Joplin’s ragtime tunes — providing fodder for many a ’70s-era student-piano recital rendition of “The Entertainer” and “Rose Leaf Rag.”
There’s much to admire in the new stage musical version of “The Sting,” which opened Sunday for a pre-Broadway run at the Paper Mill Playhouse in Millburn, New Jersey — starting with the tap-tastic choreography of Tony winner Warren Carlyle, whose ensemble work is truly showstopping here.
The production has found an emerging star in J. Harrison Ghee as Booker, the green hothead con artist that Redford played on screen, even elevating a racial subplot of the film (Redford’s Booker was called a “n-word-lover” for helping a black man on the street) into a front-and-center element of the story. Ghee has a spry energy that suits his impetuous character, and a golden voice to match.
Also Read: 'Three Tall Women' Broadway Review: Glenda Jackson Charges Into the Night
Ghee almost manages to upstage the show’s above-the-marquee star, Harry Connick Jr., as Booker’s older, wiser con-artist mentor, first played by Newman in the film. Here, his wizard-like character, Gondorff, is introduced as a “piano monkey in a whorehouse” who spends more time tickling the ivories as he does palming cards or picking pockets.
Connick is a wiz at the piano, of course, riffing on Mark Hollman’s deliberately Joplin-esque score on stage, and he also proves to be surprisingly nimble on his feet during dance numbers like the Act 2 curtain-raiser “This Ain’t No Song and Dance.” (He’s also credited with additional music and lyrics.)
The difficulty is that not all of the movie’s virtues have been successfully integrated into the new medium. Hollman (“Urinetown”) serves up mostly jazz-lite pastiche, and the lyrics by longtime collaborator Greg Kotis seldom do much more than advance the plot or bide time till the next dance break.
Also Read: 'Rocktopia' Broadway Review: Beethoven's Not the Only One Rolling Over in This Musical Mashup
Photo: Evan Zimmerman for MurphyMade
As to the plot: Some of the best lines in Bob Martin’s book are lifted directly from David S. Ward’s original screenplay, and the very structure of musical theater allows us to linger over some of the less felicitous elements of the story.
Take for instance, the women, who were always more like accessories in the original film and again feel like missed opportunities to flesh out parallel romantic subplots. Connick’s brothel-owning buddy and on-again-off-again lover (Kate Shindle) is given a number or two of her own — but not much real agency, or even a duet with Connick’s Gondorff.
The same goes for Janet Dacal’s waitress Loretta, who gets a first-act duet and a second-act torch song but still feels more like an afterthought. When she agrees to invite Hooker into her apartment late in the second act, you can almost feel director John Rando handing notes to Carlyle to find a dance ballet sequence to fill in the gaps in the storytelling.
Also Read: 'Empire Records' to Become Broadway-Bound Musical - Just in Time for Rex Manning Day
Martin’s script has the unfortunate habit of protracting unimportant elements of the story — the overlong show could easily lose 20 minutes, including a drawn-out scene in a Western Union office — while passing up chances to explore other aspects of the story that the film gave short shrift.
There’s a moment when Hooker is on the spot, cornered by the feds who want him to turn on his partner in crime. But he hastily and uncharacteristically agrees, without a moment of reflection, or a song to explore the upsides, downsides or consequences of his apparent act of betrayal.
Despite these flaws, “The Sting” still has the power to enchant with its deliberate artifice and syncopated charm. There’s good reason why the film has forever been associated with “The Entertainer.”
Read original story ‘The Sting’ Theater Review: Harry Connick Jr Aims to Go From Ragtime to Riches At TheWrap...
There’s much to admire in the new stage musical version of “The Sting,” which opened Sunday for a pre-Broadway run at the Paper Mill Playhouse in Millburn, New Jersey — starting with the tap-tastic choreography of Tony winner Warren Carlyle, whose ensemble work is truly showstopping here.
The production has found an emerging star in J. Harrison Ghee as Booker, the green hothead con artist that Redford played on screen, even elevating a racial subplot of the film (Redford’s Booker was called a “n-word-lover” for helping a black man on the street) into a front-and-center element of the story. Ghee has a spry energy that suits his impetuous character, and a golden voice to match.
Also Read: 'Three Tall Women' Broadway Review: Glenda Jackson Charges Into the Night
Ghee almost manages to upstage the show’s above-the-marquee star, Harry Connick Jr., as Booker’s older, wiser con-artist mentor, first played by Newman in the film. Here, his wizard-like character, Gondorff, is introduced as a “piano monkey in a whorehouse” who spends more time tickling the ivories as he does palming cards or picking pockets.
Connick is a wiz at the piano, of course, riffing on Mark Hollman’s deliberately Joplin-esque score on stage, and he also proves to be surprisingly nimble on his feet during dance numbers like the Act 2 curtain-raiser “This Ain’t No Song and Dance.” (He’s also credited with additional music and lyrics.)
The difficulty is that not all of the movie’s virtues have been successfully integrated into the new medium. Hollman (“Urinetown”) serves up mostly jazz-lite pastiche, and the lyrics by longtime collaborator Greg Kotis seldom do much more than advance the plot or bide time till the next dance break.
Also Read: 'Rocktopia' Broadway Review: Beethoven's Not the Only One Rolling Over in This Musical Mashup
Photo: Evan Zimmerman for MurphyMade
As to the plot: Some of the best lines in Bob Martin’s book are lifted directly from David S. Ward’s original screenplay, and the very structure of musical theater allows us to linger over some of the less felicitous elements of the story.
Take for instance, the women, who were always more like accessories in the original film and again feel like missed opportunities to flesh out parallel romantic subplots. Connick’s brothel-owning buddy and on-again-off-again lover (Kate Shindle) is given a number or two of her own — but not much real agency, or even a duet with Connick’s Gondorff.
The same goes for Janet Dacal’s waitress Loretta, who gets a first-act duet and a second-act torch song but still feels more like an afterthought. When she agrees to invite Hooker into her apartment late in the second act, you can almost feel director John Rando handing notes to Carlyle to find a dance ballet sequence to fill in the gaps in the storytelling.
Also Read: 'Empire Records' to Become Broadway-Bound Musical - Just in Time for Rex Manning Day
Martin’s script has the unfortunate habit of protracting unimportant elements of the story — the overlong show could easily lose 20 minutes, including a drawn-out scene in a Western Union office — while passing up chances to explore other aspects of the story that the film gave short shrift.
There’s a moment when Hooker is on the spot, cornered by the feds who want him to turn on his partner in crime. But he hastily and uncharacteristically agrees, without a moment of reflection, or a song to explore the upsides, downsides or consequences of his apparent act of betrayal.
Despite these flaws, “The Sting” still has the power to enchant with its deliberate artifice and syncopated charm. There’s good reason why the film has forever been associated with “The Entertainer.”
Read original story ‘The Sting’ Theater Review: Harry Connick Jr Aims to Go From Ragtime to Riches At TheWrap...
- 4/9/2018
- by Thom Geier
- The Wrap
By Lee Pfeiffer
I've become somewhat jaded and downright cynical when it comes to the tidal wave of musical stage productions based on popular, non-musical motion pictures. So it was with a sense of wariness that I approached the world premiere engagement of "The Sting" at the Papermill Playhouse in Millburn, NJ. After all, the classic, Oscar-winning 1973 film doesn't need musical production numbers to "improve it". There was already a great deal of interest in the production prior to the relatively last-minute announcement last month that the production would star Harry Connick, Jr. That sent already healthy tickets sales into overdrive and you'd be hard-pressed to find seats for the engagement, which runs through April 29. It doesn't take long to set aside one's suspicions that this might be a lightweight rip-off of a great film. As with all Papermill shows, this one first impresses with its creative and often ingenious...
I've become somewhat jaded and downright cynical when it comes to the tidal wave of musical stage productions based on popular, non-musical motion pictures. So it was with a sense of wariness that I approached the world premiere engagement of "The Sting" at the Papermill Playhouse in Millburn, NJ. After all, the classic, Oscar-winning 1973 film doesn't need musical production numbers to "improve it". There was already a great deal of interest in the production prior to the relatively last-minute announcement last month that the production would star Harry Connick, Jr. That sent already healthy tickets sales into overdrive and you'd be hard-pressed to find seats for the engagement, which runs through April 29. It doesn't take long to set aside one's suspicions that this might be a lightweight rip-off of a great film. As with all Papermill shows, this one first impresses with its creative and often ingenious...
- 4/7/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Tonight Paper Mill Playhousekicks off the world premiere production of the new musical The Sting, based on the 1973 film, and with book by Bob Martin, music and lyrics by Mark Hollmann amp Greg Kotis with Harry Connick, Jr. In addition, the score will contain music by Scott Joplin including The Entertainer. John Rando is set to direct with choreography by Warren Carlyle and music direction by Fred Lassen.
- 3/29/2018
- by BWW News Desk
- BroadwayWorld.com
Dwayne “The Rock” Johnson just added another skill to his already impressive resume: playing the piano — with his feet!
The wrestler-turned-actor, 45, fulfilled his childhood dream of learning to play a song with the musical instrument… but with a twist.
“As a kid I had this dream of playing my favorite ragtime song, ‘The Entertainer’ from Marvin Hamlisch on piano. But I truly sucked at piano. Until I started using my feet,” he captioned the Instagram video shared Sunday afternoon.
The tune, written by jazz musician Scott Joplin, was popularly adapted by Hamlisch for the film classic The Sting in 1973.
“And...
The wrestler-turned-actor, 45, fulfilled his childhood dream of learning to play a song with the musical instrument… but with a twist.
“As a kid I had this dream of playing my favorite ragtime song, ‘The Entertainer’ from Marvin Hamlisch on piano. But I truly sucked at piano. Until I started using my feet,” he captioned the Instagram video shared Sunday afternoon.
The tune, written by jazz musician Scott Joplin, was popularly adapted by Hamlisch for the film classic The Sting in 1973.
“And...
- 1/29/2018
- by Stephanie Petit
- PEOPLE.com
Pete Dillon-Trenchard Jun 3, 2017
Doctor Who series 10 episode 8: join as we dig deeper into The Lie Of The Land...
Everything’s wrapped up, and much later than usual… After three episodes, we’ve finally said goodbye to the Monks. Fortunately, we’ve not said goodbye to our weekly round-up of references, similarities and general observations, so here’s our guide to this week’s episode… If you’re more eagle-eyed than we are, let us know what you’ve seen in the comments below!
See related Gambit movie delay explained Gambit movie still on, Channing Tatum still attached Gambit: Simon Kinberg on why the film was delayed
The Memory Cheats
Though this is the first time the human race’s memories have been rewritten en masse (as opposed to time itself being rewritten, which has happened on multiple occasions, particularly since 2005), individuals’ memories have been played with from time to time,...
Doctor Who series 10 episode 8: join as we dig deeper into The Lie Of The Land...
Everything’s wrapped up, and much later than usual… After three episodes, we’ve finally said goodbye to the Monks. Fortunately, we’ve not said goodbye to our weekly round-up of references, similarities and general observations, so here’s our guide to this week’s episode… If you’re more eagle-eyed than we are, let us know what you’ve seen in the comments below!
See related Gambit movie delay explained Gambit movie still on, Channing Tatum still attached Gambit: Simon Kinberg on why the film was delayed
The Memory Cheats
Though this is the first time the human race’s memories have been rewritten en masse (as opposed to time itself being rewritten, which has happened on multiple occasions, particularly since 2005), individuals’ memories have been played with from time to time,...
- 6/3/2017
- Den of Geek
Last month the White House hosted the musical tribute “Bet Presents Love & Happiness: An Obama Celebration.” The event was televised on Tuesday, November 15 on Bet and served as a love letter to President Barack Obama and First Lady Michelle Obama.
The celebration, which Dave Chappelle referenced in his “SNL” monologue and joked about Bradley Cooper being the only “white guy,” included performances from Jill Scott, Janelle Monaé, Common, Usher, Bell Biv DeVoe, The Roots, De La Soul, Yolanda Adams, Michelle Williams, Kierra Sheard, and “Hamilton” star Leslie Odom, Jr.
Obama began the night by saying some words on how special the event was, “It’s with a little bit of bitter-sweetness that this is our final musical evening as president and First Lady.”
He then explained the history of holding live performances at the White House and described how Chester A. Arthur opened the doors to the all-black Fisk Jubilee Singers,...
The celebration, which Dave Chappelle referenced in his “SNL” monologue and joked about Bradley Cooper being the only “white guy,” included performances from Jill Scott, Janelle Monaé, Common, Usher, Bell Biv DeVoe, The Roots, De La Soul, Yolanda Adams, Michelle Williams, Kierra Sheard, and “Hamilton” star Leslie Odom, Jr.
Obama began the night by saying some words on how special the event was, “It’s with a little bit of bitter-sweetness that this is our final musical evening as president and First Lady.”
He then explained the history of holding live performances at the White House and described how Chester A. Arthur opened the doors to the all-black Fisk Jubilee Singers,...
- 11/16/2016
- by Liz Calvario
- Indiewire
Sarah Dobbs Oct 24, 2016
Excellent TV musical Crazy Ex-Girlfriend is back on The CW and Netflix here in the UK. Here's our season 2 premiere review...
This review contains spoilers.
See related Impractical Jokers: funny, silly, and well worth watching Homes Under The Hammer: the most comforting show on TV Red Dwarf XI episode 6 review: Can Of Worms Zapped episode 1 review Count Arthur Strong and the comforts of traditional sitcom
2.1 Where Is Josh's Friend?
When we last saw Crazy Ex-Girlfriend’s Rebecca Bunch, she thought she’d finally got everything she wanted. The show’s first season saw her give up on her blossoming New York law career to follow an ex-boyfriend across the country and start afresh in the small town of West Covina – only to discover that the ex in question, Josh, was in a long-term relationship with someone else. Cue a season’s worth of pining, scheming, and terrible decisions in general.
Excellent TV musical Crazy Ex-Girlfriend is back on The CW and Netflix here in the UK. Here's our season 2 premiere review...
This review contains spoilers.
See related Impractical Jokers: funny, silly, and well worth watching Homes Under The Hammer: the most comforting show on TV Red Dwarf XI episode 6 review: Can Of Worms Zapped episode 1 review Count Arthur Strong and the comforts of traditional sitcom
2.1 Where Is Josh's Friend?
When we last saw Crazy Ex-Girlfriend’s Rebecca Bunch, she thought she’d finally got everything she wanted. The show’s first season saw her give up on her blossoming New York law career to follow an ex-boyfriend across the country and start afresh in the small town of West Covina – only to discover that the ex in question, Josh, was in a long-term relationship with someone else. Cue a season’s worth of pining, scheming, and terrible decisions in general.
- 10/24/2016
- Den of Geek
It’s a new season of Crazy Ex-Girlfriend, and yes, Rebecca Bunch is still crazy. Or, as she puts it in her new theme song, “adorably obsessed.”
Friday’s Season 2 premiere picks up right where we left off, with Rebecca finally hooking up with her lifelong crush Josh Chan — and her confession that she moved all the way to West Covina to be with him. On the drive home, a dumbfounded (or just dumb) Josh tries to process this: “You moved here for me?” Rebecca snaps into lawyer mode, playing it off as no big deal and then flat-out denying...
Friday’s Season 2 premiere picks up right where we left off, with Rebecca finally hooking up with her lifelong crush Josh Chan — and her confession that she moved all the way to West Covina to be with him. On the drive home, a dumbfounded (or just dumb) Josh tries to process this: “You moved here for me?” Rebecca snaps into lawyer mode, playing it off as no big deal and then flat-out denying...
- 10/22/2016
- TVLine.com
Bill Curran reporting from the New York Film Festival. Hot takes on two titles...
Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self.
Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self.
- 9/29/2016
- by Bill Curran
- FilmExperience
It’s probably a good sign when a character’s name alone is funny enough to get a laugh: Joss Whedon‘s guest-starring role in Season 2 of Comedy Central’s Another Period is… Duane Reade, our sister site Deadline reports. Cedric the Entertainer will play composer Scott Joplin.
RelatedCable/Streaming Renewal Scorecard 2016: What’s Coming Back? What’s Cancelled? What’s On the Bubble?
Whedon’s pharmacist will, since the series is set in the early 1900s, refuse to sell Riki Lindhome’s dim-witted Lillian a condom, the actress explained, “because she’s a woman, therefore a slut, and they’re illegal,...
RelatedCable/Streaming Renewal Scorecard 2016: What’s Coming Back? What’s Cancelled? What’s On the Bubble?
Whedon’s pharmacist will, since the series is set in the early 1900s, refuse to sell Riki Lindhome’s dim-witted Lillian a condom, the actress explained, “because she’s a woman, therefore a slut, and they’re illegal,...
- 6/25/2016
- TVLine.com
As the second season of “Another Period” gets underway on Comedy Central on Wednesday, the show welcomes a slew of guest stars, including Perez Hilton, Adam Pally, Joss Whedon, June Diane Raphael, Lauren Lapkus and Jemaine Clement. “Basically we just try to get our favorite people,” Natasha Leggero explained to TheWrap’s Stuart Brazell, revealing that Andrew Rannells will also guest star on the period comedy as a love interest of one of the main characters. Starring and co-created by Leggero and Riki Lindhome, “Another Period” will also host Cedric the Entertainer, who plays Scott Joplin “in like a Kanye manner.
- 6/15/2016
- by Reid Nakamura
- The Wrap
Jon Batiste gets off the elevator and doesn't say a word to the percussionists already tapping out rhythms for a rooftop soundcheck at New York's NoMad Hotel — he just plops down at the white Steinway and joins in. There's not much of an audience beyond a handful of photographers, a soundman and some staff steaming a white tablecloth for a makeshift bar. Still, he's performing: winking and smiling at everyone, digging into the keys, laughing, shouting. Until he gets up from his stool maybe a half-hour later, he doesn't ever...
- 8/5/2015
- Rollingstone.com
This week marks the 10th anniversary of the release of "Crash" (on May 6, 2005), an all-star movie whose controversy came not from its provocative treatment of racial issues but from its Best Picture Oscar victory a few months later, against what many critics felt was a much more deserving movie, "Brokeback Mountain."
The "Crash" vs. "Brokeback" battle is one of those lingering disputes that makes the Academy Awards so fascinating, year after year. Moviegoers and critics who revisit older movies are constantly judging the Academy's judgment. Even decades of hindsight may not always be enough to tell whether the Oscar voters of a particular year got it right or wrong. Whether it's "Birdman" vs. "Boyhood," "The King's Speech" vs. "The Social Network," "Saving Private Ryan" vs. "Shakespeare in Love" or even "An American in Paris" vs. "A Streetcar Named Desire," we're still confirming the Academy's taste or dismissing it as hopelessly off-base years later.
The "Crash" vs. "Brokeback" battle is one of those lingering disputes that makes the Academy Awards so fascinating, year after year. Moviegoers and critics who revisit older movies are constantly judging the Academy's judgment. Even decades of hindsight may not always be enough to tell whether the Oscar voters of a particular year got it right or wrong. Whether it's "Birdman" vs. "Boyhood," "The King's Speech" vs. "The Social Network," "Saving Private Ryan" vs. "Shakespeare in Love" or even "An American in Paris" vs. "A Streetcar Named Desire," we're still confirming the Academy's taste or dismissing it as hopelessly off-base years later.
- 5/6/2015
- by Gary Susman
- Moviefone
Matt Berry is on fine form guest-starring as a vainglorious grifter in this week's Community, an homage to movie classic The Sting...
This review contains spoilers.
6.9 Grifting 101
Full-on parodies have been in short supply this season and it's with some gusto that the latest episode lampoons 1973's Best Picture winner The Sting. Like the movie and the episode itself, this review will be about 20% hand-drawn. You should also probably play this in the background as you read...
Grifting 101 is the first episode of the season to find the students among our group - Abed, Annie, Britta, Chang and Elroy - actually going to class. Specifically, they're wound up about the titular class, where they expect to become master con-artists. Jeff is sceptical (and maybe a little jealous) which only spurs the group on further.
But when their double-dealing professor (played by the one and only Matt Berry) charges them $150 for...
This review contains spoilers.
6.9 Grifting 101
Full-on parodies have been in short supply this season and it's with some gusto that the latest episode lampoons 1973's Best Picture winner The Sting. Like the movie and the episode itself, this review will be about 20% hand-drawn. You should also probably play this in the background as you read...
Grifting 101 is the first episode of the season to find the students among our group - Abed, Annie, Britta, Chang and Elroy - actually going to class. Specifically, they're wound up about the titular class, where they expect to become master con-artists. Jeff is sceptical (and maybe a little jealous) which only spurs the group on further.
But when their double-dealing professor (played by the one and only Matt Berry) charges them $150 for...
- 5/5/2015
- by louisamellor
- Den of Geek
Song. Dance. Sketch. These are three things that Maya Rudolph is planning to bring back to prime time — along with a good time. The Maya Rudolph Show, a variety special that airs May 19 at 10 p.m. on NBC, will take the Saturday Night Live vet to familiar places with familiar faces: SNL alums Fred Armisen, Andy Samberg, and Chris Parnell, along with Sean Hayes, Kristen Bell, and Craig Robinson, are among the featured guests. (SNL overlord Lorne Michaels is serving as executive producer.) It’s a chance to reunite with some old pals but also bring back a piece of a different past.
- 5/16/2014
- by Dan Snierson
- EW - Inside TV
Stageworks Media just launched the Live From Gramercy Park cabaret series at The Players Club 16 Gramercy Park South. The series kicked-off last night, January 27th, 2014 with Tony nominee Euan Morton, backed by Grandpa Musselman amp His Syncopators. Mr. Morton and the six-piece jazz ensemble performed a repertoire of turn of the century ragtime, 1920s jazz and depression-era swing by composers such as Scott Joplin, Jelly Roll Morton and Duke Ellington. Check out photos from the concert below...
- 1/28/2014
- by Walter McBride
- BroadwayWorld.com
1973's The Sting took it global, but there's more to ragtime music than that film's Keystone Kops crazy-chase soundtrack
Reading on mobile? Click here to listen to The Maple Leaf Rag played by Scott Joplin
One album was all it took to herald a revival. In 1970, the year of Simon & Garfunkel's Bridge Over Troubled Water and The Beatles' Let It Be, a record of arcane late 19th-century American piano music, released on a label that was otherwise building its reputation as a chronicler of the hardcore American avant-garde, began to sell in implausible quantities. Audiences ordinarily enamoured of piano miniatures by Chopin, Brahms and Liszt were suddenly taking pleasure in the compositions of Scott Joplin, the Texas-born "King of Ragtime" whose über-catchy 1899 Maple Leaf Rag brought him immediate popularity, but who died in 1917 with two typically embarrassing composerly problems hanging over him: syphilis and a terminally unproduced opera, Treemonisha,...
Reading on mobile? Click here to listen to The Maple Leaf Rag played by Scott Joplin
One album was all it took to herald a revival. In 1970, the year of Simon & Garfunkel's Bridge Over Troubled Water and The Beatles' Let It Be, a record of arcane late 19th-century American piano music, released on a label that was otherwise building its reputation as a chronicler of the hardcore American avant-garde, began to sell in implausible quantities. Audiences ordinarily enamoured of piano miniatures by Chopin, Brahms and Liszt were suddenly taking pleasure in the compositions of Scott Joplin, the Texas-born "King of Ragtime" whose über-catchy 1899 Maple Leaf Rag brought him immediate popularity, but who died in 1917 with two typically embarrassing composerly problems hanging over him: syphilis and a terminally unproduced opera, Treemonisha,...
- 1/22/2014
- The Guardian - Film News
Think of Marvin Hamlisch, and it's impossible not to think of many of the most memorable film and stage melodies of the past 40-plus years.
The late, hugely personable talent and very rare Pegot -- winner of a Pulitzer Prize, four Emmy Awards, four Grammys, three Oscars and a Tony -- composed some artists' biggest hits, such as Barbra Streisand's "The Way We Were" and Carly Simon's "Nobody Does It Better" (from the James Bond movie "The Spy Who Loved Me"), and refitted Scott Joplin's ragtime sounds for "The Sting."
Hamlisch also gave Broadway the hits "A Chorus Line" and "They're Playing Our Song" and kept at his craft to the end, scoring the HBO drama "Behind the Candelabra" just before his passing in August 2012.
The PBS series "American Masters" ends its 27th season with producer-director-writer Dori Berinstein's documentary "Marvin Hamlisch: What He Did for Love" Friday,...
The late, hugely personable talent and very rare Pegot -- winner of a Pulitzer Prize, four Emmy Awards, four Grammys, three Oscars and a Tony -- composed some artists' biggest hits, such as Barbra Streisand's "The Way We Were" and Carly Simon's "Nobody Does It Better" (from the James Bond movie "The Spy Who Loved Me"), and refitted Scott Joplin's ragtime sounds for "The Sting."
Hamlisch also gave Broadway the hits "A Chorus Line" and "They're Playing Our Song" and kept at his craft to the end, scoring the HBO drama "Behind the Candelabra" just before his passing in August 2012.
The PBS series "American Masters" ends its 27th season with producer-director-writer Dori Berinstein's documentary "Marvin Hamlisch: What He Did for Love" Friday,...
- 12/27/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Review Michael Noble 29 Oct 2013 - 16:04
Boardwalk Empire delivers yet another great episode, showcasing the character's performative aspects...
This review contains spoilers.
4.8 The Old Ship of Zion
‘The Jazz Age’, they called it. The term came to mean rather more than music, but, like so much of culture, songs were at the heart of things. It was the era of Duke Ellington, Fats Waller and Louis Armstrong; the decade of George and Ira Gershwin, Scott Joplin, ragtime, the Charleston and of course, the blues. It was the age of Bessie Smith and Chalky’s beloved Ma Rainey, whose Farewell Daddy Blues will yet resonate through our fictional world.
In that world it’s also the age of Daughter Maitland, whose exquisite, sensual performances have become standard features of this current run of episodes. Part of Boardwalk Empire’s success as a period piece has been achieved through an evocation of...
Boardwalk Empire delivers yet another great episode, showcasing the character's performative aspects...
This review contains spoilers.
4.8 The Old Ship of Zion
‘The Jazz Age’, they called it. The term came to mean rather more than music, but, like so much of culture, songs were at the heart of things. It was the era of Duke Ellington, Fats Waller and Louis Armstrong; the decade of George and Ira Gershwin, Scott Joplin, ragtime, the Charleston and of course, the blues. It was the age of Bessie Smith and Chalky’s beloved Ma Rainey, whose Farewell Daddy Blues will yet resonate through our fictional world.
In that world it’s also the age of Daughter Maitland, whose exquisite, sensual performances have become standard features of this current run of episodes. Part of Boardwalk Empire’s success as a period piece has been achieved through an evocation of...
- 10/29/2013
- by louisamellor
- Den of Geek
There's obviously a market out there for sequels — just look at the summer movie release schedule and you'll find at least one a week. And hey, sometimes a film leaves us wondering what happens next.
But sometimes there are films that had no need for a part two, where audiences left the theater the first go-round and said, "I'm good." And in the case of these ten films, we've got the numbers to prove it!
Hollywood, heed our wisdom: Sometimes it's best to just leave well enough alone.
10. 'Dirty Dancing: Havana Nights' (2004) — Sequel to 'Dirty Dancing' (1987)
• "Dirty Dancing": $62,811,299
• "Dirty Dancing: Havana Nights": $14,140,215
So you had the time of your life in 1987? Big deal. You can't relive the magic 17 years later by conceiving a half-hearted retread set against the backdrop of revolutionary Cuba. Really, this film has nothing to do with the original, save for a brief Patrick Swayze cameo.
But sometimes there are films that had no need for a part two, where audiences left the theater the first go-round and said, "I'm good." And in the case of these ten films, we've got the numbers to prove it!
Hollywood, heed our wisdom: Sometimes it's best to just leave well enough alone.
10. 'Dirty Dancing: Havana Nights' (2004) — Sequel to 'Dirty Dancing' (1987)
• "Dirty Dancing": $62,811,299
• "Dirty Dancing: Havana Nights": $14,140,215
So you had the time of your life in 1987? Big deal. You can't relive the magic 17 years later by conceiving a half-hearted retread set against the backdrop of revolutionary Cuba. Really, this film has nothing to do with the original, save for a brief Patrick Swayze cameo.
- 7/31/2013
- by Zach Laws
- NextMovie
Just in time for Christmas, and to celebrate its release on blu-ray earlier this year, we are giving three lucky readers the opportunity to win a copy of The Sting Limited Edition Digibook, which was launched to celebrate Universal Studios’ 100th anniversary.
In 1930s Illinois, young hustler Johnny Hooker (Robert Redford) vows revenge after his older partner (Robert Earl Jones) is murdered at the behest of kingpin Doyle Lonnegan (Robert Shaw) in retribution for a con pulled on one of his runners. Travelling to Chicago, Hooker teams up with old hand Henry Gondorff (Paul Newman), and together they plan the ultimate ‘sting’ against Donnegan. This re-teaming of Robert Redford and Paul Newman, following the success of ‘Butch Cassidy and the Sundance Kid’, won seven Oscars and helped repopularize the music of Scott Joplin, which features heavily on Marvin Hamlisch’s soundtrack.
The Sting Limited Edition Digibook is available to buy now.
In 1930s Illinois, young hustler Johnny Hooker (Robert Redford) vows revenge after his older partner (Robert Earl Jones) is murdered at the behest of kingpin Doyle Lonnegan (Robert Shaw) in retribution for a con pulled on one of his runners. Travelling to Chicago, Hooker teams up with old hand Henry Gondorff (Paul Newman), and together they plan the ultimate ‘sting’ against Donnegan. This re-teaming of Robert Redford and Paul Newman, following the success of ‘Butch Cassidy and the Sundance Kid’, won seven Oscars and helped repopularize the music of Scott Joplin, which features heavily on Marvin Hamlisch’s soundtrack.
The Sting Limited Edition Digibook is available to buy now.
- 11/15/2012
- by Simon Gallagher
- Obsessed with Film
Previously, On Warehouse 13
This episode continues this season's combination of fun artifact searches with an overwhelming sense of dread.
Artie is feeling particularly crusty (constant nightmares about a dagger-wielding pixie will do that), and assigns both teams an artifact search. Okay, business as usual, but this time Pete will team up with Claudia, and Myka will work with Steve. Oh, Okay! Um, this is great ... really it is. In a completely unnatural and never let it happen again way.
How did each team fare? Let's take a look, starting with Steve and Myka.
"Well .... this is awkward."
"I'll have you know I'm just as much fun as Claudia!"
"Yes, Myka, I'm sure you are."
The duo head to New Orleans to investigate a therapist whose patients have undergone miraculous overnight recoveries. No, it's not Abilify, it's artifact juju. They talk to the doctor, who tells them that over the past three months,...
This episode continues this season's combination of fun artifact searches with an overwhelming sense of dread.
Artie is feeling particularly crusty (constant nightmares about a dagger-wielding pixie will do that), and assigns both teams an artifact search. Okay, business as usual, but this time Pete will team up with Claudia, and Myka will work with Steve. Oh, Okay! Um, this is great ... really it is. In a completely unnatural and never let it happen again way.
How did each team fare? Let's take a look, starting with Steve and Myka.
"Well .... this is awkward."
"I'll have you know I'm just as much fun as Claudia!"
"Yes, Myka, I'm sure you are."
The duo head to New Orleans to investigate a therapist whose patients have undergone miraculous overnight recoveries. No, it's not Abilify, it's artifact juju. They talk to the doctor, who tells them that over the past three months,...
- 8/14/2012
- by snicks
- The Backlot
Oscar-winning composer who found success on Broadway with A Chorus Line
The American musician Marvin Hamlisch, who has died aged 68 after a short illness, won three Oscars, four Emmys, four Grammys and a Tony award in the course of composing A Chorus Line and a host of movie soundtracks, including The Sting and The Way We Were. Barbra Streisand, who starred in the latter film alongside Robert Redford, praised Hamlisch for "his brilliantly quick mind, his generosity and delicious sense of humour, which made him a delight to be around".
Hamlisch began his professional career working as a rehearsal pianist for Streisand's Broadway show Funny Girl. A meeting with the film producer Sam Spiegel led to his first film score, for The Swimmer (1968), and he then worked on the early Woody Allen movies Take the Money and Run (1969) and Bananas (1971).
By the early 1970s, Hamlisch was on a spectacular creative...
The American musician Marvin Hamlisch, who has died aged 68 after a short illness, won three Oscars, four Emmys, four Grammys and a Tony award in the course of composing A Chorus Line and a host of movie soundtracks, including The Sting and The Way We Were. Barbra Streisand, who starred in the latter film alongside Robert Redford, praised Hamlisch for "his brilliantly quick mind, his generosity and delicious sense of humour, which made him a delight to be around".
Hamlisch began his professional career working as a rehearsal pianist for Streisand's Broadway show Funny Girl. A meeting with the film producer Sam Spiegel led to his first film score, for The Swimmer (1968), and he then worked on the early Woody Allen movies Take the Money and Run (1969) and Bananas (1971).
By the early 1970s, Hamlisch was on a spectacular creative...
- 8/8/2012
- by Adam Sweeting
- The Guardian - Film News
One of the most revered and recognizable Broadway and Hollywood composers of the last fifty years passed away suddenly at the age of 68 yesterday - Marvin Hamlisch. Today we will celebrate his life with a collection of some of the most memorable and history-making clips culled from his many endeavors over his rich forty-year career. Carly Simon once comically recounted that when she first met Marvin Hamlisch on the day he played her what would become one of her biggest hits, the theme song for the 1977 James Bond film The Spy Who Loved Me, Nobody Does It Better, she had also arranged a meeting with a new lawyer and when she answered the door at her home it was a toss-up which would arrive first - it turned out to be Hamlisch, yet she didnt realize it until the unassuming figure sat down at the piano and began to play.
- 8/8/2012
- by Pat Cerasaro
- BroadwayWorld.com
Marvin Hamlisch, a composer who moved effortlessly from movies to musical theatre to television, winning Grammys, Emmys, Oscars and a Tony award, died unexpectedly on Monday, August 6, at the age of 68 after a brief illness. Hamlisch and Richard Rodgers are the only two composers who have won all of those awards as well as a Pulitzer Prize. As the composer of “A Chorus Line,” Hamlisch shared the Pulitzer Prize for Drama in 1976. Hamlisch’s award-winning work spans decades. He won his first two Oscars for the score and title song for “The Way We Were” (1973) and collected the third music Oscar offered that year for his adaptation of Scott Joplin’s ragtime music for “The Sting.” He wrote the score or songs for more than 40 movies. Among his Oscar nominations were the score for “Sophie’s Choice” (1982) and the score for “The Spy Who Loves Me.” (1977.) “Nobody...
- 8/7/2012
- by Aljean Harmetz
- Thompson on Hollywood
Marvin Hamlisch, who composed or arranged the scores for dozens of movies including The Sting and the Broadway smash "A Chorus Line," has died in Los Angeles. He was 68.
Hamlisch collapsed and died Monday after a brief illness, his publicist Ken Sunshine said, citing the family. Other details were not released.
Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood, from symphonies to R&B hits. He won every major award in his career, including three Academy Awards, four Emmys, four Grammys, a Tony and three Golden Globes.
The one-time child prodigy's music colored some of Hollywood and Broadway's most important works.
Hamlisch composed more than 40 film scores, including Sophie's Choice, Ordinary People, The Way We Were and Take the Money and Run. He won his third Oscar for his adaptation of Scott Joplin's music for The Sting. His latest work came for Steven Soderbergh's The Informant!
Hamlisch collapsed and died Monday after a brief illness, his publicist Ken Sunshine said, citing the family. Other details were not released.
Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood, from symphonies to R&B hits. He won every major award in his career, including three Academy Awards, four Emmys, four Grammys, a Tony and three Golden Globes.
The one-time child prodigy's music colored some of Hollywood and Broadway's most important works.
Hamlisch composed more than 40 film scores, including Sophie's Choice, Ordinary People, The Way We Were and Take the Money and Run. He won his third Oscar for his adaptation of Scott Joplin's music for The Sting. His latest work came for Steven Soderbergh's The Informant!
- 8/7/2012
- by Cineplex.com and contributors
- Cineplex
Award-winning arranger and producer best known for music from film The Sting and for Barbra Streisand's The Way We Were
Marvin Hamlisch, who composed or arranged the scores for dozens of movies including The Sting and the Broadway smash A Chorus Line, has died in Los Angeles. He was 68.
Hamlisch collapsed and died on Monday after a brief illness, his publicist Ken Sunshine said, citing the family. Other details were not released.
Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood, from symphonies to R&B hits. He won every major award in his career, including three Academy Awards, four Emmys, four Grammys, a Tony and three Golden Globes.
The one-time child prodigy's music coloured some of Hollywood and Broadway's most important works.
Hamlisch composed more than 40 film scores, including Sophie's Choice, Ordinary People, The Way We Were and Take the Money and Run. He won...
Marvin Hamlisch, who composed or arranged the scores for dozens of movies including The Sting and the Broadway smash A Chorus Line, has died in Los Angeles. He was 68.
Hamlisch collapsed and died on Monday after a brief illness, his publicist Ken Sunshine said, citing the family. Other details were not released.
Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood, from symphonies to R&B hits. He won every major award in his career, including three Academy Awards, four Emmys, four Grammys, a Tony and three Golden Globes.
The one-time child prodigy's music coloured some of Hollywood and Broadway's most important works.
Hamlisch composed more than 40 film scores, including Sophie's Choice, Ordinary People, The Way We Were and Take the Money and Run. He won...
- 8/7/2012
- The Guardian - Film News
Los Angeles -- Marvin Hamlisch, who composed the scores for dozens of movies including "The Sting" and won a Tony for "A Chorus Line," has died in Los Angeles at 68.
Family spokesman Jason Lee said Hamlisch died Monday after a brief illness. Other details aren't being released.
Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood.
The composer won every major award in his career, including three Academy Awards, four Emmys, a Tony and three Golden Globes.
His music colored some of film and Broadway's most important works.
Hamlisch composed more than 40 film scores, including "Sophie's Choice," "Ordinary People" and "Take the Money and Run." He won his third Oscar for his adaptation of Scott Joplin's music for "The Sting." On Broadway, Hamlisch received the Pulitzer Prize for long-running favorite "The Chorus Line" and wrote "The Goodbye Girl" and "Sweet Smell of Success." A news release...
Family spokesman Jason Lee said Hamlisch died Monday after a brief illness. Other details aren't being released.
Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood.
The composer won every major award in his career, including three Academy Awards, four Emmys, a Tony and three Golden Globes.
His music colored some of film and Broadway's most important works.
Hamlisch composed more than 40 film scores, including "Sophie's Choice," "Ordinary People" and "Take the Money and Run." He won his third Oscar for his adaptation of Scott Joplin's music for "The Sting." On Broadway, Hamlisch received the Pulitzer Prize for long-running favorite "The Chorus Line" and wrote "The Goodbye Girl" and "Sweet Smell of Success." A news release...
- 8/7/2012
- by AP
- Huffington Post
Marvin Hamlisch, the composer and conductor best known for the torch song "The Way We Were," died Monday. He was 68 years old. Hamlisch collapsed after a brief illness, his family announced. In a career that spanned over four decades, Hamlisch won virtually every major award: three Oscars, four Grammys, four Emmys, a Tony, and three Golden Globes. Hamlisch composed music for more than 40 motion picture, including his Oscar-winning score and song for "The Way We Were," and his adaptation of Scott Joplin's ragtime music for "The Sting," for which he received...
- 8/7/2012
- by Brent Lang
- The Wrap
I’ll admit it, I was a little nervous about speaking with Brent Spiner during a recent press Q&A conference call with him and Warehouse 13 showrunner Jack Kenny. I’d spoken with Jack Kenny before and he’s always been a treat, but Brent Spiner? Who knew he would be such a treat? He and Kenny had a terrific rapport and they were clearly enjoying the banter. They even had a way of making each caller feel like part of the cool kids’ group.
There is one paragraph of spoilers, but you’ll see a warning; otherwise, spoilerphobes have no reason to worry. Make sure to read to the end, as there’s a tantalizing tidbit they tossed in at the very end…
The call was in support of Spiner’s guest arc in the new season of Warehouse 13, so after reporting the terrific ratings for the season premiere,...
There is one paragraph of spoilers, but you’ll see a warning; otherwise, spoilerphobes have no reason to worry. Make sure to read to the end, as there’s a tantalizing tidbit they tossed in at the very end…
The call was in support of Spiner’s guest arc in the new season of Warehouse 13, so after reporting the terrific ratings for the season premiere,...
- 7/30/2012
- by Erin Willard
- ScifiMafia
Cue Scott Joplin music and prepare to have tons of fun with Newman, Redford, and director George Roy Hill. The trio captures much of the magic that happened with Butch Cassidy and the Sundance Kid, as well as capturing Oscar gold. The con is on. Johnny Hooker (Robert Redford) is an up and coming con man under the tutelage of Luther Coleman (Robert Earl Jones). When the duo pull a con and get the purse of gangster Doyle Lonnegan (Robert Shaw) he orders that they two get rubbed out for the offense. Only Luther gets killed and Hooker is on the run. He runs to more experienced con man Henry Gondorff (Paul Newman) to plan revenge against...
- 6/4/2012
- by Jeff Swindoll
- Monsters and Critics
It's no secret that Paula Deen's diabetes diagnosis, its PR aftermath and especially the ongoing feud it fueled between she and Anthony Bourdain have divided Foodista readers. Some feel that Bourdain and the blogosphere are vilifying Deen and that we should be responsible for our own choices. Others side with Bourdain, arguing that Deen should have shared her diagnosis and scaled back her high-fat recipes in the three years between her diagnosis and public announcement.
Author Perry Perkins has an alternate perspective, one he shared in a comment on last week's post and in two separate posts on his blog: the whole feud was manufactured, or at least egged on, to drum up buzz for Bourdain and the Travel Channel.
"This isn't really about Bourdain vs. Deen, it's about Travel Channel vs. Food Network," he wrote. As Perkins has a substantial marketing background, my curiosity was piqued, and I contacted him to learn more.
Author Perry Perkins has an alternate perspective, one he shared in a comment on last week's post and in two separate posts on his blog: the whole feud was manufactured, or at least egged on, to drum up buzz for Bourdain and the Travel Channel.
"This isn't really about Bourdain vs. Deen, it's about Travel Channel vs. Food Network," he wrote. As Perkins has a substantial marketing background, my curiosity was piqued, and I contacted him to learn more.
- 3/7/2012
- by mbrassfield
- Foodista
Charlie Chaplin's City Lights and its live score opened Dan Pritzker's eyes to the possibilities of silent movies. But was choosing Louis Armstrong as his subject a step too far?
I was working on a screenplay about Buddy Bolden, "inventor" of jazz, when I went to a screening of the classic Chaplin silent film City Lights. Dimly lit beneath the silver screen was the Chicago Symphony Orchestra playing the score live. I'd never seen anything like it. By the time the Little Tramp restored the Blind Girl's sight, I had decided to write another film, a silent one about jazz that would be stylistically like films of the Chaplin era.
Bolden's career ended in 1907, when he was committed to an asylum. The concept of there having been an "inventor" of jazz seemed far fetched. Jazz, I figured, developed incrementally, over time. But what if there really was such a person?...
I was working on a screenplay about Buddy Bolden, "inventor" of jazz, when I went to a screening of the classic Chaplin silent film City Lights. Dimly lit beneath the silver screen was the Chicago Symphony Orchestra playing the score live. I'd never seen anything like it. By the time the Little Tramp restored the Blind Girl's sight, I had decided to write another film, a silent one about jazz that would be stylistically like films of the Chaplin era.
Bolden's career ended in 1907, when he was committed to an asylum. The concept of there having been an "inventor" of jazz seemed far fetched. Jazz, I figured, developed incrementally, over time. But what if there really was such a person?...
- 11/11/2011
- The Guardian - Film News
It’s Boardwalk Empire Season 2 time! This week’s episode: “21″. Is this a Mario Brothers-esque allusion to “Season 2, Episode 1,” or is this week’s episode a really far in advance prequel to that Kevin Spacey blackjack movie? After all the ultragraphic violence and sex and twists and turns and gangsters and “Hey I’m Al Capone” and old timey music and cheating and backstabbing and facestabbing and conniving and liquor and surprise square-agent babies in Season 1, how is Terence Winter gonna top it in Season 2? Wait, did I DVR the right show? Brief nudity? Ahhh, I must’ve mistakenly taped an episode of Happily Ever After: Fairy Tales For Every Child. It’s the Princess and the Pea, but the pea is Asian. Well, we’re here, might as well recap it. Lots of Guns and Boobs and Photoshopped Word Balloons after the jump: Season 2 of Boardwalk Empire kicks off...
- 9/26/2011
- by Dan Hopper
- BestWeekEver
Chicago – What would be the circumstance if after a mother dies, the father suddenly comes out as a gay? Writer/director Mike Mills had that situation occur, and created the new film “Beginners,” featuring Christopher Plummer and Ewan McGregor.
The highly personal but unusual story is sublimely handled by the two leads, and given sure guidance both through Mill’s story and direction. His resume includes graphic designer, filmmaker and artist. In 1996 he co-founded The Directors Bureau with Roman Coppola, which included Sofia Coppola.
He then directed advertising campaigns and music videos, and worked in the short documentary form with “Deformers” (2000) and “Paperboys” (2001). His first feature film was the highly acclaimed indie favorite “Thumbsucker” (2005), which won a Special Jury Prize at Sundance. He is married to another indie film director, Miranda July [”You and Me and Everyone We Know”].
The Father (Christopher Plummer) and the Son (Ewan McGregor) in ‘Beginners’
Photo credit: Focus Features
Mike Mills was...
The highly personal but unusual story is sublimely handled by the two leads, and given sure guidance both through Mill’s story and direction. His resume includes graphic designer, filmmaker and artist. In 1996 he co-founded The Directors Bureau with Roman Coppola, which included Sofia Coppola.
He then directed advertising campaigns and music videos, and worked in the short documentary form with “Deformers” (2000) and “Paperboys” (2001). His first feature film was the highly acclaimed indie favorite “Thumbsucker” (2005), which won a Special Jury Prize at Sundance. He is married to another indie film director, Miranda July [”You and Me and Everyone We Know”].
The Father (Christopher Plummer) and the Son (Ewan McGregor) in ‘Beginners’
Photo credit: Focus Features
Mike Mills was...
- 6/6/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Director Mike Mills' film "Beginners" is about a young man named Oliver (Ewan McGregor) who learns his elderly father has both terminal cancer and a young male lover, and how Oliver tries to love a woman with the life lessons this dying father gives him. Mills wrote the screenplay based loosely on recollections of his own childhood. Likewise the film's refined soundtrack plays like an aural collage of memories from his parent's record collection.
"It's a part of a portrait of my parents," Mills told IFC's Matt Singer about the half classical, half old-timey piano rag soundtrack. "My dad was really into classical music and it really suits that character to me. I got into Bach cello suites and I had them done in French horn, it's a nice background for that part of the story," Mills said. "And then, my mom really listened to "The Sting" score, Scott Joplin...
"It's a part of a portrait of my parents," Mills told IFC's Matt Singer about the half classical, half old-timey piano rag soundtrack. "My dad was really into classical music and it really suits that character to me. I got into Bach cello suites and I had them done in French horn, it's a nice background for that part of the story," Mills said. "And then, my mom really listened to "The Sting" score, Scott Joplin...
- 5/25/2011
- by Brandon Kim
- ifc.com
Michael York dashes onto the cinematic scene as the blundering but very enthusiastic D'Artagnan in Richard Lester's hugely enjoyable period comic romp. The late great Roy Kinnear is the long-suffering vassal of aristocratic swordsmen Oliver Reed, Richard Chamberlain and Frank Finlay, whilst Raquel Welch and Faye Dunaway shine as heroine and villainess, respectively. Producers Alexander and Ilya Salkind filmed the following year's sequel back-to-back with this more successful first part, which approach they would revisit shortly for Superman and Superman II. Dumas with wit, energy and integrity.
Notable Quotable: "That man in his time has insulted me, broken my father's sword, had me clubbed to the ground, laid violent hands on the woman I love! He is inconvenient. "
Martin Anderson
Mike Nichols and Buck Henry achieve what seemed impossible, at least on the evidence of an earlier attempt: to transliterate the pitch-dark war humour of Joseph Heller into a cohesive,...
Notable Quotable: "That man in his time has insulted me, broken my father's sword, had me clubbed to the ground, laid violent hands on the woman I love! He is inconvenient. "
Martin Anderson
Mike Nichols and Buck Henry achieve what seemed impossible, at least on the evidence of an earlier attempt: to transliterate the pitch-dark war humour of Joseph Heller into a cohesive,...
- 5/12/2011
- Shadowlocked
Did you find yourself humming a few bars of Scott Joplin’s “The Entertainer” this morning? Then I assume who watched NBC’s block of 30 Rock and The Office last night. Both show’s featured subplots right out of the movie The Sting — or as Michael Scott called it, The Stinger. On 30 Rock, a suddenly savvy Kenneth teamed up with Jenna and guest Kelsey Grammer to swindle Carvel out of its ice-cream fortune. It was a classic Arizona double-back. Or something. Check it out:
Can’t argue with the results: $800 split three ways. The Best Friends’ Gang strikes again!
Can’t argue with the results: $800 split three ways. The Best Friends’ Gang strikes again!
- 10/22/2010
- by Jeff Labrecque
- EW.com - PopWatch
Ugly Betty traveled to the Bahamas this week, running into singing sensation Shakira along the way.
Therefore, fans were in for a treat as the latest selection of Ugly Betty music included a couple of songs by that mover and shaker.
Follow the link above for a complete look at songs from the episode, a few of which are listed below:
Scott Joplin - "Maple Leaf Rag" Barry White - "Never, Never Gonna Give You Up" Love Grenades - "Young Lovers"...
Therefore, fans were in for a treat as the latest selection of Ugly Betty music included a couple of songs by that mover and shaker.
Follow the link above for a complete look at songs from the episode, a few of which are listed below:
Scott Joplin - "Maple Leaf Rag" Barry White - "Never, Never Gonna Give You Up" Love Grenades - "Young Lovers"...
- 12/5/2009
- by matt@iscribelimited.com (M.L. House)
- TVfanatic
Stumped for what to buy your friends and family this year? Forget the socks and chocs and bubble bath – our critics have chosen 40 of the best music, film and TV box sets
Pop by Kitty Empire
1 The Beatles Remastered Stereo Box Set (Parlophone)
At £145, the Beatles box set probably costs roughly what a small car did in the early 1960s. But the startling detail on these CDs will repay the outlay for Beatles nerds and mere mortals alike. Its sister release, The Beatles in Mono – 1960s scooter prices, at a guess – is even more desirable, audiophiles reckon.
2 Kraftwerk The Catalogue (Mute/Emi)
Eight albums by the electronic Beatles, dating from 1974's Autobahn, all gleamingly remastered. Costing considerably less than one of Ralf Hütter's beloved bicycles, this is the master text of most electronic genres – electro, techno, even hip-hop – today.
3 Spiritualized Ladies and Gentlemen We Are Floating in Space Deluxe...
Pop by Kitty Empire
1 The Beatles Remastered Stereo Box Set (Parlophone)
At £145, the Beatles box set probably costs roughly what a small car did in the early 1960s. But the startling detail on these CDs will repay the outlay for Beatles nerds and mere mortals alike. Its sister release, The Beatles in Mono – 1960s scooter prices, at a guess – is even more desirable, audiophiles reckon.
2 Kraftwerk The Catalogue (Mute/Emi)
Eight albums by the electronic Beatles, dating from 1974's Autobahn, all gleamingly remastered. Costing considerably less than one of Ralf Hütter's beloved bicycles, this is the master text of most electronic genres – electro, techno, even hip-hop – today.
3 Spiritualized Ladies and Gentlemen We Are Floating in Space Deluxe...
- 11/29/2009
- The Guardian - Film News
Albert Schultz, General Director of the Young Centre for the Performing Arts, today announced the Canwest Cabaret Festival 2009, an intimate weekend of songs and stories at the Young Centre this fall. The second annual Canwest Cabaret Festival brings together over 150 of Canada's most diverse and exciting artists under the same roof for more than 60 unique performances. Every corner of the Young Centre is teeming with activity all weekend long.
Building upon the success of the inaugural festival in 2008, the weekend-long Canwest Cabaret Festival transforms the Young Centre into five intimate club venues. The Cabaret Festival highlights the collaboration of artists and artistic disciplines, while celebrating master musicians as well as emerging artists. Artists perform intimate cabarets showcasing their artistic strengths and interests. Featured artists are musicians, singers, actors, poets and dancers from across Canada, including Molly Johnson, Jackie Richardson, Melanie Doane, Tomson Highway, Kenneth Welsh, Brent Carver, Sharron Matthews, John Alcorn,...
Building upon the success of the inaugural festival in 2008, the weekend-long Canwest Cabaret Festival transforms the Young Centre into five intimate club venues. The Cabaret Festival highlights the collaboration of artists and artistic disciplines, while celebrating master musicians as well as emerging artists. Artists perform intimate cabarets showcasing their artistic strengths and interests. Featured artists are musicians, singers, actors, poets and dancers from across Canada, including Molly Johnson, Jackie Richardson, Melanie Doane, Tomson Highway, Kenneth Welsh, Brent Carver, Sharron Matthews, John Alcorn,...
- 10/29/2009
- BroadwayWorld.com
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