Archive for January 25, 2013


Coachella revealed its 2013 lineup tonight, and it’s a doozy. Headliners include Blur, The Stone Roses, a reunited Postal Service, Yeah Yeah Yeahs, Nick Cave and the Bad Seeds, Phoenix, Wu-Tang Clan, Lou Reed, Grizzly Bear and Vampire Weekend.

Sigur Ros, New Order, The Lumineers, Of Monsters and Men, Tame Impala, Violent Femmes, Yeasayer, Franz Ferdinand, Japandroids, Divine Fits, Vintage Trouble, The xx, Modest Mouse and Grinderman are also slated to perform at the Indio, Calif. festival.

Coachella 2013 will take place over two weekends, on April 12-14 and April 19-21. Check out a poster of the full lineup below.

lineup-poster-splash.jpg

 

source: paste magazine by bonnie stiernberg

 

  • Video Fatin X Factor Indonesia Diupload Bruno Mars

Who would have thought that this young girl, Fatin Shidqia Lubis (16), a senior high school student, who performed at the audition of X Factor Indonesia sang one of Bruno Mars’ hits, Grenade, from his debut album, has attracted Bruno Mars himself.

The video of the performance now you can see at Bruno Mars website. Click here to watch: Fatin Shidqia Lubis – Grenade : X Factor Indonesia Auditions – Bruno Mars Videos.

Read more the article in Indonesian here: http://bit.ly/10H3mFG

VIDEO Fatin Shidqia Lubis bawakan "Granade" di audisi X Factor Indonesia (Akun YouTube: Evan Vibration)VIDEO Fatin Shidqia Lubis bawakan “Granade” di audisi X Factor Indonesia (Akun YouTube: Evan Vibration)

source: tribunnews.com by yogie gastaman

Steven Spielberg has crafted a literate, heartfelt film about Abraham Lincoln’s second term in office and his battle to end slavery, with a masterful central performance

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Lincoln trailer. Link to video: Lincoln: watch the exclusive international trailer

Abraham Lincoln‘s second term, with its momentous choices, has been brought to the screen by Steven Spielberg as a fascinatingly theatrical contest of rhetoric and strategy. It is a nest of high politics for the white ruling class, far from the brutality and chaos of the battlefield. At its centre is a gaunt Shakespearian figure, somewhere between Caesar and Prospero.

Spielberg has made a moving and honourably high-minded film about this world-changing moment of American history, his best for many years: I can’t imagine anyone not wanting to see it, and to experience the pleasures of something acted with such intelligence and depth. There is admittedly sometimes a hint of hokum; how you react to the film may depend on how you take the opening sequence in which Lincoln, seated like the famous statue but with an easy smile, listens to two black soldiers telling him how they see the war – a slightly Sorkinian scene that ends with one reciting the Gettysburg address while walking away from the president. It is a flight of fancy, not strictly plausible, but very effective in establishing a mood music that swells progressively throughout the picture.

Lincoln exerted a grip on me; it is literate, cerebral, heartfelt, with some brilliantly managed moments and, of course, a unique central performance from Daniel Day-Lewis. He portrays Lincoln as a devastating master of charm and exquisite manners, skilled in imposing his authority with a genial anecdote, a man with the natural leader’s trick of making people want to please him. He speaks in an unexpectedly light, clear voice that is nonetheless shading off into the maundering monologue of an old man, exhausted by war and personal catastrophes.

Day-Lewis, like Olivier before him, is a master of the voice and the walk: it’s almost as if he has alchemised his body shape into something different: bowed, spindly and angular, gnarled as a tree, exotic and yet natural as his tall hat, often holding the straight right arm at the elbow with the left behind his back: the civilian equivalent of military bearing. His Lincoln is aware that his strength is ebbing; he is on the point of ossifying into a legend incapable of action. He is often seen in semidarkness, his face turned down in contemplation of possible, terrible defeat, or the certain terrible cost of victory: like the Shikler portrait of Kennedy.

His political capital, though great, is a deteriorating asset, and as the civil war grinds on, Lincoln begins his second term wishing to stake it all on rushing through a constitutional amendment abolishing slavery before defeating the South. To get it through the system, he must do business with truculent radical Thaddeus Stevens (Tommy Lee Jones), and at the same time entreat conservative Republican Preston Blair (Hal Holbrook) for his faction’s votes. Blair’s condition is that Lincoln must swallow his pride and accept, or appear to accept, some sort of secret, provisional peace mission from the rebels in Virginia, a risky gesture that the president must conceal from his trusted secretary of state, William Seward (David Strathairn). Dangerous evasions and compromises are made, but the rebels stay strong; they do not surrender as Lincoln hopes and the awful, unthinkable truth is that he may have to abandon his anti-slavery amendment as a sop to get them to talk peace, end the bloodshed and preserve the Union. Has he gambled and lost?

There are some heartstoppingly good setpieces. The moment in which Lincoln has to raise the flag outside a naval building, after a short, self-deprecating speech that he has written on a piece of paper – kept in his hat – is a superbly managed scene: modest, undramatic, gently comic. Sally Field is outstanding as Lincoln’s wife, nursing rage and hurt that almost boils over as she must bandy words at a White House reception with Stevens, whom she detests: Spielberg shows Abraham in the background, chatting diplomatically but then noticing how Mrs Lincoln is about to damage his chances with a key ally. Read more here http://bit.ly/10V5OOs

 

by peter bradshaw for guardian.co.uk

Zero Dark Thirty Review

Zero Dark Thirty (or ‘Everything You Wanted to Know About Torture, But Were Too Afraid To Ask’) is the latest by Academy Award winning director, Kathryn Bigelow who has returned to the big screen with her follow up to The Hurt Locker. It has been a note of contention for the past few years whether Bigelow won the award for her war thriller because she was is a woman (note Bret Easton Ellis on Twitter), because The Hurt Locker was nominated the same year as her ex-husband’s Avatar, because it was a contemporary war film or (and the most simple answer being) she is a good filmmaker, who (surprisingly) makes good films. As an audience member or critic, very few of us want to admit the last option is a viable one – it’s much more fun to beat the winners down or come up with other reasons why they were chosen, but I can honestly admit, hand on heart that after watching Zero Dark Thirty, all my suspicions were confirmed – I am ready to admit it *takes deep breath* – Kathryn Bigelow is a damn good filmmaker.

Right, now that I have gotten that out of the way, how about we get onto brass taxZero Dark Thirty is based upon one of the most followed stories of the past two decades; in reality it has affected thousands, if not millions around the globe and is one of the greatest victories in recent American history. I am talking about the tracking down, capturing and killing of terrorist, Osama Bin Laden, the man who was responsible for changing American history and so many lives in September 2011.

Mark Boal’s script, along with the work of Bigelow, is telling the story of greatest manhunt in history in a fictionalised telling of the operation, which lead to Bin Laden.

 

Taking a moment to look at Zero Dark Thirty as a whole piece of work – the film seems to have arrived at a point where we openly have a dialogue surrounding terrorism and it’s downfall. As an audience we are happy to admit the good guys can win in the story, and it no longer looks fake because ultimately it happened in reality. What I did take away from this film, and continue to ponder over is the feeling of an extended (and with much more money) episode of Homeland. This of course is not a negative, it has fast become of the most popular shows on both sides of the Atlantic, winning awards galore both for the show and it’s talent. But at the same time, I was finding it a little difficult to get Maya away from Carrie (Claire Danes’ bi-polar obsessed character) because both women become dangerously obsessed with finding the ‘baddie’. But whilst Homeland serialises the issues, and cuts them up into nice little chunks for the audience to digest each week, waiting on the end of their seat for the next episode, Zero Dark Thirty pounds them home, punch by punch, scene by scene. Maya becomes locked in a battle with everyone around her because she knows that she is moving in the right direction.

Zero Dark Thirty also observes a very interesting movement we are currently having with powerful women. I am pretty sure that not even ten years ago, we would have a terrorist thriller, which finds itself relying upon a woman to do the work. Instead, traditionally, women were seducers, traitors, lovers, wives and sometimes the (stay in the office) boss but not in recent memory (Homeland aside) is a tough woman, not sexualised but instead running against all the odds in a foreign part of the world to get the work done. This is where Jessica Chastain comes in; she is beautiful and there is no denying that but her performance as Maya blows every tough man performance out of the water. She is a no bullshitting bitch, who intends to find her goal and when she gets there, that will be the end but not before then. She is thrilling, and powerful.

Read more here http://bit.ly/10V55gi

 

–by ollie charles images from frontrowreviews.co.uk

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