Month: February 2009 (Page 9 of 23)

American Idol: I can get used to this

The producers of “American Idol” wanted to shake things up this season, and so far they have done that, at least in some ways. There are now four judges instead of three, and Hollywood week (on TV) was extended one extra week. But the biggest change of all is in the show’s format. Instead of 24 semi-finalists, there are now 36. And in the first three semi-final rounds, only 3 of the 12 are voted into the finals by America. What this does is weed out a lot of the lesser talent very early on, and sets up a very worthy, very talented Top 12. Of course, those voted “off” this week and the next two weeks still have a chance to make the final round as a wild card. But I gotta tell ya, this is a much better way to go.

So last night, since this IS an hour long results show, there was some fluff and padding. It began with video of the twelve who sang the night before in a video montage of their journey so far. Then they did a group number of the positively horrible Jason Mraz song, “I’m Yours.”

Seriously, that was the best they could come up with? Then we saw highlights of Tuesday’s performances.

Finally, Ryan Seacrest started bringing them out to the front of the stage. He asked the judges their opinion of how they did and then told them whether they were moving on or not. First up, Casey Carlson, who was pretty awful and chose an awful song in The Police’s “Every Little Thing She Does is Magic.” Casey, not in the finals. Steven Fowler, also not in the finals. Alexis Grace, yes, in the finals. This girl is cute and has the voice that reflects her Memphis roots, big and soulful. They had Alexis sing, and this is so much better than having an eliminated contestant sing their way out.

Back to business. Ricky Braddy, who was clearly one of the best singers Tuesday night, not in the top 12. Jackie Tohn, also not in the top 12, and that’s good, because she’s been as annoying as the shiny pants she wore Tuesday night. Then it was between Anoop Desai and Michael Sarver. I had thought Anoop might make it, because he has an amazing voice and is likeable. But Michael was more likeable–the hard-working, everyAmerican many of us can relate to. Good for him. So Alexis and Michael so far in the finals, leaving us with five more and one more seat.

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Lost 5.6 – 316

If there was ever any question whether “Lost” was the best show on television right now, tonight’s episode surely quieted its detractors. Arguably a weaker episode compared to the others this season, it was still a solid hour that not only answered more of our questions about the island, but also introduced a few new ones that, thankfully, we should know the answer to in a matter of weeks, and not years. While the Islanders have been enjoying their month in the limelight, however, it was only a matter of time before the A-Team became the stars of the show once again. And as we all knew was bound to happen, they’ve finally made it back to the island. Well, Jack, Kate and Hurley, at least, though much like the episode, I’m getting a bit ahead of myself.

46 hours earlier, Jack seemed like the only safe bet to return. His meeting with Mama Faraday probably wasn’t the most encouraging to anyone still on the fence (especially after Desmond’s fervent warning), but I feel like that whole scene was more for the audience’s benefit than the characters. After all, it’s the viewer who cares the most about how this whole world operates (Jack was going to return to the island no matter what), and Eloise quickly proved that she is her son’s mother with a mouthful of scientific gibberish sure to confuse anyone that wasn’t listening carefully.

Lost 5.6

From what I gathered, the strange underground station they were standing in was called The Lamp Post. (Apparently, Dharma had a thing for silly nicknames even before they arrived on the island.) The station is how the scientists originally found the island, what with it being built over a pocket of magnetic energy, much like the island itself. It wasn’t until they stopped trying to find where the island should be and looked where it would be that they actually located it. You see, the island is constantly moving (though I don’t believe she meant through time, like it’s doing now), and in order to get back, the Oceanic Six have to enter through a dimensional window that can only be accessed at a certain place during a certain time. In this case, it’s via a flight from Los Angeles to Guam.

Before Jack heads to the airport, though, he picks up Locke’s body from the butcher’s. Ben was originally supposed to take care of that, but he calls Jack last minute asking him to do it instead. Curiously, when Ben finally did board the plane, all bloodied and bruised, not a single person asked him what the hell happened. Was it Sayid who did the beating, and if not, why was he being escorted by a federal marshal? It all seemed a little suspect to me, but the scenes at the airport were still the highlight of the show. It was really cool to see everyone reunited under some very awkward circumstances, from Kate randomly ditching Aaron to Hurley doing a little damage control by buying up as many seats as he could. (On a side note, I loved that he was reading a Spanish edition of “Y: The Last Man.”)

Hurley was clearly thinking about saving lives when that was the last thing on Ben’s mind. Of course, they probably all thought that the plane was going crash, so when Jack asks him “And the other people on this plane, what’s going to happen to them?,” Ben casually replies, “Who cares?” Some people probably took this as yet another sign of Ben just being Ben, but after Jack, Kate and Hurley suddenly awoke to find themselves on the island without actually crashing, it seemed to me like maybe they were just transported the moment they passed through the “window.” Again, this is something that probably won’t be fully explained until we find out what happened to everyone else. And that includes (a clean shaven) Frank Lapidus, who just happened to be the pilot of Flight 316. You’ve gotta love the “Oh shit” face he gave Jack when he suddenly realized what was about to happen: “Wait a second, we’re not going to Guam, are we?”

What I’m curious to find out is why they must take a plane to get there again. Is that the only way to reach the island, or is that just part of the rules? Eloise explains that they must do everything in their power to make the flight as close to the original one as possible, but if it truly is all about science and not fate, then why do Jack and the others have to trick the island into letting them come back? Additionally, does anyone who’s ever been to the island automatically return (like Ben and Lapidus), or does it only work for those from the Oceanic crash? I’m sure we’ll find out soon enough, but judging from the two new faces sitting with them in first class (one of which happened to be the underrated Saïd Taghmaoui), I’d bet on the former.

Dude, Where’s My Oscar? Bullz-Eye revisits recent Academy Award “mistakes”

Dude, Where's My Oscar?

There are times when we swear that “Entertainment Weekly” has either bugged our office or is tapping into our conference calls. Numerous pieces of ours wind up on their pages at almost the exact same time, be it a list of the best sequels, cinematic stoners, or our long-gestating piece on the Bullz-Eye Fantasy Band Draft, which will drop later this year. They’ve even named their hot/not meter “The Bullseye.” Hmmm.

And sure enough, they scooped us once again, when they put the top awards from various Academy Awards results to a new vote, to see how the current Academy would fix the previous generation’s “mistakes.” We’ve been throwing that idea around for over a year, and just when we begin to put pen to paper: boom! — they beat us to the punch. We’re not at all surprised that they saw the appeal in such a topic; every year there is at least one head-scratching moment, one that usually owes more to awarding a long-overdue actor for their overall body of work than for the performance at hand (ahem, Al Pacino, “Scent of a Woman”). Enter Bullz-Eye, Mighty Mouse-style, to save the day and make sure justice is served. We’ve examined recent Academy Award winners and their competitors, and we found a few, um, irregularities. Revisionist history begins now.

Oscar Snubs

Elaine Benes summed up our feelings for “The English Patient” as well as anyone. Actually, that’s a tad unfair; we didn’t think “Patient” was awful, just long and, in the end, anti-climactic. Without Juliette Binoche carrying her co-stars from start to finish (her Oscar, unlike this one, was well deserved), we wonder if “Patient” would have received half the praise that it did. Then there’s “Fargo,” which featured invaluable contributions from its leads, the supporting cast, and even the characters who were only in a scene or two (Marge Gunderson’s Japanese high school classmate had us in tears). It’s funny, shocking, coy, and best of all, normal, an expertly crafted movie all the way around. Guess the Academy wasn’t quite ready for the Coen brothers yet.

Oscar Snubs

To be fair, this one isn’t a staff pick; it’s mine and mine alone. My colleague Jason Zingale loved “Crash,” as did most people. I, however, loathed it like no movie I’ve seen since “Shrek.” The manner in which people would instantly spew the most hateful, ignorant nonsense in scene after scene was just unbearable, and I wanted to throttle Sandra Bullock’s ridiculously underwritten shrew of a character. Granted, “Brokeback Mountain” is not a perfect movie by any stretch, but I’ll take it over “Crash” any day of the week and twice on Sunday for the sheer fact that it didn’t try to beat me into a coma about what a racist pig I am. Fuck you, Paul Haggis.

Click here to read the rest of Dude, Where’s My Oscar? Bullz-Eye revisits recent Academy Award “mistakes”

“My Boys” is returning to TBS on March 31st!

C’mon, who else out there is a “My Boys” supporter?

I swear, I think I’m the only one within the Bullz-Eye / Premium Hollywood corral of contributors who has a full-on love for this show, but the camaraderie between P.J. (Jordana Spiro) and the boys (Jamie Kaler, Kyle Howard, Reid Scott, Michael Bunin, and the inestimable Jim Gaffigan) feels as real as any sitcom ensemble this side of “How I Met Your Mother,” as does the back-and-forth between P.J. and Stephanie (Kellee Stewart)

If you haven’t seen the show yet, it won’t surprise you that I heartily endorse the Season 1 DVD set, but if your wallet’s about as empty as mine, then you can at least check out this quick but effective wrap-up of Season 2’s events in time to prepare for the March 31st premiere of Season 3:

Being There: Deluxe Edition

These days, it seems almost impossible to bring up “Being There” without some unimaginative goon coming along and comparing it to “Forrest Gump.” That’s unfortunate, because if, like me, you’ve got little patience for that particular Zemeckis opus, you may be inclined to skip “Being There” altogether. This would be a grave mistake. The big difference between the two films is that “Gump” wants to be an important film, but in doing so, it achieves the opposite. “Being There,” on the other hand, has no such aspirations and manages to become an important film because it isn’t trying so hard. And if you’ve never seen the film and think you know everything there is to know about Peter Sellers, then “Being There” will show you the actor as you’ve never seen him before.

Chance (Sellers) is a middle-aged man best described as “simple.” He’s seemingly spent his entire life living with and tending to the garden of a very rich man. Since the old man is dead at the start of the film, we’re given very little information about Chance. Where did he come from and how did he come to be in the employ/care of the old man? We never find out. Chance is the blankest of all slates, and his only real exposure to the outside world has come through the television. He seems to enjoy the news and “Captain Kangaroo” equally. But now that the old man has passed on, Chance is given no choice but to go out into the world on his own, for the very first time, and it’s a strange place that doesn’t necessarily work as it does on TV.

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