Tag: Elvis Costello (Page 2 of 2)

If it’s Tuesday night, it must be movie odds and ends

* This year’s Oscar producers have been named: choreographer turned critically-hated film director turned “Hairspray” wunderkind Adam Shankman and industry mainstay Bill Mechanic. Nikki Finke is happy and, really, isn’t that all that matters? That’s not the only gig for Shankman, who will also be directing the film version of the eighties-centric hair-band musical “Rock of Ages.” I’ve run across one or two hair bands I don’t completely hate, but this does not excite me. The period juke box musical I’m waiting for features Elvis Costello, the Clash, X, and maybe some early Ben Folds. I’ll call mine “Clubland.”

* Anne Thompson rakes the muck on the Hollywood Film Festival. Fascinating. I have my doubts about L.A. ever getting a really world-class festival, and this one sure doesn’t seem to be helping.

Zombieland with Jesse Eisenberg* I caught up with “Zombieland” last night and managed not to become overly upset at the gore. (I have this whole issue with excess blood and ick, yet also like the kind of stuff that sometimes features excess blood and ick — it’s a conflict.) Still, I don’t know if I’ll ever truly understand why people enjoy being disgusted. I find being disgusted disgusting.

Otherwise, it was nicely paced, slightly poignant, and very funny, thanks to a nice and cleverly profane dialogue, decent writing, and a good cast. Unlike Bullz-Eye’s David Medsker, however, I found the movie enjoyable but a little thin, especially during the second half. Some of the most ballyhooed aspects (the superstar cameo, which Dave didn’t love either) were less hilarious than I expected, however. I’m surprised we haven’t heard about a sequel yet as in some ways plays more like a well-produced TV pilot than anything else.

* Not that he hasn’t earned the right to be astonishingly wealthy as much as any human can, but how rich must Steven Spielberg be? I mean, if someone owed you a few hundred million bucks would you be all, like, “ah, that’s okay — you can wait until 2017. Just give me a 5.25% share of your income. I’ll be cool.” And, according to La Finke, the language of the contract refers to him as “Steven.” I know Hollywood loves first names, but it’s a contract. Aren’t those supposed to be formal?

* It’s not really movie news at this point, but speaking of musicals this musical lover never asked for, the Bono/Edge Spiderman musical directed by Julie Taymor continues to gasp. Personally, I’ve had my curiosity about a “Spiderman” musical sated already. Much as I love cocktail lounges and the song “Fever,” this was not a high point.

Lou Costello…?

Tonight’s installment of “Spectacle: Elvis Costello with…” finds our man Elvis opening the proceedings with a cover of The Velvet Underground’s “Femme Fatale.” One presumes that his guest for the evening, Lou Reed, was at least tolerant of the rendition, since it’s not as though ol’ laughing Lou has ever been afraid to speak his mind. (Plus, the two of them team up later in the episode for performances of “Perfect Day” and “Set the Twilight Reeling.”)

Maybe it’s just the interviews I’ve read, but most of the time, Reed tends to come off as not just prickly but downright grouchy; it’s therefore a testament either to Elvis’s ability as a moderator or Lou’s respect for him that the conversation between the two of them is actually rather illuminating. Mind you, there was no discussion about Lester Bangs (I’m sure Reed is tired of being asked about Bangs’ love/hate relationship with his work, but I’d still love to have heard Elvis pose a question about it), but be sure to catch the discussion of the R&B great who played on Reed’s very first record, the relationship between Reed and Doc Pomus, the hard and fast rule in the VU about not copping blues licks, the secret chord in “Sweet Jane” that everybody gets wrong, and how he thought he spent his youth convinced that he was utterly unemployable.

The most fascinating moment of the conversation, however, comes when filmmaker Julian Schnabel joins Costello and Reed onstage. At first, it sounds like Schnabel more or less just happened to be in the crowd, but we soon learn that Reed and Schnabel are longtime friends, and before long, the discussion leads into a moment that the two of them shared as a result of the death of Schnabel’s father. It’s a story that starts out rather disconcertingly, but as it progresses, it becomes a testament to the healing power of music.

Greetings to the New Show: “Spectacle: Elvis Costello with…”

You may recall a time this past summer when I was as giddy as a schoolgirl about having met Elvis Costello…not only because I’m a huge fan, but also because it gave me a chance to redeem myself for the fool I made of myself the first time I’d met him. The reason the summer encounter came about was Elvis’s appearance at the TCA Press Tour, where he had turned up to promote his then-upcoming Sundance Channel series, “Spectacle: Elvis Costello with…”

That was July. Now, it’s December…and the series has finally come up.

The premise of the show is, to simplify it to the most basic pop culture terms, like “Inside the Actors Studio,” except the focus is on music rather than film. The good news, however, is that Elvis Costello is rather less fawning than James Lipton, and the guests – at least for the most part – appear to have been taken not from the latest Billboard charts but, rather, from Elvis’s own rolodex. Certainly, there are some former chart-toppers to be found amongst the 13 episodes of the series (which will hopefully prove to be the first of many seasons), but the variety of musicians involved is such that it’s clear the scheduling was the work of an individual rather than by committee. With that said, it never hurts to kiss the ass of your executive producers, so it’s possibly not a coincidence that the first guest on “Spectacle” is Sir Elton John, whose name appears in the show’s production credits, but, hey, everybody likes Elton!

If you consider yourself to be a music geek, then you’ll go nuts over “Spectacle,” since Elvis sits down with some of the biggest-selling and/or most acclaimed musical performers of the 20th and 21st centuries…plus Bill Clinton…and basically just gets geeky with them. Yes, he’s a fine interviewer, having at least honed his skills a bit by guest-hosting an episode of “The Late Show with David Letterman,” but in truth, the best parts of the conversation with Elton are when the two of them wax nostalgic about Leonard Cohen, Laura Nyro, and Leon Russell, among others.

It would be cruel and unusual punishment to have these artists onstage without ever playing a note, of course, so you will be unsurprised to hear that there’s a fair amount of music performed as well. The episodes start with Elvis performing a song by that evening’s guest, so you’ll be hearing a nice version of Elton’s “Border Song” tonight (come next week, prepare to have Elvis serenade you with one of Lou Reed’s finest ’60s compositions), but Elton himself takes to the piano and has a bit of fun with demonstrating the similarity between his own style and that of the aforementioned Mr. Russell, and the two of them duet nicely on David Ackles’ “Down River,” an American singer-songwriter who never earned quite as much fame Stateside as he did in the UK. (The first time I’d ever heard of him was when Howard Jones covered his song, “Road to Cairo,” on the Elektra Records’ anniversary set, Rubaiyat.)

Beyond Mr. Reed’s appearance next week and President Clinton’s chat the following Wednesday, you can look forward to upcoming episodes which feature James Taylor, Tony Bennett, the Police, Rufus Wainwright (whose praises are sung by Elton tonight, as it happens), Herbie Hancock, and many others. I’ll offer up another post next week with a bit more specifics as to what you can expect with Laughin’ Lou, but if you catch the show with Elton, be sure to leave your thoughts.

Oh, and ignore Elvis. You should tell everyone about “Spectacle.”

A Colbert Christmas: The Greatest Gift of All

Colbert seems to have been trying to recapture the feel of every old network holiday variety special from the ’70s and ’80s — and he succeeded, at least insofar as A Colbert Christmas: The Greatest Gift of All consists of 45 minutes of cheesy sound effects, cheesier visual effects, and a nonsensical parade of seemingly random guest stars strung together by a plot that sounds like the product of a 64-gallon jug of brandy eggnog. It isn’t entirely without laughs — and may actually be worth purchasing if for no other reason than the chance to see Elvis Costello dressed up as the Nutcracker, a clown, and a bear who has eaten Elvis Costello — but the overall effect is similar to a bad episode of The Colbert Report. It’s a shame, because there really aren’t very many bad Report episodes, and Colbert is one of the funniest people on TV, but A Colbert Christmas swings feverishly back and forth between gratingly nonsensical and unexpectedly funny with exhausting speed. One consistent highlight, however, is the musical portion of the program, which includes an explosion-laced Christmas carol from Toby Keith, an plea for mankind to not “bogart love” from Willie Nelson, and an ode to nutmeg from John Legend. All told, any holiday special that ends with Santa in a knife fight with a grizzly can’t be all bad, but it’s nowhere near as funny as it should have been.

Click to buy “A Colbert Christmas: The Greatest Gift of All”

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