Remake of 2008 French film finds Cyrus seeking revenge on a cheating ex-boyfriend. By Fallon Prinzivalli Miley Cyrus in “LOL” Photo: Lionsgate It’s been a long time coming for Miley Cyrus’ remake of the 2008 French film “LOL.” Since the announcement back in 2010 that the film is being distributed by Lionsgate , news on the movie has been lacking. Well, not anymore, Cyrus fans. On Tuesday, the official trailer for the film dropped, which gives fans a preview of what the movie has in store. In a generation that spends more time updating the world about their problems than their families, 17-year-old Lola’s (Cyrus) status is constantly changing. As an attempt to get back at her — now ex — boyfriend Chad for cheating on her with Ashley ( Ashley Greene ), Lola starts seeing his best friend, Kyle ( Douglas Booth ). Her life begins to spiral downward as her grades drop while she experiments with drugs and sex, and a divorce has her mom completely oblivious to it all. Soon she starts to fall for Kyle and things get even more complicated. The trailer is a great peek at the teen drama, and we have the five key scenes from it. EX -Boyfriend The trailer begins with Lola’s voice over: “Every year it’s weird going back to school, but here we are just going with the flow, trying to love and laugh out loud.” She abruptly stops laughing when she calls out Chad on not texting her throughout the summer and he admits he hooked up with Lola’s rival Ashley. She acts like she doesn’t care, but as soon as she enters her room she begins crying on her bed. This emotional scene that sets up the rest of the trailer. A New Beginning Lola quickly gets over her failed romance as she begins hanging out with Chad’s best friend Kyle. A montage begins of their new friendship as they share a lollipop, rock out on an air guitar and come this close to kissing by his car. Everything is even more wonderful when he tells her, “You’re amazing.” We imagine audiences will quickly become fans of Booth. “I can’t believe I ever dated you!” But the puppy love comes to a halt when Lola begins her sexual awakening. It seems rumors begin circulating when Chad says to Lola in the school courtyard, “Now that you’re giving it up I figured maybe I could get some.” The next scene shows Lola lashing out and pushing him into a gate screaming, “I can’t believe I ever dated you!” The trailer isn’t clear on what exactly causes the outburst, but we’re betting it’s pretty bad judging by Lola’s reaction. Trouble In Paradise? As it turns out, Chad’s comment is just the beginning of situations that spiral out of Lola’s control. The next few scenes show a fight with her mom about her grades dropping and a drunken make-out session with Kyle. Her life gets even worse as she witnesses Kyle walking with his arm around Ashley. When she confronts him about it, he denies it and she spits out, “You’re disgusting.” But we already knew Greene’s character would cause a stir when Demi Moore told MTV News “she’s really saucy.” “Status can change, but true love remains the same.” Throughout the next montage of scenes, we see “status can change, but true love remains the same” typed out across the screen as Kyle dedicates a song to Lola and she makes up with her mom. Finally, as a smiling Kyle rests his head on an equally happy Lola, the trailer leaves us with the feeling that despite the craziness of high school, everything will work out for Lola in the end. After all, she did say she just goes with the flow and high school is only the beginning. Are you planning on seeing “LOL” in theaters? Leave your comment below! Check out everything we’ve got on “LOL.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Photos 5 Key Scenes From The ‘LOL’ Trailer Related Artists Miley Cyrus
Episode one, airing tonight at midnight ET on MTV, also features Akon and 2 Chainz. By MTV News staff The hosts of “MTV’s Hip Hop POV” Photo: MTV MTV’s brand-new late-night talk show “Hip Hop POV” premieres tonight (April 11) at midnight ET, featuring candid interviews with superstars Lil Wayne and Akon, along with an in-studio appearance and performance from Def Jam rapper 2 Chainz. The weekly talk show stars a roundtable of music-industry insiders — Charlamagne Tha God, Bu Thiam, Devi Dev, Amanda Seales and Sowmya Krishnamurthy — who collectively bring their unique perspectives and experiences from the worlds of radio, record labels, journalism and artistry. Radio veteran and Power 105 “Breakfast Club” co-host Charlamagne Tha God is known for his pointed (and often controversial) commentary, while Def Jam A&R Bu Thiam has earned his reputation for having a golden ear, working with artists ranging from Jay-Z and Kanye West to T-Pain. Devi Dev can be heard on the “Sway in the Morning” radio show on Sirius XM, and she has garnered a multi-market radio perspective with stints in Los Angeles and Houston. Amanda Seales has dipped her hand into several ventures in the industry as an on-air personality and DJ, while social-media maven and burgeoning journalist Sowmya Krishnamurthy is known for her critical writing, which has appeared in outlets including Vibe, XXL, The Village Voice, Rolling Stone and MTV’s RapFix blog. Tonight’s debut episode features insider access as “Hip Hop POV” visits rapper Lil Wayne in Miami, as well as Akon on the set of his new music video featuring French Montana. 2 Chainz, who has caught the ear of everyone with his recent appearance on Kanye West’s “Mercy,” will perform two of his biggest songs and sit down with the entire cast for an interview. Upcoming episodes will feature a veritable who’s who of hip-hop, from Meek Mill and Pharrell to up-and-comers like A$AP Rocky. Don’t miss tonight’s premiere episode of “MTV’s Hip Hop POV” at midnight ET on MTV. The conversation-based show highlights some of today’s hottest news and more from a cast of hip-hop tastemakers. Fans can also join in on the Twitter conversation using the hashtag #HipHopPOV. Related Videos Hip Hop POV | Ep. 1 | Sneak Peek Related Artists Lil Wayne
Episode one, airing tonight at midnight ET on MTV, also features Akon and 2 Chainz. By MTV News staff The hosts of “MTV’s Hip Hop POV” Photo: MTV MTV’s brand-new late-night talk show “Hip Hop POV” premieres tonight (April 11) at midnight ET, featuring candid interviews with superstars Lil Wayne and Akon, along with an in-studio appearance and performance from Def Jam rapper 2 Chainz. The weekly talk show stars a roundtable of music-industry insiders — Charlamagne Tha God, Bu Thiam, Devi Dev, Amanda Seales and Sowmya Krishnamurthy — who collectively bring their unique perspectives and experiences from the worlds of radio, record labels, journalism and artistry. Radio veteran and Power 105 “Breakfast Club” co-host Charlamagne Tha God is known for his pointed (and often controversial) commentary, while Def Jam A&R Bu Thiam has earned his reputation for having a golden ear, working with artists ranging from Jay-Z and Kanye West to T-Pain. Devi Dev can be heard on the “Sway in the Morning” radio show on Sirius XM, and she has garnered a multi-market radio perspective with stints in Los Angeles and Houston. Amanda Seales has dipped her hand into several ventures in the industry as an on-air personality and DJ, while social-media maven and burgeoning journalist Sowmya Krishnamurthy is known for her critical writing, which has appeared in outlets including Vibe, XXL, The Village Voice, Rolling Stone and MTV’s RapFix blog. Tonight’s debut episode features insider access as “Hip Hop POV” visits rapper Lil Wayne in Miami, as well as Akon on the set of his new music video featuring French Montana. 2 Chainz, who has caught the ear of everyone with his recent appearance on Kanye West’s “Mercy,” will perform two of his biggest songs and sit down with the entire cast for an interview. Upcoming episodes will feature a veritable who’s who of hip-hop, from Meek Mill and Pharrell to up-and-comers like A$AP Rocky. Don’t miss tonight’s premiere episode of “MTV’s Hip Hop POV” at midnight ET on MTV. The conversation-based show highlights some of today’s hottest news and more from a cast of hip-hop tastemakers. Fans can also join in on the Twitter conversation using the hashtag #HipHopPOV. Related Videos Hip Hop POV | Ep. 1 | Sneak Peek Related Artists Lil Wayne
After years in the wilderness, Drake finally makes a video for the ages. By James Montgomery Drake and Rihanna in “Take Care” video Photo: Universal Over the past three years, Drake has risen from mixtape maestro to genuine superstar; the kind of enigmatic talent who can proudly embrace his “emotional” side one minute, then release the “Practice” video the next. And in doing so, he has carved out a rather unique niche in the world of hip-hop and R&B — and we’re not just talking about his sweaters. Often duplicated, but never replicated, there truly is no one making music quite like him. And yet, despite all that (and no offense to the wobbly, wonderful “Practice” clip), Drake has never made a truly great music video, or at least one that fits neatly into his maudlin, monochromatic world. Until now, that is. On Friday (April 6), Drake finally premiered his long-in-the-works “Take Care” clip. And yes, it was worth the wait. Full of massively icy landscapes, achingly tense slow-motion footage, artfully framed animals and, uh, Rihanna, it is basically Drake personified. Morose and masterful, slow-burning and incredibly sexual (even when it’s not supposed to be), it exudes both an incredible level of restraint and an over-the-top amount of pomp. It is very serious, very cold, very pained. Nothing much really happens, but at its conclusion, you feel like you’ve been through an awful lot (maybe a journey through the mind of Damien Hirst?). None of his contemporaries — not even the ever-obtuse Kanye — make videos like this, mostly because no one else can get away with it. Directed by Yoann Lemoine — who described the video to MTV News back in February as “very minimal” (he wasn’t kidding) — “Take Care” smolders with an underlying tension. You feel it in the sinewy slo-mo shots of bulls charging and birds taking flight, the gradual crumbling of icons, the shower of arrows and even the tender, charged embrace Drake and Rihanna share. And in that regard, the clip is also a perfect accompaniment to the track’s main bit of source material: Jamie XX’s lovely, languorous remix of Gil Scott-Heron’s cover of “I’ll Take Care of You,” which practically burns with want. And when the drums finally do break through, and Heron’s voice is echoing around the room, there is, mercifully, a release — one Lemoine shows with footage of burning trees and smoking earth. All the iciness melts away, and we’re left with something even more, something elemental. And you sort of feel like you need a cold shower. And because of all that, “Take Care” stands head and shoulders above most other videos, regardless of genre. Full of bold imagery and a tugging sense of regret and doubt, it isn’t merely art for art’s sake (though it’s easy to see Drake’s detractors dismissing it as such); it’s actual art. Welcome to the club, Drizzy; you’ve finally made one for the ages. Who cares if it’s been six months since Take Care was released? In the words of another misunderstood genius — the immortal Jack Horner — ” This is the film I want them to remember me by.” What did you think of Drake’s “Take Care” video? Share your reviews in the comments!
We count down our favorite Batman rides, in The Weekly Rising. By Kevin P. Sullivan The Batmobile Photo: AFP/ Getty Images Warner Bros. recently shot a bonus feature from the eventual Blu-ray release of “The Dark Knight Rises” (early, I know!) that featured all five Batmobiles from the movies, starting with Adam West’s Lincoln to Christopher Nolan’s Tumbler. The video makes for a cool stunt, seeing all the vehicles in one place, but it also provides insight into just how different the Batmobiles have been over the years — so much so that it begs the question: Which Batmobile was best? Here is our countdown of the top five Batmobiles from the movies: 5. “Batman and Robin” Joel Schumacher ‘s run as the director of the Batman series brought around the two worst Batmobiles by far. Both cars stand as perfect symbols of everything that was wrong with the director’s take on the Caped Crusader. They are both too over-the-top to actually function as vehicles, in the same way that Schumacher’s Batman simply doesn’t work. But of the two, the painful swirling light of the final Schumacher Batmobile from “Batman and Robin” remains the worst Batmobile of all time. The one-seater looks like an oversized Happy Meal toy, and the convertible design puts the Bat out in the open air where everyone can make fun of him. 4. “Batman Forever” The first Schumacher Batmobile gets a pass simply because it’s not as bad as the one from “Batman and Robin.” The enormous fins remain, but the body doesn’t extend nearly as far out. It also gets the added benefit of a closed cabin, so Batman can hide his shame from behind the privacy of tinted windows. At the very best, the “Batman Forever” Batmobile wins the losers bracket. 3. “Batman: The Movie” The Batmobile that Adam West drove during his stint as Batman on the television series and in the 1966 film is the only one of the Dark Knight’s cars that actually looks like a car. Completed in three weeks, the original Batmobile was made from a modified 1955 Lincoln Futura concept car. West’s Batmobile scores points now for a retro style that can’t be beat and just the right amount of camp. 2. “Batman” and “Batman Returns” Admittedly, this is the ride that inspired the two worst Batmobiles ever, but Tim Burton’s take on the Bat vehicle has a certain charm to it. Burton’s films in the series had a look all their own, but they never quite went over-the-top insane like Schumacher’s, and the same applies to his Batmobile. It had the same long body but had a more refined and battle-ready look to it. As impractical as it probably was, the Burton Batmobile was badass in its own way. 1. “Batman Begins,” “The Dark Knight” and “The Dark Knight Rises” Is there really any other choice? The Tumbler not only fits the realistic take on the series, but it also could eviscerate any and all other Batmobiles. Did I mention that his has a motorcycle hidden inside the front of it? How about the newly added flight feature? It may have been meant originally for building bridges, but all the Tumbler ended up doing was being the toughest ride the streets of Gotham has ever seen. It’s only fitting that the greatest iteration of Batman gets the all-around best version of his car. Which is your favorite Batmobile? Let me know on Twitter via @KPSull! Check out everything we’ve got on “The Dark Knight Rises.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Photos ‘Dark Knight Rises’ Trailer: 5 Key Scenes
Teams Blake and Christina hit the stage as audience voting begins on ‘The Voice.’ By John Mitchell Jesse Campbell on “The Voice” Photo: NBC After weeks of blind auditions and battle rounds, “The Voice” finally went live Monday night (April 2), with Teams Blake and Christina taking the stage. America now gets to vote on the best of the best, and the top three from each team will move on to the next round. Twenty-four contestants survived the blind auditions and brutal battle rounds to make it to the live shows, and now their fate lies in the hands of viewers, who will take over for judges/mentors Adam Levine , Christina Aguilera , Blake Shelton and Cee Lo Green in deciding who continues on and who goes home. Entering the ring for Monday’s two-hour performance show (results will be broadcast live Tuesday night at 9 p.m. ET), the teams were as follows: Team Adam : Karla Davis, Katrina Parker, Kim Yarbrough, Mathai, Pip and Tony Luca Team Blake : Charlotte Sometimes, Erin Willett, Jermaine Paul, Jordis Unga, Naia Kete and RaeLynn Team Xtina : Ashley De La Rosa, Chris Mann, Jesse Campbell, Lindsey Pavao, Moses Stone and Sera Hill Team Cee Lo : Cheesa, Erin Martin, Jamar Rogers, James Massone, Juliet Simms and Tony Vincent Aguilera was looking great with a simpler style and a whole lot less hair, but the judge to watch on the fashion front was Cee Lo, who rocked a strange disco clown-meets-Elvis costume and shaggy ’70s wig. “There’s something a little different about you tonight,” Adam joked to the “Forget You” singer. Referring to the dashing Levine’s newly shaved head, Cee Lo said, “Adam cut his off, so I decided to grown mine out.” Now, on to the actual competition. First up was Team Blake’s Jermaine Paul. Paul made a big impression, entering from the back of the theater amid blinding lights before making his way to the stage, but Aguilera commented that the song Shelton gave him, Bon Jovi’s “Living on a Prayer,” was an unconventional choice for the former Alicia Keys backup singer. “I didn’t see the connection with the song choice,” Aguilera said. “[But] you brought soul to it.” Shelton disagreed. “I think girls tend to like you singing that song a lot,” he said, to much screaming and applause. Team Christina’s Chris Mann was much more subdued when he hit the stage to sing “Bridge Over Troubled Water,” and his classically trained voice had all the judges swooning over his pitch-perfect delivery. “You really owned it,” Xtina said. “You made it your own.” Shelton gave his next contestant, 17-year-old Texan RaeLynn, a tall order: to turn “Wake Up Call” by “Voice” coach Levine’s own band Maroon 5 into a country/rock song. “It is a risk taking a famous pop song and turning it country, but I think America’s going to like that,” RaeLynn said before stomping around the stage confidently in her cowboy boots and frilly dress. “You’re a sassy little thing,” Aguilera commented. “Are you allowed to grind your hips at your age like that?” Christina then called out what we already know: that there is a romance going on between Levine and Shelton . “You and the Maroon 5,” Aguilera joked about Shelton’s choice of Levine’s song. (We know, Christina! We know!) Moses Stone of Team Xtina was up next with a medley of Kanye West’s “Stronger”/”Power.” Backed by a fleet of dancers, the lone “Voice” rapper showed off his ability to move and stir up the audience. “I think you’re a natural onstage,” Cee Lo said. Adam agreed, saying, “There’s no doubt [that] you know how to entertain.” The performance was one of many that was pretty much professional level, including everything from backup dancers and flashy costumes to abundant lighting and a massive backing band/orchestra. Blake even (we assume inadvertently) complimented Aguilera when he said, “She’s already working for you,” while praising Stone’s singing voice. “You do it all,” Aguilera cheered, talking up Stone’s ability to sing, rap and perform choreography. In one of the rare occasions where a “Voice” coach recommended that one of his singers stay true to the way a song is performed on an album, Blake pushed street performer Naya Kete to stick to the original arrangement of “Turning Tables” as it was recorded by Adele. Aguilera unsurprisingly disagreed, and she and Shelton clashed. He thought Naya brought a lot of personality and tenderness to the song, while the “Beautiful” songbird wished Kete would have included more of her own jazz style to the performance. In the night’s strangest performance (fully dressed division), Aguilera paired raspy-voiced Lindsey Pavao with Gotye’s “Somebody I Used to Know,” and she brought, um, creepy burlesque dancers and clowns in masquerade masks onstage for her performance. Even with the strange distractions, the judges were listening closely, and Adam thought she was missing the power Gotye brought to the chorus. Her coach Christina was pleased, though, saying that every time she hears Paveo sing she thinks “Where is her record? I could listen to this girl all day.” Team Blake’s rocker Jordin Unga was strong and hit all the right notes in a memorable take on Heart’s difficult “Alone,” inspiring her coach to say, “I’m just so glad America has the chance to find out who you are.” That’s the thing about “The Voice” judges: They always know the perfect thing to say. (It must be the influence of smooth, newly single lady’s man Levine being on the panel.) For the night’s oddest performance (shirtless edition), enter Team Christina’s Sera Hill, who not only made Drake’s “Find Your Love” all her own (and practically unrecognizable) as a Mary J. Blige-like R&B slow jam, but also turned the stage into a Chippendale’s review (green lasers and all). “I know this was your idea,” Shelton told Aguilera of Hill’s studly backup dancers. (We know it too; she’s “Dirrty” and we like that about her.) “I was waiting for Christina to start stuffing some 1’s in those guys’ pants,” Blake continued. He didn’t have much to say about Hill’s actual performance, because “it’s hard to get past the male strippers onstage. … There were male strippers on the stage on ‘The Voice.’ ” For Team Blake’s Erin Willett performance, the stage was transformed into a Prohibition-era speakeasy. Willett started into her Stevie Wonder cover at the piano before joining the swinging dancers for a Broadway-like performance. Shelton called Willett’s performance the “best vocal performance of the night,” and even Aguilera had to begrudgingly agree. The next two performers took alternate routes to putting the best spin on their talents now that America is voting. Rocker Ashley De La Rosa chose to play it safe, sticking to her rocker-girl wheelhouse with “Right Through You” by Alanis Morrisette. And it worked for her: Levine called her “the most improved by far.” When Aguilera agreed, he joked, “We just got along,” stoking those rumors that Aguilera can be a little diva on set. Unlike De La Rosa, Charlotte Sometimes changed things up so the live audiences would get a chance to hear a different side of her unique voice than they had at this point in the competition. She chose to rearrange Paramore’s “Misery” to create a softer showcase to show that she can be a delicate singer as well as a fiery one. The night’s final performance was a fine (if very safe) one: jazzy crooner Jesse Campbell singing “What a Wonderful World” by Louis Armstrong. “If someone from my team doesn’t win, I’m looking for you to win this,” Cee Lo told Campbell. Adam agreed that Campbell was “the one to beat.” But Aguilera must have been worried her “Moves Like Jagger” duet partner was going to turn negative, because the two ended the show in a (non) lovers spat, bickering back and forth as the credits rolled. Who do you think will get sent home on tomorrow’s results show? Let us know in the comments below! Related Artists Christina Aguilera Blake Shelton Cee Lo Green Adam Levine
After years of foisting dashed-off 3-D — and its inflated ticket prices — on movie audiences, studios may have found their most reliable ally yet in shoring up box office: IMAX. And not just the punch and potential of the brand’s own 3-D, either, but good old conventional 2-D as well. Call it the IMAX Old Wave. Led by last weekend’s $155 million Hunger Games windfall — $10.6 million of which came from the giant-screen format — more and more evidence suggests that audiences are both showing a preference for IMAX and happily forgoing often-reviled 3-D visuals. Just as important, and perhaps far more telling, blockbuster directors like Christopher Nolan and Brad Bird are making influential use of IMAX technology to augment their creativity. Those results have been roundly embraced by critics and crowds, all while 3-D continues generating negative feedback and diminishing returns. Are the studios finally ready to follow filmmakers around the corner? Maybe, if cinematographer Robert Elswit’s recent experience is any indication. “3-D was never a choice for us, so the matter never really came up,” said Elswit, the Academy Award winner who served as Bird’s director of photography on last year’s IMAX-intensive Mission: Impossible – Ghost Protocol . “As for the IMAX decision, Brad certainly decided to go that route, but he was basically unproven as an action director. Having somebody as influential as Tom Cruise supporting the idea meant it was more likely to happen. Once he was completely in agreement that IMAX would benefit the film as a result the studio never fought it – Tom really influenced them to agree on spending the money, and ultimately it was not such a major expense, budget-wise.” The move underscores both the creative and commercial advantages in turning away from the muddy visuals of the ongoing 3-D “renaissance” in favor of the optimal experience of regular, two-dimensional IMAX viewing. The company itself has recognized this, delivering increasingly fan-friendly franchise titles (many of course, like Harry Potter and the Deathly Hallows – Part 2 and Transformers: Dark of the Moon , still in its proprietary IMAX 3D) while aggressively expanding to nearly 600 screens in 48 countries. Currently the company is well into a project that will add 15 new venues into China. Meanwhile, as Hollywood rebounds from last year’s dismal box office, IMAX has actually outpaced that success. Even before Hunger Games landed the third biggest opening weekend of all time, Hollywood had seen a 20 percent increase in year-to-date grosses over the same time frame in 2011. During this same time IMAX has enjoyed a 45 percent surge over last year’s numbers. Even the bomb John Carter boasted a healthy 17 percent of its meager opening from IMAX theaters. IMAX has such a busy slate this year that despite clearing 270 screens for Hunger Games ‘ debut in North America (and an additional 19 venues in the U.K. and France), it has to edge out the blockbuster after a week to accommodate its commitment to today’s Wrath of the Titans. This is not a fluke. The Canadian juggernaut has cultivated a following among viewers and filmmakers alike for four decades, with the more of the latter gravitating towards the 65mm format in recent years. Nolan, a longtime proponent of the technology, was instrumental in ushering in the IMAX Old Wave with his 2008 megahit The Dark Knight , while Bird and Elswit followed suit in 2011 with Ghost Protocol . “Brad wanted to use IMAX right from the start, and that was mainly due to Chris Nolan’s success in using it for sequences in his Dark Knight film,” Elswit told me. “We decided that we wanted to use IMAX cameras to shoot four or five of the action sequences” — most famous being the thrilling Burj Khalifa scenes , featuring Tom Cruise actually scaling and bounding around the top of the world’s tallest building. “Initially the plan was to construct a massive set replicating the tower and then digitally inserting the ground shot behind what we filmed,” Elswit explained. “Tom, however insisted that he actually go outside the actual location, and that enabled us to take IMAX cameras to the tower and film him scaling the building. That meant we were able to deliver those shots that could cause vertigo when watching in an IMAX theater.” The global reach of IMAX also provided an unforeseen benefit to their location shoot. “As it turns out Dubai has an IMAX theater,” Elswit said. “So we were able to go there and actually view our dailies in IMAX.” Then, in another unique move, Paramount debuted Ghost Protocol exclusively on 300 IMAX screens five days prior to its wide opening. From the shoot to the release strategy, the format conferred an event status that helped nab the film $45 million in IMAX grosses alone and represented the first wave in a nearly $700 million global phenomenon. Asked to elaborate on the specific cost differences of producing 3-D versus standard IMAX, Elswit demurred. But the implication was clear for the filmmakers weighing both formats: On the whole, IMAX wields the bigger bang for one’s buck. “When it comes to altering a print for 3-D in post, that is not so expensive,” he said. “But if you were to properly shoot in either format, I don’t really see a major difference in the cost. In fact, when it comes to shooting an action sequence — because that is the kind of scene where you would be more likely to use IMAX effectively — you would need to use at least three cameras, in order to film it properly and get the images you want. In that case shooting in 3-D becomes more expensive because there is so much more time needed to properly stage your cameras to get the shots properly filmed.” Proponents of 3-D — even those inside IMAX’s front office — face other challenges and red flags regarding the format’s long-term viability. As a side-by-side comparison of established auteurs embracing technology, we can look back to Martin Scorsese’s reported $170 million family film Hugo : While lauded by critics and winning multiple Oscars — including Robert Richardson’s eye-popping 3-D cinematography — the film grossed only $73 million domestically and barely broke even once foreign markets are taken into account. Other telling statistics came with the hit film The Lorax , whose hefty $70 million opening far exceeded expectations. Industry investment analyst Richard Greenfield found that while 3-D screens represented a nearly two-to-one majority of The Lorax ‘s theater count, the grosses expose a nearly even split between 2-D and 3-D. The per-screen average shows that more money was made in conventional screenings, a stunning figure once you factor in the inflated 3-D ticket prices. That breakdown means that while 60 percent of the screenings were displayed in 3-D, 60 percent of the audience watched in 2-D. Greenfield also noted the underperformance of Harry Potter and Deathly Hallows – Part 2 on IMAX 3D — a figure amounting to only 9 percent of its record-breaking $169 million opening gross — further arguing that if viewers had had more 2-D options, the 3-D share would have been even lower. Meanwhile, Hunger Games director Gary Ross — who has proclaimed his “love” for 3-D yet distanced the burgeoning franchise from the format (“I think that if we shoot this movie in 3-D, we become the Capitol,” he told one interviewer . “We start making spectacle out of something that I don’t think is really appropriate here”) — has already dictated that his sequel, Catching Fire , will likewise be projected in the traditional format. And those movies’ promise notwithstanding, IMAX CEO Richard Gelfond isn’t taking his company’s growth — in any dimension — for granted. “For us, one weekend and one film does not make a year,” he cautioned this week . “And that’s one thing you’ve really got to be clear [about] with investors and analysts.” Nevertheless, if artists’ preferences continue to mirror their audiences’ tastes, the combination may yield an inescapable influence on Hollywood’s decision makers. And once sizable, steady profits can be found on the 2-D side of the ledger, studios and IMAX won’t have any choice but to listen as the money does the talking. Brad Slager has written about movies and entertainment for Film Threat, Mediaite, and is a columnist at CHUD.com . His less insightful impressions on entertainment can be found on Twitter .
Six more contestants are sent home as battle rounds continue and the live shows draw nearer. By John Mitchell Erin Martin on “The Voice” Photo: NBC The theme on Monday night’s (March 19) episode of “The Voice” seemed to be strange pairings and even more oddly matched songs. Nearly every team to enter the ring was working one, the other or both for the third battle round, which saw judges Christina Aguilera , Blake Shelton , Adam Levine and Cee Lo Green send six contestants home and add even more members to their respective teams to take to the upcoming shows. Let’s get right to it! Team Adam The first pairing of the night was Team Adam’s Pip and Nathan Parrett. Pip’s popularity during the blind auditions (he got all four judges to turn their chairs) intimidated Nathan from the start and the pair was given a tall order when Adam assigned them Amy Winehouse’s “You Know I’m No Good.” It’s no wonder, then, that mentor Robin Thicke’s major recommendation to Perrett was to up his confidence and get ready to sell it once he hit the stage. But while Thicke was busy giving Perrett a pep talk, Alanis Morrisette was advising Pip to take it down a notch and not over-sing the song Two clean-cut pop singers tackling Winehouse’s bluesy hit might seem strange, but it gave both an opportunity to show their range as vocalists and earned raves from all the judges. Ultimately, though, Pip’s stage presence and consistency won him a place on Team Adam for the finals. One of the night’s few pairings that made sense came later in the night, during Levine’s team’s second meeting in the ring, which saw raspy Angel Taylor go up against “sultry vocalist” (host Carson Daly’s words, not mine) Katrina Parker, singing “Bleeding Love” by Leona Lewis. Thicke had a lot of faith in Taylor, saying she had what it takes to win the whole thing if she remembered to bring emotion to her performance, but the judges didn’t feel the same. Parker brought it to the battle and won the support of Xtina, Blake, Cee Lo and ultimately Levine, who sided with the three judges and will take Parker with him to the live shows. Team Cee Lo Cee Lo created what had to be the night’s most awkward pairing: whispery Erin Martin and rock duo the Shields Brothers. Stylistically, the two couldn’t be more different — Martin kind of sounds like Macy Gray, while the Shields Brother tear into songs like your friendly neighborhood garage band. The strangeness extended to the mentor stage too, when the Bros were joined for rehearsal by Babyface, who called their first run-through “a challenge.” “I thought ‘Wayne’s World,’ ” he added. He asked them to express a softer side, and when they did, he seemed pleased that he could finally “hear your voices.” On her way into the ring, Martin was “100 percent confident” she would win and that “power [i.e. the Shields Brothers] isn’t talent, it’s just loud.” (Dis!) This battle was strange right down to the song: “What’s Love Got to Do With It” by Tina Turner. Christina raved about the performance, but the other judges weren’t so sure. The only thing Blake could really think to say was, “Erin, I am so glad you wore that.” Cee Lo called it “wonderfully strange” and chose Martin to move forward because he felt he would be better able to mold her unique voice while the Shield Brothers were too set in their garage-rock shtick. Team Christina Ashley De La Rosa became nervous the second Christina told her was going up against one of the show’s early front-runners, Jonathas, a father of two who lived in poverty as a child in Brazil. When they were given “No Air” by Jordin Sparks and Chris Brown, she started freaking out. During the blind auditions, Jonathas’ vocal similarity to Usher caused quite a stir, so Ashley worried that being given a song so firmly in his wheelhouse (there was no denying from the beginning that he’d sing the heck out of Chris Brown’s part in “No Air”) would play to his advantage. But in the end, his comfort with the style and choice not to step outside it and show the judges he could do something else worked against him. While he was a natural singing Brown’s smooth R&B, the song gave Ashley a chance to show off her range. She did a great job with Sparks’ part, and her effort was rewarded with a continued spot on Team Xtina. Team Blake The strange pairings continued as Team Blake’s Jermaine Paul, a former backup singer for Alicia Keys, and pop-singing Texas teenager AlyX hit the ring together to sing the mega-’80s classic “Get Out of My Dreams, Get Into My Car” by Billy Ocean. The song required a carefree attitude that mentor Miranda Lambert just wasn’t confident young AlyX had. “I’m not sure she’s ever had fun and cut loose,” Lambert said, prescribing “sassiness” if she wanted to pose much of a challenge against Jermaine. It was a futile effort. Paul owned the song and the judges let him know it. “I mean, come on, Jermaine, you made that song your own,” Xtina fawned. Adam and Cee Lo agreed. And while Blake offered AlyX an “A” for effort, he unsurprisingly went with Paul, sending AlyX packing. The night’s most dramatic performance was its last, between Team Blake’s Gwen Sebastian and Erin Willet. In addition to their respective backstories (more on that later), the pair are total opposites when it comes to their singing styles. “Gwen is a country singer; Erin couldn’t be anything farther from that,” Blake explained as his rationale for teaming the two. And like every other country singer in the competition, Sebastian was enamored with her mentor Lambert, saying of the country star, “Her voice evokes every emotion I want to as a singer.” Things took a turn just before the battle, however, when Erin revealed that her father, who is suffering from stage 4 pancreatic cancer, is not doing that well. In fact, he’d only been given days to live, but he wanted her to stay in the competition, “I’m trying to be as present as I can be,” Willett told Shelton, who praised her devotion to both her father’s wishes and the competition. “I’m going to push from a place of wanting my father to be proud of me,” Willett said before she went on. Each judge commented on how radically different the two singers’ vocal styles were when they hit the stage, and it divided them. Christina and Adam went with Erin while Cee Lo picked Gwen. In the end, Blake sided with Xtina and Adam and picked Willett, who dedicated her win to her father. Moving On
Whitney Myer and Sarah Golden are among the contestants sent packing on Monday night. By John Mitchell “The Voice” judges Cee-Lo, Adam Levine, Christina Aguilera and Blake Shelton Photo: Getty Images Last week on “The Voice,” the battle rounds began and Monday night (March 12), they continued with a bang as judges Christina Aguilera, Adam Levine, Cee Lo Green and Blake Shelton chose six more hopefuls to continue on to the live shows … and sent six others home. With a recording contract with Universal Republic Records on the line, the stakes couldn’t be higher for this diverse group of mega-talented singers. Team Christina First up was Team Xtina and two of her most soulful vocalists, hotel clerk Sera Hill and 51-year-old Geoff McBride. Gathered around the piano, the pair wowed Xtina with their powerhouse voices and the coach seemed in her element working with two seasoned vocalists. Sera was paired with mentor Jewel, who complimented the emotion she brought to Aretha Franklin’s classic “Chain of Fools.” Geoff was teamed with Lionel Richie and seemed at first in awe of the pop legend. “When Geoff walked in, his delivery was unbelievable,” Richie said. “[But] he’s got to give us the personality, he’s got to give us the character.” Adam felt Geoff was more “in the moment” during their face-off in “The Voice’s” pop boxing ring, but said that Hill put on “an excellent show.” Christina complimented Sera’s technique throughout both the rehearsals and the final performance, saying she admired the preciseness of her vocal runs. Ultimately, Sera’s ability to hit her notes and execute her ad libs was enough to carry her though the tough showdown and get Xtina’s vote of approval. For her second pairing, Christina pitted her two most unique voices, Lindsey Pavao and Lee Koch, against each other to tackle Nirvana’s “Heart Shaped Box.” Jewel encouraged Lee to really learn the song (Lindsey is a big Nirvana fan and already knew the song inside out) and make Kurt Cobain’s highly personal lyrics his own. Their performance was “inventive and original,” according to Cee Lo. Adam chose some different adjectives, calling their take “delightfully creepy,” while complimenting the pair on delivering a truly unique take on Nirvana’s song. Impressed with the character and improvement she brought to her vocal, Aguilera chose Lindsey. “What tipped the scales was that Lindsey is extremely versatile in her vocal approach,” Aguilera said, “and I can’t wait to see what becomes of her.” Team Blake “I chose Lex versus Charlotte for a very simple reason: their personalities,” Shelton said when he announced that outgoing Jersey girl Charlotte Sometimes would hit the ring against the more quiet Lex Land to sing Foster the People’s hit “Pumped Up Kicks.” Lex is admittedly very shy, and Blake wanted to see if being paired with the much more extroverted Charlotte would bring her out of her shell — something he believes she needs if she wants to succeed on the show. And while Lex did rise to the challenge by stepping out of her comfort zone and bringing her distinct and sultry sound to the song, she also had some pitch problems. Charlotte didn’t have any such issues, and Shelton chose her more consistent vocal performance to move forward. Team Cee Lo For his first battle of the night, Cee Lo went with two very different singers, gravel-voiced rocker Juliet Simms and folk singer Sarah Golden, singing Rod Stewart’s “Stay With Me.” Sarah was teamed with Babyface, who supported Sarah’s choice to keep close to her simple, folky roots. “The only way I’m going to beat Juliet is to stay true to who I am,” Sarah admitted. “The only thing I would tell you is to pick your spots,” mentor Ne-Yo told Juliet, recommending she not over-sing the song, but rather pick the right moments to let her unique voice shine. Juliet delivered the raspy vocal Cee Lo expected, and while Blake was a fan of how Sarah’s unique, near-country delivery complimented the band’s shredding guitars, the other judges urged Cee Lo to go with Juliet … which he did. Cee Lo’s final pairing of the night was an emotional one — the music Renaissance man paired Jamar Rogers and Jamie Lono to take on Foreigner’s “I Want to Know What Love Is.” Though the two had become good friends, in a winner-take-all competition like “The Voice,” it’s every man for himself. Jamie was having trouble with his voice cracking throughout rehearsals, and mentor Babyface advised him to “do what your voice tells you.” Paired with Ne-Yo, Jamar got the encouragement he needed. Ne-Yo told the young singer that a song like “I Wanna Know What Love Is” is all about the emotion the singer brings to it. And Jamar certainly has plenty of life experience to draw upon — the young man was once a heavy drug user who overcame his addiction, but as a result of his drug use contracted HIV. “If I win this, it will be a victory for anyone who has ever overcome anything,” Jamar said on his way into the battle ring. Jamar’s strong vocal performance won over Adam and Christina, while Jamie’s style earned Blake’s vote. But the final decision was Cee Lo’s, and he chose Jamar to move forward to the live shows. Both singers were left in tears singing the other’s praises during their interviews following their performance. Team Adam Whitney Myer, who got all four judges to turn their chairs during the blind auditions, found her nerves wracked immediately when Adam paired her with Kim Yarbrough, a far more seasoned vocalist who is two decades her senior. Both Adam and mentor Alanis Morissette encouraged the young singer to not even try to overpower Yarbrough but instead opt to spotlight the strong personality in her own voice. Kim’s mentor Robin Thicke pushed for her to embrace the emotion of the song and not focus so intently on showing off her already-developed chops. “I truly felt like I was watching one of those diva concerts,” Blake said of the vocal Olympics that was Kim and Whitney’s performance of Mary J. Blige’s “No More Drama.” Unable to be of any assistance, Blake declared, “I pick Carson [Daly].” Meanwhile, both Christina and Cee Lo picked Kim, feeling the song better fit Kim’s more mature vocal. It was a tough decision that clearly weighed on him heavily, but Adam ultimately sided with his fellow judges and chose Kim. Moving on
And then there were 14. With 10 more to go, of course. On last night’s installment of American Idol , Randy, Steven and Jennifer broke the hearts of some contestants, while making the dreams of others come true, as they started the process of whittling 42 hopefuls down to the 24 semifinalists that will compete live next week. Did one of your favorites make the cut? Let’s take a look at the first 14 semifinalists on season 11, with the final group to be named this evening… Baylie Brown Las Vegas Audition Jen Hirsh : A winery worker, referred to by Randy as “one of the best singers this year.” Creighton Fraker : Discovered late in life that his birth father was the lead singer of a heavy metal band. Joshua Ledet : “Hallelujah,” he simply shouted upon hearing the great news. Haley Johnsen : Said she has one mission: To “break out of my shyness and gain confidence.” Now has her chance. Elise Testone : Also referred to as “one of the best singers we’ve seen” by Randy, says she can feel “in my heart” that this is her time to shine. Reed Grimm : Played the drums again and broke out in a dance when named a semifinalist. Erika van Pelt : This mobile DJ and wedding singer was teased by J. Lo before being told: We’re going to take one more chance on you.” Chelsea Sorrell : A fan of Carrie Underwood, dreams of being a mom and a country singer. Baylie Brown : Failed to advance this far on season six when she forgot the words during Group Round. Heejun Han : Hails from Queens, said it’s the dream of every Asian man to hug Jennifer Lopez. Jessica Sanchez : Faces serious pressure, saying: “My mom is unemployed because of my music career. I’m tired of seeing my family struggle.” Phil Phillips : Works at a pawnshop, Randy worries his unique might “not play in front of everyone else.” Colton Dixon : Considered a “veteran,” is moving on after a couple of failed previous years. His sister did not make the Vegas cut. Brielle von Hugel : “This just proved to me that this is my life and I’m doing it,” she said after getting the news.
