The shallow deep talk of True Detective by Emily Nussbaum:
“Judged purely on style, HBO’s “True Detective” is a great show. Every week, it offers up shiver-inducing cable intoxicants, from an over-the-top action sequence so liquid it rivals a Scorsese flick to piquant scenes of rural degradation, filmed on location in Louisiana, a setting that has become a bit of an HBO specialty. (“Treme” and “True Blood” are also set there.)”
Street-legal Batmobile goes on sale for $1m – and even has a CD player:
“It’s every Batman fanboy’s dream: driving around Gotham fighting ne’er-do-wells and perhaps wearing too much eyeshadow. Now the fantasy becomes near-reality, as a replica of the ‘Tumbler’ Batmobile used in The Dark Knight movies goes on sale for $1m.”
–
–
“Oh hey, the Oscars are on Sunday night! And congratulations to America’s celebrities for enduring another painfully long and arduous awards season. YOU POOR THINGS! Being shuttled from red carpet to red carpet, forced to wear nice clothes, asked the same dumb questions over and over again (“How’s it feel to be nominated?”) … it’s just such a grind, isn’t it? Who has the energy to open ALL those goody bags?”
–
–
“This story first appeared in the March 7 issue of The Hollywood Reporter magazine. It is the first of five “brutally honest” Oscar ballots shared with THR by Academy members, one of which will post each day leading up to the Oscar ceremony on Sunday, March 2.”
–
–
“A couple of Oscar seasons ago, while weathering the onslaught of “For Your Consideration” ads, talk-show appearances and other campaign clamor, I started to daydream. What might the Academy Awards be like if everyone turned away from industry chatter and focused instead on assessing the quality of what was actually on screen?”
–
–
“The Jason Blum business model boasts a very simple and alluring logic: Make movies fast and for a price — $5 million or less — and then spend the $20 million or $30 million needed to release them in theaters only if they have a shot at selling at least $25 million worth of tickets. With luck, you get an unusually profitable hit and otherwise — boom — straight to VOD, so even those that aren’t multiplex-worthy can cover their costs.”
–
