Today’s film is the 2001 short Chosen. The film stars Clive Owen, who reprises his role from the Tony Scott short Beat The Devil, and is directed by Ang Lee and written by David Carter. Ang Lee has found critical and commercial success both on the Hollywood and international stage, and received the award for Best Director at the 85th Academy Awards for 2012′s Life of Pi.
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- 3/3/2013
- by Deepayan Sengupta
- SoundOnSight
The 55th Grammy Awards have arrived, and music's biggest night promises a ton of trophies, and hopefully some great live performances by today's hottest acts. Who has the best record of 2012? How about the year's best new artist? Stick with Zap2it throughout the night, as we continue updating the list of this year's winners!
All of the award categories are below, with the winners in bold.
Record of the Year"Lonely Boy" by The Black Keys"Stronger (What Doesn't Kill You)" by Kelly Clarkson"We Are Young" by Fun., featuring Janelle Monáe"Somebody That I Used To Know" by Gotye, featuring Kimbra"Thinkin Bout You" by Frank Ocean"We Are Never Ever Getting Back Together" by Taylor Swift
Album of the Year"El Camino" by The Black Keys"Some Nights" by Fun."Babel" by Mumford & Sons"Channel Orange" by Frank Ocean"Blunderbuss" by Jack White
Song of the Year...
All of the award categories are below, with the winners in bold.
Record of the Year"Lonely Boy" by The Black Keys"Stronger (What Doesn't Kill You)" by Kelly Clarkson"We Are Young" by Fun., featuring Janelle Monáe"Somebody That I Used To Know" by Gotye, featuring Kimbra"Thinkin Bout You" by Frank Ocean"We Are Never Ever Getting Back Together" by Taylor Swift
Album of the Year"El Camino" by The Black Keys"Some Nights" by Fun."Babel" by Mumford & Sons"Channel Orange" by Frank Ocean"Blunderbuss" by Jack White
Song of the Year...
- 2/11/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
“They say this place here is haunted.
Yeah, but only by a ghost...”
It’s a good way to burrow in, those Superimpositions. Those defiant anti-subtitles. “I’m having Font issues...” Walken whines somewhere. Me too. My favorite is in Domino: the fabulously absurd and banal, the “with Dad” that over-clarifies that the guy who looks nothing like Lawrence Harvey (who ever did?), that guy we’ve just seen in The Manchurian Candidate in 1962 is, in the diegetic account, still alive, and still her father in 1993. Markerian is supposedly the word for this.
Superimposition of text—against and over the weak image.
<- the previous analysis | movement index | the next analysis ->
“They say this place here is haunted.
Yeah, but only by a ghost...”
It’s a good way to burrow in, those Superimpositions. Those defiant anti-subtitles. “I’m having Font issues...” Walken whines somewhere. Me too. My favorite is in Domino: the fabulously absurd and banal, the “with Dad” that over-clarifies that the guy who looks nothing like Lawrence Harvey (who ever did?), that guy we’ve just seen in The Manchurian Candidate in 1962 is, in the diegetic account, still alive, and still her father in 1993. Markerian is supposedly the word for this.
Superimposition of text—against and over the weak image.
- 12/3/2012
- by Uncas Blythe
- MUBI
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,...
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,...
- 11/27/2012
- by Daniel Kasman
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
The dizzying shootout/kidnapping in Man on Fire comes a full 50 minutes into the 146-minute movie. Up until then, Tony Scott has offered little but extended set-up: depressed, alcoholic former CIA operative Creasy (Denzel Washington) heads to Mexico and takes a gig as bodyguard for a rich couple's young daughter Pita (Dakota Fanning). Creasy learns the ins and outs of Pita's daily schedule of piano lessons and swim practice over several scenes, which Scott methodically covers in unfussy, stylistically sober fashion, focusing on performance, character detail, and milieu. When Pita is snatched under Creasy's watch, the character and the film erupt: Creasy and...
<- the previous analysis | movement index | the next analysis ->
The dizzying shootout/kidnapping in Man on Fire comes a full 50 minutes into the 146-minute movie. Up until then, Tony Scott has offered little but extended set-up: depressed, alcoholic former CIA operative Creasy (Denzel Washington) heads to Mexico and takes a gig as bodyguard for a rich couple's young daughter Pita (Dakota Fanning). Creasy learns the ins and outs of Pita's daily schedule of piano lessons and swim practice over several scenes, which Scott methodically covers in unfussy, stylistically sober fashion, focusing on performance, character detail, and milieu. When Pita is snatched under Creasy's watch, the character and the film erupt: Creasy and...
- 11/26/2012
- by C. Mason Wells
- MUBI
Short films are an often underappreciated art form. The ability to tell an effective story within “40 minutes or less”, as defined by the Academy, is certainly a talent, and can often be a medium for aspiring filmmakers to prove their chops and transition into feature length productions. The same principle holds true for aspiring actors as well, with many big screen stars honing their craft on smaller movies. Thus, every sunday, we will highlight one such film, to give our readers a look at how directors, writers, and actors perform with time limitations.
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Today’s film is the 2002 short Beat The Devil. Directed by the late Tony Scott, who helmed movies such as Top Gun and True Romance, this short stars James Brown, Clive Owen, Gary Oldman, and Danny Trejo, with a very special guest appearance near the end. Tony Scott died earlier this year after committing suicide, leaving 2010′s Unstoppable as his final film.
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Today’s film is the 2002 short Beat The Devil. Directed by the late Tony Scott, who helmed movies such as Top Gun and True Romance, this short stars James Brown, Clive Owen, Gary Oldman, and Danny Trejo, with a very special guest appearance near the end. Tony Scott died earlier this year after committing suicide, leaving 2010′s Unstoppable as his final film.
- 10/21/2012
- by Deepayan Sengupta
- SoundOnSight
Tony Scott, one of Hollywood’s most marginalized auteurs and easily one of the most exciting presences in that market, died recently of suicide. But this particular obituary will be less a mourning and more a celebration of his artistry. This artistry sharply divided critics and audiences alike, more specifically in the last 10 years of his career where his editing became swifter, his colors more extreme and his camerawork more hectic and subjective.
Anthony D. L. Scott was born in North Shields, Northumberland, England in 1944. Seven years the junior of more renowned director brother, Ridley, he attended the Royal College of Art in London, earning his Master of Fine Arts degree in 1972 with every intention to become a painter. Tempted by his brother, he soon entered the world of TV and film. His early TV work earned him accolades, but his first feature film did not. The Hunger was received poorly,...
Anthony D. L. Scott was born in North Shields, Northumberland, England in 1944. Seven years the junior of more renowned director brother, Ridley, he attended the Royal College of Art in London, earning his Master of Fine Arts degree in 1972 with every intention to become a painter. Tempted by his brother, he soon entered the world of TV and film. His early TV work earned him accolades, but his first feature film did not. The Hunger was received poorly,...
- 8/20/2012
- by Chris Clark
- SoundOnSight
Welcome back to Fox, Lie to Me!
On "Beat the Devil," this show's summer season kicked off with a great murder mystery and a light-hearted UFO mystery.
I truly enjoy watching Tim Roth as Cal Lightman. I think the combination of his British accent with the character’s straight forward bold confidence makes for a very powerful character.
This week’s episode also included a little flash from the past, as Professor Helen Dezekis has a history with Cal, which we learn through the episode was very intimate for him. While he downplayed the aspects of the relationship they had 23 years ago, both Gillian and Helen felt he went after Martin because of some sort of jealousy issue over his “replacement."
As always, Cal knew how to read the signs and knew how Martin was going to think.
On the flip side of this episode, it felt to me like...
On "Beat the Devil," this show's summer season kicked off with a great murder mystery and a light-hearted UFO mystery.
I truly enjoy watching Tim Roth as Cal Lightman. I think the combination of his British accent with the character’s straight forward bold confidence makes for a very powerful character.
This week’s episode also included a little flash from the past, as Professor Helen Dezekis has a history with Cal, which we learn through the episode was very intimate for him. While he downplayed the aspects of the relationship they had 23 years ago, both Gillian and Helen felt he went after Martin because of some sort of jealousy issue over his “replacement."
As always, Cal knew how to read the signs and knew how Martin was going to think.
On the flip side of this episode, it felt to me like...
- 6/8/2010
- by viddwizard@gmail.com (ViddWizard)
- TVfanatic
Chicago – The great television creator Shawn Ryan (“The Shield”) has taken over “Lie to Me” and turned what was a pretty generic mystery-of-the-week show into something that’s deserving of your attention. Taking the great Tim Roth and making him much more than just a cog in the serial machine, the two new episodes of “Lie to Me” that air tonight and next week make for intense, excellent television.
Television Rating: 4.0/5.0
When the show premiered back in January of 2009, I wrote, “Cluttered TV scripts reek of desperation and “Lie To Me” is just not well-written. Roth is good and Williams isn’t bad, but TV has always been and will always be about the writing and the pilot for “Lie To Me” is a mess. The cases, the dialogue, the supporting characters - none of it works.”
Lie To Me
Photo credit: Adam Rose/Fox
So what’s the best...
Television Rating: 4.0/5.0
When the show premiered back in January of 2009, I wrote, “Cluttered TV scripts reek of desperation and “Lie To Me” is just not well-written. Roth is good and Williams isn’t bad, but TV has always been and will always be about the writing and the pilot for “Lie To Me” is a mess. The cases, the dialogue, the supporting characters - none of it works.”
Lie To Me
Photo credit: Adam Rose/Fox
So what’s the best...
- 6/7/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Take this with a pinch of salt, since horror movies starring Marilyn Manson have been promised since about 1996, and not much (a tiny role in David Lynch's Lost Highway; a fantastic punchline in Tony Scott's BMW short Beat the Devil) has ever happened. But according to an announcement at Cannes, Manson (aka Brian Warner) and his sometime squeeze Evan Rachel Wood are about to team up for 80s-homaging horror Splatter Sisters.No plot details have been released yet, but whatever role Manson is down for, is, according to producer David Gordon Green (Pineapple Express) "one he was born to play." Green is co-producing with Edward R Pressman (Bad Lieutenant Port of Call New Orleans, American Psycho, The Crow), and the director is relative newcomer Adam Bhala Lough, who hopes to create a new genre he has termed "skinemax", based on the low-grade tits & gore slashers of the 80s...
- 5/18/2010
- EmpireOnline
With the release of the new Tony Scott film, The Taking of Pelham 1 2 3, we have decided to post his short film for the 2001 BMW internet adds. Beat The Devil The Driver drag-races the Devil, in order to earn James Brown [1] his soul. with James Brown [1], Gary Oldman [3], Danny Trejo [4] and Marilyn Manson [5] Directed by Tony Scott [6] Featured the BMW Z4 [7] [1] http://en.wikipedia.org/wiki/James_Brown [2] http://en.wikipedia.org/wiki/James_Brown [3] http://en.wikipedia.org/wiki/Gary_Oldman [4] http://en.wikipedia.org/wiki/Danny_Trejo [5] http://en.wikipedia.org/wiki/Marilyn_Manson [6] http://en.wikipedia.org/wiki/Tony_Scott [7] http://en.wikipedia.org/wiki/BMW_Z4...
- 6/15/2009
- by Ricky
- SoundOnSight
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