"Final Destination" clip: "Survival Tips" Video
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Craving NYC: Comics, cosplayers, and pillow fights
Checking out the scene at the New York Comic Convention at the Jacob Javits Convention Center.
Set against the rugged ranchlands of Wyoming, "An Unfinished Life" is the story of a modern-day Western family, as stoic as they are divided, learning the true meaning of forgiveness. Robert Redford stars as Einar Gilkyson, a tough-skinned, retired rancher who long ago turned his back on memories. Still in shock from his only son's death a decade ago, Einar has let his ranch fall into ruin along with his marriage. Now, Einar spends his days caring only for his hired hand, and last trusted friend, Mitch (Morgan Freeman), who was gravely injured in an encounter with a grizzly bear. Einar intends to live out his days in this heartbroken solitude... until the very person he blames for his son's accident comes to town: his daughter-in-law Jean (Jennifer Lopez). Jean shows up broke, on the run and with a girl name Griff (Becca Gardner), who she swears is the granddaughter Einar never knew he had. Suddenly, Einar's quiet life is turned upside down as anger and accusations resurface. But slowly, miraculously, 11 year-old Griff's curiosity about Western life, and her longing for family and a father figure, begin to chip away at the stone that has become Einar's heart - opening up the way for unexpected connection, adventure, mercy and true reunion.
Ultimate Spiderman jumps from the comic pages to the console.
"The Devil and Daniel Johnston" trailer
Daniel Johnston is a manic-depressive genius singer/songwriter/artist, revealed in this portrait of madness, creativity and love. "The Devil and Daniel Johnston" is a stunning portrait of a musical and artistic genius who nearly slipped away. Director Jeff Feuerzeig exquisitely depicts a perfect example of brilliance and madness going hand in hand with subject Daniel Johnston. As an artist suffering from manic depression with delusions of grandeur, Daniel Johnston's wild fluctuations, numerous downward spirals, and periodic respites are exposed in this deeply moving documentary.
The Constantines: "Nightime/Anytime, It's Alright"
When the Constantines headlined the Sub Pop showcase at the 2004 SXSW Festival in Austin, Texas; the band's show concluded with them standing on the speaker stacks clapping and keeping time for the audience as the room sang the band's recent set closer (Lou Reed's "Temporary Thing") back at them. This scene lasted a full five minutes, five minutes of finale without the band playing a single note and thus the increasingly impatient promoters, fearful of running over their strict Texan curfew, couldn't even unplug the band to get them off the stage. But then the purpose of the stage is constantly called into question at Constantines shows. Bryan and Steve will regularly move their mic stands into the crowd and Doug frequently hands out percussion to the faithful gathered together near the band. The greatest rock and roll is always transformative, a concept that the Constantines grasped from their inception and one which was so readily on display at this show. The boundary between band and crowd is blurred; inhibitions are lost, along with voices, and ultimately you feel more alive than you did before the band took the stage, before you stopped noticing the stage.
Check out the free iPhone app for "The Watchmen" movie that corrals trailers, motion comics, behind-the-scenes featurettes, wallpapers, and more into one slick-looking app.
Buzz Report: An American iPhone in London
The iPhone arrives in London like some sort of attack from American shores. And the lightsaber comes to the Wii. Finally!
Death From Above 1979: "Romantic Rights"
Hard riffage from Death From Above 1979
Go to enough extremes and you'll find a kind of balance. Until now, The Frames' music favoured bi-polar swings, violently loud on one song, violently quiet the next. On Burn The Maps, their fifth studio album, the band have reconciled their various personalities into one volatile organism, synthesizing gorgeous melancholy with full-blown anger. If 2000's For the Birds seemed to capture the Dublin/Chicago quintet playing in a small room with nobody watching, Burn The Maps turns on the arc lamps. Served by their most faithful production job yet (courtesy of ex-guitarist Dave Odlum and new guitarist Rob Bochnik, who formerly spent eight years working at Steve Albini's Electrical Audio Studio) and recorded in Black Box studios in France, the new record is a skilful mix of widescreen scale and magnifying-glass detail, sort of like putting a Herzog still under a microscope. So, you get the self-questioning psychodrama and martial rhythms of the single 'Finally', featuring a hackle-raising vocal from Glen Hansard and typically panoramic string arrangement from Colm Mac An Iomaire. You get spiky, nasty pop songs like 'Fake' and 'Underglass', with its dum-dum bassline worthy of Kim Deal. You get the seraphic boy soprano melodies of 'Happy' and 'Sideways Down' and the graphic 4am truth-or-dare drinking games of 'Caution'. And you get epics like 'Keepsake', distinguished by the sort of sea change dynamics associated with Mogwai or the Dirty Three. In short, here's a world where Spector collides with Steve Albini, Arvo Part with Sparklehorse, open-heart surgery songs that deal in love and hate, mourning and ambition, art and blood.
Black-Death Metal from Braggnarazzh
