Following the release of “See You Next Summer,” Brian Kelley released another farewell track on Wednesday, this time with a far more bitter tune: “Kiss My Boots.”
The song, part of his upcoming sophomore album, Tennessee Truth, has some fans musing if the new track is a dig at Tyler Hubbard, the Georgia half of former country music duo Florida George Line. “Want the world to know that you did me wrong/I don’t know how you act sweet, after how you did me,” sings Kelley. “Here’s a...
The song, part of his upcoming sophomore album, Tennessee Truth, has some fans musing if the new track is a dig at Tyler Hubbard, the Georgia half of former country music duo Florida George Line. “Want the world to know that you did me wrong/I don’t know how you act sweet, after how you did me,” sings Kelley. “Here’s a...
- 3/7/2024
- by Charisma Madarang
- Rollingstone.com
Playing his signature brand of rural French absurdity in stark counterpoint to the grandiose strains of a space opera, Bruno Dumont returns with The Empire: his Barbarella bourguignon, his dijionnaise Dune. The Empire is the story of two warring factions: one whose mothership resembles the palace of Versailles; the other’s as if someone glued together two Notre Dames, crypt to crypt. It follows their envoys on earth, now in human form and attempting to capture a toddler who they believe to be the Chosen One––whose mere presence makes them bow down like bodies in rigor mortis. There are blasé beheadings with lightsabers, a group of men on Boulonnais horses who call themselves the Knights of Wain, and, for no apparent reason, the commandant (Bernard Pruvost) and lieutenant (Philippe Jore) from P’tit Quinquin.
If that all sounds like a mixed bag it’s probably because The Empire is...
If that all sounds like a mixed bag it’s probably because The Empire is...
- 2/19/2024
- by Rory O'Connor
- The Film Stage
Out of the many movies you could imagine emerging from the mind of French auteur Bruno Dumont, a Star Wars parody was probably somewhere at the bottom of the list.
And yet it’s been some time since the Cannes Grand Jury Prize laureate, who broke out in the late 90s with viscerally stylized, hard-hitting works of Gallic realism like The Life of Jesus and Humanity, has strayed far from his gritty roots towards a brand of accentuated arthouse satire.
His latest effort, the sci-fi farce The Empire (L’Empire), definitely fits the latter mold, although it’s loaded with enough VFX, light saber battles, spacecrafts and prophecies to give George Lucas a run for his money. That is, if Lucas decided to set the next Star Wars in a sleepy northern French city, used a local mechanic to play one of the leads and tossed in a few flagrant sex scenes,...
And yet it’s been some time since the Cannes Grand Jury Prize laureate, who broke out in the late 90s with viscerally stylized, hard-hitting works of Gallic realism like The Life of Jesus and Humanity, has strayed far from his gritty roots towards a brand of accentuated arthouse satire.
His latest effort, the sci-fi farce The Empire (L’Empire), definitely fits the latter mold, although it’s loaded with enough VFX, light saber battles, spacecrafts and prophecies to give George Lucas a run for his money. That is, if Lucas decided to set the next Star Wars in a sleepy northern French city, used a local mechanic to play one of the leads and tossed in a few flagrant sex scenes,...
- 2/18/2024
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
It is increasingly weird to recall that for a while, French director Bruno Dumont was the kind of filmmaker who reminded you, often forcibly and somewhat against your will, that the word “auteur” contains most of the letters of “austere.” “The Empire,” another of the director’s proudly off-kilter comedies that pitches the bumbling denizens of a small French village into a vast, sinister conspiracy extending far beyond their foreshortened horizons, hovers several light years — and two janky light sabers — away from austerity. Unfortunately, though, the air out there is also a little thin on hilarity, with the film’s one-gag setup becoming stretched to the point that it doesn’t even matter that it’s a pretty good gag.
The humor, as ever with the Dumont of “Li’l Quinquin” and “Slack Bay,” derives largely from the collision of the grandiose with the drolly mundane. This time out, harking back to,...
The humor, as ever with the Dumont of “Li’l Quinquin” and “Slack Bay,” derives largely from the collision of the grandiose with the drolly mundane. This time out, harking back to,...
- 2/18/2024
- by Jessica Kiang
- Variety Film + TV
Rejoice, country music fans! Kane Brown released a tune with Blake Shelton on his most recent album. Brown revealed he was working on a tune that sounded like Shelton and decided he should work with the icon himself. Despite the success of these two artists, the tune in question has been ignored by the radio.
Kane Brown thought 1 of his songs sounded like Blake Shelton’s ‘God’s Country’
During a 2022 interview with Billboard, Brown discussed the creation of his song “Different Man.” “I was driving to the gym — that’s where I really have time to think and listen,” he said. “I wanted one more feature on the album, and Blake was the first person I thought of. The song just reminded me of the ‘God’s Country’ kind of Blake Shelton, so I felt like it made sense.”
Brown is not shy about collaborating with other artists. One of his most famous songs,...
Kane Brown thought 1 of his songs sounded like Blake Shelton’s ‘God’s Country’
During a 2022 interview with Billboard, Brown discussed the creation of his song “Different Man.” “I was driving to the gym — that’s where I really have time to think and listen,” he said. “I wanted one more feature on the album, and Blake was the first person I thought of. The song just reminded me of the ‘God’s Country’ kind of Blake Shelton, so I felt like it made sense.”
Brown is not shy about collaborating with other artists. One of his most famous songs,...
- 1/22/2024
- by Matthew Trzcinski
- Showbiz Cheat Sheet
Christian Carion, centre, on the set of Driving Madeleine with Line Renaud and Dany Boon. Carion: 'Because of the pandemic, we had to imagine another way of shooting, in the studio. We did it for Line, because when we shot she was 93, so she was very precious' Photo: Courtesy of the French Film Festival UK/Jean-Claude Lother Driving Madeleine sees a taxi journey across Paris also becomes a trip back in time as 92-year-old Madeleine (Line Renaud) heads from her house to a carehome, telling forthysomething cabbie Charles (Dany Boon) about her life along the way. What starts with a honey-glowed flashback to a honey-tasting kiss from an American GI becomes a lot less nostalgic and warm as her reminiscences continue. This means the film, although often moving, also has a surprising robustness concerning women’s rights that stops it slipping into sentimentality.
When I catch up with the twinkly...
When I catch up with the twinkly...
- 11/23/2023
- by Amber Wilkinson
- eyeforfilm.co.uk
The Conjuring Universe has grossed $2 billion, and dollar for dollar, it’s the most successful cinematic universe that doesn’t involve superheroes. Surprisingly, the highest grossing chapter in the James Wan and Peter Safran-produced horror franchise is 2018’s The Nun ($366 million), and now, The Conjuring: The Devil Made Me Do It director Michael Chaves is back with its follow-up, The Nun II.
The Taissa Farmiga-led film is Chaves’ second go-round in the Conjuring franchise, as the official count does not include his feature directorial debut, The Curse of La Llorona (2019), despite New Line and Wan’s involvement, as well as a character and footage from 2014’s Annabelle. (The point of contention for Chaves is that franchise co-producer Peter Safran did not shepherd La Llorona with Wan.)
Written by Akela Cooper, Ian Goldberg and Richard Naing, The Nun II picks up in 1956, four years after Sister Irene (Farmiga) and Maurice...
The Taissa Farmiga-led film is Chaves’ second go-round in the Conjuring franchise, as the official count does not include his feature directorial debut, The Curse of La Llorona (2019), despite New Line and Wan’s involvement, as well as a character and footage from 2014’s Annabelle. (The point of contention for Chaves is that franchise co-producer Peter Safran did not shepherd La Llorona with Wan.)
Written by Akela Cooper, Ian Goldberg and Richard Naing, The Nun II picks up in 1956, four years after Sister Irene (Farmiga) and Maurice...
- 9/5/2023
- by Brian Davids
- The Hollywood Reporter - Movie News
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This was supposed to be the first “business as usual” summer movie season after Covid. Then the WGA strike came.
The Hollywood writers’ strike effects on TV were swift and obvious, like the shuttering of late-night television. The effects on the movies could play out over a far longer timetable, insidiously bleeding an already wounded industry.
Everyone agrees, with a few specific exceptions, that moviegoers returning to theaters won’t see the strike. “The movies for 2023 and 2024 have pretty much been written. In many cases, they’ve already been filmed,” AMC CEO Adam Aron noted Friday on his company’s quarterly earnings call with analysts. He was just the latest in a string of executives to reassure Wall Street of the strike’s limited impact.
But more labor unrest is on...
This was supposed to be the first “business as usual” summer movie season after Covid. Then the WGA strike came.
The Hollywood writers’ strike effects on TV were swift and obvious, like the shuttering of late-night television. The effects on the movies could play out over a far longer timetable, insidiously bleeding an already wounded industry.
Everyone agrees, with a few specific exceptions, that moviegoers returning to theaters won’t see the strike. “The movies for 2023 and 2024 have pretty much been written. In many cases, they’ve already been filmed,” AMC CEO Adam Aron noted Friday on his company’s quarterly earnings call with analysts. He was just the latest in a string of executives to reassure Wall Street of the strike’s limited impact.
But more labor unrest is on...
- 5/8/2023
- by Scott Mendelson and Umberto Gonzalez
- The Wrap
5th Update Sunday Am: Disney/Pixar’s Coco easily takes No. 1 with $26.1M per Disney which is $2.1M lighter than what Moana did in the post Thanksgiving period a year ago. The princess halo always give any Disney property an extra bump and that’s one of the reasons why Coco is pacing 9% behind the Pacific Princess with $108.7M. Coco will easily own next weekend as the major studios continue to take a break from any wide entries. The ratcheted-down Broad Green is the only distributor braving it this coming Friday with the Tommy Lee Jones-Morgan Freeman-Rene Russo action comedy Just Getting Started. Specialty distributors in the wake of Golden Globe and SAG Award nominations will continue to expand wide. As we mentioned yesterday, there’s more moolah this year in the post Thanksgiving sleepy frame with ComScore reporting $105M, a 9.4% spike over the same weekend a year ago.
- 12/3/2017
- by Anthony D'Alessandro
- Deadline Film + TV
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