East Bound Lost Boy with a Gift for Speed Collides with Present Day Good Fellas Meets the Police Force Film. | The Place Beyond The Pines.



The place Beyond The Pines.

The film’s first part centers on Luke Glanton (Ryan Gosling), a charismatic biker doing a dangerous wall-of-death stunt act at a travelling fair. He’s a strutting, chain-smoking, much tattooed drifter who is transformed by the discovery that he’s the father of Jason, the six-month-old son of Romina (Eva Mendes), a waitress in a suburban Schenectady cafe. In order to be near his son he gives up his transient life and takes a poorly paid job with a rural car repair shop run by the roughneck Robin (Ben Mendelsohn). He remains in touch with the world of reckless speed, and to supplement his income he agrees to rob local banks using his remarkable skills as a biker and drifts into petty crime. The film catches the romance of speed but doesn’t glamorise crime. Romina has found a new, more dependable partner, and Luke remains violent, wilful and lawless. He’s redeemed in the eyes of the audience, but not in those of society, by the way he tries to assume paternal responsibilities.

Gosling gives a moving, unsentimental performance in what is in effect a reworking of Ferenc Molnár’s play Liliom, now principally known as the basis of Rodgers and Hammerstein’s Carousel. In the film’s second part, the limelight switches from Gosling to Bradley Cooper, an actor with the same compelling gaze as Gosling’s; both seem to be simultaneously interrogating us and examining themselves. He’s Avery Cross, a complementary figure: a college-educated uniformed cop and son of a well respected ex-judge. He too has a small son. Suddenly he becomes a police hero in somewhat dubious circumstances. Riddled with guilt, he’s drawn into a web of corruption and professional intrigue that wraps itself around the local criminal justice system. Three crooked colleagues (one played by the menacing Ray Liotta, American cinema’s prime exponent of bent coppers) bring his life into collision with those of the working-class Romina and Jason on the other side of the tracks.

Driven by a confused combination of ambition, honesty and guilt, Avery decides to shop the conspirators who seek to draw him into the shady underworld where law enforcers and outlaws mingle. This is Sidney Lumet’s stamping ground (though less intense), and the movie immediately brings to mind Lumet’s Serpico and Prince of the City. It’s an ironic tale that closely parallels the first one about the biker in its moral ambiguity.

For the third part of the triptych, Cianfrance leaps forward 15 years. By then, Avery (for reasons we can easily infer) has broken up with his adoring wife, moved into his distinguished father’s modest mansion and is running for the high office of attorney general of New York. At this point the focus shifts to Luke’s son, Jason, and Avery’s son, AJ, their circumstances unknown to each other and both highly disturbed. In a contrived and perfunctory way they suddenly become high-school classmates in their senior year, and the sins of the fathers are visited on them when they’re in trouble with the authorities as consumers and dealers of drugs. This is the least interesting and the least convincing part of the story. But it is obviously significant to Cianfrance and his co-writers in the way it draws together the themes of masculinity, fatherhood, personal responsibility, inheritance and fate that underlie their merging of American family epic and Greek tragedy. Not for nothing are the sons called Jason and AJ (presumably Ajax), and before they meet AJ has been languishing in the nearby New York township of Troy.


The Place Beyond the Pines is an engrossing, extremely well designed and acted film. It’s subtly photographed by the American-born British cinematographer Sean Bobbitt, who did such an immaculate job on Steve McQueen’s Hunger and Shame, and here he gives each of the sections an appropriately distinctive look.

The cuts in the film are raw and compelling, and the robberies a characteristic work of Cianfrance—messy, real, unscripted and refreshingly un-Hollywood-like.

Before you can blink, it seems, the first part of The Pines is over. In fact, Gosling is only onscreen for the first third of the film. For the second act, the focus switches to Avery (Bradley Cooper), a rookie cop, husband to a lonely wife and father to a son he has little interest in. Avery’s sole focus is to leave a legacy, aside from being the good cop. A law school-dropout, Avery wants nothing to do with his father’s legacy, a well-respected former judge, but prefers to climb his way to the top in the police force.

While Avery’s complex character sees what is right and seems to want to do it, his motives are as gray as Luke’s in his attempts to make a name for himself. Though keenly aware of his own faults as a father and at one point openly discussing with a therapist his difficulty to look his son in the face, Avery knows he’s not the father he could be. Soon faced with the tangled mess of corrupt law forces, in which the most appropriately-cast Ray Liotta fits like a glove, Avery makes an ultimate decision that will haunt him.

15 years down the road and the third segment of the film arrives. Avery and Luke’s sons paths cross, taking the last lengthy remainder of this film down this long, windy road. Though it attempts a lot of “clever” twists and turns, the last half hour feels like a Lifetime movie for men.

This story is original and connects all characters through 16 lengthy years, each vignette is like a different film, with different angles, rhythms of dialogue and even different rushes of music. While the first part feels like an east-bound regurgitation of another lost boy with a gift for speed, the second a present-day Good-fellas meets the police force.

Director Cianfrances clear motives in this film are commendable, focused solely on a man’s choices, consequences and legacy.  Actually, he has described this effort as a “biblical film”, a movie he’s made to capture the sanctity of the “eternity of every moment.”



Britain’s Got Talent with Asanda Jezile [Accompanied by accent.]

South African soul made in Britain. Wait.. what..?!


Blurred Lines. | TOO HOT. | Just Very Hot. Ooh!

Man. Three of the yummiest dudes in the business. I LOVE this track and the video OMG super sexy right?! So sexy that it was banned. Robin Thicke’s new music video is too hot for YouTube. A representative for the R&B crooner said that his unrated video for “Blurred Lines” was banned from the website. The clip features nude models prowling around Thicke and rappers T.I. and Pharrell. A representative for YouTube didn’t immediately respond to an email seeking comment. The video is still playing on the music video website Vevo. Thicke’s unrated clip was released last week and garnered more than 1 million views in days. It became a water cooler topic on the blogs and entertainment websites. The original video was released a week before and has 1.3 million views. Thicke said in an interview that he had sought the approval of his wife, actress Paula Patton, to shoot with nude models.   picasion.com_9e29a1cd73e03aeda0b6a3b7fb99d152 Robin-Thicke-TI-Pharrell-Blurred-Lines-NSFW


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7 Psychopaths.


Time out – 7 Psychopaths.

Writer’s block can be a pain in the backside – or a bullet to the head. Marty is a boozy Irish writer in Hollywood who complains to his livewire pal Billy (Sam Rockwell) that he needs inspiration to write a script called ‘Seven Psychopaths’. The result is more blood on the carpet than ink on paper.

Billy is partly a psychopath magnet, partly a writer’s dangerous inner voice made real. He and his cravat-sporting older pal Hans (Christopher Walken) are petty thieves who kidnap a shih tzu dog from a Mafia boss (Woody Harrelson) who wants his pup back – and Marty gets dragged into the whole violent affair. Meanwhile, Billy tries to help Marty by putting an ad in the paper for psychos; and they end up with a disturbed ageing killer (Tom Waits) on the doorstep.

Sundry nutters come and go (look out for a cameo from the legendary Harry Dean Stanton) as Marty finds himself at the centre of exactly the sort of bloody, macho melodrama he’d rather not be writing. Head-in-hands becomes Marty’s default position, and Farrell offers a good line in manic despair and passive exasperation.

There’s something a little turn-of-the-century about ‘Seven Psychopaths’, with its comic approach to violence, movie-in-a-movie navel-gazing and ample backstreet LA locations. The films of Quentin Tarantino (‘Pulp Fiction’) and Charlie Kaufman (‘Adaptation’) inevitably come to mind – but McDonagh is less saturated in film and pop culture than Tarantino and less prone than Kaufman to disappear down story wormholes.

What saves ‘Seven Psychopaths’ from being po-faced or tedious is its sharp-as-knives humour, energetic pacing, knack for surprising asides and fun performances from a cast that has a certain wow factor when piled up together. It’s undoubtedly a very male enterprise, and McDonagh acknowledges this, even if he doesn’t explain it: ‘Your women characters are awful,’ is Hans’s reproach to Marty at one point. The nods to bungled creativity and winks at questions of screen violence offer something to chew on. But above all, this is violent, seedy farce, pure and simple, and it’s McDonagh’s zippy script that keeps it ticking over until all the trousers have been dropped at knifepoint and the custard pies been lobbed with malice.

7 Psychopaths Movie Trailer.


I wasn’t aware that this movie hadn’t been released in cinemas yet when I watched it a month or so ago but it can’t be too late to go to it’s opening screening this weekend. Thing is I LOVE this movie. It’s out in cinemas nationwide on 12 April 2013. Run.


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“Is it bad that I never made love? No I never did it. But I sure know how to f*ck.” | Bad.

Wale featuring Tiara Thomas | Bad


The lyrics to this Wale featuring Tiara Thomas track “Bad” are MURDER. SO cool.


Justin Timberlake. | The 20/20 Experience.

Justin Timberlake. | The 20/20 Experience.

Justin Timberlake. | The 20/20 Experience.

“You Reflect in This Heart of Mine.” – Mirrors.


So, my all time favourite pop-crush Justin Timberlake is back.

Cheesy as I was as a teen in high school drooling over this was then cutie now grown ass hottie from ‘N Sync, I’m back to sleepless nights over this one track “Mirrors”.

Justin’s “Mirrors” is the returning popstar’s latest single is just the right kind of vintage.

Imagine being a newlywed and wanting to write the most epic song ever in honor of your life partner. “Mirrors” is Timberlake’s version of that anthem — how can you not think of the singer’s recent wedding photos alongside Jessica Biel when he endlessly repeats, “You are, you are, the love, of my life,” as if he had just soaked in the splendid finality of his romantic situation? Compare this album’s second single to “Justified’s” second single, “Cry Me A River,” and aside from the steady presence of Timbaland’s fantastically cluttered production, the difference between the song is clear: 10 years ago, Timberlake was broken, and now he is whole.

“Mirrors” is the song the world has been wanting from Justin Timberlake since he first announced his comeback a few weeks ago. Though his sepia-tinged performance at the Grammys of new tracks “Suit & Tie” and “Pusher Love Girl” was a joy to watch and hear, they aren’t songs to get particularly enthused about. The Motown inspirations and “Rat Pack in Vegas” stylings are very accomplished throwbacks destined to fill the dancefloors of formals and weddings for months to come, but they fall a little flat on their own. “Mirrors”, though, points to the kind of expansive mid-tempo ballad that found fine expression in “Until the End of Time” on FutureSex/LoveSounds.

“Mirrors” also shares similarities with the break-up missives “Cry Me a River” and “What Goes Around… Comes Around” with its mix of a beatboxed rhythm and tight string arrangements, but it’s completely geared for an arena-sized, love-conquers-all message: opening with a swelling organ and electric guitar and featuring multi-tracked vocals that sound like a crowd or choir singing behind him. The bridge before the final chorus crescendo – “Yesterday is histor, Tomorrow is a mystery” – really captures Timberlake’s satisfyingly huge and suitably vague emotive leaps, and the segue into second half of the track is perfect: breaking all the straining emotion into a slow chant and an easy falsetto, allowing Timbaland the space for some flourishes and flashes to drive the song home.

Speaking about The 20/20 Experience in a Rolling Stone Q&A with a couple of high schoolers enrolled in a music industry program, Justin Timberlake revealed that: “the average length of each song is seven, eight minutes […] It’s not so much a narrative or a story, but sonically we really made it to listen from top to bottom”. The belting Mirrors is the clearest example of this ambition so far, and really raises hopes that the new album will be vintage JT – rather than simply vintage.



Cool Kids Stuff. | Photography.

Cool Kids Stuff. | Photography.

Cool Kids Stuff. | Photography.

Cool Kids Stuff. | Photography.

Cool Kids Stuff. | Photography.

Cool Kids Stuff. | Photography.

To Fall in Love. | L.O.V.E.

Beneath Your Beautiful. – Labrinth.


“Would you let me see beneath your beautiful?
Would you let me see beneath your perfect?
Take it off now, boy, take it off now, boy
I wanna see inside
Would you let me see beneath your beautiful tonight, oh, tonight?”


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