Jessica Walter - FX Networks Upfront Screening Of 'The People v. O.J. Simpson: American Crime Story' at AMC Empire 25 theater - Arrivals - New York, New York, United States - Wednesday 30th March 2016
The Primetime Emmy Award Nominations will be announced on Thursday 18th July. Netflix's 'Arrested Development' is a likely contender. 'The Americans'; 'Breaking Bad' and 'Scandal' are also likely candidates.
The Primetime Emmy Award nominations will be announced on Thursday (18th July). Speculation surrounding the awards is high, with Netflix's Arrested Development predicted to triumph. The awards will be announced by Kate Mara and Aaron Paul.
Aaron Paul will announce the nominations on Thursday.
Game Of Thrones is also suspected as a strong contender in the category of Best Drama Series. Homeland who won a number of awards last year is predicted to flop owing to its disappointing second series.
Arrested Development was always an ingenious cross between crisp satire and loopy human cartoon, but season two hit a stride from the start; the season opener, "The One Where Michael Leaves," picks up exactly where the first season left off, and enriches the already-complicated plot with hysterical new wrinkles. Family patriarch George Bluth Sr. (Jeffrey Tambor) has broken out of prison and escaped to Mexico, while well-adjusted middle son and our nobel hero Michael (Jason Batemen) has made a decision to break from the family entirely. As usual, he keeps getting sucked back in for a variety of reasons: with George Sr. on the lam, Michael must prove his innocence in connection with his father's shady business deal with Saddam Hussein (yes, it just keeps getting deeper), and he would also need money to post bail if he were unfairly arrested. But as complicated as Arrested can get, its themes always remain truly simple -- more than any other reason, Michael returns because his family needs him, and Michael himself has a need to be needed.
Continue reading: Arrested Development: Season Two Review
The series made such a mockery of the traditional, homogenized three-camera sitcom with cheap sets and canned laughter, to the point that very few of them even exist anymore. Most TV comedies now chase after the off-the-wall genius of Arrested Development, with its sly, easy-to-miss references to every aspect of current pop culture, and its uncanny knack for testing the devotion (and the memory banks) of its viewers with severely high-risk inside jokes. The show was a bold concept, a sharply radical turn from the ordinary, and the funniest damn program to appear on television before or since its three-season run.
Continue reading: Arrested Development: Season One Review
Of course, this being Arrested Development and all, there are more laughs in those 13 episodes than a lifetime of just about any another live-action show. Hurwitz's show chronicles the twists and turns of the formerly wealthy, currently imperiled (and morally impaired) Bluth family, led by good son Michael (Jason Bateman). The show moves like a soap opera, cramming an hour's worth of bizarre plots into 20 minutes or so. Season three contains the most ambitious story arc of the show's run, wherein lovelorn Michael finds a new relationship with Rita (guest star Charlize Theron, appearing in five of the baker's dozen), a charming English woman harboring a deep secret. You may guess the twist ahead of the climactic revelation, but even if you do, it's just as much fun to notice the many clues that start to seem hilariously obvious.
Continue reading: Arrested Development: Season Three Review
John Frankenheimer crafts a surprisingly rich and interesting movie that's set during the rise of auto racing. Not only does it capture the spectacle of these tiny little open-air cars hurtling around European village streets (no ovals here), it also builds an interesting story of rivalries, friendly and otherwise.
Continue reading: Grand Prix Review
Debuting before uncaring audiences in 1993, director Rachel Talalay's (Tank Girl) Ghost in the Machine is a derivative sci-fi/horror hybrid that adds nothing new to the old "amok machine" genre that is represented best by director Donald Cammell's Demon Seed. The plot concerns Karl, the "Address Book Killer," (the horror!) played by Ted Marcoux (Dark Blue), who is killed in a freak accident and has his ever-living and ever-evil soul transferred directly into the power supply. (Don't even ask.) Karl roams the electric highway, possessing all manner of gadgets and kitchenware, as he stalks lovely Karen Allen and her son.
Continue reading: Ghost In The Machine Review
It's an offbeat concept that might fit in a chop-'em-up horror movie or a sad, pathetic character study -- yet writer/director Pritikin finds his own niche with the idea, producing a creatively eclectic tale. Dummy is full of exciting surprising laughs, true heart, and enough dysfunctional characters to fill a Wes Anderson film.
Continue reading: Dummy Review
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