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Brad Pitt, Meryl Streep, Albert Brooks, Jessica Chastain Win NY Film Critics

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The New York Film Critics Circle has chosen Brad Pitt for Best Actor in “Moneyball” and “Tree of Life,” Meryl Streep for Best actress in “The Iron Lady,” Albert Brooks for “Drive” Best Supporting Actor, Jessica Chastain for Best Supporting Actress for three movies: “The Help,” “The Tree of Life,” and “Take Shelter.” JC Chandor’s “Margin Call” is Best First Feature. Werner Herzog’s “Cave of Forgotten Dreams” is best non fiction film. “Separation” from Sony Pictures Classics is Best Foreign Film.

“Margin Call” beat Sean Durkin’s much loved “Martha Marcy May Marlene” with Elizabeth Olsen in that category.

The NYFCC  is voting right now for its annual awards. The Critics organization had planned to vote yesterday but had to put it off so they could see David Fincher’s “The Girl with the Dragon Tattoo,” a late entry. One movie for this season, Stephen Daldry’s “Extremely Close and Incredibly Loud,” was skipped entirely because it wasn’t ready. Even so, not all the critics in the group had a chance to see Angelina Jolie’s debut as a director, “In the Land of Blood and Honey,” set in Bosnia. The group’s voting goes on for a few hours beginning at 9:30am, with results coming intermittently. Check here and check our Twitter feed–@showbiz411–to see what the heck is going on.

Michael Jackson New “Immortal” Album Sells A Sad 45,000 Copies

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After all the hoopla about Michael Jackson’s Cirque du Soleil show, you’d think the CD soundtrack would have sold better in its first week. But “Immortal,” an album of remixes taken from the Cirque show, sold just 45,000 copies last week according to estimates. It finished at number 23 for the week  far below the new number 1 album from Nickelback (225,000) and chart stalwart Adele, who has two CDs in the top 50. For Jackson, selling 45,000 copies is a sad echo of his halcyon days in the 80s with “Thriller,” “Bad,” and “Dangerous.” But the botching of last winter’s “Michael” album–which had no marketing and a whisper campaign that killed it–didn’t help. “Immortal” had almost no pre-release publicity. It just sort of appeared. much the way “Michael” did. By contrast, the Beatles’ “LOVE” CD–which came from their Cirque du Soleil show–arrived with a greatly thought out plan and lots of explanation for how it was put together. Interestingly, what’s happened is that “Immortal” is Jackson music “reimagined” by producer Kevin Antunes. Neither Jackson’s long time engineer, Bruce Swedien, nor his famed producer, Quincy Jones, had anything to do with the recording. In the case of the Beatles, it was all George Martin, their highly respected producer, and his son Giles, who reworked the recordings. The result: a gigantic yawn from Michael Jackson fans, who certainly number more than 45,000.

Will Captain von Trapp Finally Win An Oscar? Gotham Award Will Help

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Could Christopher Plummer, known to decades of moviegoers as Captain von Trapp from “The Sound of Music,” finally win an Oscar? Could be. Plummer has a lot of buzz from his role as the dying, gay dad in Mike Mills‘s excellent film, “Beginners.” Last night “Beginners” Terrence Malick’s “Tree of Life” tied for Best Feature at the Gotham Awards, the east coast cousin of the Indie Spirit Awards.

Plummer was his usual charming self. He reminded the audience that “Beginners” star Ewan MacGregor wasn’t present because he was working.  “And I hate him,” Plummer added quickly, and perfectly. Mike Mills, whose only other movie is the terrific “Thumbsucker,” accepted the film’s award and looked a little surprised. Of course, everyone thought Alexander Payne’s “The Descendants” was set to win. There are still some surprises left in awards shows apparently.

Plummer would be in a mix for the tight Supporting Actors’ race with Corey Stoll from “Midnight in Paris,” Kenneth Branagh from “My Week with Marilyn,” Uggie the Dog from “The Artist,” and maybe Albert Brooks from “Drive,” Armie Hammer from “J Edgar,” and Jeremy Irvine from “War Horse.” Plummer should have won for playing Mike Wallace in “The Insider” and probably many other times. There’s obviously a lot of effort going to into getting the nomination. Climb every mountain!

Meantime, the downtown Cipriani was really packed to the gills. Charlize Theron, Gary Oldman, director David Cronenberg and film exec Tom Rothman all got tribute awards. Charlize was particularly cute with her “Young Adult” co-star Patton Oswalt. I ran into Josh Radnor, from “How I Met Your Mother,” who seemed to have come with actress Lake Bell. I asked him if anyone knows who the mother actually is. “Nope,” he said. “They haven’t told me.” Radnor is waiting to hear if his second feature that he directed, “Liberal Arts,” has gotten into Sundance. His co-star this time is Lizzie Olsen, one of the current “it” actors.

At my table I talked to Kim Wayans, the actress and comedian who’s in “Pariah.” She’s also famous for acting with her brothers in “In Living Color” some twenty years ago. We reminisced about her hilarious sendups of Oprah and of Whitney Houston. I also reminded her of the time her parents got up and walked out of the premiere  “Scary Movie”–directed by her brother Keenan Ivory Wayans. “They didn’t like that one,” Kim said, shaking her head. “And they’ve seen a lot.” Now Kim has shot a half hour comedy pilot in which she plays the elder Mrs. Wayans trying to raise all those rowdy would be comics. What goes round comes round.

Also at the Gothams: Robert Forster, Mary Page Keller and Matthew Lillard from “The Descendants,” Felicity Jones, who won for “Like Crazy,” and Melissa Leo, who’s calmed down since winning the Oscar. Did winning do anything for her? “It just helped me in here,” she said, pointing to her heart. When you’re a certain age, you know what that means.

 

Exclusive: Yele Haiti Former Chief Responds to NY Post, Breaks Out Numbers

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Hugh Locke, who ran Wyclef Jean’s Yele Haiti charity in 2010, responds to this weekend’s hit and run piece in the New York Post. I’m reprinting verbatim what he’s sent. Locke is currently working on a book about his six years in Haiti:

Bad journalism can be the result of sloppiness, incompetence or a distortion of facts in order to serve a bias or editorial agenda. All three of these traits are on full and splendid display in the November 27, 2011 New York Post article “Questions Dog Wyclef’s Haiti Fund” by Isabel Vincent and Melissa Klein. These two reporters have Wyclef Jean, co-founder of Yéle Haiti along with Jerry Duplessis and myself, in their sights in a no-holds-barred effort to sell papers and no pesky truth is going to stand in their way.

The Yéle staff and our various partners who braved a chaotic and dangerous situation in order to deliver emergency relief to victims of the January 12, 2010 earthquake in Haiti are true heroes in my book. Ms. Vincent and Ms. Klein cannot be allowed to discredit our collective efforts with falsehood and innuendo. What follows are the facts and figures to counter to each accusation in their Post article.

1.    How much did Yéle receive in donations following the earthquake in Haiti and how much of that money was used for emergency relief?

NY Post: In the months following the devastating earthquake in Haiti, a charity run by hip-hop star Wyclef Jean spent a pittance of the money it took in on disaster relief and doled out millions in questionable contracts… Records show that Yele Haiti spent just $5.1 million for emergency relief efforts, including food and water delivery to makeshift survivor camps.

As reported in Yéle Haiti’s 2010 IRS 990 tax filing, the organization received $16 million in donations that year (figures quoted are rounded off). More than half of these donations were received in the weeks immediately following the earthquake. Over the course of 2010 we spent a total of $9.2 million – $8.2 million for programs (most of that for emergency relief and a small portion for other Yéle programs) and $1 million (or roughly 11 percent) on administrative overhead. Yéle made a decision not to expend all the funds raised in 2010 during that same year because people in the tent camps continued to need support. Consequently $6.8 million was carried over to cover operations in 2011. Clarifications about contracts, none of which were “questionable,” are answered in the points that follow.

Yéle’s activities in 2010 were a combination of emergency relief and long-term rebuilding. Here is an overview of what we accomplished.

Emergency Relief: Yéle worked with non-elected community leaders and elders within a core group of 30 of the tent camps throughout Port-au-Prince and the surrounding areas to identify needs and coordinate aid delivery. These targeted camps had a combined population of just under 80,000. Here is a summary of what was distributed by Yéle over the course of 2010:

–    2,000 tents of various sizes
–    873 tarp kits for building shelters
–    4.2 million gallons of filtered water delivered in trucks (including to cholera areas)
–    233,000 10-ounce pouches of water
–    32,850 bottles of water in various sizes
–    98,000 hot meals
–    14,400 items of canned and packaged food
–    270,310 nutrition bars
–    4,425 individual care bags with personal toiletries and other items
–    8,705 items of new and used clothing
–    3,520 pairs of new and used shoes
–    1,000 pairs of new boots
–    14,300 pounds of medical supplies
–    1,240 windup and/or solar flashlights
–    2,500 windup and/or solar radios
–    26 generators
–    900 sheets and blankets

In response to the cholera outbreak in October of 2010, Yéle purchased 2 million water purification tablets and received a donation of 50,000 bars of soap and 100,000 bottles of hand sanitizer. These items were distributed by going tent to tent in the camps, noting that a portion of them were distributed in 2011.

Employment: There were very few jobs following the earthquake and even fewer for the 1.3 million people living in tent camps. Yéle began a program in 2010 that employed up to 2,000 people at a time to clean the streets of Port-au-Prince, paying them a respectable $7 a day. Towards the end of the year a vocational training program in carpentry, plumbing and masonry was added to give youth marketable job skills.

Youth Development & Education: Yéle provided weekly support for two residential orphanages that were damaged in the earthquake. In additional to providing operational costs, one orphanage was completely rebuilt and more than doubled in size while the second was repaired and some additional facilities added. Yéle managed an onsite medical service for all the orphans as well.

Tree Planting & Agriculture: Haiti has less than 2 percent tree cover and imports roughly 70 percent of its food. Yele’s response in 2010 was to increase the capacity of local farmers, working with them to plant trees and introduce better farming practices that resulted in higher yields. A second Yéle program involved commissioning peasant farmers to grow vegetables that were delivered weekly to up to 2,000 orphans.

2.    What was the role of Amisphere Farm Labor Inc. in Yéle’s emergency relief efforts?

NY Post: A purported Miami business called Amisphere Farm Labor Inc. received a whopping $1,008,000 as a “food distributor.” No trace of the company could be found last week in the Sunshine State, but records show the company’s head, Amsterly Pierre, bought three properties in Florida last year, including a condo in an upscale waterfront community.

The firm incorporated in August 2008 but never filed any of the subsequent financial paperwork required to do business in Florida, according to the Florida Department of State.

The address listed for the business is an auto-repair shop in Miami’s Little Haiti neighborhood, where a worker said he had never heard of Pierre or Amisphere. Pierre did not return a call for comment.

Getting food to people who were in makeshift tent camps following the earthquake was a priority. It was particularly important to send in hot meals because people had limited capacity to cook in the camps. With this in mind we approached Amsterly Pierre, a businessman in Haiti who had experience in this field, and asked him to set up the operation on our behalf. For this purpose he used the bank account of a company he had registered in the US, Amisphere, because the banks were not yet functioning in Haiti.

In the midst of the chaos that characterized Port-au-Prince at that time, Mr. Pierre used his operation on the ground there to find a kitchen that, although damaged, could be made operational with a minimum of effort. He found sources of food, some of which had to be brought in by truck from the Dominican Republic, and assembled a staff that could cook and deliver thousands of meals at a time.

The hot meal program began on January 24 with the first distribution of hot meals to tent camps, with a particular focus on women and children living there. Over the next three months a total of 98,000 hot meals were served in the course of 15 distributions that ranged between 5,000 and 7,000 at a time.

While the primary emphasis was on the tent camps, during the early phase of the program we provided some of these meals to members of the national police force who were themselves living in tents, as the government was unable to give them any food or wages for the first month and a half following the earthquake. We also provided meals during that same time for a number of civil servants who were in a similar situation, but who were determined to stay on the job to do what they could to restore services for the population.

In addition to the hot meals, we also contracted Mr. Pierre to develop a dry food ration kit. These were prepared in the Dominican Republic and brought in by truck and distributed in tent camps. Each kit had enough rations for an average family for one week. A total of 700 of these kits were distributed.

The term “whopping” should be applied to the impact Mr. Pierre had on Yéle’s behalf. Each hot meal fed an average of two people, and the ration kits fed five people for a week – so through Mr. Pierre we were able to feed around 200,000 people at a cost of about $5 per person at a time when food was scarce, hot meals almost unheard of, and delivery of food into the tent camps was regularly causing riots.

3.    What was the role of Samosa SA in Yéle’s emergency relief efforts?

NY Post: Yele Haiti also paid $577,185 to a company called Samosa SA, based in the Haitian capital of Port-au-Prince, as a “bulk water supplier.” But some of that money went to rent a house for Yele Haiti volunteers on Samosa’s property at the inflated price of $35,000 a month.

Samosa SA is a Haitian company that Yéle contracted to provide fresh water to those living in tent camps. Samosa utilized 14 of their 1,200-gallon tanker trucks to deliver an average of 34,000 gallons of water a day on a rotating schedule to 30 different tent camps. The water came from an aquifer on the Samosa property and they filtered the water on site using a reverse osmosis process. While Samosa provided the trucks and drivers, Yéle sent its own staff to accompany each delivery – having made sure that each tent camp would be ready with volunteers to help manage the operation and residents lined up with pails ready to take the water.

Water distribution began on January 24 and over the course of the remainder of 2010 a total of 4.2 million gallons of purified water was distributed at a unit cost of 10¢ a gallon. The unit cost went up in October when half the water was diverted as Yéle contributed to fighting the outbreak of cholera in the rural areas north of Port-au-Prince. The increased cost was a combination of more fuel being required to drive outside the capital plus a bonus paid to the drivers because they were afraid to go into the midst of the cholera outbreak when it had just begun and the population was terrified and did not yet understand how it was spread.

There was a second and separate contract with Samosa SA for Yéle to rent a seven acre walled property that included a house. The property and house were rented from May 1 onwards for $15,000 a month.

The house was used by Yéle as a center of our relief activities, serving as both headquarters and main office. Our US staff and visiting volunteers also stayed there. The house had three bedrooms and by using mattresses and sleeping bags we were able to accommodate as many as 30 people at a time depending on the scale of the distributions or other emergency relief programs that were being implemented.

The rest of the property was used as the site of a warehouse operation where relief items such as tents, tarps, blankets, food, clothing, shoes, medical supplies, windup flashlights, windup radios and other items were stored, sorted and loaded onto trucks for delivery to the 30 tent camps that we served on a regular basis.

The warehouse operation had two components – we installed a large concrete slab on which we placed nine permanent 40-foot containers and had space for six more that shuffled between the property and the port. The second component involved a 44-foot diameter geodesic dome that we erected and which was used for both storage and sorting.

Lastly, we built a facility that was intended to serve the needs of amputees. Two geodesic domes were erected, but the facility was not completed when it was discovered that the initial government estimates amputees had been significantly overstated. The two domes were taken down and are currently in storage.

As the overall emergency relief needs in Haiti changed, Yéle has subsequently moved out of the rented Samosa property in early 2011.

4.    What was the role of P & A Construction in Yéle’s emergency relief efforts?

NY Post: Yele Haiti paid five contractors to accomplish its goals, including P&A Construction — which received $353,983 and is run by Warnel Pierre, the brother of Jean’s wife, Claudinette.

Yéle contracted a company called P & A Construction to design and build several things, and in keeping with a policy of transparency we included the fact that the owner of the company is a relative of Wyclef Jean in our IRS 990 tax filing for 2010.

Finding a contractor who can build anything in Haiti on time and on budget is a rarity, and Warnel Pierre was that person. As we did with all contracts, estimates for projects were reviewed against standard costs per square foot or the relevant unit of comparison depending on the project. In all cases we were satisfied that Mr. Pierre was providing a good service at a competitive rate.

Among the services provided by Mr. Pierre during 2010 were the following:

–    repair and complete rebuilding and expansion of the Jean et Marie Orphanage that had been damaged in the earthquake;

–    repair and the addition of a kitchen, bathrooms and two new classrooms at the Bon Samaritan Orphanage that had been damaged in the earthquake;

–    installation of electrical power lines, septic and water storage tanks and a well; re-surfacing with gravel and a drainage system, building of toilets and shower facility, and other upgrades to the Place Fierte tent camp in the Cité Soleil slum of Port-au-Prince;

–    installation of concrete slab and related ramps for container-based warehouse storage;

–    installation of concrete slab base, plumbing, bathrooms and showers for the amputee facility, including assisting in the installation of two geodesic domes on the site; and

–    installation of concrete slab and surrounding gravel drainage area for geodesic dome used as part of the warehouse operation, including assisting in the installation of the dome.

5.    What did Yéle do to ensure transparency of operation?

NY Post: “Given the fact that Yele Haiti was involved in a swirl of controversy after the earthquake in Haiti, it’s all the more reason to be more transparent to ensure donors that their funds are going to help people,” said the Better Business Bureau’s Bennett Weiner.

Yéle hired the prestigious accounting firm of RSM McGladrey to improve its level of transparency and together we developed one of the most comprehensive and timely systems of disclosure of any NGO working in Haiti. Beginning in September 2010, Yéle regularly updated this financial information on its website.

6.    Did Yéle lose $244,000 in 2009?

NY Post: The group lost $244,000 in 2009.

This allegation is simply made up. Yéle began 2009 with $57,421 in cash on hand that was carried over from the previous year. To that was added donations in 2009 totaling $749,480 for a total of $806,901. We spent $994,344 in 2009, with the difference of $187,443 between what we spent and what we received being invoices that came in the latter part of 2009 and which were paid in 2010. There was no loss.

Hugh Locke was a co-founder of Yéle Haiti in 2005, serving initially as Executive Director of the Haiti operation and then President of the combined Haiti and US operations until February 2011. He is currently writing a book about his six years of humanitarian service in Haiti.

Exclusive: Wyclef Jean Says “Nothing to Fear If Your Hands Are Clean”

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Exclusive: I just got off the phone with Wyclef Jean, former presidential candidate in Haiti, humanitarian, international music star, and subject of a new smear campaign in the New York Post. The paper is making it look like Wyclef has been taking money from the Yele Haiti charity– or at the very least like something fishy is going on with it. Last year, when Wyclef was running for president, he resigned from the board of Yele Haiti so there would be no conflicts of interest. There was some mismanagement of the charity, and mistakes were made. Yele Haiti’s president, Hugh Locke, resigned, to clear things up. They have a new chief, Derek Johnson.

The idea that Wyclef would take money from the charity, Jean told me, is “preposterous.” He told me: “My father always said, you have nothing to fear if your hands are clean.” Wyclef’s hands are indeed clean.  He tells me when the emergency occurred, the charity turned to companies that belonged to his inlaws–who are Haitian and live there–to help them distribute food and water. It does make sense. Yele Haiti took in $16 million after the Haiti earthquake. They gave away $5.1 million. That is appropriate for a long standing foundation. The idea is not to give it away all at once, so you can stay in business.

More on Yele Haiti shortly.

In the meantime, Wyclef is dividing his time now between New Jersey and Haiti. The once and always leader of the Fugees has got a new label called All Hands on Deck. He’s working on a new album for next summer called “Feel Good Music” with artists like Estelle, Melanie Fiona, Paulina Rubio, Nikki Jean, and some new discoveries. He has a single now on ITunes called “Historia.” And he’s gotten into Zumba Fitness. http://www.youtube.com/watch?v=qsSrq3HBa7A and http://www.youtube.com/watch?v=zCm6h-sSeYo

Good for Wyclef. I’ve known the Jean family a long time. No one is perfect. And doing in business in Haiti is not like selling baked goods in front of the Stop & Shop in your local community. As Paul Haggis and Sean Penn will tell you, it’s a little like living in “Mad Max.” But Wyclef has brought more awareness to his native country’s plight than any other Haitian, and for that he must be applauded.

“Spider Man” Producers Slime Taymor; Where is Bono?

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So “Spider Man: Turn off the Dark” is a year old, technically. It began previews a year ago yesterday. In Monday’s New York Times (and online Sunday night), producer Michael Cohl goes out of his way to be nasty to the show’s creator, Julie Taymor. The Times’s Patrick Healy is only too happy to help him. Why not? Taymor has been kicked to the curb. Although she worked on the show for years, and most of its structure and invention belongs to her, she’s been paid next to nothing.

It’s hard to imagine at this point that Bono and the Edge, fighters for and defenders of human rights around the world, aren’t outraged. They wrote the music for “Spider Man.” They are amply aware that Taymor’s book remains the backbone of the show. Her costumes and characters, her vision, are still the underpinning for the show. The Tony committee has ruled that only Taymor is eligible to be considered Best Director from “Spider Man.” And yet, the bile keeps churning. How about paying this woman, and making peace?

The fact is, Bono and the Edge were not there one year ago. They were on tour. Maybe they didn’t like what they saw when they finally arrived at the Foxwoods Theater in December. But it’s time for them to step up and defend their lead artist. Sit down and watch “Spider Man.” From a year ago, nearly everything that Taymor created remains in the show: Arachne and her weaving–the show’s best number; the Green Goblin, his costume, and humor; Spider Man–played by Reeve Carney, whom Taymor cast; Peter Parker’s schoolmates, his crazy bounce off the wall bedroom, the pas de deux with Arachne, the black out scene of Peter and Mary Jane on the fire escape. And so on.

There’s a song in “Spider Man” that I called “Say it Now”–(ironically its real title is “I Just Can’t Walk Away”). But it’s time for Bono, the humanitarian, to “say it now” and come to Taymor’s aide. Anything else is unseemly.

“War Horse” Dazzles on Screen: Spielberg Schmaltzy and Soaring

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Steven Spielberg’s “War Horse”is a dazzling movie. Surprise! For those, like me, who worried that it would turn out to be “Lassie” with a horse, we were wrong. For those who thought the lack of the amazing puppets from the stage show would make the story less powerful, we were wrong. “War Horse” works on film. Yes. it’s schmaltzy. John Williams‘s score, while beautiful, is perhaps used a tad too much and is busy. But Spielberg’s “War Horse” is a beauty, a thoroughbred of a film, a stallion, and wins, places, and shows. (Enough cliches?) The highly astute and masterful director has managed to remake “War Horse” so that the film stands on its own from the highly acclaimed stage show playing in New York and London to sold out audiences. That alone is quite remarkable. Because he doesn’t have the puppets he must redirect the whole pitch of the enterprise to the actors, the mood, and texture of the story.

“War Horse” was shown in nine cities this afternoon including New York, with a Q&A following with the director. People followed the Q&A on the internet and were able to ask questions of Spielberg after the show. He held forth for almost an hour, explaining a lot for a film that is truly a big meal. Spielberg–with so many classics under his belt–has made what he readily acknowledges is an “old fashioned” movie. “War Horse” only has 3 computer generated segments. It was shot with wide lenses. And while Spielberg says there are no intentional homages to elder directors and famous films, you can find echoes of John Ford, David Lean and “Gone with the Wind” woven into the new film’s fabric.

The foundation for the film’s greatness certainly comes with the cast. Newcomer Jeremy Irvine is a star in the making as Albert, the English farmboy who trains Joey, the unmanageable thoroughbred. Emily Watson is simply outstanding as his mother. “It’s the best work she’s ever done,” Spielberg told me yesterday after the Q&A, and he’s quite right. (And that’s saying a lot.) Niels Arestrup, Tom Hiddleston, Eddie Marsan, David Thewlis, David Kross (from “The Reader”) and Benedict Cumberbatch are just a few of the extremely skilled British actors that smart filmgoers will recognize. They are each sensational. Peter Mullan, less well known to American audiences, is spot on as Albert’s troubled father.

“War Horse” presents a Spielbergian hybrid in a way. The grit and glory of “Saving Private Ryan” — a tough war movie–is literally wrapped in the gauze of his more fanciful war films like “Empire of the Sun,” “1941” and “Always.” I don’t want to diminish the achievement of “Schindler’s List,” but there’s a scene in “War Horse” that recalls it–the horror of war after a brutal battle. The war scenes in “War Horse” are almost unexpected after the buttery glow of young Albert training Joey and their lives in a pre-WWI country village. A pesky, honky goose makes the whole atmosphere feel like a musical could start at any moment.

But then Spielberg gets serious. As Joey the horse is conscripted into the war, his life becomes episodic. And little by little, as Spielberg follows author Michael Morpurgo’s now nearly 30 year tale,  the director starts showing us his real stuff. The war–with no blood and nothing to flinch from in the scenes–becomes almost cosmic. The double climax comes first when one soldier disappears in a cloud of grenade gas. This is followed by Joey’s entanglement in barbed wire–an incident that literally stops the war between the British and the Germans cold. Look for Oscar host Billy Crystal to attempt a dance number with huge wire cutters next winter, that’s all I’m sayin.’

“War Horse” will be released on Christmas Day, a whole month from now. It’s not Spielberg’s only film of the season. He also the animated “Adventures of Tin Tin,” which is quite charming. But “War Horse” ia a big deal, a spectacle, a hailing back to when movies really took your breath away. It’s a very nice Christmas present, and kind of a relief. It’s certainly one of the half dozen or so best films of 2011 (along with “The Artist,” “Midnight in Paris,” “The Descendants,” “Moneyball,” and “Hugo”). But it also may be well beyond that.

My only fear now: Joey, Uggie the dog from “The Artist” and one of the animals from “We Bought a Zoo” will want special seats at the Golden Globes and their own category.

 

 

Forever Young: 92 Year Old Pete Seeger Records Bob Dylan Song

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Pete Seeger is 92 and a half years old. Yet he has recorded Bob Dylan’s “Forever Young”  for the upcoming Amnesty International album “Chimes of Freedom.” The album, a four disc set, will be released on January 24, 2012, to benefit the important human rights organization.

There are 80 tracks, with twenty or more from artists that are very unknown. But the big stars are great– Carly Simon, Sting, Joan Baez, Patti Smith, Marianne Faithfull, Jeff Beck with Seal, Elvis Costello, Diana Krall, Paul Rodgers and Nils Lofgren.

Actress Evan Rachel Wood, who sang in Julie Taymor’s “Across the Universe” and almost did in Taymor’s Broadway “Spider Man,” sings a song Dylan wrote with  George Harrison in 1968; it appeared on Harrison’s “All Things Must Pass” album–“I’d Have You Anytime.” Some of the tracks were organized by my old pal, Martin Lewis, who’s been an Amnesty stalwart for a long time and knows his music. I’m particularly keen to hear K’Naan, my new favorite performer, do “With God on Our Side.” I am not so keen to hear Kesha, Miley Cyrus, or Darren Criss from “Glee.” (Concessions to the commercial are wince inducing.)

And where is Bruce Springsteen? That seems like a glaring omission. So are Tony Bennett, Paul McCartney, and Paul Simon.

But the Pete Seeger track should be just thrilling. It balances out the weird ones (aforementioned) and gives us all hope. We can only hope that the Grammy show on February 12th will feature a big segment devoted to this collection (with Kesha, Cyrus, and Criss relegated to the background).

DISC 1

Raphael Saadiq – Leopard-Skin Pill-Box Hat

Patti Smith – Drifter’s Escape

Rise Against – Ballad of Hollis Brown

Tom Morello The Nightwatchman – Blind Willie McTell

Pete Townshend -Corrina, Corrina

Bettye LaVette – Most of the Time

Charlie Winston -This Wheel’s On Fire

Diana Krall – Simple Twist of Fate

Brett Dennen -You Ain’t Goin’ Nowhere

Mariachi El Bronx – Love Sick

Ziggy Marley – Blowin’ in the Wind

The Gaslight Anthem – Changing of the Guards

Silversun Pickups – Not Dark Yet

My Morning Jacket – You’re A Big Girl Now

The Airborne Toxic Event – Boots of Spanish Leather

Sting – Girl from the North Country

Mark Knopfler – Restless Farewell

DISC 2

Queens Of The Stone Age – Outlaw Blues

Lenny Kravitz – Rainy Day Woman # 12 & 35

Steve Earle & Lucia Micarelli – One More Cup of Coffee (Valley Below)

Blake Mills – Heart Of Mine

Miley Cyrus – You’re Gonna Make Me Lonesome When You Go

Billy Bragg -Lay Down Your Weary Tune

Elvis Costello -License to Kill

Angelique Kidjo – Lay, Lady, Lay

Natasha Bedingfield – Ring Them Bells

Jackson Browne -Love Minus Zero/No Limit

Joan Baez – Seven Curses (Live)

The Belle Brigade – No Time To Think

Sugarland – Tonight I’ll Be Staying Here With You (Live)

Jack’s Mannequin – Mr. Tambourine Man

Oren Lavie – 4th Time Around

Sussan Deyhim – All I Really Want To Do

Adele – Make You Feel My Love (Recorded Live at WXPN)

DISC 3

K’NAAN – With God On Our Side

Ximena Sariñana – I Want You

Neil Finn with Pajama Club – She Belongs to Me

Bryan Ferry – Bob Dylan’s Dream

Zee Avi – Tomorrow Is A Long Time

Carly Simon – Just Like a Woman

Flogging Molly – The Times They Are A-Changin’

Fistful Of Mercy – Buckets Of Rain

Joe Perry – Man Of Peace

Bad Religion – It’s All Over Now, Baby Blue

My Chemical Romance – Desolation Row (Live)

RedOne featuring Nabil Khayat – Knockin’ on Heaven’s Door

Paul Rodgers & Nils Lofgren – Abandoned Love

Darren Criss featuring Chuck Criss and Freelance Whales – New Morning

Cage the Elephant – The Lonesome Death of Hattie Carroll

Band of Skulls – It Ain’t Me, Babe

Sinéad O’Connor – Property of Jesus

Ed Roland and The Sweet Tea Project – Shelter From The Storm

Ke$ha – Don’t Think Twice, It’s All Right

Kronos Quartet – Don’t Think Twice, It’s All Right

DISC 4

Maroon 5 – I Shall Be Released

Carolina Chocolate Drops – Political World

Seal & Jeff Beck – Like A Rolling Stone

Taj Mahal – Bob Dylan’s 115th Dream

Dierks Bentley – Senor (Tales of Yankee Power) (Live)

Mick Hucknall – One Of Us Must Know (Sooner Or Later)

Thea Gilmore – I’ll Remember You

State Radio – John Brown

Dave Matthews Band – All Along the Watchtower (Live)

Michael Franti – Subterranean Homesick Blues

We Are Augustines – Mama, You Been On My Mind

Lucinda Williams – Tryin’ To Get To Heaven

Kris Kristofferson – Quinn The Eskimo (The Mighty Quinn)

Eric Burdon -Gotta Serve Somebody

Evan Rachel Wood – I’d Have You Anytime

Marianne Faithfull – Baby Let Me Follow You Down (Live)

Pete Seeger – Forever Young

Bob Dylan – Chimes Of Freedom

DIGITAL ONLY

Outernational – When The Ship Comes In

Silverstein -Song To Woody

Daniel Bedingfield – Man In The Long Black Coat

 

ABC Internet Soap Deal Implodes, If It Ever Was Real in First Place

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The deal between ABC and Jeff Kwatinetz’s Prospect Park Productions is over. Prospect announced in July it would bring “All My Children” and “One Life to Live” to their online network in January 2012 after they were cancelled by ABC. But Prospect is run by Jeff Kwatinetz, a man known in the biz for imploding his own successful company, The Firm, and nearly destroying the career of Kelly Clarkson. (She just barely retrieved it.) His partner, Rich Frank, had a long history with ABC. Whether they were ever capable of putting the soaps on the air remains a mystery.

But their announcement in July helped ABC enormously. It took pressure and blame off the network, which had incurred the wrath of viewers. Even Hoover, a major sponsor, pulled their ads off ABC daytime in protest. So Prospect Park’s sudden entry into a field it had no experience in made them seem like a white knight. But from the start it looked dicey. They never secured Susan Lucci, ABC daytime’s biggest star. She said in a recent TV Guide interview that no one had spoken to her since September 8th. This was after Lucci had been portrayed–incorrectly–as being the one who was slowing down “All My Children” coming to the internet.

Now in a statement Prospect Park says the fault lies with the unions and guilds. Again, this is preposterous. All the unions and guilds would be thrilled to see the shows continue on line or on cable. It’s disingenuous for Prospect Park to try and blame them. What’s worse, the involvement of Prospect Park caused “All My Children” to end without a finale–because it was supposed to continue online. And this final confession that the shows will never move comes five days after “One Life to Live” has wrapped. It can only be hoped that they were smart enough to shoot an ending, knowing this was it.

ABC has managed to destroy a 50 year legacy. The viewers are angry. Ratings for “The Chew,” an awful TV show, are not spectacular. But the show is cheap to produce, and that’s all that matters. Years from now there will be papers written about how the networks voluntarily drove off their audience.

Best Supporting Actor: Hemingway, Borat, a Dog, and Albert Brooks Are Circling

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What’s happening with the Best Supporting Actor category this year? For one thing, a Jack Russell terrier–yes, a dog–gives the most consistent and memorable performance. Uggie, from “The Artist,” would win if I and PETA could say anything about it. By the time this weekend is over, Uggie will have signed with CAA and be hanging with Leo, Brad, and George at popular Hollywood watering holes. It won’t be long before, like “Zelig” and Justin Bieber, he’ll be named in a paternity suit. Uggie is a superstar. The Academy may balk at nominating him simply because the horse in “War Horse” may then ask to toss his name in the hat.

Aside from Uggie, there are many human choices for Best Supporting Actor. Corey Stoll, as Hemingway, in “Midnight in Paris,” is a find. Albert Brooks just about steals “Drive” from Ryan Gosling and the very good Bryan Cranston. Sacha Baron Cohen, aka Borat, simply lights up “Hugo.” Kenneth Branagh does some of his best work ever in “My Week with Marilyn.” And there are more. Both actors from “Carnage”–John C. Reilly and Christoph Waltz. James Badge Dale in “Shame.”  And Jim Broadbent is outstanding as Denis Thatcher in “The Iron Lady.”

There are more to add to the list. But that’s a good start. And really, Academy voters, the dog gets a write in.