The soundtrack to Twilight is currently the number one album in the U.S., and a band called Paramore is experiencing great success by association. They have two songs featured on the soundtrack, one of which, “Decode,” has been released as the album’s lead single. Though Paramore have been around for some time and were even nominated for a Grammy earlier this year, they have never charted quite as well on the Billboard Hot 100 as they currently are through this Twilight connection. And chances are they’ll never have quite as big a hit again.
Countless other artists have had their biggest break with a song prominently featured on or released through a movie soundtrack, and many of these artists disappeared into obscurity afterwards. Or, at best, they maintained a modest career, never achieving the kind of chart-topping high they once received courtesy of a hit film.
SpoutBlog has compiled a list of ten such “one-hit wonders,” though we made some rules and exceptions in order to both narrow things down (no themes or plot songs) and include a few significant tracks that aren’t technically the only hits from their respective performers. Basically, we’re presenting ten artists who would be a lot less famous had they not licensed a single to a soundtrack and who shall forever be best known for that one song from that one movie.
…Read more
Not that I should be worried about any speculation found in Entertainment Weekly, but I was annoyed this past weekend when I saw the magazine’s “Oscar Buzz-O-Meter”, which is only the latest place to find Amy Adams listed as a highly potential Oscar nominee for Enchanted. The piece notes that, “glowing reviews for her regal turn in Enchanted — and the $70 million it grossed in its first 12 days — could earn Adams her second Oscar nomination.”
Variety also now has Adams listed as a potential dark horse contender in the race. Other places she’s recognized include the Associated Press, Hollywood Elsewhere and The Envelope, which claims she’s a lock for the fifth spot, going up against Marion Cotillard, Keira Knightley, Julie Christie and Ellen Page.
…Read more
Over the first few weeks of their relationship, she’ll be forced to divulge more and more details. He’ll freak out; he’ll ask her to duplicate the more raunchy sex acts with him, thinking it will remove the bad taste from his mouth if he could mark his territory, so to speak (Edward, if anything, was a narcissist). It won’t; it will only make him feel worse — knowing she’s done those things with other men — and she’ll feel used and violated in the process…She’ll cry. He’ll walk out. And the next day, the deed to the penthouse they’re staying in will arrive, signed over to Vivian. Underneath Edward’s transfer of ownership signature, it will read, “Services rendered.” And that, folks, will be the end of that.
Pajiba’s Dustin Rowles “debunks” the happy endings of ten romantic comedies with predictions as to what really happened to the lovers at the center of films like Pretty Woman, Sleepless in Seattle and The Princess Bride after the credits rolled. It’s a long read, but consistently LOLworthy.
Last night, Paul and I went to see Venus, starring Peter O’Toole. It was a film Paul had heard much about at Telluride but had missed, so we were glad to catch it. The man who introduced the film said he thinks it’s one to watch for an Oscar nomination and possibly award for O’Toole. I’m not one to make such predictions, but it was an amazing performance. Listen as Paul and I talk about what works in the film (the treatment of larger issues and themes) and what doesn’t work quite as well (like some cliche moments a bit too reminiscent of Pretty Woman and My Fair Lady).
Starz Denver Film Festival, spout.com podcast
Standard Podcast [7:57m]:
Play Now |
Download
