The trailer for Battleship—or "Rihanna Movie," as YouTube helpfully co-titles it—is the event horizon of the black hole of super-vacuity that exists within the black hole of stupidity that most movie trailers already inhabit. Watching it is like spectating Buzkashi, the Afghan version of polo played with a headless goat carcass rather than a ball. It is possible to acknowledge the enthusiasm and expertise on display, so long as you can avoid throwing up at the central premise. And we learn once more that these days there is not a headless goat carcass Liam Neeson is not prepared to hit with a stick.
What to Expect When You're Expecting evidently wants to be this year's Bridesmaids, pregnancy being another of life's key moments everyone can relate to while snorting at poo-poo jokes over popcorn and soda. But the template this time seems to have been reversed. Instead of casting relative unknowns and giving them good new jokes, the trailer features good-looking superstars telling jokes as old as Cain and Abel. Heard the one about how you'd have gotten pregnant earlier if you'd known how good it would make your boobs look? Thank you, Cameron Diaz. Heard the one about how looking at houses with a woman for fun always ends up in you buying a house? Thank you, Chris Rock. Continue until you can taste the metal in your mouth.
American Animal wins Title of the Week and also Second Best '80s Indie Tribute Movie Trailer of the Week. A terminally ill Jesus lookalike (if it were the '80s, he'd be dying of AIDS) freaks out in high style because his best friend wants to take a job rather than stay with him for every moment of what's left of his rather overdramatic life. It all seems to take place in an apartment where nothing isn't quirky, from the girls who show up for dinner to the use of Grieg's "In the Hall of the Mountain King" on the soundtrack. A way to get rid of your hipster roommate for the evening, would seem to be the message of this trailer.
The Best '80s Indie Tribute Movie Trailer of the week, and to be fair, a strong contender for Title of the Week, is Beyond the Black Rainbow. Set in 1983, it is evidently the work of someone who has drunk deep on the early oeuvre of David Cronenberg, followed by hefty Ken Russell and John Carpenter chasers. In an enclosed lab, one Doctor Mercurio Arboria (tells you everything) watches over a mute young girl evidently possessed of superhuman powers. Oversaturated color schemes, low deep-focus camera angles and mysterious technologies that serve some unknown ominous purpose are set to a perfectly modulated synth score that bursts into an organ riff at precisely the right moment. To be enjoyed with or without drugs.
Lovely Molly, this week's one-location horror movie, comes from one of the fellows behind The Blair Witch Project. Despite the provenance, it appears to conform to the by now rather familiar device of a girl in a haunted house who may be haunted by her own self as a result of some earlier incident. Technically it looks fine, but doesn't this movie come out every fortnight?
In its far-from-prestigious history, the Great British Sex Comedy has only ever raised an actual titter when the late Frankie Howerd was involved. (Americans: Brits only find Carry On movies hilarious because they see themselves reflected in what are at their core tales of bleak desperation among the lower-class poor.) Now, in the fine tradition of No Sex Please, We're British comes Hysteria, the story of a young doctor's invention of the vibrator. Various Victorians, unempowered and otherwise (Maggie Gyllenhaal, managing a credible Toff accent), talk in double entendres, and by the time Sheridan Smith concludes festivities with the line "We're gonna need a bigger appointment book," it may be asked in fairness how much more of its length a person might be expected to take. That was not entirely a double entendre, by the way.
Has Jennifer Connelly now been around long enough to warrant the titular role in a one-name movie? Virginia says yes. Two years ago, in fact. Why the story of a white-trash single mom's complex love life is being released now is one of those distribution mysteries the vast majority of us need not trouble ourselves with.
There's this great French TV cop show, Engrenages. Has the freshness and flair that recalls the impact of NYPD Blue 20 years ago. You'll never see it here, of course, but some of its style can be witnessed in this trailer for Polisse, last year's Jury Prize Winner at Cannes and the story of a Parisian police station's juvenile unit. Impossible to follow what is going on, but doing the important work of saving kids while looking like a crazy fashion shoot is something only the French could manage without provoking too much hilarity, at least according to this trailer.
Nestlé is finding new agency partners for the brands that are leaving McCann Erickson in Los Angeles. The Swiss global marketer is assigning U.S. marketing duties for Coffee-Mate to roster shop Publicis and is considering that firm along with Ogilvy & Mather, another of its core agencies, for the marketer's Nesquik brand.
Both agencies declined to comment, referring calls to Nestlé, which has yet to confirm.
In 2011, Nestlé spent $26.4 million in U.S. advertising support for Nesquik and $25.6 million for Coffee-Mate, according to Nielsen. (Those amounts do not include spending for digital and business-to-business advertising.) McCann continues to work for those two products in 30 countries outside the states.
Both brands had been handled at McCann’s Southern California office, whose president Cathy Saidiner resigned in March and has since joined L.A. digital agency Blitz. Saidiner’s departure is not necessarily the catalyst for McCann’s dismissal on the accounts—observers say Nestlé is deliberate in making these changes and the agency would have been warned and given the chance to save the accounts.
The future of McCann L.A.’s office is still undetermined. The agency’s remaining accounts are LifeLock and IHOP.
The Havas agency, which is on a mcgarrybowenesque roll, awaits a decision in Southwest Airlines' creative review after landing the creative accounts of the University of Phoenix, American Eagle Outfitters and Kohler since late April.
Collectively, the first three wins represent about $10 million in annual revenue, according to sources; revenue on the Southwest assignment is estimated at $5 million.
Arnold declined to discuss Southwest, but the shop’s Boston office is among four finalists for the business. The others are TBWA\Chiat\Day in Playa del Rey, Calif., Leo Burnett in Chicago and Deutsch L.A. in Marina del Rey, Calif.
Final presentations took place on May 10 and 11 at Southwest’s headquarters in Dallas. Each agency got about 2 1/2 hours to pitch to a group of airline executives, sources said.
TBWA\C\D went first on the morning of the 10th, followed by Arnold in the afternoon, sources said. The following day, Deutsch presented in the morning and Leo Burnett in the afternoon.
The airline is seeking an agency to rethink its core brand strategy and, at the onset, produce a fall campaign. A selection could come as early as next week.
GSD&M has been Southwest’s lead shop for years and will remain on the roster to handle consumer marketing and advertising around the airline’s merger with AirTran, according to the airline’s initial RFP. Select Resources International in Santa Monica, Calif. is managing the search.
The University of Phoenix and American Eagle were Boston wins; Arnold’s New York office won Kohler.
The most recent win was University of Phoenix, which this week named Arnold as its new lead creative agency. The selection came after a review in which there were two other finalists: Campbell Ewald in West Hollywood, Calif. and Muhtayzik Hoffer in San Francisco.
The school’s media spending totaled nearly $74 million last year, according to Nielsen. That figure doesn’t online spending, however, and Arnold’s assignment includes digital advertising. University of Phoenix’ previous lead shop was Pereira & O’Dell in San Francisco.
Friskies is taking aim at the national "CATastrosphe" known as Cat Boredom, or CB. "There's nothing more tragic than a blasé cat," Chris Parnell explains in the video below. So true. Luckily, Friskies has a plan. It's so simple—how did no one think of it before? Thanks to AFG& (formerly Avrett Free Ginsberg) for this important addition to the Internet's somewhat sizable collection of cat videos.
For those who have been following the two-year saga of Cornelius Trunchpole—the reputed 1960s adman who is now making a reputed comeback, reputedly—here's the finished film about him. Art & Corny, clocking in at about 16 minutes, is worth it for the musings of industry figures like Jeff Goodby, Lee Clow, Steve Hayden, Gerry Graf, Barbara Lippert and Michael Wolff. Just don't expect a whole lot of insight from Trunchpole himself. He prefers it that way.
Nike had a huge advertising success at the 2010 World Cup with "Write the Future," the epic soccer spot that won the 2011 Film Grand Prix at Cannes for Wieden + Kennedy Amsterdam. (It didn't work out so well for the players in the spot, though, many of whom failed notably at the tournament—fueling fears of a "Write the Future" curse.) Now, Wieden + Kennedy London takes over for Amsterdam with a sequel of sorts called "My Time Is Now," which is, in its own way, just as epic as the original.
The theme this time is the hunger of youth, with up-and-coming players like Brazil's Neymar, France's Yann M'Vila and Germany's Mario Götze storming a field—followed by hundreds of others—to compete against established stars like France's Franck Ribéry, Holland's Wesley Sneijder and, of course, Portugal's Cristiano Ronaldo. The list of superstars also includes Rafael van der Vaart, Javier Hernandez, Andres Iniesta, Gerard Pique and Jack Wilshere—as well as the retiring Barcelona manager Pep Guardiola. And for those Americans who could care less about soccer, LeBron James even makes a cameo—and it appears he would make a pretty good goalkeeper, too.
The spot has the same dynamic, otherworldly atmosphere as "Write the Future" did—it has a luminous glow, and thanks to some cinematic tricks, the play on the field is presented in a way that's somehow both unbelievably frenetic yet supremely graceful. (It captures the superhuman feeling of high-level sport like almost no other ads do.) The ad also has its tongue firmly in cheek, with comic touches all over the place—most notably, Ronaldo getting completely sidelined because he can't find a shirt that fits him.
If the new spot doesn't have quite the compelling narrative that made "Write the Future" so special (that spot's often hilarious visions of post-tournament adulation or scorn for players who succeed or fail were priceless), it makes up for it by offering more in the way of interactivity. Over at Nike Football's YouTube page, you can watch a version of the film that has embedded "tunnels" that lead to all kinds of hidden content.
Nike simply can't do a mediocre soccer commercial. Here, it's made another instant classic. Let's just hope it doesn't put a hex on the players this time.
CREDITS
Client: Nike
Agency: Wieden + Kennedy, London
Plenty of subway stations look like they belong in a horror movie, but this Paris promotion for Ridley Scott's Alien prequel Prometheus takes the concept to the extreme, setting up an advertising installation in the Saint-Martin stop, deserted for 73 years on the Metro's Line 9. The long-unused platform has been dressed up to resemble an otherworldly cave from the movie, with eerie blue optical effects and a huge stone head, an image that's graced most of the film's often elaborate advertising. Frankly, the ghost station, on display through May 25, beats most typical subway stops: It's arguably cleaner and better lit, and Stoney won't vomit on your shoes. Compare it to the next destination on the line, Strasbourg-Saint-Denis, in the clip below, from Half-a-Million Screenshots, with the couple sucking face and dry humping in an almost indescribably freaky fashion. Oh, mon dieu! The next time I need to get around the City of Light, I'll take Le Bus. One more image after the jump. Via Adverblog.
Goofy pupils aside, this new commercial for travel website Kayak—the latest in a series of absurd spots from ad agency Barton F. Graf 9000—has a bit of a blurred vision. Why did the guy think dilating his pupils would help him see better? That's not how it works. And I think the ad would have been funnier if he'd given his wife a weird compliment she didn't know what to do with, instead of just insulting her. That said, you won't shake the image of Mr. Pupils for a while—and he does reinforce the brand message. A good long vacation from this guy is just what the doctor ordered.
A perky, energetic character named “Trudy” is central to Roth Partners’ first work for True Lemon, a natural lemon flavoring for water that’s looking to steal share from bigger players like Crystal Light.
Dressed in a bright yellow T-shirt and matching eyeglass frames, Trudy will appear in two TV ads and a series of videos that will live online. In the ads, she pops into scenes like Jeannie from “I Dream of Jeannie” and pitches True Lemon to women as effervescently as “Flo” touts Progressive to insurance buyers.
The campaign, which breaks Monday, also includes social media efforts, contests and events. The total budget for the effort—an estimated $4-5 million—is modest compared to bigger competitors, but it represents the largest marketing push for the brand to date.
“I don’t have to be as big as Crystal Light,” said Al Soricelli, CEO of True Citrus Co., parent company of True Lemon. “When I started here [in June 2010], we had about 2 percent household penetration. We’re hoping to get up to about 6. That would be phenomenal.”
One TV ad is set in a yoga studio and another in an office. In each setting, True encounters a thirtyish woman who represents the consumer that the brand seeks to reach.
“Truth out,” Trudy says in the yoga ad, using her hands to form the signal for time out. In seconds, she replaces the exerciser’s flavored water with a bottle infused with True Lemon.
“Real flavor from real fruit,” Trudy explains. “One hundred percent natural ingredients. Just five calories.” She stays long enough for the woman to drink the True Lemon water, but disappears before she can say, “Umm. That’s good.”
The TV ads will run through August during female-skewing programs on cable networks such as TBS, Bravo, A&E, HGTV, Food Network, Lifetime and Oxygen.
The Web videos were shot in New York’s Central Park and depict a reporter character interviewing passers-by that Trudy hands the product to. Trudy also sings a song.
“She lights up whoever she’s with,” said Rick Roth, CEO of Roth Partners.
The brand’s core target are active, health conscious women between 30 and 32, but they can be as young as 25 or as old as 54, according to Roth.
Roth Partners landed the creative account in December after a review. That win and assignments from The Reader’s Digest Association spurred the New York shop to add a managing partner in March.
True Citrus Co. is backed by private equity and based in Baltimore. Its product also comes in the form of an ingredient for baking or cooking.
Film clip for the Gotye song Somebody That I Used To Know, featuring Kimbra from the album Making Mirrors. Buy Somebody That I Used To Know here: http://www.smarturl.it/gotyesomebody
Buy Making Mirrors here http://www.smarturl.it/gotye
http://www.gotye.com/
http://www.facebook.com/gotye/
http://www.twitter.com/gotye/
**********************************************
Somebody That I Used To Know lyrics
Now and then I think of when we were together
Like when you said you felt so happy you could die
Told myself that you were right for me
But felt so lonely in your company
But that was love and it's an ache I still remember
You can get addicted to a certain kind of sadness
Like resignation to the end
Always the end
So when we found that we could not make sense
Well you said that we would still be friends
But I'll admit that I was glad that it was over
But you didn't have to cut me off
Make out like it never happened
And that we were nothing
And I don't even need your love
But you treat me like a stranger
And that feels so rough
You didn't have to stoop so low
Have your friends collect your records
And then change your number
I guess that I don't need that though
Now you're just somebody that I used to know
Now and then I think of all the times you screwed me over
But had me believing it was always something that I'd done
And I don't wanna live that way
Reading into every word you say
You said that you could let it go
And I wouldn't catch you hung up on somebody that you used to know...
But you didn't have to cut me off
Make out like it never happened
And that we were nothing
And I don't even need your love
But you treat me like a stranger
And that feels so rough
You didn't have to stoop so low
Have your friends collect your records
And then change your number
I guess that I don't need that though
Now you're just somebody that I used to know
I used to know
That I used to know
Somebody...
*************
Video credits:
Directed, produced and edited by Natasha Pincus
Body art by Emma Hack
Cinematographer and colourist: Warwick Field
Scenic artist: Howard Clark
Key grip: Rob Hansford
Assistants: Rose Cidoni, Claire Leighton, Rob Murray
Original artwork by Frank De Backer
Music credits:
Produced by Wally De Backer
Mixed by Francois Tetaz, assisted by Wally at Moose Mastering, Richmond, VIC
Bass recorded by Wally in Lucas Taranto's loungeroom, Melbourne, VIC
All other sounds put together by Wally in The Barn, Merricks, VIC
Bass guitar: Lucas Taranto
Lead and backing vocals: Kimbra
Guitar, flutes, percussion and synth samples, lead and backing vocals: Wally
Contains a sample of the recording Seville as performed by Luiz Bonfa. Courtesy of Geffen Records, under license from Universal Music Enterprises. Used by permission. All rights reserved. Written by Luiz Bonfa and published by Sasqua Music. Used by permission.
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Walk off the Earth perform a cover of Gotye's "Somebody That I Used to Know" using five people on one guitar.
We would like to thank Gotye and Kimbra for writing such a beautiful song if you have not heard their music please go and check them out.
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Performers from left to right:
Joel Cassady
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Gianni Luminati
Marshall
Taylor
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Charlie Bit Me - Now an App
iPhone http://itunes.apple.com/gb/app/charlie-bit-me!!!/id494858348?mt=8
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Even had I thought of trying to get my boys to do this I probably couldn't have. Neither were coerced into any of this and neither were hurt (for very long anyway). This was just one of those moments when I had the video camera out because the boys were being fun and they provided something really very funny.
FAQ Harry is 7 1/2, Charlie is 5, Jasper is nearly 3
(May 2011)
Harry and Charlie Blogging - Charlie Bit My Finger Again!
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Gravado no Wood's Bar
Direçao: Fernando Hiro e Junior Jacques
Official music video for Katy Perry's "Firework" off her album 'Teenage Dream'. Director: Dave Meyers. Producers: Robert Bray & Danny Lockwood.
Get 'Teenage Dream' here: http://bit.ly/kpTDdelEX (explicit) http://bit.ly/kpTDdel (clean)