�Optimer Pharmaceuticals, Inc. (Nasdaq:OPTR) announced that the company has completed enrollment in the second gear of deuce planned phase 3 clinical trials evaluating the base hit and efficaciousness of Prulifloxacin for the treatment of infectious looseness in travelers. The Company previously reported positive top-line data from the number 1 Phase 3 trial which showed that Prulifloxacin met the primary endpoint of Time to Last Unformed Stool (TLUS), a measure of the time to resolution of diarrhea, compared to placebo with a p-value of
Travelers' diarrhea is infectious diarrhea caused by bacteria, viruses or parasites and is contracted by the ingestion of contaminated intellectual nourishment or piddle. This contagion is characterized by looseness along with other related symptoms including nausea, emesis, abdominal pain or cramping, and faecal urgency.
"We are very excited to have completed enrollment in the second trial," aforesaid Michael N. Chang, Ph.D., CEO and President of Optimer. "We look forwards to complemental the analysis of the data from this trial and we expect top-line results in the fourth quarter."
This multi-center, double blind, randomized and placebo-controlled clinical trial compares the base hit and efficaciousness of Prulifloxacin versus placebo in adult travelers suffering from keen bacterial intestinal flu. Clinical trial sites included locations in India, Guatemala, and Mexico. The primary endpoint is TLUS and secondary endpoints include clinical cure based on relief of symptoms and microbiological eradication rates.
About Optimer Pharmaceuticals
Optimer Pharmaceuticals, Inc. is a biopharmaceutical company focused on discovering, developing and commercializing innovative anti-infective products for the intervention of unplayful infections. Optimer has deuce late-stage anti-infective product candidates. OPT-80 is being developed for the treatment of Clostridium difficile infection, the most common hospital-acquired diarrhoea. Prulifloxacin is an antibiotic drug being developed for the treatment of travelers' diarrhoea, a shape of infective diarrhea. Additional information privy be found at hTTP://www.optimerpharma.com.
Forward-looking Statements
Statements included in this press release that are non a description of historical facts ar forward-looking statements, including without limitation all statements related to to Prulifloxacin and the timing of clinical trials and regulatory filings and anticipated results thereof. Words such as "believes," "anticipates," "plans," "expects," "intend," "testament," "goal" and similar expressions are intended to identify forward-looking statements. The inclusion of modern statements should not be regarded as a representation by Optimer that whatever of its plans will be achieved. Actual results may differ materially from those put forth in this release due to the risks and uncertainties inherent in Optimer's business including, without limitation, risks relating to: the timing, progress and likelihood of success of its product research and development programs, the timing and condition of its preclinical and clinical development of potency drugs and other risks detailed in Optimer's filings with the Securities and Exchange Commission.
Optimer Pharmaceuticals
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Wednesday, 10 September 2008
Sunday, 31 August 2008
Tina Turner readies tour companion album
With her massive comeback tour set to unfold in October, Tina Turner [ ] has announced a passing date for an approaching greatest hits album and "digital fellow traveler" to the trek.
Due in stores Sept. 30, the day before Turner's world tour launches in Kansas City, MO, the 18-track "Tina!" features songs the legendary isaac M. Singer plans to perform during her forthcoming concerts, including hits from throughout her career and two new and undivided tracks, "It Would Be a Crime" and "I'm Ready."
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The picnic is set to hit 23 North American cities through December, jumping to Europe for another play of shows early future year. US and Canadian dates are below, while Turner's oversea dates crapper be set up at her website.
The 68-year-old performer proclaimed her retirement from touring eight days ago, only after telling "Proud Mary" with Beyonce at February's Grammy Awards, she threw her fans a curveball, announcing inside information of the planned comeback trek on the May 12 episode of "The Oprah Winfrey Show."
Turner's most recent studio album, "Twenty Four Seven," surfaced in 1999. Last fall, the eight-time Grammy winner released "Celebrate: The Best of Tina Turner," a 95-minute DVD interpreted from a 1999 concert that celebrated her sixtieth birthday.
The legendary singer has sold 170 million records during her career, according to her bio, and is one of the most successful female rock and roll artists of all time.
[Note: The following tour dates have been provided by artist and/or tour sources, who verify its truth as of the publication time of this story. Changes may occur earlier go on sale. Check with official artist websites, ticketing sources and venues for late updates.]
October 20081 - Kansas City, MO - Sprint Center3, 4 - Chicago, IL - United Center6 - Rosemont, IL - Allstate Arena8 - Kansas City, MO - Sprint Center9 - Minneapolis, MN - Target Center13 - Los Angeles, CA - Staples Center14 - Anaheim, CA - Honda Center16 - Los Angeles, CA - Staples Center19, 20 - San Jose, CA - HP Pavilion22 - Sacramento, CA - ARCO Arena24 - Phoenix, AZ - Jobing.com Arena30 - Miami, FL - American Airlines ArenaNovember 20082 - Fort Lauderdale, FL - BankAtlantic Center5 - Orlando, FL - Amway Arena9 - Atlanta, GA - Philips Arena13 - Toronto, Ontario - Air Canada Centre16, 17 - Boston, MA - TD Banknorth Garden23 - Washington, DC - Verizon Center26, 27 - Newark, NJ - Prudential CenterDecember 20083, 4 - Uniondale, NY - Nassau Coliseum6 - Hartford, CT - XL Center8 - Montreal, Quebec - Bell Centre12 - Toronto, Ontario - Air Canada Centre
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Monday, 11 August 2008
Craig Armstrong
Artist: Craig Armstrong
Genre(s):
New Age
Instrumental
Discography:
The Clearing
Year: 2004
Tracks: 25
The Quiet American
Year: 2002
Tracks: 12
Moulin Rouge
Year: 2001
Tracks: 13
Kiss Of The Dragon
Year: 2001
Tracks: 20
The Space Between Us
Year: 1998
Tracks: 12
Orphans
Year: 1997
Tracks: 20
Scottish producer Craig Armstrong scored non-finite soundtracks to much harbinger during the '90s and into the 2000s. His soundtrack utilisation was in fact so successful that many big-name artists, such as U2 and Madonna, began courtship him, bit he at the same time pursued a solo life history as a down-tempo electronica producer origin with The Space Between Us in 1998. Though his collaborations ar to a fault legion to list, Armstrong's most successfully paired with film film director Baz Luhrman, producing big-selling soundtracks for Romeo + Juliet (1998) and Moulin Rouge (2001).
Born in Scotland, Armstrong began his production career in the early '90s. He composed euphony for several BBC and STV productions during this time, simply his big break came with the Scottish pop trio Big Dish. Armstrong co-wrote tierce songs on the trio's Satellites record album, released in 1991, and besides provided string arrangements for the album. Three years later, in 1994, Armstrong worked with notable trip-hop mathematical group Massive Attack on its genre-defining Shelter record album. This association with Massive Attack would pay dividends a few old age afterward when the group released Armstrong's debut full-length record album on its Melankolic mark. By the end of the '90s, Armstrong had collaborated with such big-name artists as U2, Madonna, Hole, the Spice Girls, the London Suede, and Tina Turner, in addition to many other lesser-known artists.
As mentioned, Massive Attack released Armstrong's solo debut, The Space Between Us, in 1998. The record album didn't prove to be as popular as expected, just it notwithstanding increased Armstrong's reputation as a notable producer. During this same late-'90s eRA, Armstrong continued working on soundtrack projects, which remained his to the highest degree acclaimed work. His process for Jake Scott's debut film, Plunkett & Macleane, was peradventure his nigh seeable work, existence released by Astralwerks in the States (as had The Space Between Us a year earlier). However, he worked on soundtracks for much more than successful films such as Mission: Impossible (1996), Romeo + Juliet (1998), Fell Intentions (1999), and -- peradventure his nigh famous soundtrack work -- Moulin Rouge (2001). Following the success of Moulin Rouge, and its second volume, Armstrong returned in 2002 with his second non-soundtrack full-length exploit, As if to Nothing, which boasted a young version of U2's "Stay (Far-off, So Close)." In 2004, he provided the score for the Ray Charles biopic Electron beam, and in 2005, an anthology of his plastic film work was released.
Mlada Fronta
Wednesday, 6 August 2008
Review: Not the Messiah (He s a Very Naughty Boy)
No, of course, Brian Cohen is not the Messiah (you need to ask?). And at the Hollywood Bowl on Saturday night, we all knew very substantially, thank you, that "Not the Messiah (He's a Very Naughty Boy)" would not be "The Messiah." It's the bad-boy bit, though, that one wondered about in a jocund mash-up betwixt Handel and "Monty Python's Life of Brian" by Pythoner Eric Idle and conductor John Du Prez.
The question was just how bad a boy Idle was prepared to be. A Hollywood Bowl Hall of Famer, he was part of the divine Monty Python appearance 28 years agone, an event that has a position in the amphitheater's history alongside the 1964 Beatles concert, Percy Grainger's wedding on stagecoach to an unsuspecting Austral- ian naif in 1928 and Zubin Mehta's "Star Wars" concert in the '70s.
But these are touchy times, and the Pythons' mock biblical epic was a controversial film when it was released in 1979. It ends with Brian on the cross, merrily singing and whistling along with a chorus line of the crucified in a happy-go-lucky song, "Always Look on the Bright Side of Life." Religious groups were aghast.
But, no dread, Brian off out Saturday to be quite a nice lad, after all. Even his mum wasn't so bad.
The genesis of this kind of oratorio for Evangelist Monty, four vocal soloists, orchestra, chorus, bagpipers and Bob Dylan imitator was relatively harmless. Idle happens to be a cousin of Peter Oundjian, the head conductor of the Toronto Symphony. The oratorio was commissioned to help tip off Toronto's new June festival, Luminato, last year.
Du Prez, world Health Organization conducted the Los Angeles Philharmonic and Pacific Chorale in the oratorio at the Bowl, is an honorary Python, having worked on their films and co-written the Broadway strike "Spamalot" with Idle. He is also a fine conductor, as was obvious from a lively reading of the oratorio's preliminary, taken from Sousa's "The Liberty Bell" march (a.k.a. the Monty Python theme).
The oratorio follows the plot of the film, in which a schlump named Brian is mistaken for the Messiah. One-liners get amplified into songs, in which doo-wop and coloratura flourishes get along only fine. Laughs were had. The Republicans were skewered. References to the "Lumberjack Song" were inevitable. But overall irreverence, which Monty Python had elevated to an artwork form, did not run particularly high.
"Life of Brian" offended in part through context. "Always Look on the Bright Side" is a absolutely innocent tune without its biblical setting. Indeed, it was a perfectly unacquainted sing-along close Saturday, with the audience waving its hands at evening's end.
More curious, though, was Idle's tendency to sentimentalize. Big Broadway numbers racket, especially for Brian, had little to distinguish them from conventional inspirational music. They were done actually well, and that made them all the more inspirational. The shock value here was directed at those anticipating irreverence.
The one thing this oratorio had going for it was a terrifying performance all around. Idle, described as baritone-ish, served as stand up comedian Evangelist and fugitive Dylan impersonator. He's perpetually been an effective musician, and at 65 he still is.
The four vocal soloists had to do it all -- classical, Broadway, opera, nostalgic pop, Gilbert and Sullivan -- and they pretty much did. William Ferguson, as Brian, was a clear tenor with a clean-cut sound. Shannon Mercer, a shining soprano, was Brian's vocally flexible girlfriend.
Jean Stilwell, who displayed a shiny mezzo, brought warmth, not nastiness, to the un-virgin mother. Baritone Theodore Baerg had the impossible job of vocalizing like the Commendatore in Mozart's "Don Giovanni" and handling John Cleese lines. No one can rend that off.
The Pacific Chorale came to life. The Los Angeles Philharmonic acted as if the players were enjoying themselves. Du Prez doesn't, as a composer, establish the level of wit of a P.D.Q. Bach, but he can shift gears as fast as anyone, and he brought an impressive level of polish to the go-ahead. The splendid Los Angeles Scottish Pipe Band added useful absurdity.
mark.swed
More info
The question was just how bad a boy Idle was prepared to be. A Hollywood Bowl Hall of Famer, he was part of the divine Monty Python appearance 28 years agone, an event that has a position in the amphitheater's history alongside the 1964 Beatles concert, Percy Grainger's wedding on stagecoach to an unsuspecting Austral- ian naif in 1928 and Zubin Mehta's "Star Wars" concert in the '70s.
But these are touchy times, and the Pythons' mock biblical epic was a controversial film when it was released in 1979. It ends with Brian on the cross, merrily singing and whistling along with a chorus line of the crucified in a happy-go-lucky song, "Always Look on the Bright Side of Life." Religious groups were aghast.
But, no dread, Brian off out Saturday to be quite a nice lad, after all. Even his mum wasn't so bad.
The genesis of this kind of oratorio for Evangelist Monty, four vocal soloists, orchestra, chorus, bagpipers and Bob Dylan imitator was relatively harmless. Idle happens to be a cousin of Peter Oundjian, the head conductor of the Toronto Symphony. The oratorio was commissioned to help tip off Toronto's new June festival, Luminato, last year.
Du Prez, world Health Organization conducted the Los Angeles Philharmonic and Pacific Chorale in the oratorio at the Bowl, is an honorary Python, having worked on their films and co-written the Broadway strike "Spamalot" with Idle. He is also a fine conductor, as was obvious from a lively reading of the oratorio's preliminary, taken from Sousa's "The Liberty Bell" march (a.k.a. the Monty Python theme).
The oratorio follows the plot of the film, in which a schlump named Brian is mistaken for the Messiah. One-liners get amplified into songs, in which doo-wop and coloratura flourishes get along only fine. Laughs were had. The Republicans were skewered. References to the "Lumberjack Song" were inevitable. But overall irreverence, which Monty Python had elevated to an artwork form, did not run particularly high.
"Life of Brian" offended in part through context. "Always Look on the Bright Side" is a absolutely innocent tune without its biblical setting. Indeed, it was a perfectly unacquainted sing-along close Saturday, with the audience waving its hands at evening's end.
More curious, though, was Idle's tendency to sentimentalize. Big Broadway numbers racket, especially for Brian, had little to distinguish them from conventional inspirational music. They were done actually well, and that made them all the more inspirational. The shock value here was directed at those anticipating irreverence.
The one thing this oratorio had going for it was a terrifying performance all around. Idle, described as baritone-ish, served as stand up comedian Evangelist and fugitive Dylan impersonator. He's perpetually been an effective musician, and at 65 he still is.
The four vocal soloists had to do it all -- classical, Broadway, opera, nostalgic pop, Gilbert and Sullivan -- and they pretty much did. William Ferguson, as Brian, was a clear tenor with a clean-cut sound. Shannon Mercer, a shining soprano, was Brian's vocally flexible girlfriend.
Jean Stilwell, who displayed a shiny mezzo, brought warmth, not nastiness, to the un-virgin mother. Baritone Theodore Baerg had the impossible job of vocalizing like the Commendatore in Mozart's "Don Giovanni" and handling John Cleese lines. No one can rend that off.
The Pacific Chorale came to life. The Los Angeles Philharmonic acted as if the players were enjoying themselves. Du Prez doesn't, as a composer, establish the level of wit of a P.D.Q. Bach, but he can shift gears as fast as anyone, and he brought an impressive level of polish to the go-ahead. The splendid Los Angeles Scottish Pipe Band added useful absurdity.
mark.swed
More info
Friday, 27 June 2008
James Gandolfini - Gandolfinis Sopranos Wardrobe Sells For 187750
Actor JAMES GANDOLFINI has sold his THE SOPRANOS wardrobe for $187,750 (GBP93,875) at a charity auction in New York.
Twenty-five outfits worn by his iconic character Tony Soprano went under the hammer at a Christie's auction - with all proceeds going to Wounded Warrior Project, a charity that aids injured soldiers in Iraq and Afghanistan.
Other items auctioned included Janis Joplin's mugshot, poems handwritten by late rocker Jim Morrison, and a cane owned by Elvis Presley, which has a brass eagle top that can be removed to reveal a hidden dagger.
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Sixpence None The Richer reunite for Christmas album
Sixpence None The Richer have reunited after parting ways four years ago to record their first Christmas album.
'The Dawn Of Grace' is due out in the US on October 14 and features 10 tracks including traditional Christmas tunes and two original holiday tracks.
�??Sixpence fans have been asking for a Christmas album for as long as I can remember," said singer Leigh Nash in a statement. "It was something we always wanted to do, but somehow time got away from us. Now that we are back together, we thought a Christmas album would be a nice gift for our long-time supporters."
The band will play the US and European summer festival circuit before returning to the studio to work on an original full-length album.
Guitarist/songwriter Matt Slocum explained their decision to get back together. �??Leigh and I had been making music together since we were teenagers. As we approached our 30s, there was a bit of restlessness to explore other things, but in the midst of this exploration, I felt a void open up, like I needed to be making music with Leigh.�?�
'The Dawn Of Grace' tracklisting is:
'Angels We Have Heard On High'
'The Last Christmas'
'O Come, O Come Emmanuel'
'Silent Night' (featuring Dan Haseltine/Jars of Clay)
'Riu, Riu, Riu'
'Carol of the Bells'
'Christmas Island'
'River'
'Christmas for Two'
'Some Children See Him'
--By our Los Angeles staff.
Find out more about NME.
'The Dawn Of Grace' is due out in the US on October 14 and features 10 tracks including traditional Christmas tunes and two original holiday tracks.
�??Sixpence fans have been asking for a Christmas album for as long as I can remember," said singer Leigh Nash in a statement. "It was something we always wanted to do, but somehow time got away from us. Now that we are back together, we thought a Christmas album would be a nice gift for our long-time supporters."
The band will play the US and European summer festival circuit before returning to the studio to work on an original full-length album.
Guitarist/songwriter Matt Slocum explained their decision to get back together. �??Leigh and I had been making music together since we were teenagers. As we approached our 30s, there was a bit of restlessness to explore other things, but in the midst of this exploration, I felt a void open up, like I needed to be making music with Leigh.�?�
'The Dawn Of Grace' tracklisting is:
'Angels We Have Heard On High'
'The Last Christmas'
'O Come, O Come Emmanuel'
'Silent Night' (featuring Dan Haseltine/Jars of Clay)
'Riu, Riu, Riu'
'Carol of the Bells'
'Christmas Island'
'River'
'Christmas for Two'
'Some Children See Him'
--By our Los Angeles staff.
Find out more about NME.
Tom Novy Ft Michael Marshall
Artist: Tom Novy Ft Michael Marshall
Genre(s):
Dance
Discography:
Your Body Incl G Motta Remix (Motivo 078) Vinyl
Year: 2005
Tracks: 3
Kristin Chenoweth - Chenoweth Sends Kidman Good Luck
Thursday, 26 June 2008
Michael Mittermeier and Friends
Artist: Michael Mittermeier and Friends
Genre(s):
Rock
Discography:
Mittermeier and Friends
Year: 2001
Tracks: 15
Madonna and Guy Ritchie heading for a trial separation?
Charley Patton
Artist: Charley Patton
Genre(s):
Blues
Discography:
The Definitive Charley Patton CD3
Year: 2001
Tracks: 18
The Definitive Charley Patton CD2
Year: 2001
Tracks: 20
The Definitive Charley Patton CD1
Year: 2001
Tracks: 20
Founder of the Delta Blues
Year: 1992
Tracks: 22
If the Delta country blues has a commodious rootage pointedness, it would believably be Charley Patton, its outset majuscule headliner. His husky, impassioned singing way, unstable guitar playing, and unrelenting beat made him the original king of the Delta blues. Much more than than your average gypsy musician, Patton was an acknowledged famous person and a originative influence on musicians throughout the Delta. Rather than bumming his way from town to townspeople, Patton would be called up to play at plantation dances, juke joints, and the like. He'd pack them in like sardines everyplace he went, and the emotional sway he held over his audiences caused him to be tossed turned of more than 1 orchard by the ownership, plainly because workers would leave alone crops unattended to listen to him play any fourth dimension he picked up a guitar. He epitomized the simulacrum of a '20s "sport" blue devils singer: devil-may-care, rakish, easy to kindle, subject of andrew Jackson Downing massive quantities of food and liquor, a woman on each arm, with a meretricious, expensive-looking guitar fitted with a strap and kept in a travelling shell by his side, entirely to be opened up when there was money or salutary times involved. His records -- specially his first-class honours degree and biggest strike, "Trot Blues" -- could be heard on phonographs end-to-end the South. Although he was sure enough non the first base Delta bluesman to record, he quick became one of the genre's most popular. By late-'20s Mississippi plantation standards, Charley Patton was a star, a unfeigned celebrity.
Although Patton was rough five infantry, quint inches grandiloquent and only weighed a Spartan cxxxv pounds, his shingly, high-energy singing style (fifty-fifty on ballads and gospels tunes it sounded this way of life) made him sound wish a humanity doubly his system of weights and half once again his size. Sleepy John Estes claimed he was the loudest blues isaac Merrit Singer he ever heard and it was rumored that his vocalism was flash enough to carry open air at a dance up to five hundred yards aside without amplification. His vaudeville-style vocal asides -- which on record give the core of two the great unwashed talk to each other -- along with the sound of his whiskey and cigarette-scarred part would become major elements of the outspoken style of one of his students, a cy Young Howlin' Wolf. His guitar playing was no less impressive, fueled with a propellent tick and a cutting rhythmical sense that would later institute seeds in the boogie fashion of John Lee Hooker. Patton is generally regarded as unrivalled of the original architects of putt megrims into a strong, syncopated speech rhythm, and his raucous tint was achieved by tuning his guitar up a dance step and a half above criterion pitch alternatively of exploitation a capo. His compositional skills on the pawn are illustrated by his predilection for finding and utilizing respective different themes as backdrop accompaniment in a single strain. His slide work -- either played in his lap like a Hawaiian guitar and fretted with a pocket knife, or in the more conventional manner with a brass instrument pipe for a chokepoint -- was no less inspiring, coating vocal phrases for him and influencing generation like Son House and energetic youngsters like Robert Johnson. He also popped his bass string section (a proficiency he highly-developed some 40 long time ahead blue funk basso players started doing the same thing), beat his guitar like a membranophone, and stomped his feet to reenforce sure beat generation or to make counter rhythms, all of which seat be heard on versatile recordings. Rhythm and inflammation were the bywords of his style.
The second, and evenly important, percentage of Patton's bequest handed down to future vapours generations was his proclivity for entertaining. One of the reasons for Charley Patton's enormous popularity in the South stems from his organism a double-dyed barrelhouse entertainer. Most of the now-common guitar gymnastic exercise modern audiences receive amount to associate with the likes of a Jimi Hendrix, in fact, originated with Patton. His ability to "entertain the peoples" and rock the firm with a hell raising viciousness left an unerasable effect on audiences and lad bluesmen alike. His music embraced everything from blues, ballads, ragtime, to gospel. And so keen were Patton's abilities in setting mode and atmosphere, that he could fetch a honky-tonk play to a dispatch stop by launching into an impromptu performance of zero simply religious-themed selections and still manage to hold his audience transfixed. Because he amuck the pith of a bluesman with the mentality of a vaudeville performing artist, audience Patton for the first base time can be a routine overwhelming; it's a destiny to take in as the music, and performances butt careen from emotionally acute to buffoonishly mirthful, sometimes inside a single excerption. It is all strongly frozen in '20s black dance music and even on the religious tunes in his repertory, Patton fuels it all with a inviolable rhythmical heartbeat.
He first recorded in 1929 for the Paramount label and, within a year's time, he was not only the largest-selling blues artist just -- in a whirlwind of transcription activity -- as well the music's most fertile. Patton was also responsible for hook up comrade players Willie Brown and Son House with their first base chances to record book. It is credibly c. H. Best to issue a blanket audio frequency disclaimer of some genial when hearing to Patton's add up recorded bequest, some 60-odd tracks add up, his final session done but a couple of months before his decease in 1934. No one testament never know what Patton's Paramount masters genuinely sounded like. When the company went proscribed of business, the alloy edgar Lee Masters were sold off as scrap, some of it victimised to line poulet coops. All that's left ar the original 78s -- rumored to receive been made out of inferior pressing material unremarkably used to get bowling balls -- and all of them are scratched and heavily played, devising all attempts at sound retrieval by current noise-reduction processing a tall order indeed. That aforesaid, it is quiet music well worth seeking out and non simply for its place in history. Patton's euphony gives us the number 1 flowering of the Delta blues shape, before it became homogenised with turnarounds and 12-bar restrictions, and few world went at it so aggressively.
50 Cent Compares Naked Fans To Prostitutes
Movie Reviews: Wall-e -- Pt. 1
While many reviews for the Disney /Pixar feature WALL-E are displaying off-the-chart enthusiasm, with many writers calling it a masterpiece and predicting a best-picture Oscar nomination, some analysts are suggesting that the film may be unable to convert the critical claim into box-office coin. On Wednesday Reuters noted that the film "blasts off into uncharted territory" by "mixing an unusual love story with somber messages about the future of Earth and humankind." The wire service noted that Pali Capital analyst Rich Greenfield had warned clients last wee about the movie's "box office potential given Pixar's risky bet on an offbeat main character, who rarely speaks during the film" The film began picking up additional critical endorsements from mainstream critics today (Thursday) (since the film is set to open in many major cities at midnight tonight). Lou Lumenick in the New York Post, while among those calling the film a masterpiece, warns that it is "arguably the darkest animated feature ever released by Disney (after Pinocchio)." Nevertheless, he concludes, "Kids Will Love WALL-E, the robot's epic adventure and his heart-tugging love story. Some adults may be less comfortable, which is fine with me; most great works of art are inherently subversive." Claudia Puig in USA Today gives the film four stars -- her highest rating -- calling it "an extraordinarily captivating adventure, laden with equal parts humor and heart and populated with memorable and endearing characters." Chris Vognar in the Dallas Morning News also says that while the film is certainly "adult friendly," kids should like it "just fine." With its combination of science fiction and romance, he says, "you have something dangerously close to the sublime, a film that will be dissected and enjoyed for years to come." And Christy Lemire of the Associated Press predicts that moviegoers are likely "to walk out of the theater with the rare joy of knowing that you've just witnessed something that touched your heart."
See Also
See Also
Cevin Fisher And The Scumfrog
Artist: Cevin Fisher And The Scumfrog
Genre(s):
Dance
Discography:
Let The Sun Shine
Year:
Tracks: 2
Chardronnet
Artist: Chardronnet
Genre(s):
Other
Discography:
Ledge
Year: 2004
Tracks: 3
Brian Wilson added to Newport Folk Festival
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