Month: August 2013 (Page 10 of 12)

Car Review: 2013 Hyundai Azera

August 7, 2013 / Staff

One of the hottest selling sedans on the road today is the 2013 Hyundai Azera, and we had the opportunity to drive one for a week to see what all the buzz is about. We learned that Hyundai continues to take on segments of the auto industry that probably didn’t see products like the Azera approaching in their rearview mirror!

EXTERIOR

The Azera is a modern and sophisticated interpretation of Hyundai’s signature Fluidic Sculpture design language, which looks very attractive when parked or being driven. With the new Azera, Hyundai continues to offer customers the highest levels of luxury, performance and efficiency, all brought together in the praised design. Azera’s Fluidic Sculpture design takes inspiration from the mechanics of flight. The exterior of the Azera is long, light and low with a very upscale appearance. The unique, undulating beltline allows for a long, sleek roofline accented by the third window and wraparound LED taillights. A monoform side profile includes flowing lines in the rear quarter panel. The face is masculine with a powerful, winged chrome grille and HID headlamps that integrate precise details. The stance is completed by available 19-inch multi-spoke wheels that we sported on our test model. The venetian red paint looked amazingly shiny without a mar to be found.

INTERIOR

The elegant look of the 2013 Azera continues inside where Hyundai has created an upscale ambiance, thanks to a flow-through center fascia and instrument panel that creates a dual-cockpit front passenger space. These flowing surfaces complement the exterior design and wrap around the driver and passengers. The 2013 Azera offers luxurious appointments that rival the finest premium competitor brands. It offers a roomy cabin with more than 45 inches of legroom and 40 inches of headroom for front-seat passengers. Hyundai focuses heavily on other interior details, such as an optional panoramic sunroof, which allows more natural light into the cabin and 3D Carbon interior accents. Ambient lighting compliments the vehicle’s modern appearance. Other standard luxury equipment includes power front seats, power rear sunshade and manual rear side window shades. The side shades, not found on any other car in the Azera’s segment, can be inconspicuously tucked away when not in use.

Given the functionality and design of the Azera, seat quality and comfort is of extreme importance to the feel of the car. The 2013 Azera offers first-class seating for all passengers, with leather seating as standard equipment. A ten-way power driver and eight-way front passenger seat are also included. The driver’s seat has an optional cushion extension and an integrated memory system for the seat, steering wheel and side mirrors, while the Azera’s climate and seat temperature controls keep occupants in total comfort. Our 2013 Hyundai Azera also boasted ventilated front seats, heated front and rear seats standard, dual automatic climate control standard, second row air vents standard and cooled glove box standard.

Car Reviews, Cars

hyundai Hyundai Azera

The Light from the TV Shows: A Chat with Greg Mottola (“Clear History”)

August 7, 2013 / Will Harris

Greg Mottola first came to prominence as the director of the indie comedy “The Daytrippers,” but he began a much quicker rise in mainstream recognition when he helmed the comedies “Superbad” and “Adventureland.” Currently, Mottola is making the rounds to support his work as the director of Larry David’s new HBO movie, “Clear History,” but he’s not entirely confident if the word “director” really sums up his efforts on the film. Bullz-Eye chatted with Mottola during the TCA press tour, and we talked about how surprisingly easy David is to work with, how he came to appear in a couple of Woody Allen films as an actor, and what a hassle – and what fun – it was to make “Paul.”

Bullz-Eye: So directing Larry David has got to be at least somewhat of a challenge.

Greg Mottola: Um…

BE: I’m not saying good or bad, just…challenging.

GM: It’s… Well, I mean, the process was so specific. I don’t even know if my job title should be called “director” on this movie. [Laughs.] “Associate collaborator” is probably closer to it. But that’s the way it should be. I’m not sure if, in the press notes, they talk so much about how we made it, but essentially it’s the same way Larry does “Curb Your Enthusiasm,” with some key differences. But Larry writes a script-ment, they call it, so this was about 35 pages of paragraphs of what happens in this scene, with an occasional line of dialogue or joke that Larry or his co-writers thought, “Oh, we should definitely get that in.” So they write that in, but, really, no other dialogue.

And we get to the set, we walk through the scene, and we’ll just sort of block it very generally. Like, “You’re gonna enter from that door, you’re gonna be sitting here, you’re gonna come over here, talk about this, you’re gonna leave.” Y’know, just sort of walk through all the little bits of blocking, but never rehearse it at all. So the first time anyone is acting, the cameras are rolling. And it’s usually two cameras, sometimes three if we can squeeze another one in there. And Larry by and large never does the same thing twice. [Laughs.] So as a director, you’re constantly strategizing, “Okay, we did that one time, I’d like to try and get something like that line, maybe in a tighter size, so…let’s switch lenses right now while we’re in the zone, and we’ll swap back and do wide shots again.” So you’re constantly just sort of improvising the directing style as everyone’s improvising the lines.

So directing Larry is just sort of endless conferences between takes about, “We’d like this from that, we didn’t like that,” just sort of honing in on what worked, sometimes stopping entirely and saying, “This doesn’t work at all, let’s start from scratch and just approach it completely differently and do a different version of the scene.” And that happened a few times. We’d have two completely different versions of the same scene…and usually the one that ends up in the movie is the second one. You know, the one thing about Larry is that he’s an absolute pleasure to work with. Despite his sort of screen persona and his point of view about human nature, which—between “Seinfeld” and “Curb”—is pretty clear… [Laughs.] He’s a really happy guy! He’s a guy who walks around whistling and practicing his golf swing. He’s, like, in a good mood 99% of the time. So it’s great to work with him.

BE: I…can’t really wrap my head around that.

GM: [Laughs.] It is hard to believe.

Entertainment, Interviews, Movies, News, Television

Celebrity Clear History Curb Your Enthusiasm Doug McGrath Greg Mottola HBO Hollywood Enmding Jon Hamm Larry David Louis C.K.Melanie Griffith Paul Philip Baker Hall Seinfeld Sidney Lumet Simon Pegg The Daytrippers The Light from the TV Shows W.C. Fields Will Harris Woody Allen

Movie Review: “We’re the Millers”

August 6, 2013 / Jason Zingale

Jason Sudeikis, Jennifer Aniston, Emma Roberts, Will Poulter, Ed Helms

Rawson Marshall Thurber

It hasn’t been a particularly memorable year at the movies, especially for those in search of a good comedy, so it’s a relief to see a film like “We’re the Millers” arrive in theaters, because although it’s not as funny as its behind-the-scenes talent might suggest, it’s one of the better comedies released thus far. Directed by Rawson Marshall Thurber (“Dodgeball: A True Underdog Story”) and co-written by the guys behind “Wedding Crashers” and “Hot Tub Time Machine,” “We’re the Millers” doesn’t break any new comedic ground, but it’s packed with some great laughs and an ensemble cast that seems game for just about anything, no matter how outrageous or inappropriate it may be.

“SNL” veteran Jason Sudeikis stars as David Clark, a low-level drug dealer who gets robbed one night by a group of thugs, losing his entire stash and personal savings in the process. His slimeball boss (Ed Helms) doesn’t take the news well, but he offers David a chance to make amends by smuggling a “smidge” of marijuana across the Mexican border in exchange for a clean slate and $100,000. David knows that a single guy traveling alone in an RV will only draw attention from the border police, so he recruits a fake family to serve as a disguise, including the stripper who lives in his apartment building (Jennifer Aniston), the dorky virgin next door (Will Poulter) and a bratty teen runaway (Emma Roberts). But when they arrive in Mexico, the aforementioned “smidge” turns out to be a few metric tons, and worse yet, it belongs to someone else, forcing the ersatz Miller family on the run from a ruthless drug lord.

Entertainment, Movie Reviews, Movies

Jason Sudeikis Jennifer Aniston We're the Millers We're the Millers review

Beck’s selects 6 artists to create unique labels

August 6, 2013 / Bullz-Eye Staff

Each year, Beck’s selects six artists from a variety of disciplines to design original creative work to live on Beck’s beer labels. Check out the video below and you’ll see the various artists and see how they came up with their innovative designs. You can see how they’re dedicated to supporting up-and-coming artistic talent.

All of the artists we very cool, while the TM Sisters really jumped out with their interactive digital designs. They’re based in Miami where we spend a lot of time, and the creative elements of that city, including the music scene, permeates their art and creations. They’re a Miami sibling duo working in digital video performance, collages, VJing, fashion pieces and video games, and they created an art label that depicts an epic pose of a flying woman shooting beams from her hands.

The other artists include:

Actor and Grammy award winning musician Kid Cudi
Fashion designer and entrepreneur Marc Eckō
Artist and musician Willis Earl Beal
Multi-medium artists The Date Farmers
Photographer William Hundley

Check out the video below and then look out for the bottles.

This article is sponsored by Beck’s

Entertainment, Vices, Videos

art artists Beck's Beer Kid Cudi Marc Eckō The Date Farmers TM Sisters William Hundley Willis Earl Beal

Blu Tuesday: Oblivion, The Place Beyond the Pines and More

August 6, 2013 / Jason Zingale

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

“Oblivion”

WHAT: Jack Harper (Tom Cruise) is one of the last remaining humans on Earth – a drone repairman that’s part of an operation to extract vital resources from the planet after a decades-long war with an alien race known as Scavengers. But when Jack rescues the literal woman of his dreams (Olga Kurylenko) from a crashed spacecraft, her arrival triggers a series of events that forces him to rethink everything he knows about the world.

WHY: Following the massive disappointment of “TRON: Legacy,” Joseph Kosinski’s sophomore effort looked like it would just be more of the same, but much to my surprise, his latest sci-fi project is a lot better than expected. Unlike the “TRON” sequel, Kosinski created the world of “Oblivion” from the ground up, and it really shows, from the rich mythology to the Apple-inspired production design. Kosinski’s outstanding visuals are still front and center, but this time around, he’s also delivered an engaging story in addition to the effects-driven spectacle. Though genre fans will notice that “Oblivion” borrows pretty heavily from a recent sci-fi movie that will remain unnamed (not to mention other classics), it’s still a really great concept that, while not exactly original, is cool to see realized on a grander scale. The final act isn’t handled quite as gracefully as its indie counterpart, but between Kosinski’s visuals and Tom Cruise’s commanding performance, “Oblivion” is still one of the better sci-fi flicks of the past few years.

EXTRAS: There’s a good deal of bonus material here, including an audio commentary with star Tom Cruise and director Joseph Kosinski, a making-of featurette, four additional production featurettes on things like stunts, visual effects, the bubble ship and scoring the film, some deleted scenes, and the ability to watch the entire movie accompanied by M83’s isolated score.

FINAL VERDICT: RENT

“The Place Beyond the Pines”

WHAT: When motorcycle stunt rider Luke Glanton (Ryan Gosling) discovers that he has a son, he turns to robbing banks as a way to provide for him and his mother (Eva Mendes). But Luke’s actions place him on a collision course with a rookie policeman (Bradley Cooper) who gets caught up in an investigation involving some dirty cops.

WHY: Derek Cianfrance’s multi-generational crime drama is an incredibly ambitious piece of work, though he seems to have bitten off more than he can chew. Divided into three interconnected stories, there’s not much to each one, but they’re all necessary to telling the larger narrative, and that’s what makes the movie so frustrating. Cianfrance deals with some familiar themes of fatherhood, consequences and destiny, but it’s such an epic undertaking that it ultimately becomes too much movie for its own good. The opening segment is the standout, mainly thanks to some great performances by Gosling, Mendes and character actor Ben Mendelsohn, and although the other two stories aren’t bad, they’re noticeable weaker, causing the film to feel a bit lopsided. “The Place Beyond the Pines” isn’t perfect (the first hour makes up for some of the more unflattering heavy-handedness that Cianfrance resorts to in the latter half), but it’s a movie that demands a lot of respect for not only taking big risks, but the way that it resonates emotionally.

EXTRAS: There’s an audio commentary with director/co-writer Derek Cianfrance, a short but sweet making-of featurette and four deleted/extended scenes.

FINAL VERDICT: RENT

Entertainment, Movies, Television

Aftershock Blu Tuesday Mud new Blu-rays Oblivion Strike Back: Cinemax Season Two The Place Beyond the Pines The Sapphires