Entertainment
All of Billie Eilish's senses are alive on the ravishing 'Hit Me Hard and Soft'
Billie Eilish has been singing about looking — and being looked at — for nearly half her life.
Now 22, she broke out at 13 when her song “Ocean Eyes” went viral on SoundCloud; “Bad Guy,” the smash single from her star-making 2019 debut album, scoffed at the suspicions of a crush’s girlfriend: “You said she’s scared of me? I mean, I don’t see what she sees.”
Eilish is still pondering the illusory nature of perception on “Hit Me Hard and Soft,” her third studio LP in a career that’s already brought her nine Grammys, two Oscars and more than 100 million followers on Instagram. The album opens with “Skinny,” a breathy ballad in which she observes that “people say I look happy just because I got skinny.” Disappointed but not surprised, she’s continuing her thoughts on celebrity from 2021’s “Happier Than Ever,” which arrived as part of a wave of high-profile records (including ones by Olivia Rodrigo and Lorde) questioning the healthiness of pop’s social media era.
“The internet is hungry for the meanest kind of funny,” she sighs in “Skinny,” “And somebody’s gotta feed it.”
Yet as its title suggests, the ravishing “Hit Me Hard and Soft” moves beyond looking to explore the more tactile pleasures and risks of Eilish’s other senses. Sequenced intentionally, no doubt, right after “Skinny,” “Lunch” is a funky come-on about enjoying a woman’s body — “She dances on my tongue / Tastes like she might be the one” — while the rootsy “Wildflower” compares her involvement in a love triangle to the torture of being burned alive: “You say no one knows you so well,” she goes on, “But every time you touch me I just wonder how she felt.”
With 10 songs in just under 45 minutes — a study in crispness here in the age of “Cowboy Carter” and “The Tortured Poets Department” — Eilish’s album gives the impression of someone who’s accepted the unnatural demands of stardom and wants to figure out how to lead a full life in spite of them.
“Hit Me Hard and Soft” mostly upholds Eilish’s signature electro-goth sound: the blend of folky guitars, glassy synths and programmed beats she’s been developing with her brother and producer, Finneas, since the two began making music in their parents’ house in Highland Park. But the newfound emotional liberation in her storytelling extends to the adventurous structures of tunes like “L’Amour de Ma Vie,” which starts out as a low-key soul shuffle before transforming into a propulsive rave jam, and “Bittersuite,” which makes good on its title with three distinct parts.
In an unusual decision for this proudly self-contained duo, Eilish and Finneas welcomed contributions in the studio from their touring drummer, Andrew Marshall, and the Attacca string quartet (though both fit seamlessly into the siblings’ established sonic universe). What registers as a bigger shift is the gutsiness of Eilish’s singing: Long known as a committed whisperer, she belts here in a way we’ve never heard from her before; it’s a total thrill to witness her climb up, up, up in “The Greatest,” a thrashing rock song about unrequited love in which she congratulates herself for surviving “all the times I waited for you to want me naked.”
That survivor’s chutzpah surfaces again in the skulking “The Diner,” which she narrates from the imagined perspective of a stalker; the song is filled with unnerving details: “I came in through the kitchen looking for something to eat / I left a calling card so they would know that it was me.” Yet Eilish, who presumably drew from real-life experiences she’s discussed, delivers the song with a smirk. She even offers her version of a breezy summertime bop in “Birds of a Feather,” with a promise of never-ending devotion over lush acoustic guitars set to an easygoing groove.
“I want you to see how you look to me,” she tells her lover — a fresh application for an old instinct.
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‘Clayface’ trailer teases DC Studios’ first proper horror movie
The DC universe is going full on body horror.
DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.
Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.
The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.
According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”
“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.
Who is Clayface?
Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”
Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.
Other versions of Clayface have been introduced in various media since.
Who is in ‘Clayface’?
The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.
Who are the ‘Clayface’ filmmakers?
Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).
The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
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